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Vinyl Verbosa
Topical Guide to the Blog.
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January 12, 2008
Warning: Shameless self-promotion ahead. As several of these blogs attest, and many threads on many forums, the excess noise of the Hurst motors (in the mid-80's models) is still a source of frustration for many owners of the EB-101, the ES-1, and the AR the Turntable. I applaud Eric at the Sound of the Wood for continually trying to find a motor/electronic solution to this issue. Hopefully his newest venture, the DC motor, will be his best yet. For those still waiting for the definitive motor replacement to arrive, or those who are intimidated by the prospect of replacing an entire motor, I want to urge you to purchase the co-polymer pulley available on the AR Mods by Vinyl Nirvana page. First designed by George Merrill, and later refined with better materials and stricter tolerances by Anthony Scillia, installation of this CNC-milled pulley immediately results in quieting the motor and steadying the speed. To be honest, this is something I can't test objectively in my humble shop, but it is empirically noticeable with the first lp you play. The upgrade pulley has always been one of the first mods I recommend to people I talk to, but I resisted explicitly mentioning it in the blog. I changed my mind when two recent customers urged me to do so. If you are wondering how difficult it is to replace the pulley, check here. The new pulley simply slips on the motor spindle.
The commercial is over...I now return you to your regularly scheduled program.
Now spinning...Todd Rundgren, Faithful (Merrill Heirloom, Sumiko FT-4, Benz Micro Ace)
November 21, 2007
I had a recent deal on eBay go south, and so I want to write about it so others will not fall into the same trap I did. The item was an AR the Turntable. The seller was Canadian, with the eBay ID rare_films_dvd . At the time of purchase, he had a total of 40 feedbacks, all positive.
In 20-20 hindsight, the following are things I should have noticed and/or been more concerned about: a)most of his previous items sold were small items, less than twenty dollars; b)oddly, the shipping WITHIN Canada was almost twice the shipping to US, and the Canadian "handling fee" was twenty dollars, too; 3) the mailing address was a PO Box; 4) the name for payment was a single name: Cyrus.
I know, I know...there are some real red flags here, but I chose to ignore them due to the the seller's 100% positive feedback. I figured maybe "Cyrus" was the name of his business.
Anyway, I have lost over $240, and there is little chance of recovery. Of course, eBay will eventually eject the seller, especially since he now has three negatives in the past two weeks, all for non-shipment of expensive electronics. (Since my auction, he has also sold other big-ticket items, which I assume will also turn out to be negatives.) As far as Canadian small claims, how do you take someone to court when you don't know their last name or address?
I am positive this fellow, and others like him, will continue to pollute eBay. Learn from my expensive lesson everyone: 1) Don't buy from Canadian sellers unless they take Paypal; 2)Don't buy from Canadian sellers if they are charging high shipping rates to Canada, enticing only US bidders; 3)If you must send an international money order, verify the STREET address and the first and LAST name of the seller; 4)when checking eBay feedback, be sure the seller has successfully shipped an expensive item and received positive feedback for it, not just nickel and dime items; 5)avoid seller rare_films_dvd
Update, January 12, 2008: With no help from eBay, I did manage to get back 90% of my money...mostly through threatening this fellow that I was going to take him to small claims court in Montreal. It was a bluff, but it worked.
Now spinning...Fleetwood Mac, Rumours (Merrill Heirloom, Sumiko FT-4, Benz Micro Ace)
April 21, 2007
In praise of the lowly belt...
Though everyone familiar with AR and Thorens turntables acknowledges the importance of the spring suspended subchassis to isolation of unwanted resonances, another critical component of this isolation is often ignored: the belt. Inherent in the fact that the three-spring suspension allows the sub-chassis to FLOAT, is the fact that an improperly sized belt will cause the sub-chassis to be aligned incorrectly. (Most often, an overly tight belt will pull the entire suspension towards the motor.)
In addition to its importance to proper fucntioning of the suspension, the correct belt size will also ensure there is constant velocity between the motor pulley and the drive platter. Any kind of slippage will result in speed variations. Finally, in the case of the Thorens, where speed change is accomplished mechanically, a high quality belt of the correct dimensions will ensure the proper change of speeds. You won't find the belt riding midway between 33 and 45rpm.
To sum up, a high quality belt will allow independent motion of the subchassis, yet drive the inner platter at a constant speed by friction. It's a complex balance that can only be achieved by a correctly sized belt of good quality rubber. (I wish you were here with me now so I could show you the difference in feel between a belt of good quality rubber and one that seems to be made of a poor synthetic rubber. The former has a suppleness and evenness of tension; the latter is slippery and lacks elasticity.)
It is almost comical to me how some folks will spend hundreds of dollars on the their cartridge, but then skimp on the quality of their belts. Come on, spending fifteen or even twenty-five dollars on such an integral part of your vinyl playback system should not be so hard when you have already invested so much. Would you rather spend it on a new motor caused by an overly tight belt stressing your bearings?
Where do I get my belts? I buy all of my Thorens belts from the folks at Q-Audio. (See my links page.) They are genuine Thorens belts, complete with logo. For AR belts, I use Turntable Basics.
Now spinning...Mozart, Violin Concerto #3, Isaac Stern (Merrill Heirloom, Sumiko FT-4, Benz Micro Ace)
April 7, 2007
A question that I am surprised I don't get asked a lot more is how do you rate a turntable cosmetically. I state in every table ad that I am a "hard rater", but what does that mean?
I guess before I describe what I mean by a certain rating, I should tell you where I come from in terms of being a buyer myself. To put it simply, when buying a piece of vintage equipment, I am most happy when the gear arrives and it is in BETTER condition than I expected from the photos and description. Everyone loves the feeling that you got more for your time and money than you initially expected. I am no exception.
That said, it seems to happen less and less these days. What frustrates me the most, is sellers who loosely throw around the words "mint" or "near mint." I am almost always disappointed when a piece arrives described in that fashion. To me, a "mint" piece of equipment is one that has never come out of the box except to be tested for functionality. To me, a "near mint" piece of equipment has no cosmetic issues, but has some very minor signs of wear. For example, the dustcover has swirl marks and the headshell has cartridge screw marks. Obviously, by these standards, you don't come across many items that are truly "near mint" or "mint." That's the way it should be, and that's why in all the years I've been doing this, there are no units I've sold as "mint" and only a handful as "near mint."
Before I explain my ratings in more detail, I want to mention that I don't rate a table until after I have detailed it. Being the anal retentive person that I am, when I detail a vintage Thorens or AR, I am wearing my magnifying visor (with dual lamps) that most other techs only wear when they are fine soldering. I don't rate a table until I've completed my complete cleaning regimen with that visor in place. By that time, I have noted every imperfection in the table on a notepad by my side.
To move now specifically to my zero to ten rating system, a 10.0 is "mint" and a 9.0 or 9.5 is "near mint." As mentioned above, these are rarely given. If a table is in exceedingly good condition, the most common rating I give is an 8.5. When I use 8.5, you know the unit is quite special and not one that comes along every day. It will have the slightest of nicks or the shallowest of scratches, but these will most likely not even be seen by even the owner...unless they are wearing a magnifying visor too! From 8.0 to 7.0 you will find a host of tables that look quite good in appearance, but have certain cosmetic issues that will be specifically spelled out in the description. The more small dings and/or shallow scratches, the lower the rating.
In general, the lowest rating I give to an advertised table is 6.5. At this point, Vinyl Nirvana has become synonymous with first class vintage turntables, and I don't want that reputation tarnished by having someone show a friend a table that isn't quite handsome to begin with. If a table is one that I would rate slightly below 6.5, it is often sold off-site to someone looking for a table for their bedroom or their workshop. If the table is a physical wreck, it is parted out into other tables that are more cosmetically worthy.
In closing, besides a Vinyl Nirvana buyer being thrilled with the sound of their refurbished vintage turntable, I am most pleased by the comment that the table's cosmetics was "better than expected." I hope having read this you now have a better idea of why I define myself as a "hard rater."
Now spinning...Neil Young, Tonight's the Night (Merrill Heirloom, Sumiko FT-4, Benz Micro Ace)
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March 10, 2007
Last night a fellow eBayer accused me of being "greedy." I had listed a dustcover for a Thorens TD-125 MKII for a buy-it-now price of 175 dollars plus fifteen dollars for shipping. I've been called a lot of things in my lifetime, but "greedy" really makes me wince.
This begs the question...how do you set a price for something that you rarely see? Isn't that rarity, in itself, cause for an initially high asking price? In regard to this specific item,the TD-125 MKII dustcover...I have been working on Thorens tables for several years now, and this is the very FIRST whole dustcover I have come across for that model. Every other one has been badly cracked in one way or another. In tandem with that, I have never come across a complete set of hinges for the 125 MKII either. Not once.
Feeling a little built of guilt, I lowered the asking price to $160 plus shipping. I am firm in my stance not to go lower than that, given the fact a new-old-stock cover sold for $250 plus shipping a few weeks back. Heck, I've seen AR XA dustcover (that are ten times as plentiful as the TD-125 MKII) sell for $125 dollars!
Greedy?
Now spinning...Bob Dylan, Blonde on Blonde (Merrill Heirloom, Sumiko FT-4, Benz Micro Ace)
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February 3, 2007
I love a good live album by a great live artist/band. Here are my favorites. The artists/bands with astericks are ones I've been fortunate enough to see live myself.
It's Too Late to Stop Now~Van Morrison*
Four Way Street~Crosby, Stills, Nash & Young
Alchemy~Dire Straits*
Live at the Fillmore~Lucinda Williams
Live at San Quentin~Johnny Cash
Live at Fillmore East~Allman Brothers Band*
Live Rust~Neil Young
Waiting for Columbus~Little Feat
Road Tested~Bonnie Raitt* (cd only)
Live~James Taylor* (cd only)
Live from Austin Texas~Richard Thompson* (cd only)
Live at Winterland~Bruce Springsteen* (bootleg)
Live at the Regal~BB King
Now spinning...Lucinda Williams~World Without Tears (Merrill Heirloom, Sumiko FT-4, Benz Micro Ace)
January 7, 2007
In some emails related to my last two blogs listing my favorite sad songs, some folks shared that playing depressing music makes THEM feel depressed. I usually experience the opposite: I find I listen to this kind of music mainly for its cathartic effect. Sad depressing songs almost always make me feel better: hearing another human voice experiencing the same anguish, I feel better knowing I am not alone in ever having felt that way. I also feel encouraged because the individual took that experience and turned it into art that can be a comfort for others.
The only music I find sad is stuff that reminds me of sad events because the song is closely associated with that event. It could be a song someone else finds thoroughly uplifting. I get angry at myself for associating songs that way, but it is impossible for me to separate life events from music.
Now spinning...Zithromax for my ear infection....
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January 5, 2007
And now some of my favorite sad songs by male artists:
Thrill is Gone~BB King
Highway Patrolman~Bruce Springsteen
Come Pick Me Up~Ryan Adams
Desdemona~Allman Brothers*
How Will I Ever Be Simple Again~Richard Thompson
Fire and Rain~James Taylor
Over the Rainbow~Ray Charles
Everything~John Eddie*
Ambulance Blues~Neil Young
Come Around~Rhett Miller*
Under the Bridge~Red Hot Chili Peppers
Sick of Love~Bob Dylan
*not available on lp
Now spinning...Ray Charles~Recipe for Soul (Merrill Heirloom, Sumiko FT-4, Benz Micro Ace)
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December 31, 2006
I love sad and depressing music. Others may drive around this time of year with Christmas carols blaring from their cars, but I am listening to BB King, Patsy Cline, Lucinda Williams or Ryan Adams. In that spirit, here are some of my favorite sad songs by female artists:
Crazy~Patsy Cline
Cold Tea Blues~Cowboy Junkies
Those Three Days~Lucinda Williams
River~Joni Mitchell
My Morphine~Gillian Welch*
I Can't Make You Love Me~Bonnie Raitt
Don't Miss You At All~Norah Jones
Monopoly~Shawn Colvin*
Bridal Train~Live Version~The Waifs*
*not available on lp
Now spinning...Feels Like Home, Norah Jones (Merrill Heirloom, Sumiko FT-4, Benz Micro Ace)
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December 26, 2006
Funny how your life can change with a phone call....
When my interest in AR turntables developed several years ago, I immediately became familiar with the name George Merrill. By that time, George had left the AR mods business he had personally developed and sustained for over two decades. The rumor was he was "scaling back" and focusing just on his business Underground Sound in Memphis.
Occasionally, as part of my regular perusal of eBay and other used audio outlets, I would see Merrill Modded ARs. Finally, after several unsuccessful bids, I came to acquire my first heavily Merrill modded ES-1. (Acrylic subchassis, upgraded springs, upgraded drive platter shaft, copolymer pulley, acrylic platter, lead mat, record weight, and ring clamp.) At the time, I was also in possession of a stock ES-1. I could not resist the temptation to do some A/B comparison. The difference was nothing short of astonishing. Every audiophile aphorism you have ever heard could be applied to what these upgrades did to this table. I was now a Merrill convert. (I kept the Modded ES-1 as my main table for over a year, and then sold it to help finance my first Merrill Heirloom.)
It was somewhere in this time frame that I became aware of Anthony Scillia's work on modifying AR turntables. It was also around the time Vinyl Nirvana website was born. Anthony and I began exchanging emails and a few phone calls. Eventually, I offered to allow him to sell his Merrill-endorsed mods on the website. He agreed. He was basically in charge of everything related to the sale and promotion of the mods; I was just offering him free bandwidth to advertise them along with his email contact.
This arrangement continued for a couple of years, during which I installed many of his mods in tables I was selling. In addition, I was hearing from other folks who had purchased them and were thrilled with what the Merrill-Scillia modifications provided sonically for their tables. To my own ears, and to every single customer's ears, these time-tested mods, now refined by Anthony Scillia with the very latest machining techniques and materials, were taking these mid-80's AR tables to an even higher level of playback.
As George and Anthony began to talk about what his new materials and techniques might add to a Merrill Heirloom, the idea came to them to join efforts in creating a brand new table altogether. Thus Merrill-Scillia Audio was formed, and the first table, the MS21 is now on the market and receiving rave reviews. (Fall, 2006)
Now back to that phone call. Because of the initial success of the MS21 and their plans to expand their line, Anthony called me a few weeks ago, offering to make Vinyl Nirvana the sole owner and distributor of the AR turntable mods that George developed and he refined. In the course of his proposal, he stated that he and George recognized Vinyl Nirvana's incomparable devotion to the "venerable AR turntable line" and our "obvious commitment to excellence."
I was overwhelmed by the proposition, but managed to have enough sense about me to accept. I managed to have a reasonably intelligent conversation about how the transfer of ownership and distribution would take place, but after the call was over I was near a state of shock: as a result of my friend and I creating this website dedicated to AR turntables a few years back, from this point on, Vinyl Nirvana would be a name indelibly associated with Merrill and Scillia in the promotion of modifications of these fine vintage tables. These mods, once known as the Merrill Mods, and then the Merrill-Scillia Mods, would now be known as the Vinyl Nirvana Mods for AR Turntables.
Because I am a solid believer in what these mods can do, I feel it is my obligation to better inform AR owners as to their potential. Therefore, over the coming months, I will expand the AR Mods page with more photographs and better descriptions of what each mod can add to these tables sonically. For those of you who have been waiting by the sidelines wondering whether these mods are worth the price, the expansion will give you better data to consider.
So begins a new chapter in my life and the life of the website. I am humbled by this new opportunity, but I am committed to upholding the high level of customer service both George and Anthony have provided over the years.
Now spinning...This is Hip, John Lee Hooker (Merrill Heirloom, Sumiko FT-4, Benz Micro Ace)
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December 25, 2006
Christmas Miracle...2006
I have been having a great deal of difficulty getting good dustcovers for the AR XA/XB models. The last two turntables I bought on eBay SPECIFICALLY for the fact they had good dustcovers (and paid more than i usually allow myself to) arrived SMASHED to pieces from poor packing. At this point in my life I can deal with smashed tables due to poor packing in Zen-like fashion, but I was particularly frustrated with these last two because it has been so long since I had a dustcover that was not cracked.
Anyway, about three weeks ago I bought just a whole uncracked dustcover on eBay, paying a little over fifty dollars. Per usual, I offered the seller packing instructions. I stressed this was especially important given the holiday shipping "crunch"...literally and figuratively. I did not hear back from her. This was ominous because the seller lived completely across the country in California. It would never make it to New Hampshire if she did a poor packing job.
I buy items on a regular basis, and so I have 2-3 packages arriving weekly, sometimes more. In the past two weeks, with every large box that has arrived I have been looking for that dustcover, with great anticipation, hoping it would arrive whole.
With the busy-ness of the holidays yesterday, the last thing I was thinking of was this AR XA dustcover. Our usual family tradition is to attend the 7pm mass on Christmas eve and then go out for Chinese food. We left the house at 6:15 and arrived back at 9:30pm. As I walked toward our side entrance, I spotted a recently delivered package. It appeared way too small to be a turntable sized object, so I figured it was a Christmas package from a relative.
Once I got it inside, I noticed the return name and address, and realized this was the dustcover! The box she had used was BARELY the size of the cover itself! On top of that, it was not the sturdiest looking cardboard, it was that thinner variety.
I gave the box a shake, and to my surprise, I did NOT hear loose pieces. I told my wife I was going to bring the box to my basement shop and I would be back up in a few minutes. When I got there, I grabbed my box cutter and opened the box. The dustcover was wrapped loosely in one SINGLE layer of bubble wrap with BOTH ends exposed and sitting flat against the sides of the box! For padding she had inserted about a quarter inch of thin brown paper.
I lifted the cover from the box, very surprised that a piece of the cover didn't fall out the open sides. I tried to contain my excitement. There was just no way that the cover could possibly have made it across the country by UPS ground the last week before Christmas in that flimsy box and still be whole. No way.
I gingerly removed the bubble wrap and held the dustcover up to my shop light. I checked side after side after side. Not a single crack. Not even a hairline fracture!
Amazing.
Merry Christmas and happy holidays everyone. May your day be filled with family, friends and peace.
PS: Special Christmas greeting to my friend Amy and her husband Jay. Hope to hear from you soon.
Now spinning...Joni Mitchell, Blue (Merrill Heirloom, Sumiko FT-4, Benz Micro Ace)
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December 23, 2006
Got some Christmas cash to spend? Though not brand new, two lps that have come out in the last two years that I have been enjoying recently are Neil Young's Prairie Wind and Lucinda Williams' Live at the Fillmore. Go buy them now!
Many of you know that Neil Young had a highly publicized brush with death at the onset of the making of Prairie Wind. The introspection caused by something like that is apparent throughout this fine lp which most definitely has an overall theme of setting things right with those he loves and making sense of his craft. Likewise, there is a sense of urgency throughout the lp...of time passing.
Young ventures into new territory on Prairie Wind, possibly because he had the feeling that he had nothing to lose. Like Bruce Springsteen and Bob Dylan, Young rarely pens a straight love song, but there are two on Prairie Wind: "Here for You" and "Falling Off the Face of the Earth." Each has a tenderness rarely heard in his music. Neither is mindblowing in their lyrics, but this sort of emotional directness in such simple terms is a message unto itself: life is short, tell those you care for that you love them.
Though Young has experimented with orchestration and choirs a few other times in his career, the closer "When God Made Me" is more straightforwardly gospel in nature than any Young song I've heard. That traditional nature is juxtaposed with some very biting lyrics regarding the ironies associated with all of the havoc religion can create. One example: "When God made me/Did he envision all the wars/That would be fought in his name?"
Probably my favorite songs are "This Old Guitar" and "The Painter" where Young focuses his introspection on his craft. I think most people in the middle of their lives (I'm 46 as I write this) can relate to the themes in each. Overall, they relate to any kind of work, not just artistic ones.
Prairie Winds is not only excellent in terms of writing, but also sonically; this 200 gram 2 lp release sounds spectacular.
The same can be said sonically for Lucinda Williams' Live at the Fillmore, a triple lp set featuring 22 songs. I don't know anything about the technology used to mic and capture a live recording, but the folks who recorded this event over three evenings did a phenomenal job. There is incredible sonic presence in these tracks.
Before buying this lp, I had never owned a Lucinda Williams album. All I knew of her music came from hearing a couple of songs on the radio. What surprised me is the major focus on country-western blues; a genre I've always liked when done right, and hated when done wrong. I doubt Lucinda has any of the Hank Williams genes, but there is no doubt she carries on the tradition of heart-breaking songs and cry-in-your-beer lyrics.
When I hear a concert recording (or attend a concert, for that matter) I often pay attention to the pacing of the show...where the band or singer chooses to sing slow tempo, mid-tempo, and fast tempo songs. In general, I think a band or singer tries to have a balanced tempo mix. On Live at the Fillmore, the tempo is relentlessly slow tempo. That may really turn a lot of people off to this triple lp, but personally, I love it. (As I've probably mentioned in a previous blog, I also love sad depressing music and the cathartic effect it has on the soul.)
The band behind Lucinda Williams for these shows is first rate. Doug Pettibone on guitar fills each song with barbed wire leads, and drummer Jim Christie keeps every song interesting, even if the pace is relentelessly slow tempo...not an easy feat. Bassist Taras Prodaniuk provides a solid bottom in a way that melds transparently with the rest...what I feel is the sign of a great bass player. Lucinda declares at one point, "We got our mojo workin' tonight." She's right.
There are many highpoints musically, but my three favorite songs on the lp are "Those Three Days," "Essence," and "Reason to Cry." The mic-ing of William's vocals is tremendous throughout, but in particular, on these three, there are layers of throatiness and breathing that you don't hear captured every day. As I said earlier, the recording engineers got this one right, and the result is a very strong triple album I can't recommend highly enough.
Now spinning...Lucinda Williams, Live at the Fillmore (Merrill Heirloom, Sumiko FT-4, Benz Micro Ace)
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December 8, 2006
Twenty-six years since John Lennon was shot. Twenty-six.
I was only 3 years old when John F Kennedy was shot, but I recall all through my childhood the conversations by adults of how they remembered the exact moment when they heard he'd been assasinated. Lennon's death marks me in the same way...
...I was a sophomore in college that year. For some reason I was at my parent's home, and I was watching Monday Night Football with my dad. I heard the shooting announced by Howard Cosell, and immedately became upset. There was no CNN (or remote) in those days, and so I sat inches from the tv screen and switched channels trying to find more info. My dad, from another generation, couldn't relate or understand. He went to bed.
I ended up staying up most of the night, and the next day I had an early morning art history course with a gorgeous professor I had the deepest crush on. I almost bagged it, but in the end I went just to get my mind off the senseless act.
Class started several minutes late...the professor walked into the mini-auditorium and looked like hell. She'd obviously been devasted by the event. She announced class was cancelled, but that if anyone wanted to stay, she was going to play Beatle and Lennon music for the remainder of the time.
Maybe five people left, but the rest of us remained, listening in silence, except for the occasional sob, to a mix tape of various songs penned by John.
Yes, 26 years have passed, but the event continues to scar my soul. One good thing about the anniversary this year...I have finally forgotten the name of the fucker who shot him. Finally....and that is how it should be.
Now spinning...Imagine, John Lennon (Merrill Heirloom, Sumiko FT-4, Benz Micro Ace)
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October 15, 2006
In my opinion, the biggest problem facing the mid-80's AR Turntable owner trying to take their table to the highest level of play is the unacceptable amount of noise emanating from the original Hurst motors. Even with damping, the motors are noisier than your average Thorens motor.
The most quiet AR/Hurst motors are the ones George Merrill modified back in the late 80's to early 90's. I have emailed George asking what exactly it is that he did, but he never replied. I think I recall speaking with Anthony about Merrill's modified motors once, and I think he said part of the mod was simply drilling a hole in the base/cover to allow minute particles of plastic to fall through rather than accumulate and cause noise. There certainly IS a hole drilled in the base/cover of George's modded motors, but I am pretty certain there was something else he must have done too. Someday I will have to sacrifice a damaged motor and figure out exactly what he did. George also designed a motor shield which was a large piece of aluminum that covered a 4" diameter area around the motor on the top plate. (I believe his was mostly to eliminate Grado hum) He also designed a kind of motor "bath" which I have not yet investigated firsthand, but hope to some day. (I am not even sure if the Hurst motor was used in that instance.)
For those trying to quiet their own Hurst motors, there is a terrific thread at Vinyl Engine which covers several potential improvements. The most promising, which I have not yet tried personally, are melting lead into the top of the pulley and lowering the cap value in the power line. These are discussed at length in the thread. If anyone decides to undertake these mods, it would be wonderful if you'd snap some digital photos along the way. Send them to me at the site email address, and I'll post them along with a description. This will help make it easier for the average person to do the same thing. (A picture is worth a thousand words.)
As many of you know, thanks to the work of Eric Whitacre to procure an order from Hurst (which can sometimes be a frustrating company with which to deal) I was selling original drop-in replacement Hurst motors. This past week, I sold my last motor. What I am hoping I can do next time, is offer a motor that is a TRUE IMPROVEMENT over the original motor. Personally, I do not have the time or technical expertise to initiate this process, but please know that if anyone out there wants to take on this project, I will fully support it in any way possible. For example, if helpful, I will pay for part of a motor order that is proven to be an improvement, or, if the person who takes on this endeavor wishes, he/she can sell them through my site free of charge.
Since the advent of Vinyl Nirvana and the start of the great forum at Vinyl Engine, with all of the concentrated interest focused on these lovely mid-80's AR tables, the time has come for this nagging problem to be solved. Let's do it!
Now spinning...Van Morrison, TB Sheets Merrill Heirloom, Sumiko FT-4, Benz Micro Ace)
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August 24, 2006
I am pleased and proud to announce that Tim Larsen is now joining Vinyl Nirvana and soon will be offering for sale turntables he has restored and/or modded. I have known Tim for two years, and I have admired his work for years before that. To give you an example of Tim's committment to the hobby, he probably has one of the largest collection of Thorens turntables in the United Sates, with many of the rarest of models. Of course I would not invite just anyone to sell here at Vinyl Nirvana unless I knew that individual did first class work, and that they had the same committment to customer service after the sale. Tim is such an individual, and I am sure you will see that once he begins listing tables and folks start corresponding and talking with him. Welcome, Tim!
Now spinning...Allman Brothers, Live at Fillmore East (Merrill Heirloom, Sumiko FT-4, Benz Micro Ace)
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August 13, 2006
As Vinyl Nirvana approaches its second birthday (Labor Day, 2006) I want to take some time to reflect on the experience of establishing this website.
First and foremost, it has been a humbling experience to find oneself as the "preeminent resource" for anything. Not a day passes where someone doesn't email with a question about AR turntables or turntables, in general. Though it is time-consuming, I feel an obligation to answer as best I can. Thankfully, at my request, this past year saw the addition of an AR forum at Vinyl Engine. That resource has helped me immeasurably in referring folks to answers, especially to those questions that have multiple answers.
It has also been a humbling experience to have met the friends I have met through this site. Though the majority of these friends I have never seen face to face, their sharing of knowledge, spare parts, and their love of music, has been an unexpected reward. You know who you are...thanks sincerely for enriching my life.
The past two years has been quite an experience for me in terms of the equipment that has come my way, in large part due to the exposure of this site. Because of the fact when you Google "AR Turntables" this site comes up first, many individuals have generously offered to sell their dormant turntables to me. In some cases, just for the cost of shipping. In many many cases, their wish was for the table to be "restored" and then sold to someone who will "appreciate" its beauty and simplicity.
Okay, enough sentimentality...what can you expect from the website in its third year? My main goal is upgrade the "models" page. I want to increase the level of detail on each table, and provide a picture when possible. (Before I do so, I need to upgrade my aging digital camera.) In the coming year, I also hope to add more "tutorials" to the DIY/Mods page. I need to force myself to set the camera on the tripod and take more pictures of things as they occur on my bench. I also hope to continue to add photo tutorials by other enthusiasts, as I did in a couple of cases this past year.
In closing, for those that visit frequently, you may have noticed the number of turntable sales has trailed off. That has been an intentional decision on my part. For a while this past winter and spring, I was starting to almost dread going to the shop because I was so far behind in "orders." In short, I was promising too many tables in a timeframe that was taking the joy out of my work. (Not to mention stealing way too much time from my family.) So, you will continue to see fewer tables appear for sale, but hopefully the ones that do show will be extra special.
Now spinning...Bob Dylan, Blood on the Tracks, 180gr. (Merrill Heirloom, Sumiko FT-4, Benz Micro Ace)
July 27, 2006
Benz Micro Ace. I cannot believe this cartridge sounds THIS good out of the box, and it takes forty hours to break-in!
Now spinning...Ryan Adams, Jacksonville City Nights (Merrill Heirloom, Sumiko FT-4, Benz Micro Ace)
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June 3, 2006
"A little internet research can be a dangerous thing." Just because an individual has a website or an online article or a blog does not make them an audio expert. One case in point is the recurring perpetuation of the myth that Rega arms don't mate well to Thorens and other suspended subchassis tables. As far as I can tell, this "fact" is based upon an article written for Hi Fi Worlde in 1998. The author relates in an offhand way that the RB-250 is a poor match for the Thorens TD-160. There is no accompanying clinical data to show this, and the author never mentions the type of armboard, the cartridge used, or the alignment method. Nevertheless, this fairly famous article has spawned dozens of posts throughout the years where others have stated the Thorens/Rega mismatch as fact-based. This happened just the other day at Vinyl Engine. When questioned about the forum writers own experience with Rega/Thorens he admitted to using the set up just once and not for any telling length of time. Furthermore, he admitted a longstanding disdain for Rega products. If I had not called this particular forum writer "on the carpet" yet another forum reader would have taken the Rega/Thorens mismatch as factually based.
This brings me to the opinions based here in my own blog. Yes, I love vintage Thorens and AR turntables and know a lot about them, but my opinion is still just one man's opinion based upon one man's system in one man's room with one set of ears. My ratings of Thorens and AR tables, for example, are just one man's opinion, and very much open to debate. More pointedly, my opinion of the excellent sound potential of a Rega arm on a Thorens or an AR is just one man's opinion. Yes, it is based upon over a dozen fittings and a dozen happy customers, but it is not the "be all and end all." I am no audio god, but I like what I like, I listen extensively using reference recordings, and I've heard quite a few arm/table combinations in my lifetime. Still, I've never used sonic measuring equipment to prove or disprove the compatibility of the Rega arm to any suspended subchassis table. Until some experienced lab person DOES that testing, we should all refrain from declaring it a generalized rousing success or a generalized pitiful failure. Keep your opinions grounded in personal experience, and let's avoid the perpetuation of "urban audio myths."
Now spinning...Van Morrison, Pay the Devil (Merrill Heirloom, Sumiko FT-4, Shure V-15V-MR)
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May 15, 2006
Working the past couple of weeks on the Thorens TD-150 currently listed on the for sale page, I decided I would write a short appreciation of the venerable TD-150. The 150 appeared in the early sixties, and is often referred to as the precursor to the Linn LP-12. (The contentious part is whether the AR XA is the precursor to the TD-150.) I have never owned an LP-12, so I can't give you a direct comparison.
Though some rave about the 150's stock arm, I am convinced after modding several units that the upgrade path should involve a new arm. I have personally tried a Linn Basik LVX, several Regas, and a couple of SME arms, all with excellent results.
One of the qualities that makes the 150 such a tweakable table is its large rectangular armboard. In some versions this was made of a wood composite material and in others it was a light plastic. In either case, I immediately change the armboard out. I have used wood laminate, oak, bubinga, and brazilian walnut. I have to say I have a preference for the bubinga both aesthetically and sonically; it is a very dense wood with a beautiful grain pattern and color.
A second quality I appreciate is the main platter bearing system. The 150's captive ball bearing runs with exceptional smoothness...give that platter a spin with the belt off and it will literally keep going and going and going. Though the bearing is the same size in the TD-160/145, I prefer this captive ball design to the conical end of those models.
A couple of smaller touches I like on the TD-150 are the machined aluminum motor pulley and the thicker sub-chassis. With the advent of the 160 series, the pulleys became plastic, and the subchassis a light aluminum. If small changes all add up to a signature sound, I confess I prefer the older specifications.
If you are going to take the leap yourself and buy a Thorens TD-150, you owe it to yourself to spend some time in Steve Clark's TD-150 Department (As I have mentioned a couple of other places on the site, Steve's site was my inspiration for Vinyl Nirvana.) I have carried out most of the TD-150 tweaks Steve has covered on these pages, most with favorable results. One area where I differ with many TD-150 tweakers is in the amount of damping material I use. I prefer to use small amounts on the underside of the metal plinth and the subchassis, "capturing" and controlling unwanted resonances. Others prefer to cover everything in sight beneath the table. I believe strongly that too much damping can mute the personality of the table.
Likewise, I rarely damp my platters/sub-platters. First off, if you don't do so with careful attention, you may throw the platter system out of balance. Second, though the platters do "ring" when separated, by design, when the two are joined on the table, the ring is substantially reduced.
Though all of these points so far have been mainly related to my appreciation of the TD-150's individual parts, it is the sum of those parts which makes me a true advocate for this table. Regardless of the arm chosen for the modification, I have found the modded TD-150 to be one of the most musical tables I have heard. Not fatiguing in any way. A pure joy for all genres of music.
Now spinning...Patrica Barber, Cafe Blue (Merrill Heirloom, Sumiko FT-4, Shure V-15V-MR)
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May 3, 2006
A few people have emailed asking for a rating of the AR turntables, much in the same way I rated the Thorens tables (July 4) last year. I can oblige, but this is slightly more difficult because the ETL-1 never came with a stock arm. So, let me start by saying, without a doubt, the extremely rare ETL-1 is the apex of AR turntable design. With its increased overall mass, sapphire bearing, electronic speed control, and versatility of arm mounting, it is a table that is stunning in both looks and sound.
That said, the rest of the ratings only deal with AR Turntables with STOCK tonearms. This continues to be a hard rating decision because there were some manufacturing changes that occurred after line ups were introduced. For example, I have a friend who owns an ES-1 that has the Sapphire bearing. However, more than one ES-1 has passed through my shop that has the traditional platter bearing. Likewise, the ES-1 came with at least two versions of motors: the Hurst and the Airpax. Further convoluting the rating is the fact some EB-101s came with a completely different sub-chassis/armboard design. One was easy to swap out tonearms, and the other was near impossible unless you had some power metalworking tools.Have I given you a head ache yet?
I guess it's time to stop making excuses and do some rating. Topping my list is the ES-1 for several reasons. First, because it came after the AR "The Turntable" (Though they are essentially the same.) the ES-1 had many of the early kinks worked out. The arm was more reliable, the motor more durable, and the bearing was most often the sapphire one. Closely following the ES-1 is the EB-101 with the "crescent-shaped" armboard. (That is, the armboard that allows arms to be switched out with more ease.) In most cases, the updated EB-101 is the exact table as the ES-1 but without the sapphire bearing and with different styling. (Boxier) The arm and motor is the same. In third place spot is the AR "The Turntable." In many cases, this table is also identical to the ES-1, but just in case you happen to get the model with the problematic tonearm or the older motor, I think it belongs in this spot. Following in fourth is the EB-101 with the older-style armboard/sub-chassis. These are still capable of great sound, but your options for upgrade are limited if you don't have the right tools. In my mind, these mid-eighties AR Turntables all have a very similar sound and I am really splitting hairs to rate them. No one should feel inadequate because they own an older EB-101!! It's an outstanding turntable.
Below the tier of mid-eighties tables comes the venerable AR XA. Once again, the XA went through a number of manufacturing changes. My favorite XA has the ever-reliable Haydon motor, the smooth painted grey top, and the solid walnut base (or walnut veneer). My least favorite features on the XA are the delrin inner platter bearing and tonearm well (subject to seizing up), the dual motor design (twice the chance of mechanical problems, right), and the older textured top that, in some cases, seemed to get sticky with age. I am also extremely partial to the real oiled walnut or walnut veneer. (I think the worst thing AR did EVER was to put vinyl walnut-look veneer on the XA and XB. Yuck!) The XA was truly a wonder in turntable advancement when introduced in the early sixties, but the weak point has always been the tonearm. The most glaring faults are the crude anti-skating (the c-shape of the tonearm wire as it enters the plinth!) and the fact when you adjust the VTA past a certain point, the lateral movement of the tonearm bearing increases. Once again, this is not to say the XA is not capable of excellent sound. An XA that is properly maintained and set up is an absolute joy to listen to, and in my opinion, it (and the XB) sounds like no other table out there. In my experience, with a Shure m97xe properly mounted and aligned, it sounds fantastic with older vinyl presings, like the Blue Notes, the Prestiges, and the Columbia Six-Eyes.
Right behind the XA is the XB. I rate it below the XA for mostly cosmetic reasons: the base is vinyl veneer, and the cueing lever takes away from the overall elegant design. (I must admit I love that AR brass badge too.) Sonically, I don't think I can tell the difference betwen an XA and an XB.
Finishing last is my least favorite of the AR lineup...the XB-77. Again, more vinyl veneer, the absence of the brass logo, and the arm tube seemed to gain in overall mass, making it less nimble. Sadly, I have never met an XB-77 that I liked.
Now spinning...Rolling Stones, Some Girls (Merrill Heirloom, Sumiko FT-4, Shure V-15V-MR)
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April 27, 2006
Five things that make a compulsive vintage audio equipment buyer happy...
1.The UPS or Fedex truck stopping in front of the house.
2.Your new "used" component that was advertised as "not powering up" has a blown fuse. That's it.
3.Your component arrives in the the original box with the original manuals and the seller never even mentioned it.
4.Winning a vintage speaker auction that is local. No shipping required.
5.Your latest turntable...the one from the auction with no pictures...arrives with a Shure V-15 series mounted on it.
Now spinning...Miles Davis, Birth of Cool (Merrill Heirloom, Sumiko FT-4, Shure V-15V-MR)
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April 14, 2006
Five things that get a Vinylphile excited...
1.Record shows.
2.Shiny black.
3.No spindle marks.
4.The absence of mildew.
5.Original posters still in the sleeve.
Now spinning...Jeff Beck, Truth (Modded Thorens TD-150, Rega RB-300 arm, Sumiko Blue Point)
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March 25, 2006
Some of you may have noticed in the past few weeks that I have allowed some ads to appear on the site. For a long time I resisted the temptation to "clutter" the site with ads, but I have re-thought that in the face of the fees and the time it takes to maintain Vinyl Nirvana. In the first few months of the introduction of this resource, visitors were eager to donate to keep it afloat, but like most things, the enthusiasm fades with time and/or time fades the memory of when you last donated. I am guilty of that myself with some of my own favorite audio sites.
So, rather than openly begging for money on a monthly basis, I opted for some unobtrusive advertising that visitors will hopefully find useful. As far as Google Ads, I have no real choice over what sites they deliver in their ad boxes; however, in some other spots, I have chosen companies that I myself have used and that I hope you will find valuable also.
For example, Craig Moerer's Records by Mail is a first rate mail order vinyl company that really caters to its buyers. Prices are fair, and record grading is among the best I've seen. Turnaround time is fantastic. I can spend hours poring over their inventory.
I also chose EBTM or Everything But the Music. I have a lot of friends who are music lovers and I have picked up some neat band/artist gifts for them at this site that sells t-shirts, mugs, ties, you name it. I love the fact that you can search BY band for stuff. When you get a few minutes, check out their Beatles stuff. Very cool selection.
Lastly, if you work on audio equipment, you really need to know Parts Express. I place at least an order a month with them. Their prices are the best I have found, and their turnaround time is truly astonishing. The order always seems to arrive before I expect it.
There were other companies I could have allowed to advertise on the site, but keeping with this being a helpful resource, I picked ones that other vinyl/music/equipment lovers might really enjoy. I truly hope you find them useful...and if you do eventually buy, it will help support the website in a way that is maybe less painful.
Now spinning...Miles Davis, Sketches of Spain (Merrill Heirloom, Sumiko FT-4 arm, Shure V-15V-MR)
March 23, 2006
I occasionally get asked how I inspect a platter bearing. The process is somewhat different depending upon the type of platter bearing used, but in general, here are some techniques for inspecting most platters. You should do this work at a fairly clean workstation with good light.
The first thing I do before even turning the unit on or spinning the platter by hand is to take the platter out and clean the bearing well. For most units this involves removing the outer platter, removing the belt, and then gently lifting the inner platter straight upwards out of the bearing well. Once the inner platter is out, place it in a safe place where it won't "roll off" your work space and onto the floor, possibly causing irreversible damage.
My next steps involve the bearing well, not the platter bearing itself. I would say over half of the units I purchase for restoration have either a bone-dry bearing well or a dirty one. So I take a clean lint-free swab (I use the foam swabs from Parts Express), dip it in 99% anhydrous Isopropyl alcohol, and then gently clean out the well. If the swab is immediately covered in dirt/debris/old oil, keep switching to a new one until it's clear. (Never dip a dirty swab back into the alcohol container.)
When the swab is clean, I take a small penlight and inspect the inside to see if I missed anything. The main point is to have it perfectly clean before reintroducing new oil and the platter bearing.
While the bearing well is drying out, I inspect the platter bearing. First I wipe it softly with a clean lint-free cloth lightly soaked in the Isopropyl. In good light, there should not be significant scratches or wear marks on the platter. What is "significant" varies in everyone's vocabulary. To me, if I can "feel" the scratch when rubbing my fingertip over it, that is significant. An ebay seller from Germany sells main bearing polishing kits that work well if the scratches are minute. Follow his directions carefully, and in most cases the bearing will look (and feel) almost new. If the sides are smooth, next examine the tip of the spindle under a bright light (preferably one of the magnifier lights) and look for any wear on the tip. Move it around to allow the light to reflect off the entire tip (round section). Wear will generally show up as a small black spot on an otherwise shiny surface.
If the bearing is severely scratched or worn, there is no choice but to find a replacement platter. eBay is your best option.
(Before starting the next steps, be sure the table is near close to level by the bearing well.) If you are sure the remaining alcohol in the platter bearing has dried, add a few drops of sewing machine oil to the well, and a couple of drops to the spindle itself. Use a finger to gently spread the oil over the length of the bearing. Next, gently lower the bearing into place, and give it a few gentle spins. If you hear any grating sound, stop immediately. It could be you rushed the process of cleaning the bearing well, and some grime remains. Repeat the steps above for cleaning the well. Depending on the bearing type, it can take a few seconds or a few minutes for the bearing to seat itself. (For example, an XA bearing takes a couple of seconds, but the Merrill Heirloom bearing takes several minutes, even when loaded with outer platter and outer clamp ring.) Next, I generally place the outer platter on upside-down so I can better hear and observe the platter bearing. If there is significant noise, after many spins, that is usually a sign that either the well or the bearing are damaged. Possibly there is a bend that is so subtle you can't see it. Possibly the damage is to the walls of the well where your penlight can't catch it.
If the platter spins quietly, I remove the outer platter again and try to move the inner platter side to side. (Don't mistake movement of the suspension for movement in the well.) Hold the platter with both hands and try to rock it gently side to side, back and forth and any other direction you can think of. Only a handful of times in all of my years of working on tables has one miserably failed this test. In most cases these old Thorens and AR bearings are so well manufactured that they rarely suffer significant wear. If there is significant side to side movement, more than 1/32nd, the bearng is significantly damaged. Your options are to buy and install a better used sub-chassis or get rid of the table.
A final test I give my oil bearings is the "suction" test. In most cases, a good bearing will make a sucking sound as it's removed from its newly cleaned and oiled housing. That sound always brings a smile to my face.
Please note that many Thorens units contain a platter lock. You need to open up the bottom, and unscrew the lock and slide it over before you can remove the platter. Replace when done.
Now spinning...Complete String Quartets of Beethoven, Budapest String Quartet (Merrill Heirloom, Sumiko FT-4 arm, Shure V-15V-MR)
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March 18, 2006
It was weird to get two brand new lps in the mail this week. Most of the vinyl I pick up is local, but there were a couple of things that came out relatively recently that I wanted to get. The first was Van Morrison's Pay the Devil on Lost Highway Records. Lost Highway is the same company that puts out all of Ryan Adam's stuff on vinyl. I haven't read any reasons as to why Van is now issuing stuff on that label, but I would not be surprised if Van, a huge vinyl proponent, found that aspect appealing. I think this is the first Morrison release I have bought initially on vinyl in maybe twenty years. His work has been so spotty that I usually pick up the cd first and see whether it is "vinyl worthy." In case you didn't know, this is another foray into country music for Van. A couple years back he recorded a mostly country duet type album with Jerry lee Lewis' sister Gail.. Not a bad record. I will not pass judgment on Pay the Devil until I give it a few more listens.
The second album is by Jason Molina, called Pyramid Electric Company on the Secretly Canadian label. I got interested in Molina from a forum discussion on Ryan Adams. A guy recommended Molina as someone that is cast from a somewhat similar mold. This is a solo album...and I really mean solo. It is either Molina on vocal and electric guitar, vocal and acoustic guitar, or vocal and piano. It's a mostly dark record; some might call it self-indulgent, but I like records that are really raw and personal and idiosyncratic. An interesting point about the Molina release is that it was NOT released as a CD only. Every one has to buy the lp, and then there is a "free" cd on the inside. Again, I will hold my review, but it is interesting, and makes me want to buy some of his full band stuff with Magnolia Electric Company and Songs: Ohia.
Now spinning...Pay the Devil, Van Morrison (Merrill Heirloom, Sumiko FT-4 arm, Shure V-15V-MR)
Janaury 29, 2006
Finding Vinyl. Another question I am asked frequently is how do I expand my vinyl collection? Most definitely the best way to add to your collection is through yard sales. This requires a lot of work on your part, but the rewards can make it very worthwhile. The past year or so, I have backed off a bit from heavy duty "yardsaling" because I am at a place in my own collection where the stuff I really want isn't out there...or it is spaced so far apart, that the empty-handed days aren't making it worth all of the effort. In any event, for those unschooled in the fine art of the yard-sale, I'll describe my process.
The first step in a successful experience is to find the local publication in which the majority of yard sales in your area are listed. In my area, the Friday edition of the paper has a special section devoted to yard sales. (In case you didn't know, Saturday morning is THE prime yard sale time.) Grab a highlighter, scan through the listings, and see if anyone is offering lps, records. vinyl, etc. Those will be your first stops the next morning.
If one of those locations happens to be several towns over and you are wondering whether it will be worth the ride, use the "reverse phone number lookup" on one of the several websites devoted to phone listings. Type in the yard sale address, and give the folks running it a phone call. Immediately apologize for bothering them, then briefly explain your plight, and ask them what kinds of vinyl they will be selling. If it's grandma's Lawrence Welk collection consisting of five lps, you will have saved yourself some wasted gas and wasted time. If it's a promising collection, ask them what time is the very earliest you can stop by. Thank them profusely for their time.
After you've made your call(s) and highlighted the sales that have vinyl, develop a "game plan" for the next morning. Look over the start times, and take into account the geographical location. Get a loose idea in your mind of where you will start and what general direction in which you will travel. Mapquest is invaluable if you don't know the local area well. Plug in the info from address to address and print off the directions as needed.
Speaking of yard sale start times, there is a fine line between what is called an "early bird" and a stalker. Most definitely I always arrive prior to the starting time listed in the paper if the sale looks promising; however, you need to assess the situation when you get there. Have some respect if the poor people haven't even set up a table and are just barely getting things put out. Go to another sale first, and come back again. On the other hand, if there is lots of stuff out, it doesn't hurt to roll down your window and ask politely if you can begin to look over their stuff. Most times the answer will be yes. They will appreciate that you asked. I have seen folks just run out their cars and accost folks who are barely set up. I just think that's in poor taste.
When you get to a yard sale, try to get the "big picture" of what's offered first. Take a quick walk through the entire area. Be on the look out for milk crates and liquor boxes, the two types of containers most often used for lps. Even if you spot some lps right away, complete your walk-through to make sure there's not a bigger and better stash offered a few feet away. (That happened to me several times before I started always doing a quick walk-through.)
After you have visited the yard sales that specifically mentioned lps or records, start on the rest of the yard sale list that looks promising. "Estate Sales" and "Moving Sales" are usually the most desireable, because a whole house is being cleared. One particularly effective technique I started using a few years back was to ALWAYS ask one of the people running the sale whether or not they have some "old records" they might be willing to sell. Nine times out of ten the answer is no, but every so often you might hit the jackpot and be the first person to peruse a collection.
Another moderately successful technique is, when someone says they HAVE records but they are NOT for sale, is to leave your name and phone number with them. Write the word "Records" in big letters across the top. It has worked for me a couple of times that when folks realized how much they had to move and/or they realize how small their new home is, they decide they WILL get rid of their records. Once again, you get to be the first person to peruse their collection.
Folks run yard sales for different reasons. You can get a sense for that within a few moments of being there. While looking around, listen to the response to low ball offers on items. If someone else offers 2 bucks for a 5 buck item, and the seller accepts, that leaves the door open for you to deal too. In general, the more you buy, the more you can try for a discount. A lot of times I find lps for 50 cents a piece. I end up with 12-13 albums, and I offer a total of five bucks. They are usually happy to get five bucks, and will allow the extra 2-3. (Oh yeah, psychologically, it's advisable to have the five dollar bill right in your hand where they can see it, and your wallet put away.)
Yard sale prices per album vary, but most assuredly, this is the way to expand your collection on the cheap. It's ironic, but I often find the best collections have the cheapest prices (twenty-five or fifty cents) while the sales with junk charge outrageous prices such as two dollars each. One thing I personally never try to do is take advantage of someone who looks like they really need the money, and the lp titles and condition are great. In those cases, I always pay full price.
You are probably wondering about the condition of lps you will find. For me, given the low prices I am paying, I am not going to take a ot of time examining an lp. I take five seconds to make sure the album inside is correct and that there are not any "death scratches." Lastly I make sure it's not warped. In my yard sale travels I frequently bump into a fellow vinylphile. He must spend a minute or more examining each lp before he buys. I simply can't justify that much time when the prices are so darn low to begin with. (Obviously if I am in a record store paying 8-10 dollars, that's a different story.) If you later get the lp home and it's unplayable for something you didn't catch in your five seond perusal, you are out a quarter or fifty cents. Big deal.
One final aspect of condition of yard sale lps I should mention is the prevalance of mold. If the albums are damp and smell heavily of mold, you will most likely NEVER get rid of the smell and the mold spores. Avoid. In some cases, if it's a really desireable lp, I will take it, but later discard the cover. Briefly cleaning the lp itself in a light solution of bleach/water usually kills the mold there. If you find an lp in the "iffy" zone, I soak the lp in the bleach solution, and I use a BARELY wet sponge (from the bleach solution) and wipe down the cover. I follow this up by leaving the lp cover for 4-5 days in a deep freeze. I have been told this will kill the spores.
Well, that's the lowdown on yardsales, complete with a couple of pro "secrets." Happy hunting..and remember, just when you are about to give up is usually exactly the time when you get the biggest reward.
Now spinning...Crosby, Stills, & Nash, Self titled (Thorens TD-150, Rega RB-300, Ortofon OM-30 Super)
December 29, 2005
Before I began to concentrate solely on vintage turntables, my favorite equipment to work on were Marantz receivers, tuners, and amps. A while back I acquired a Marantz 2238B receiver in needy condition from a friend. Recently I undertook the project of cleaning and repairing it, and it brought back what a pure pleasure it is to work on the Marantz line.
I have worked on many different vintage receivers in my life, but I have always appreciated the logical layout of the Marantz equipment. One example is their squared off metal frame. With both the top and bottom covers removed, the frame still allows you to place the unit sturdily on any side you wish without fear of damaging the components. What a simple but woderful idea for the individual working on the unit, whether amateur or professional.
Another thing I love about the Marantz line is the sturdy brushed aluminum face plate. I have had these faceplates show up completely brown from dust and smoke. However, you remove the knobs, four screws/bolts, and one retaining screw, and it's ready to be attacked with your favorite metal cleaner. (I use 100% Isopropyl Alcohol.) In 95% of the cases, they have cleaned up beautifully.
Some folks complain about the incessant need to change fuse lamps in the receivers, and that is somewhat true, but with the easy layout, it's generally a snap to fix. Likewise, the controls are prone to dust/oxidation, but they too are for the most part easily accessible through the bottom panel.
It took only a couple of hours of cleaning and repairing to get the 2238B looking and working almost as good as the day it left the showroom. I've put the receiver in my bedroom. I now fall asleep listening to my favorite FM station in clear and musical fashion. And it's hard to beat those romantic blue lights!
Now spinning...Ryan Adams, Jacksonville City Nights (Merrill Heirloom, Sumiko FT-4 arm, Shure V-15V-MR)
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December 24, 2005
Great stocking stuffer for the vinyl addict. If they don't already own one, buy a Shure SFG-2 Stylus Pressure Gauge available for about twenty-five dollars on numerous audio sites and on ebay. This clever device takes the guesswork out of setting tracking force. It is especially useful for AR XA and XB owners where the counterweight does not have markings. I bought myself a digital scale at one point, but I find myself still reaching for the Shure gauge automatically. To my surprise, it is dead on accurate to the higher priced digital offering.
Now spinning...Bob Dylan, Self Titled (Merrill Heirloom, Sumiko FT-4 arm, Shure V-15V-MR)
December 16, 2005
One of the most frustrating aspects of Thorens refurbishment is finding dustcovers in good condition. Unfortunately, Thorens had poor hinge design on almost all of their 70's and 80's units.
On the "Mark I" units, you had the hinges built into the dustcover, one on the back left corner and one on the back right corner. Though Thorens built up the thickness of the plastic at those spots slightly, they were still designed to hold the entire dustcover in an upright position on a metal "bracket", and for that job, they just weren't sturdy enough. When the dustcover was hit in the upright position, it was likely the hinge would break. It also didn't help that they used a very brittle plastic with little "give." In addition, if a heavy weight or force came down on the dustcover from above, that could also result in a broken hinge.
The Mark II tables saw a change in design, but the new design was weak in a different maner. The hinges were separate from the cover, but they were made of flimsy plastic. These get broken with the slightest pressure in the wrong direction.
Thorens finally got it right with the Thorens TD-160 Super and TD-147 where they used a metal hinge. The other great thing about those two models is that the cover stays up in a variety of positions. The plastic styles gave you two choices: full up or full down.
The end result of the poor Thorens dustcover/hinge design is a severe shortage of functional covers in good condition. On eBay I have seen new old stock dustcovers go for over one hundred dollars. I have personally paid seventy five (with shipping) for an uncracked MKII cover WITHOUT hinges in "fair condition." I have seen the MKII hinges sell for forty plus dollars for a complete set. The most I have paid is thirty-five.
What is one to do if you can't afford those prices? One of the classiest solutions is to cover the table with a silk scarf that complements your room decor. The right scarf can be quite stunning and dramatic. Of course, great care must be take to be sure you never catch your stylus on the scarf when removing it!
Interestingly, in contrast, to the Thorens hinge problems, the mid-eighties AR turntables were very well designed with a metal hinge attached to the table. They used a more forgiving acrylic/plastic that can actually bend. I may be jinxing myself, but I have yet to come across a broken dustcover or hinge from these mid-80s ARs.
Now spinning...Miles Davis, Kind of Blue (Merrill Heirloom, Sumiko FT-4 arm, Shure V-15V-MR)
November 13, 2005
Different record clamps will most definitely yield different sonic results, as well as using no clamp at all.
My clamp history:
*Cheap no-name metal clamp on TD-160. Hated it, too much bother. Difficult to properly tighten.
*Screw on clamp on Music Hall 5&7. Nice quality design, easy to use. (Spindle was threaded.) I found both of these tables to be too "analytical" for my tastes. I'm not sure how much the clamp had to do with it.
*Michell Record Clamp on AR ETL-1. Maybe the device was defective, but I could never get a satisfactory bond. It was always tighter than I would have preferred.
*VPI center clamp and Merrill Outer clamp on Merrill Heirloom. I have done some listening tests with my personal "reference" recordings, and the improvement on the Heirloom with the two clamps is immediately obvious. I had never used an outer clamp before, but the way it hugs the record from the outer edges creates an obvious stability that carries over into improved sonics. Also, the VPI clamp is the nicest non-threaded model I have used.
I am soon to begin some listening tests on a fully Merrill Modded AR-ES-1 with outer clamp and the Merrill Weight. I will report back.
Now spinning...Pink Floyd, Dark Side of the Moon (Merrill Heirloom, Sumiko FT-4 arm, Shure V-15V-MR)
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October 23, 2005
Instead of writing blog entries in my "spare" time, I've been whittling away at the new Merrill turntable pages. The work is slow. Though I put a call out for info at every major audio forum I know of, I have received less than a handful of responses. Most of my present info and pics has come through "creative googling." For example, I have visited several Italian sites. When these sites are "translated" it is usually of poor quality, and it takes time to figure out what is what, relying on my limited knowledge of the other Romance languages. Also, when I find a posting anywhere mentioning someone owns an Heirloom or a Merrill-modded table, I email them. A lot of these posts are several years old, and the emails often come back "undeliverable."
In spite of the snail's pace, I am excited at what is accomplished. I have three good galleries, a pdf of the Heirloom manual, some brochure pics, and the piece de resistance, a transcribed interview with George Merrill himself.
At present, I am still shooting for a mid-to-late November unveiling. Though I am slightly disappointed with the amount of the content, I have to remember that the AR portion of the site started off humbly too, and that once the resource is made available, more owners will discover it and share their pics and info.
Now spinning...Van Morrison, Veedon Fleece (Merrill Heirloom, Sumiko FT-4 arm, Shure V-15V-MR)
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October 16, 2005
More favorite album cover art.
The cover art for Neil Young's After the Goldrush has always been a favorite. On the front, you see a black and white photo of Neil walking along an urban street. Everything is gritty brick, steel and cement. Along the top is "After the Gold Rush-Neil Young" in gold letters, some of which appear to be tarnished badly.
At first you notice just Neil walking, but then you blink once and see an old woman emerging from behind Neil, walking in the opposite direction. She is easy to miss at first for two reasons. One, there is some photographic effect given to Neil's face that makes it appear like a negative and I think it is natural for the person viewing the photo to focus on this aspect that is "out of place" from the rest of the photo. Two, the woman is a full foot and a half shorter than Neil. Interestingly, the woman's face is not given the same "negative: treatment.
The expression on Neil's face is one of contempt. His eyes are focused on something in the distance and he is obviously not happy with what he sees.
On this particular album, my appreciation of the cover art extends to the back. Long before Springsteen displayed his backside on Born in the USA, we had this closeup of Neil's jeaned ass. In typical late sixties/early seventies style, the jeans have been multi-patched. I imagine that the color version made a striking photo, but in black and white, it is the texture of the jean and the patches that grab your attention. The florals, paisleys and geometric patterns are striking.
Now spinning...The Who, My Generation (Merrill Heirloom, Sumiko FT-4 arm, Shure V-15V-MR)
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September 30, 2005
In the heyday of Napster, I was a huge Wilco fan. One cool thing about Napster was the ability to search individual users' tastes in music. That is how I eventually came upon Whiskeytown, Ryan Adams' first "big" group. (I noticed the name Whiskeytown kept appearing on the lists of those who also liked Wilco.) Shortly after I began buying Whiskeytown music, the group split up. Then Ryan Adam's put out his first solo album called Heartbreaker. It was a fantastic record; and I've been a huge fan ever since.
Throughout his solo career, several writers have criticized Adams for his "chameleon nature." His albums have run the gamut of straight out rock to alt country to (his latest) jam rock. Likewise, his vocal acrobatics have replicated Bob Dylan, Bruce Springsteen, Van Morrison, Neil Young, and Hank Williams, to name a few. Some folks have straight out called him a "thief" and a "copycat." I think those are unfair labels.
Recently, I have fallen in love with Ryan Adams' latest release, Cold Roses, under his name along with his supporting band “the Cardinals.” In initial reviews, it has been suggested that the album sounds a lot like the Grateful Dead. Some of the titles ("Magnolia Mountain") suggest the Dead, and some of Adams’ lyrical phrasing sounds exactly like Weir and Garcia.
I must admit, upon the first few listens, this album seemed like a step down from recent releases such as Love is Hell and Rock N Roll. However, as great albums sometimes do, they sneak up on you after repeated listenings. That has been the case with Cold Roses. These songs are truly outstanding, particularly on record two. In addition, the playing, especially the pedal steel, is so subtle at times it takes a while for you to appreciate it.
Interestingly, over the weekend I saw Woody Allen’s “mockumentary” Zelig. In documentary style, it recounts the life of a fictional character named Zelig who is known as “the human chameleon.” The character, played by Allen himself, adopts not only the social aspects of whomever he is with, but also the physical characteristics. Thus, at a 1930s speakeasy, in one moment he is an Italian mobster, and at another, a black jazz player. (If you haven’t seen the movie, that is one of my favorite scenes.)
I bring up Zelig because the movie is a satire of the homogenization of our culture, and also the increasing unwillingness of people to disagree with mainstream pop culture. Zelig, at heart, is a coward unable to express his individuality for fear of not fitting in.
I guess listening to this Grateful Dead-sounding Ryan Adams lp a few times since watching the Zelig has brought to the forefront the “chameleon” comment that one reviewer used to describe Adams. I have been pondering the question, is Ryan Adams just a cheap hack who steals others’ musical ideas, or does he deserve merit on his own? To me, the answer is undeniably the latter.
Thinking a lot about how an artist matures, particularly painter and poets with whom I have some familiarity, there is most definitely a period where artists are sponge-like, soaking up everything that moves them emotionally and intellectually, and using it in their own art. Then, after a period of years, the true artists begin to make their own mark. I see Ryan Adams in this realm. Though he has seemingly stolen from artists ranging from Pete Townshend to Gram Parsons, the end product is/was always filled with “soul.” Unlike Zelig, Adams isn’t absorbed into his latest “appreciation” in a such a way that he becomes nondescript. On the contrary, his strong songwriting and unique vocal attributes make him one of the most exciting artists to come along in quite a few years. I recommend all of his recordings, including his Whiskeytown releases, and I hope that all of them eventually find their way onto vinyl…the place where all great music belongs.
Now spinning...Pink Floyd, Meddle (Merrill Heirloom, Sumiko FT-4 arm, Shure V-15V-MR)
September 26, 2005
And the survey says....
I've written here in the blog about a number of questions that are frequently posed to me. Without a doubt, THE most frequently asked question is "Do you have a spare headshell for an AR XA or XB?"
Though the AR XA was forward-looking in its engineering when it originally appeared on the market, one thing that the makers did not foresee is that these turntables would still be in use forty or so years later. Thus, the plastic headshell with its plastic "nubs" that hold it tightly to the tonearm have NOT aged gracefully. The most common failure is for these nubs to wear, no longer holding the headshell tightly to the arm, sometimes so much so that the audio signal is intermittent.
So what is an AR XA owner to do? (Besides write Dave at Vinyl Nirvana?) Well, the number one source for headshells remains eBay. Average price is 35-45 dollars without cartridge. Of course, the important info to glean from the seller is “Are the plastic nubs worn?” It is also a pain to install a cartridge in the headshells that have lost the tiny metal screw inserts, but I have found increasing the screw size and careful even pressure as it is “tapped” to prove successful. Most definitely, though, one WITH the metal inserts is worth more money.
Another option is to attempt what another XA owner tried. He used some kind of epoxy in the area of the nubs, and filed it down to exactly match its original configuration. It was a lot of work, but seemed to work for that owner.
Another option is to place want ads at various audio sites. For example, Audio Asylum, Audiogon, and SH Forums all allow free want ads. Others subtly (or not so subtly) express their desire for a headshell in the forums themselves, though this is frowned upon by most moderators. It does sometimes work, though.
A final option is to buy an AR XA or XB “Parts” unit. Ironically, the price of a good headshell on eBay sometimes exceeds the selling price of XAs/XBs with small mechanical issues or large cosmetic issues. It is definitely a good thing to have a spare unit on hand; I mean the first AR XAs are now over forty years old!!
Good luck no matter which tack you take.
Now spinning...Frank Wess, "North, South, East, Wess" (Merrill Heirloom, Sumiko FT-4 arm, Shure V-15V-MR)
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September 24, 2005
Though this site is dedicated to a line of audio equipment, it is my hope that I and its readers never lose sight of what the equipment is for...to listen to music. In that vein, I wanted to share with you all one of the most gratifying parts of my life right now. It's called Music Club.
I became familiar with the concept when my friend Ian and his wife Carianne moved to NH from Washington DC. While in the DC area, Ian, Carianne, and a group of friends thought of the concept of a Music Club modeled loosely on the idea of a monthly book club. The club was very successful in DC, and when Ian and Carianne moved to NH and met me, they wanted to give the club a try here.
Here are the basics of the way music club runs here. We meet once a month (on a rotating basis) at one members house. Each member brings two tracks of music to share. The host may pick a theme if they wish, or sometimes it is free choice. (Some popular themes: cross-gender covers, driving songs, a favorite song from your high school years, songs with a focus on percussion, and so on.) The night usually starts with some food, provided by the host. Then we retire to the listening area. Most often we begin with the themed songs, but not always. Each person plays their one song, saving their second track for the next "round." Before you play your song, you can make as long or as short an introduction as you wish. Sometimes it's just fun to play without saying any intro at all.
There is one cardinal rule in Music Club...you don't talk while someone's track is playing. Never. Once the track is done, we have a conversation that just flows naturally. It might be about what influences you hear in the song/artist; it might be a funny or interesting story associated with the song, it is really just whatever folks want to mention. Not everyone is expected to add to the conversation, but the next song generally doesn't start until the discussion has fizzled.
In addition to providing food, the host is also responsible for writing down who played what. This is later translated to an email to the whole group, even members who couldn't be there. These accounts of the tracks played differ widely, from spreadsheet style to long meanderings about each track played. It is really up to the host, but the expectation is that at a minimum, a song list will be mailed.
How might you start a music club where you live? I think it begins with a few music-loving friends. Hopefully, each of your music-loving friends will have another music lover who you don't know. (Our club consists of five or six "hardcore" members, and about five folks who drop by occasionally. I think it is important to have about four to five hardcore members, because music club just doesn't work well with three people.) Explain the concept to these fellow music lovers, and gauge some potential dates. Once you have a consensus, just set a date, and go with it.
As I said in the intro, music club is one of the most satisfying parts of my life right now. In my younger days, I often made cassette or cd compilations for fellow music lovers. Now I keep those "shareable tracks" for music club. It's great to be able to get the immediate response when you share a great song with the rest of the club. Another wonderful aspect is learning of new musical "finds" and being reminded of songs/artists that've been "lost."
Give it a try in your part of the world. What have you got to lose?
Now spinning...Neil Young, Tonight's the Night (Merrill Heirloom, Sumiko FT-4 arm, Shure V-15V-MR)
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September 10, 2005
Though just a few days old, I am very excited about the Vinyl Engine's new discussion forum for AR Turntables. I know it's a bad habit to send people off site with a link, but Vinyl Nirvana has always been about being the best possible resource for AR turntable owners. I feel very strongly that the new VE forum will be THE place for AR enthusiasts to share information. (And hey, if you need to get back to Vinyl Nirvana, the link is right there as a "sticky" on top of the forum.)
On average I get two to three questions a day from AR owners through my Vinyl Nirvana email address. I am hoping that folks will begin to post their questions there or search the forum's archive. As a matter of fact, some of you may have noticed I have been posting a question a day. These are actually the most common questions I get asked by email. Though I don't mind answering questions, it does get repetitive, and also, I am just one person with one opinion. As I have found out from recent posters at the forum, there is more than one way to go about things. The ideas have been fantastic!
So, if you haven't already, click on over to Vinyl Engine, register yourself, and share your own experiences, questions, modding tips, and "refurbishing tricks" with other AR turntable lovers.
One final word about the new forum...I hope that my friends at Audio Asylum, AudioKarma, Audiogon, and SH Forums don't feel that I am a traitor for becoming a moderator at VE. I will continue to read and post at every one of those forums, but I cannot help but be attracted to the individual focus the new forum at VE offers.
Now spinning...U2, Unforgettable Fire (AR XA, Stock arm, Shure m97xe)
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September 6, 2005
Some thoughts on...THE RITUAL
1)If you have to explain THE RITUAL to someone and why it's worth it, expect that that particular someone will never get it.
2)Even for those who believe, THE RITUAL is sometimes a chore. I could lie and say otherwise, but then...that would be lying.
3)Parting from THE RITUAL occasionally is really and truly okay. You don't have to resort to self-mutilation. Really.
4)Though the specific materials may come and go, the ultimate goals of THE RITUAL will always remain the same: clean static-free grooves and a clean static-free stylus.
5)One must learn to forgive those who don't follow THE RITUAL. (See number one.) Groove damage has been happening now for over a century, and will continue to happen after we are all dead and gone. Accept that. (And hope they don't own too many original Blue Notes.)
Now spinning...Tom Petty, Southern Accents (Thorens TD-126 MKii, Stock arm, Ortofon OM-30)
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September 4, 2005
Random thoughts as Vinyl Nirvana turns one year old....
Thanks to this blog, I have started writing regularly again for the first time in ten years. It feels so good.
Not a week goes by where someone doesn't write thanking for a bit of info found on the site or at one of its links.
Because of the site I have new found acquaintances I talk with or exchange emails with regularly in Australia, Canada, and Great Britain.
I am still so proud that for the first time in thirty plus years my good friend Andre and I finally followed through on one of our schemes/dreams and made this site a reality. It never would have happened if not for his technical expertise.
I plan on living until I am a hundred. (Now at age 45) I wonder what the site will look like in another 55 years! Will you press a button and will an XA materialize, a la Star Trek, right before your eyes?
Still spinning...Ryan Adams and the Cardinals, Cold Roses (Thorens TD-126 MKii, Stock arm, Ortofon OM-30)
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August 31, 2005
It ain't the heat, it's the humidity....
For the past several days, New England has been running humidity close to 100%. I have heard before that relative humidity can affect sound, and I think over the past several days I can hear that for myself. Though my listening room is cooler than the rest of the house, it is still quite humid at the moment, and I have been finding it hard to be engaged in listening the way I usually do. Maybe it's in my head, but horned instruments appear lightly muted, and percussion lacks "snap."
This got me thinking about humidity in different parts of the country and how it might affect choice of components and, ultimately, because I deal with it so much, cartridge choices and alignment. I spend quite a bit of time listening to and aligning cartridges for my customers. I take into account their components, their musical preferences, and the types of pressings they own. However, relative humidty is something I never considered. Would listeners in a primarily arid environment prefer cartridges and set ups tending toward the "dull" side? Would those in more humid environments tend to prefer brighter cartridges, and alignment favoring more treble?
Now spinning...Ryan Adams and the Cardinals, Cold Roses (Thorens TD-126 MKii, Stock arm, Ortofon OM-30)
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August 28, 2005
So far I have written about two albums I use as "reference records" when I am tuning a turntable or aligning a cartridge. A third that I use heavily is Dire Straits' "Brothers in Arms." (Slightly ironic given it is one of the releases credited with launching CDs. Some analog purists bemoan the fact BIA was digitally produced...well, get a life, give it a listen again after all these years, and make sure you crank it up! )
If you have never heard any of Dire Straits' or Mark Knopfler's recordings, each one is impeccably engineered and produced. Brothers in Arms (BIA) is produced by Knopfler himself, with Neil Dorfsman as co-producer and the engineer. Mastering of the vinyl version is by Bob Ludwig.
I must confess before I say anything else, most of the components in my system were tested in store using this album. I am a huge fan, and it's critical that Knopfler's guitar, in all of its incarnations, sounds pristine and true. (The same holds true for Van Morrison's voice and BB King's Lucille.)
Though side one contains the hits (Money for Nothing, So Far Away, Walk of Life), it is side two that I use as a reference. The side begins with the light synthesized "jungle" sounds of "Ride Across the River", a chilling song about soldiers of fortune. Right away a musical "shaker" of some sort is introduced, and the clarity of the beans or beads or whatever is inside the shaker is amazing on a cartridge/system that is set up correctly. You can close your eyes and feel the percussionist is right there in the room. Before long, Knopfler's guitar enters and then a trumpet. The interplay between the two in the song is gorgeous, and a good cartridge set up will reveal the two as nearly equal in the mix.
The next song, "The Man's Too Strong" begins with Mark on acoustic guitar, and shortly after, the steel guitar appears. The big "surprise" in the song is the crashing of instruments over the lines "The man's too big, the man's too strong" which comes in sharp contrast to the acoustic feel of the rest. The overall impact of the "crash" is a good test of the cartridge set up. Can you hear the separation of instruments, and yet does the crash almost knock you back in your seat?
The next song, "One World" is my least favorite of the side, but it gives me a necessary breather before the climactic final track from which the album itself is titled. One thing I do pay attention to in the song is the drumming, exquisitely produced with tremendous realism. Are they too boomy, or crisp and deep?
What can I say about this final track? It's positively one of the highlights of Knopfler's career. Though the message isn't new (war is bad), the slow build up of the instruments, and in particular, Mark's guitar is phenomenal. (I love the little instrumental break before the final stanza, which just hints at that build up.) After that final stanza, it's all Mark and the band...I'm not paying atttention to ANYTHING...Knopfler's guitar, Alan Clark's Hammond and Guy Fletcher's synthesizer are just washing over me, and a few seconds after the fadeout, I am wishing it could go on another three minutes.
And THAT is when I know a cartridge is set up properly...when I'm not even THINKING about the cartridge any longer.
Now spinning...Bobby Darin, Live in Vegas (AR ETL-1, Linn Basik Plus arm, V-15 v)
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August 23, 2005
I often get asked for tips on how to care for an AR walnut veneer or solid walnut base. If I get in a walnut table that has led a particularly hard life, I start off with a dusting, and then I use a soft cotton cloth dipped in mineral spirits to really clean out the years of gunk and grime. I don't scrub hard at all, just wipe gently. The mineral spirits opens the pores of the wood and really cleans it out. Depending on the condition, I sometimes give it a second cleaning.
I usually let that dry for several hours, and then I use several coats of Formby's Lemon Oil Treatment which I buy from my local hardware store. (I used to think that working in a florist shop would be the ultimate job of olfactory perfection, but now I think it would be working at the Formby's Lemon Oil plant.) The number of coats is dependent upon the years of neglect to which the wood was exposed. Sometimes one is sufficient, and other times the wood is so dry it absorbs five or six.
When you use any kind of oil on your turntable, be very careful of contamination of the belt, the motor pulley, and the inner platter. A little oil in the wrong place can significantly affect speed accuracy.
I reapply lemon oil twice yearly. I live in New England...you may find having to do it more often if you live in an extremely arid environment.
Now spinning...Rolling Stones, Some Girls (AR ETL-1, Linn Basik Plus arm, V-15 v)
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August 22, 2005
I've been camping for the past several days in the wilderness of Maine. As I was stuck in traffic today on Route 95 heading south, I ranked the order of things I missed the most about being home:
1. My bed
2. A hot shower
3. Spinning vinyl
Ah...life's simple pleasures.
Now spinning...Neil Young, Comes a Time (Thorens TD-126 MKii, Stock arm, Ortofon OM-30)
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August 15, 2005
Today's blog outlines another reference test lp I use in tweaking the set-up of a turntable, tonearm, and cartridge. Most often, these are records that help me to get the most out of a cartridge. I know when I've achieved a certain level of sound, the adjustments are near done.
Just as I never tire of listening to Count Basie and the Kansas City 7 lp (see July 30), the same holds true for Van Morrison's masterpiece, Moondance. Note that pressings are an issue in this case, as I find the best to be the Nautilus half speed master version. I could not believe the difference between that record and the old white label version I first owned! Later on I bought the Simply Vinyl pressing and thought it was the worst I ever heard. Muddled sound that ruined the whole album for me. (I also own cds, cassettes, and a reel tape.)
On to the songs. The whole of side one is a great test for midrange. The thing I really hone in on is what some writer in Rolling Stone years ago once described as the "yarrrrragh" in Van's voice: that throaty quality that gives his voice the resonance of a reed instrument. When I get that intimate throatiness I am looking for, I know my set up is close to done.
The prevalence of saxophone on side one also is a test for the midrange; for example the wonderful solo by Jack Schroer on the title track. I also think the quiet song "Crazy Love, with the female back-up singers and the gentle strumming guitar is a key track. If all of that is sounding great, and it reaches the final cut of side one, “Into the Mystic,” and the bass also sounds "alive" without being too punchy, I know I've got things right. (“Mystic” is also a great track to use to test your anti-skate adjustment. If there is any distortion at all in Van's voice on this cut, I know I've got adjustments to make.)
Now spinning...Exciteable Boy, Warren Zevon (Thorens TD-126 MKii, Stock arm, Ortofon OM-30)
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August 14, 2005
Another album cover I love is Timbuk 3's debut album called "Greetings from Timbuk 3."
The cover features a burro (donkey?) with a television strapped to its back. The donkey is wearing a wool blanket "saddle."
It is the disparate image of the burro and the tv which makes me smile. The burro is associated with an extremely rural/vintage environment, and the television makes me think of an urban/contemporary environment.
The disparity is further empahasized by the traditional Native American pattern on the blanket, which is directly below the tied up tv with its blank screen.
As a side note, in addition to the "hit" "The Future's So Bright I Gotta Wear Shades" this album contains a gem of a song called "I Love You in the Strangest Way."
Now spinning...Manhattan Soundtrack (Thorens TD-126 MKii, Stock arm, Ortofon OM-30)
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August 11, 2005
Favorite Album Covers. In no particular order, I will occasionally write about some of my favorite album cover art.
The Clash, London Calling."
A dramatic black and white photo emblematic of the punk movement. It looks like the guitar is being wielded as a weapon with the last bit of strength in the guitarist's hunched over body. I love how the lighting whites out part of the guitar, giving it kind of a light saber-ish appearance.
"Framing" the photo you have giant block lettering in green and...PINK!
In a roundabout way, it reminds me of William Blake's famous painting called The Ancient of Days." "
See what I mean?
Now spinning...Pete Townshend, Who Came First (Thorens TD-126 MKii, Stock arm, Ortofon OM-30)
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August 10, 2005
How cool is it to be downstairs and hear my seventeen year old playing the Grateful Dead's "Terrapin Station" in his bedroom, and then to walk upstairs and hear the fifteen year old playing Pink Floyd's "Wish You Were Here."
At least it feels like I've done something right.
Now spinning...CSN, CSN. (Thorens TD-125 MKii, SME Series II Improved, Sumiko Oyster)
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August 8, 2005
Reasons it's a good idea NOT to have turntables in cars...
1. You think changing CD tracks is hard???
2. Pothole season...which is pretty much January to December in New Hampshire.
3. When the dog rides in the car she likes to pretend she's a scratch artist...and she's smart...she knows I can't tap her nose with a newspaper when both of my hands are on the wheel.
4. In late summer, eventually even the hardiest of those among us will tire of scraping melted vinyl from platter mats.
5. My record vac is too noisy with the windows rolled up.
Now spinning...Miles Davis, Birth of Cool. (Thorens TD-125 MKii, SME Series II Improved, Sumiko Oyster)
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August 6, 2005
Reasons you SHOULDN'T get back into vinyl....
1. You are really dying to hear your disco records as they were meant to be heard.
2. Your interior decorator said a turntable with walnut veneer sitting on that shelf right THERE will contrast magnifcently with the birch in your coffee table.
3. Your nostalgia for all those mornings in the frat house you woke up to the stylus grinding in the end grooves.
4. Diamonds...Diamonds...DIAMONDS!!! You simply MUST have more diamonds in your life...even if it's microscopic and on the end of a sliver of beryllium.
5. Your hobby is melting classic rock records into wall clocks.
Now spinning...Beatles, Sgt Pepper. (Thorens TD-126 MKii, Stock arm, Ortofon OM-30 Super)
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August 3, 2005
Album SIDES. Another downside which came with the advent of cds and other electronic media is the loss of album SIDES.
Maybe it is my English major background, but I like the concept of an album side as a form of structure, much the way an author would use a chapter/section or a poet would use a subtitled section of poems within a whole book of poems. As I read a novel or a book of poems, and I come to another section or chapter, I am continually trying to make sense of that author's/poet's choices. "Why did they choose to end at this place, and not there?" "Why is this section first, and another last?" "What would the effect be if they had moved this poem to the front of that section?" Usually these are questions I ask after repeated re-readings, but still, to this mind, those are fun things to wonder about.
That same questioning is there in the choices an artist makes in selecting an album side. Why did Springsteen choose to end side one of Born to Run with "Backstreets". Why did Neil Young start side two of Zuma with "Stupid Girl." How does the start of side one of Joni Mitchell's Blue (All I Want) compare with the first track on side two (California)?
I am aware that some artists and producers give/gave no thought at all to song order and in some cases those decisions were made purely based upon song length or "putting the hit single in the first three tracks." Still, it is simply NOT probable to me that great writers like Springsteen, Young, and Mitchell DON'T consider and re-consider song order/placement. In the age of vinyl, song placement involved choosing that placement for two distinct SIDES, not one continuation.
It is intriguing for me to think of how some albums that came out in the cd age are now being transferred to vinyl. As an artist/producer of a work that has already come out, do you stay faithful to the original order of songs, or do you embrace the new (old) format and look at the song placement/order in terms of what a side can do for overall meaning and impact? Tough question. I know if I were the artist/producer, I would opt for the latter. How exciting to think about the new implications a stop and start in the middle of my album could make for the listener?
I ramble. It is truly exciting that some newer artists are now releasing on lp. Ryan Adams, Foo Fighters, Wilco. Likewise, the latest offerings by Springsteen, Neil Young, and Van Morrison have lp editions. For this (former?) English major, it's just one thing more to appreciate about vinyl.
Now spinning...Neil Young's Zuma. (AR ETL-1, Linn Basik Plus, Shure V-15 v)
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August 1, 2005
Vinyl Nervosa. Things I worry about a little too much...
1. Burglars with a turntable.
2. Though I've told my two teens a thousand times to never play an lp on either of my two main tables, one of these days they are going to, and they WILL break my only remaining V-15 v 35MR stylus.
3. When we are away on vacation, torrential rains will come, and winds will knock out power so neither of my two basement sump pumps will work. When I return, there will be six inches of water in the basement, and the entire bottom row of my album shelf will be sopping wet.
4. Fire and the melting point of vinyl.
5. Across the nation, another 100 people reorganized their basements today, and placed their albums lying flat on their sides. And if that isn't bad enough, another 100 people threw them into dumpsters.
Now spinning...Van Morrison, Common One. (Thorens TD-147 Jubilee, Linn Basik Plus, Shure m97xe)
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July 30, 2005
Whether I am mounting and aligning a cartridge for myself or for a client, I have a regular series of records/tracks I play in order to put the cartridge to the test. I think anyone who is serious about their equipment, particularly upgrading, needs to have "reference tracks." If you don't, how will you know a change is for the better? Over the next few weeks I will sporadically introduce those records/reference tracks and tell you specifically what I am looking for.
About five years ago my friend Steve introduced me to a great Count Basie album called "Count Basie and the Kansas City 7" At the time my interest in jazz was just blossoming, and I had quite a few misconceptions about jazz artists. One misconception is that all of the Count's albums were recorded with big bands. As the name of this album reveals, this is Basie playing in a smaller ensemble setting. It is positively spectacular. In keeping with Basie's approach to almost all of his music, it "really swings."
The album was recorded by probably my favorite recording engineer, a fellow named Rudy Van Gelder. Van Gelder had/has his own studio in Englewood Cliffs, New Jersey, and jazz artists regularly made the trek there to have their music recorded by this sound engineering pioneer who built and designed much of his equipment himself. The sound in every Rudy Van gelder recording is near pristine, with a quality that can best be described as "live" and "musical." I could go on for paragraphs, but what you should really do is go out and buy one of the records he has engineered and listen for yourself.
When I listen to this album as a "test" record, I am listening for two main things: the overall impact of the rhythm section and the level of depth in the horns. Though I usually listen to several tracks on side one to guide my cartridge set up, the first song, Gershwin's "Oh, Lady, Be Good" acts as an immediate indicator: The track starts with Basie "doodling" on his keys as Sonny Payne the drummer plays cymbals. Very soon Eddie Jones' bass comes in with slowly increasing authority, and the song is swinging before you can catch your breath over the clarity. A little over a minute into the song, Frank Foster takes the first tenor sax lead. The breathiness of the sax on a well set up cartridge is stunning, and usually after the first ten second of the lead I know whether I need to do some more adjusting.
If the cartridge is reasonably well aligned, I will continue through the side. The second song, "Secrets," features some wonderful interplay between Frank Wess on flute and Thad Jones on trumpet. (As a side note, Frank Wess' early recordings on Prestige and Savoy are a complete joy. If you can't stand the jazz flute, open your mind and give it one more try with Frank Wess. He's also a phenomenal saxaphonist.) Again, on these tracks I am listening for the depth and impact of the horns, particulary how well I can distinguish the two instruments in the parts where they play together at the begining and end. In the middle of this track, I am also paying attention to overall soundstage; in most of Van Gelder's recordings it is easy to pick out where the players were standing as they were recorded.
Though I truly enjoy every track on this album, the other track I really use for test purposes is "Shoe Shine Boy." This is one of the faster paced songs on the lp, and the rhythm section completely steals this song. I usually turn up the volume a couple of notches and really listen for the naturalness of Jones' bass: is it too punchy, is it too overblown, or is it "just right."
I could continue to gush over this lp, but I'll stop myself. You can judge my own love of the lp by the fact I own three different lp versions, one ten inch "single", two cd versions, the cassette, and the reel tape! Funny, though I've listened to it hundreds of times, I never tire of it.
Now spinning...Dire Straits' Self Titled (Thorens TD-147 Jubilee, Linn Basik Plus,Grado Red)
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July 28, 2005
REDUCE. REUSE. RECYCLE.
My friend Ian who has moved out of the area was visiting over the weekend, and I told him about the website and how I am refurbishing more turntables now than ever before. Ian has always been environmentally conscientious, and he made the comment that it was cool that I was preventing all of these old turntables from ending up in landfills.
I must admit though my wife and I participate in the local recycling program and we try to do our best at reducing paper and water waste in our home, I had never really thought of what I do as helping the environment. Still, the more I pondered it this week, it's true. Not only do I personally restore/refurbish a few dozen turntables per year, but also the website has encouraged several others to keep their AR turntable and "bring it back to life."
So thanks, Ian...that IS a cool thought. Now if I could just convince my wife that graveyard of turntables encroaching on our living space is good for our planet, I'll really feel like I've accomplished something:-)
Now spinning...Joni Mitchell's Blue (Thorens TD-160, Sumiko MMT, AT 150MLX)
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July 26, 2005
Wanted: Retired or Semi-retired Woodworkers and Metal Machinists!
Not a week goes by that I don't get a request for custom turntable bases or custom armboards. Part of my frustration in making recommendations is that all the best people offering these parts are seemingly in Great Britain. It is perplexing to me why more American craftsmen aren't offering these custom items, because if the Great Britain auction pricing holds true over here, it seems like this would be a worthwhile venture for someone with a wood or metal shop. The true exception to the rule is Anthony Scillia who offers custom delrin armboards for the mid-eighties AR turntables. (See my DIY page.) However, there is no counterpart in the US for armboards and bases for Thorens turntables. You have to resort to the Brit sellers, and pay the overseas shipping fee.
I have no complaint with the quality of the Thorens products I have had shipped over here, but it just seems we should be able to do the same job here. So, if anyone knows of a retired (or semi-retired) woodworker or metal machinist looking for a niche, send them my way. I would be more than happy to fill them in on the work specs and the possible profitibility.
Now spinning...Doc Watson and Son...Self-titled (AR ETL-1, Linn Basik Plus, Shure V-15 v)
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July 25, 2005
Every once in a while I get someone angry with me because I do not sell parts. They accuse me of being a "hoarder" and "selfish"...on their nicer days. I just wanted to take a few moments and explain why I don't sell parts.
Over the winter, a "parted out" Thorens TD-160 listed on eBay sold for about one hundred dollars more than the going rate for that model completely restored! These auctions included the platters, the tonearm and headshell, the motor, and a "grab bag" of assorted parts. That's it, there was no base and no dustcover.
The fact those parts went for more than a completely restored unit depressed the hell out of me. I fully expected a bevy of sellers to start dismantling perfectly fine turntables to make a quick buck. Thankfully that was not the case. Still, I see occasional auctions for individual motors that reach head-scratching bid amounts; sometimes the buyer could have purchased a whole new table!!
I'm rambling a bit here, but the thing I want to get across is that I could very well sell parts if all I wanted to do was make money at this. I have a literal graveyard of AR and Thorens tables in my shop area...and spilling into my living area. However, those who know me and/or have bought from me, know that my true love is bringing these tables back to life. I say it in my "ads" and it's true...nothing gives me more satisfaction than getting a note from a buyer who absolutely loves their restored turntable. The same feeling just doesn't come from selling a headshell for fifty dollars or a motor for seventy-five.
The last thing I want to mention is that I've worked damn hard and spent a lot of time and money for the back log of turntable parts I do own. I feel that hard work has earned me the right to use those parts as I best see fit. And for me, that will always be taking a rundown table to my shop table and restoring it to its former beauty. And for that, ladies and gentlemen...I need parts.
Now spinning...Hand of Kindness by Richard Thompson
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July 24, 2005
Cartridges. I don’t think any part of our hobby involves more passionate debate. What cartridge is good with a particular arm, table, preamp, or even style of music. There are many cartridge “primers” out there that talk about the basics you need to look out for. Anyone new to the hobby should start there with a bit of reading.
In the case of AR and Thorens tables, which I deal with almost exclusively, every buyer wants to know which cartridge is the best match. I’ve listened to literally dozens of cartridges on AR and Thorens tables, and I have developed a strong opinion of what I like. Unfortunately, as I have stated before, I am a big believer in system synergy, and what sounds great in MY listening room with MY components, and especially MY speakers, may not translate well to your system in your home. So, I always start out my recommendations with one caveat…my recommendations come from experience with my system and my ear. (And might I add, my budget!)
In the case of the AR XA/XB line up, I am completely smitten with Shure’s m97xe. It is a spectacular audio value, with street prices around 80 dollars. A well set up “97” on a well tuned XA will astonish most listeners. It is not so much that the sound approaches something like a Thorens TD-126 MKII, but rather, looking at the simplicity of the table, and the somewhat crudeness of the arm, it’s just amazing it can sound THAT good.
For the mid-eighties AR tables and the Thorens TD-145/160/166/165 series, I highly recommend the Ortofon OM-20. The OM-20 is one of the best values out there for under two hundred dollars in a moving magnet cartridge. If Shure had a cartridge somewhere between the m97xe and the V-15, this would likely be it. It doesn’t track as well as the V-15, but its sonics, to my ears are more seamless than the “97.” Another thing I love about the Ortofon is the OM-20 cartridge body also takes the OM-30 and OM-40 stylus, so the upgrade path is slightly cheaper.
Being a small business with no cartridge dealer status, I have found it difficult to “expand my cartridge horizons.” I have a lot of interest in the Denon DL Moving Coil series cartridges, but it has been cost prohibitive for me to just “give one a try” for the sake of recommending it to my customers.
Two cartridges I have tried I do not recommend. (Again, your results on your system may be different.) One is any cartridge in the Grado line up. Because of the unshielded nature of the ac motor in Thorens and AR tables, they have a strong tendancy to hum. I have had cases where I’ve mounted a Grado and had no problems, but that is about one in four. With those odds, I have had to generally steer clear of ordering them. That's a shame, because I love the "Grado sound."
The second cartridge I avoid recommending is the Audio Technica 440ml. I used one for several months on a TD-160, and was completely unimpressed with its sound. Very sterile , in my view. Others swear by it on their Thorens units, but my results were very different.
Now spinning...Dire Straits...Brothers in Arms
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July 22, 2005
What is the best value purchase I've made in my vinyl playback system? Hands down, it was my purchase of a Record Doctor II for 200 dollars from Audio Advisor about two years ago. That device has made the greatest bang for the buck sonic improvement in my system.
Though cleaning records is a chore, especially on a manual vac like the RD II, it is still worth the time and effort. I liken the use of a record vac to using a Stridex pad that so many of us used as adolescents. Remember the way the Stridex pad would turn black from all the grunge in your pores? Well, the record vac is doing that for your record grooves. Cleaner record grooves means the stylus can better extract musical information. Just as important, it lengthens the life of your stylus because it's not dragging around dirt like a piece of sandpaper. (That, of course, also lengthens the life of your records!)
For those who cannot afford a vac, either start saving your pennies or make your own. If you do a search at the Audio Asylum you will find many home-made vac systems.
Now spinning...Rolling Stones...Let It Bleed
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July 19, 2005
Things you learn about yourself as you organize your album collection for the first time in a few years...
1.As five (exact pressing) copies of Dark Side of the Moon attest, your memory of what you have in your lp collection is really beginning to fade.
2.If you were in this for the money, you wouldn't own quite so many lp covers with