The more I read this thread the more alarmed I became!!!
Both decks here - the 1015 and A, are veritable audio antiques and although the 1015 lacks the cachet of the top 1019 model, I can assure you it's no sonic slouch. I currently have a 1019 and a 1009SK2 (bias, cueing device but no fine speed adjustment as in the 1019) and the 'fine tolerance engineering' is superb. Garrard were almost at a turning point by the mid 60's top models but with the 'A' they weren't 'quite' there yet in my opinion.
ALL idler drive models (and I'm including the 301, 401, TD124, Duals, Lencos and so on) add noises to the bass and lower midrange of the records being played. Sorry, but they do and it's very audible on headphones and larger speakers in a near field environment, especially so when compared with decks that don't do this! It's possible to *minimise* most of it, but you can never eliminate it all in my experience. Belt driven models aren't immune from some of these added noises either and I've been shocked how Pro-ject and even Rega decks can add transmitted hums and 'whines' to the background noise of records. It's these spurious noises that made so many people abandon these kinds of idler decks first time round and go to the better direct driven models (many of which had feedback and 'dynamic wow' issues of their own, but I digress).
I'm stating the above not to troll this thread, but to try to put some perspective on things if you'll let me please. A now also classic Technics SL150mk1 or even SL1200mk1 if carefully sited (sorbothane boots added to the feet?) may be too slim for many tonearms possibly, but SME alternatives can be used and various armboards made and fitted. These decks can offer silence at low frequencies and the only background noise is the vinyl itself. I get this from my own Dual 701 which also has a tonearm far better sounding than the audio-band resonance measurements suggest.
So after the reams above, where does this leave 'us?' I currently have a pile of Garrards and Duals, a Rega 3/R200 arm plus a couple of others in my warm and dry loft and I love them all dearly. As reference quality vinyl reproducers? NAH, not a bit of it, but once fettled, most can allow me to 'suspend disbelief' and not worry too much.
Enjoy the Type A and the 1015, fettle the drives and mechanisms as best as possible (DualCan in the Dual 'room' here has a wonderful website with full pictorial evidence of a total strip and rebuild to the last screw and c-clip of this generation of chassis) and fit to the Garrard something like a Stanton 500V3, Ortofon OM Pro or if you want a rough kick like a mule, a Shure M44-7 or SC35C and just kick back and enjoy the fun of watching it cycle and the sheer 'art' of it playing records. The 1015 should happily take modern mid priced mm types around £100 and I'm thinking a Shure 97XE or Goldring E3 perhaps, although an AT95E is fine with arms such as this - all 1.7 to 2g trackers if the Shure damper-brush is used...