We are the North and South American distributor for this bearing.
This is the strobe platter version – a non-strobe version can be produced on request; please enquire.Anyone who read the February edition of HiFi World will be familiar with the predecessor of this unit. Highly acclaimed by the reviewer Adam Smith (who, incidentally is still enjoying the review sample) the RedBeard 301/401 dubbed “Super Bearing”, was the single best bearing upgrade ever reviewed. The bearing dramatically reduced noise, improved stereo separation and imaging, and enhanced every factor of musical significance throughout the band-width from bass, midrange to treble without losing any of the characteristic enjoyability of the turntable. The Stage II 301/401 takes everything a step further, significantly reducing run-in time, and further improving sound-stage stability, depth and separation. This bearing is now the entry level Garrard 301 or 401 compatible bearing available directly from myself, the manufacturer. Make no mistake – if you have a fully fettled 301 or 401, this bearing will enable your turntable to achieve it's full potential. Oh, and yes – the finish really is that good...
******************************************* Turntable bearings are possibly the most misunderstood component in the audio chain. Often overlooked in terms of their importance, it is in fact the bearing which defines the turntable – without it you merely have a rather obtrusive looking shelf! In the past, turntable bearings were designed by engineers; people whose profession dictated that they apply existing principles to a problem as they saw it. In most cases, this means that if there is an off the shelf solution to an apparent problem, that solution is readily applied. Typically, this presents no difficulty so long as the engineer or designer fully understands the ramifications and possible repercussions of the applied solution. For our purposes, the engineer or designer needs to be an audiophile who is able to grasp the significance of what actually happens within a turntable bearing. Common format bearings first saw their inception at the start of the industrial revolution. It was important that subject to an anticipated failure, or as part of the routine maintenance process, a sacrificial component could be readily substituted leaving the key mechanical components intact. This is why many bearings follow the format of a hardened steel shaft turning in a soft bronze bearing. The bronze element being replaceable in the form of a substitutional bush. We will find this method of construction present in many older turntable bearings, the Garrard 301 & 401 included. When the original 301 bearing was designed, its primary function was to resist lateral groove modulation inherent to (especially 78rpm) mono recordings; the flat thrusting mechanism serving as a means by which to provide a degree of linear drag, which has a beneficial effect of minimising motor cogging. There is no vertical information in laterally cut mono recordings. Garrard quickly found their 301 flying out of the factory so fast that far from needing to improve anything, their only re-design designations were solely directed towards manufacturing expedience. The bearing remained pretty much unchanged in principle all the way through to the 401, lubrication methods notwithstanding. In essence, 301 & 401 bearings are mono – they have no vertical integrity of any significant measure which means that any vertical information is readily lost by the original thrusting components – that's why 301's and 401's are noisy. In a stereo modulated groove there is as much vertical as lateral information. Recent modifications and adaptations to the thrusting system have gone some way to correct the unwanted vertical compliance, but all seem to neglect the all-important aspect of linear drag. The vast majority of upgrades also include a ball of some description, whether it be metal or ceramic (in some cases jewel). This presents another problem which arguably was present in the original design which I will elaborate on in due course. None of the modifications of course address the issue of tolerance, which in its own right is a commonly misunderstood or misguided term. These old bearings were mass produced, and even in some of the best preserved and properly serviced examples you will find that if you remove any oil, there is a significant degree of play between the spindle and the bronze bushes. Any compliance or degree of lateral motion will effectively absorb signal. Common physics dictates that as the compliant mechanism of the cartridge forces the stylus into a modulated groove, there will be an inherent force imposed on the platter. A sloppy bearing will essentially absorb information that should have moved the cantilever and found its way through to your speakers. Once this information is lost, no matter how much money you spend on cartridges, tonearms, phonostages or peripherals, it is gone; and can never be retrieved. Most conventional bearings consist of an upper and lower bush, often resting on a ball. If you visualise this situation it is clear that inevitably the inconsistent driving force of an idler mechanism against the platter will ultimately cause the spindle to oscillate causing wear or deformation of the lower bush. The bearing will lose tolerance over time. Why use a ball? Many turntables employ balls in their thrusting mechanisms. The most obvious answer as to why this might be the case is to examine some older designs that used this feature. It was far easier using older manufacturing techniques to mass produce ground spindles and use a readily available polished ball rather than attempting to include a polishing procedure as part of the build process. Typically, such bearings that used this process required a polymer thrusting surface so as not to damage the commonly chromium plated balls. From an audiophile standpoint, the inclusion of a ball is decidedly disadvantageous. If we imagine a shockwave emanating from the stylus interface radiating into the platter, we can further see that same shockwave travel down the bearing spindle. If it hits a ball, that ball will resonate sending it's own resonant signature straight back to the platter and ultimately the stylus – noise in other words. Furthermore, the inclusion of a ball mandates a minimum of two contact points rather than one; thus compromising the vertical integrity of the bearing, losing information.
The New RedBeard 301/401 Bearing:
The format of the 301/401 bearing was not derived from any existing design, or evolved from any previous turntable bearing incarnation. It was specifically designed to give an optimal performance on an a/c motor driven idler turntable. It has no ball, and it has no removable base (cannot leak lubricants). What is more specific about this bearing is that it is uniquely designed to wear in – not out! These units are not cnc manufactured; it would be impossible to achieve the desired tolerances employed. The term tolerance itself is something of a misunderstood or misapplied term in these situations – engineered tolerance seldom has much in connection with practical tolerance. If a bearing is manufactured to a specific tolerance, but in practice quickly loses that tolerance; the initial specification becomes somewhat superfluous. When new, these bearings must be “run-in” in order to achieve optimal results. This means that they will adapt to your typical ambient surroundings in order to provide the best practical results obtainable. Although you should notice significant immediate results, these bearings really begin to shine after about a weeks use; after a month they show you just what you've been missing. Most bearings wear in, then immediately begin to wear out; not so with these units. They go through an initially intensive wear-in process after which they continue to wear in and improve with use. They are guaranteed for life – my life that is! The most obvious benefit that the user will initially hear is silence. The tremendous integrity of the bearing means that you pick up more useful signal, and less noise – this follows through to record surface noise. You will notice improvements throughout the bandwidth as unwanted shock-waves are dissipated whilst the required information is retained.
Listening to a vintage idler can be compared to taking a top-down blast in a 1950's TR2 sports car; it's fun, exhilarating, refreshing, but at times can be rather rough, noisy and raucous. The new bearing brings your idler up to date. It enables you to find all the subtleties and nuance previously hidden, giving you those all-important spacial clues that complete the sound-stage and presentation. Stereo width and perspective become so much more tangible, and your vintage idler can now reveal the same degree of detail as the most informative of high-end turntables costing up to £50,000 and way beyond; but here's the twist: Despite everything you gain in terms of performance, detail, improved signal to noise, clarity and precision, you lose none of that essential excitement that makes your Garrard what it is.
Enjoy!!!
Bearing run-in & maintenance.
1) Before installing your bearing, familiarise yourself with it. Have a play with it and get to know it.
2) Bearings are typically supplied with the intention of having the bulk of run-in performed by the customer such that local climatic conditions may be best accommodated; my initial bedding in procedures are performed using very light oils to allow this.
3) Start with the supplied thin oil initially, gradually adding the viscous oil as supplied over a period of time until you find your preferred balance.
4) Every time speed stability is found with a given viscosity, increase the viscosity until you find your preferred measure. The rule of thumb with the A/C motor is to provide enough load to the motor to reduce cogging artefacts whilst not seriously affecting the speed. Most bearings will run on neat 'Goo (the thicker oil supplied) once properly run-in (although this depends on many factors; motors are not all the same & climatic conditions can affect performance) – experiment! A thick, viscous oil is supplied so that you can use it in order to mix up your own desired viscosity.
5) Although experimentation will ultimately reward you with your own best method, you should find that dribbling a small measure of lubricant down one side of the bearing chamber before inserting the dry spindle directly down then rotating to spread the lubricant over the entire bushing area will allow you to actually get the spindle seated in the first place. Experiment with lubricant quantities & you'll find an optimal quantity; a good 3 second squeeze usually does it for the provided 'Goo depending on where you cut the top of the bottle & how hard you squeeze – you don't need much. With a little experience, you might find that you can lift the spindle against the vacuum and add further lubricant to the uppermost portion of the spindle bushing area before re-seating and wiping away any residue.
6) Clean & re-lube the bearing every 24Hrs for the first 168Hrs use, then at least every 168Hrs use thereafter for the first month. After this, servicing intervals become far less frequent. Since you should be cleaning your running gear (idler wheel, motor spindle, platter underside) from time to time, you will expose the spindle every time you do so; treat it to a clean & re-lube also.
7) Although changes to general presentation should be immediately apparent, speed inconsistencies may be heard during the first 168Hrs of use after which they will quickly settle down. After the first month, bearings usually display a far more stable presentation than with the original (even good condition) bearings – this aspect also continues to improve with time.
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