Garrard 301 - Project

Sorry for being vague…the main issue is chassis vibrations. As I increase volume, the vibrations in plinth increases causing stylus to jump up or skip grooves. 

This helps tremendously. So without a doubt your problem is not the motor, not the plinth, and a PSU is not the immediate answer. 

The mere fact that a dealer set it up means little in my book. The Reed 3P is at once both easy and tricky to set up. AS in particular can easily be set way too high. Back the magnetic AS quite a way (reducing it) and increase your VTF to the max within your cartridge specs. See if that helps a little. Make sure your deck is level and rock solid in terms of how it sits on your rack (not subject to rocking). 

Your problem though is one of isolation. One way or another your Garrard is set up in an excited/lively zone of your room. It could be in a room node, it could be over a particular springy portion of your floor or both. Bracing your floor joists from underneath ought to be considered. A massive, rigid, equipment stand positioned away from any room node and positioned over a solid portion of your suspended floor is extremely likely to eliminate your problem. Imho, IsoAcoustic pucks are not the proper form of isolation under your plinth. You want to drain energy, not absorb it. Once your rack/stand is ideally situated, mount Stillpoints or similar to the underside of your plinth. 

In the the real world where a bunch of equipment is already positioned-I looked at your virtual system-most of us don't have the energy (pun) to reconfigure the room just to accommodate a turntable. So I realize my implementing my recommendations are easier said than done. 

There is one advantage of repositioning equipment, even if only Temporary.

Such an investigation should cost very little monies and now the TT is set up, the only treatment for the TT following relocation, should be to re-level the Platter. 

There is lots that can be learned about looking out for the needs of the styli, when used for the role in the groove to produce mechanical energy to be converted to a a very low voltage electrical current.

The Styli will receive ambient energies, of which certain types are able to adulterate the energy generated by the groove modulation.

As the methodologies for reducing transferred energies to the Styli improves, the end result is the perception of the end sound increasing in presenting as tidied up sound improves.

Platter Mats also fall in to the considerations for control measures.     

“Your problem though is one of isolation”

@fsonicsmith

I agree. I spent the weekend reconfiguring my system by switching out to a much heavier rack and pulled out couple of digital components that weren’t in the system due to limited rack space. I end up dusting some of my favorite CD’s..lol!

Back to TT, things improved greatly but not to a degree where everything is perfect. Thankfully, no external feedback from subs, internal vibrations are tamed 95%. IsoAcoustic pucks removed and TT is back on Finite Elemente slim cerabase temporarily until I find a better solution. I have uploaded new pics in my virtual system.
https://www.audiogon.com/systems/11092

It’s a work-in-progress, still long ways to be on par with my Streaming setup. Thanks again for your invaluable advice.

My local dealer puts 301, 401 and Thorens 124 tables into ultra expensive systems.  He likes the Ortofon tonearms with these tables.  This past weekend, he was showing off a extremely pretty to look at 301 in a gloss veneer plinth and a brand new Tri-planar tonearm.  That is the one quite expensive arm he likes and a customer was interested in it.  When Koetsu folded up shop, he bought as many cartridges that were still available that he could find.  For this table, he used an Urushi Vermillion from his remaining stock.  The system with this table in it sounded fantastic--bold, big and lush.  

@lalitk 

good development.  How does 301 at this point compare with the SME when you had it in your system?  And whatever happened to the Koetsu that you purchased?