Solid wood frame always made from one piece of selected hardwood with perfectly guided figure around the corners.
Especially developed top plate with perfectly balanced mixture of different materials to achieve the best sonic result from your beloved Garrard.
Highly refined suspension using a combination of Sorbothane, Delrin, Felt and Stainless Steel - fully adjustable.
Changeable arm slots made of high density and heavy Corian exactly drilled to your specific tone arm.
Or decide to go the universal route and use the new developed Slider.
You could choose between three standard dimensions, (L)arge / (S)mall / (XL)large.
The large plinth developed especially for the legendary 12" studio tonearms.
Dimensions: 25.2 x 19.3 x 4.4 inch (without feet)
Required footprint: 21.6 x 18.5 inch
The 'small' plinth for one 9" tonearm
Dimensions: 22.0 x 19.3 x 4.4 inch (without feet)
required footprint: 18.5 x 15.7 inch.
The extra large plinth to place what ever you want...
Dimensions: 29.3 x 21.5 x 4.3 inch (without feet)
required footprint: 21.6 x 17.3 inch
suspended - clever - smart
There are various ways to build a plinth for the Garrard 301 / 401. In earlier times, windy hat boxes were used as a cabinet, which significantly contributed to the bad reputation of 'rumbling' idler wheel drive.
As a consequence, there are representatives of the mass loaded plinth, especially in the North American and Asian area.
It is easy to tame the vibrations of a powerful idler motor using a heavy plinth. So everybody can bond multiple layers of material to achieve an 'okay' result. In these constructions, the mechanical shortcomings of the devices are concealed but not healed.
The flip side is that a lot of mass is storing also a lot of energy. So the rumble isn't gone but changed in other frequencies wich interact with the recorded music in no good way.
Even worse, they tend to rob the music of its vitality. Quite often sounds a Garrard or Thorens in such mass loaded plinth correct in the hifi-sense at the first moment, but over long period it portrays dull and uninspiring.
On the other hand, there are few designs that work consciously with the interaction of different materials. In my opinion, the silver bullet behaves like a musical instrument that can only relate to a specific instrument.
The current structure of my engine board and the mounting is the result of evolution, through my own experiences as engineer and music lover along with the helpful feedback from my customers.
For the motor board I offer a sandwich of MPX (Multiplex) with a thin core layer of MDF and a top layer of Forbo furniture linoleum.
After a long evaluation period this is the best combination of materials for the aspect of weight, absorption and neutrality.
This sandwich is laminated from a specialized company using a vacuum press to realize the best possible result.
As a result of continuous research I now offer a mount on POM (Delrin) and Sorbothane in combination with felt and stainless steel spikes.
This is a bit tighter and provides lifelong durability other than the traditional mount on squash balls which loose flexibility over time.
I choose different Sorbothane for each particular application to achieve the best possible harmonic between motor, board and frame.
In the case of the Garrard 301/401 you'll find in the left back corner (blue) a stronger Sorbothane dome to handle the asymmetric weight of the motor.
The unit is adjustable in high to level the board in the frame perfectly.
The tone arm slots are interchangeable and made of high density and resonant free Corian.
I have data to all common tone arms (SME, EMT, Schick, Ortofon and others) and drill it to your specific need.
I could provide special layers of Pertinax to rise the arm slot higher to make a separate spacer obsolete. (see at accesoires)
But you could always decide to mount your arm to the board directly without using the Corian slot - please ask me.