LP and SP analog playback system
TD124II with an SME 3012 and Audio Technica ATP12T on a butcher block type plinth
I have bought, sold and traded over a dozen Thorens TD124s since the late 80s and have to admit that I was in denial of its virtues then. I spent so much time upgrading and modifying an original AR turntable using Merrill components and even toyed with a TD150. No matter what I did to the AR/Merrill and the TD150 the 3 point suspended belt drive decks could never equal the musically authoritative presentation of the TD124 mounted on a lightweight plinth particularly in the area of pitch stability. Fortunately I always managed to keep one for use as back up and as a reference to my AR exploits.
Thorens TD124 Mk II with a Fidelity Research FR64fx tonearm
By the early 90s my system was evolving into a SET/High-Efficiency speaker set up and this was the period the TD124/Rega RB300/DL103R combination became my reference analog front end. In the ensuing years I have mounted the Ortofon RMG 309 and SME 3012 tonearms however I discovered that due to its slightly more laid back sound compared to the Garrard 301, a more modern "gimbal bearing type" tonearm is necessary to exploit its fullest potential. Two of my friends in Manila arrived at the same conclusion way before me and use the TD124/FR64S combo as well as Garrard 301s with an SME 3012 and Ikeda 407 respectively.
TD124II with an Excel ES801 tonearm - not quite as analytical as the FR64fx and less authority, fine tonearm nonetheless
I found the proper tonearm/turntable synergy by mounting the FR64fx on a TD124. Nowadays I like the convenience of removable headshells so my present collection of gimbal bearing tonearms include the Fidelity Research FR64fx, Excel ES 801, Grace G640P and the Audio Technica ATP12T. The ATP12T has to be mounted out board [see picture on the top page] since it has a 10" effective length and no amount of fiddling could prevent it from hitting the outer periphery of the chassis on the tonearm mount side. Tonearms that I have used in the past with good results are the Rega RB300/250, Sumiko Premier MMT and FT-3, and the Grace 707 and 747.
Thorens TD124 with an SME 3009 Denon DL103
In my experience, the earlier ivory white chassis commonly referred as Mk. I with the heavier iron platter needs a little more time for the speed to stabilize compared to the later Mk. II 'non-magnetic' but lighter platter which has a grey colored chassis. I also never had issues with the magnetic platter giving trouble with any of the cartridges I use. If I am forced to split hairs, I would say the earlier iron platter gives a slightly heftier bottom end with a tiny bit more dynamic slam which helps a bit when using the SME 3009 with knife edge metal bearing.
The TD124II on the top picture is bolted down to the butcher block type plinth because the rubber mushrooms have deteriorated, while the TD124II/FR64fx and TD124/3009 have intact mushrooms resting on laminated plywood plinths. Both types of mounting are valid, direct mounting has a slight edge in dynamics and pace however I am now veering towards using it as originally designed with a modern gimbal tonearm since this gives a cleaner sonic presentation. Direct mounting will not make it sound like a 301. See link below for a great TD124 restoration site.
24" square plinth, seven layers of Birch faced 3/4" Fir plywood. Ortofon RMG309/SPUGME in front and Schick 12" AV101b/DL103C1 at the back.
I acquired this grey grease bearing model Garrard 301 in the mid 90s. Around that time I was also searching for a suitable cabinet for Altec 755Cs and 755As. After successfully building open baffles out of 3/4" plywood it became the logical material of choice for building a massive plinth. This particular sample is not cosmetically in mint condition but mechanically sound. All I had to do was clean and lubricate all the moving parts. I use Castrol GTX synthetic grease for the main bearing but do not over fill because it will slow down platter rotation. It has given trouble free performance for years.
After several years of using both the TD124 and 301, I cannot say that one model is superior to the other. Sonically the 301 is more direct and forward in presentation whereas the TD124 is slightly more laid back with the same amount of detail retrieved. I attribute this to the drive mechanism of the TD124 which uses a rubber belt to 'decouple' the motor which drives a pulley that turns the idler. This could also be the reason why the TD124 will perform decently even when mounted on a lighter plinth whereas the 301 needs a massive plinth to perform at its best.
In my experience tonearm/turntable synergy levels the playing field for the TD124 and 301. The 301 is more tolerant of vintage tonearms with loose bearings, so I built a larger plinth to accomodate the RMG 309 and SME 3012. I was never too happy with the FR64fx mounted on the 301 because it magnified the analytical and drier sound inherent in modern tonearms that have tight tolerance bearings.
Rek-O-Kut Rondine Jr. L-34, SME 3012 in front and Excel ES 801 at the back
I have always been intrigued by this long gone American manufacturer from the golden age of Hi-Fi and only found time to investigate its capabilities recently. Pictured above is a Rondine Jr. L-34 which I restored and installed on a heavy plinth. My initial impression [with the original idler wheels] was it sounded quite similar to the 301 but a lot more forward in presentation with lots [too much for my taste] of PRaT - Pace, Rhythm and Timing - as they call it in internet forums. After just a couple of days of listening it became tiring and since I was hearing a lot of noise from the idler wheels, I sent them out for refurbishing thinking that listener fatigue is due to the glazed and hardened rubber.
With new rubber fitted on the idler wheels mechanical noise was significantly reduced and performance is almost at par with the 301 and TD124, except in the outer edges of the soundstage where instruments tend to compress and congest with less air and space in between them. This last ounce of refinement I was looking for could be due to the lack of an eddy current braking system which was designed not only to offer variable pitch control but also to help smooth out the motor in the 301 and TD124. Bear in mind that I am nit picking here and if you do not have access to a 301 or 124 for direct comparison, you will not know what you are missing. Some people consider the ROKs to be superior to the TD124 and 301 so maybe system context and listening bias are the variables in my observation.
Due to the simple mechanical design - rudimentary rubber grommets are used to isolate the motor and idler wheel arm vibrations - make sure to keep a budget for refurbished idler wheels to get optimum performance.
Rek-O-Kut Rondine deluxe B12H with Velvet Touch viscous damped tonearm fitted with a mono GE VRII triple play cartridge. The B12H uses the massive Ashland hysteresis motor - great torque and speed stability - great for playing mono LPs and 78s.
See my mono playback system.
Other turntables
Lenco L75 repainted silver/grey hammerite, 4 layer 3/4" plywood plinth, Audio Technica AT1007 arm in front and SME 3012 at the back.
Bogen B60 - stock arm used for early stereo cartridges - Shure M3/7D and Stanton 371 flux valve and Velvet Touch viscous damped mono tonearm at back for Denon DL102 and GE RPX/VRII cartridges.
For more info on Lenco turntables - visit Lenco Lovers Forum
Realistic MK VII
Shield (Neat) MO19
Rek-O-Kut LP743 with Pickering 190 arm
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Vital links
Thorens TD124 Restoration - all you need to know, great Japanese site in English!
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