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QPZIL posted:This looks like exactly what I'm looking for! Do you remember the model/price? Can the records stand up straight in the cubes? Yes, it's this one. And the records will stand up straight. http://www.target.com/p/Target-Home-6-Cube-Horizontal-Organizer/-/A-13217324
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Aug 30, 2011 16:06
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I picked up an SL1300 MkII at a yard sale. It looks great but no matter how I try, I cannot get it to play properly. I have the height adjustment all the way up, but if I try automatic playback it doesn't lift the needle high enough to reach the record. The side of the head just bumps against the record and it doesn't move from there. It also seems like the arm return spring is too strong. If I play a record manually, I have to set the head weight as high as it will go just to get it to stay on the record, and even then it doesn't work right. It'll play for a minute or two and then just get stuck playing back the same part of the record. The same record played back fine (except for pitch) on my Onkyo turntable, so I don't think that's the issue. I've read the user manual but I don't know what to look for. Anyone have any advice? It seems like having a weaker arm return spring would solve at least some of my issues, but I don't know how to change it. The spring tries to pull the arm back off the record as soon as you take it off the stand. andretti posted:helpful turntable nuggets Arse Porn Cage fucked around with this message at 04:08 on Sep 6, 2011 |
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Sep 6, 2011 03:31
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Try reading the service manual on Vinylengine. It should be helpful if you decide to try your hand at fixing it yourself. If nothing is obviously damaged, relubricating the moving parts should help tremendously. The difference between dried hardened grease and fresh may be all the difference in getting it working properly. http://www.vinylengine.com/library/technics/sl-1300.shtml Edit: If I owned one of these, I'd change out every electrolytic capacitor on the circuitboard. I'm anal like that and happen to have a soldering iron and can use it properly. These caps dry out over time and they make ones now that are better than the ones they had 30 years ago. I like the low impedance Panasonic FM series up to 50 volts and the FC series for 63-100 volts in audio projects. Paperweight fucked around with this message at 06:07 on Sep 7, 2011 |
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Sep 7, 2011 05:24
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Arse Porn Cage posted:I picked up an SL1300 MkII at a yard sale. It looks great but no matter how I try, I cannot get it to play properly. I have the height adjustment all the way up, but if I try automatic playback it doesn't lift the needle high enough to reach the record. The side of the head just bumps against the record and it doesn't move from there. It also seems like the arm return spring is too strong. Just visualizing it in my head, it seems like if the automatic playback isn't lifting the stylus high enough you need to move the height adjustment down (assuming you're talking about adjustment at the tonearm itself and not the lift mechanism). Think of it like a seesaw; the lower you get one side the higher the end with the stylus can get. Having the height adjustment all the way up is also probably messing with your tracking force, but you should get a gauge to confirm that. If once you set the force and anti-skate properly you still have playback issues, it could be a bigger problem.
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Sep 7, 2011 15:06
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Ok I'm going to level with you guys: I have heard from asking here before that getting a technics 1200 of some sort is a good idea, but I'm apprently loving retarded at figuring out which one to get. Please, somebody just tell me which ones are good and which ones are bad. Also, drat you technics for making like 500 versions of one drat model number!! ARghhh ps amazon links appreciated. Thank you so much, sorry for being an idiot/impatient
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Sep 11, 2011 22:40
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The SL-1200 Mk2 is the most basic, cheapest, and most plentiful model. Almost all the ones you find will be a MkII, the 1210 designation just means the black paint finish. The Mk 3,5 etc are more expensive and less common but contain features that are unimportant to anyone but a DJ. I remember hearing that some of the tweaks made them worse for regular use. The only other model that would appeal to a Hi-Fi enthusiast would be the Mk4 because they shipped with 78rpm, but these were a limited edition Japan only model.
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Sep 12, 2011 05:31
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Let's not forget that the SL-1200 VVVV Fell gently caress my rear end, it didn't. 3D Megadoodoo fucked around with this message at 21:02 on Sep 12, 2011 |
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Sep 12, 2011 07:07
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Jerry Cotton posted:Let's not forget that the SL-1200 (or 1210 if you like it black) is also a very good hi-fi player. Not very likely you'll come across one, though. I don't think the MkI came in black.
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Sep 12, 2011 15:50
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SupahDren posted:Ok I'm going to level with you guys: I have heard from asking here before that getting a technics 1200 of some sort is a good idea, but I'm apprently loving retarded at figuring out which one to get. Please, somebody just tell me which ones are good and which ones are bad. Also, drat you technics for making like 500 versions of one drat model number!! ARghhh All 1200s from the mk2 onward are based on the same fundamental technology and construction. The mk1 is an older deck and doesn't have quartz lock so doesn't have quite the speed stability of the mk2 onward. Having said that it's still a good option if you can find one. They're less common and have a different arm, but should be cheaper than a mk2. Any 1200 mk2-5 will give you much the same level of sonic performance. I think the mk5 had better tonearm wiring, but it's pretty academic really. There's also the gold plated one if you like the 'bling' but they're more expensive for no performance gain. IMO, more important than the specific version is to check that the deck you buy is in decent condition (especially the tonearm bearings as these are the most fragile element, although the Technics bearings do seem more rugged than most). Not an issue if you buy new, of course. If you're confused about the 1200, I won't go into all the other worthy Technics decks you might find secondhand - the 1500mk2, or the 1600, or the SL-Q series, or the SL-10, or the SP-25 or....  Ah, what the hell, here: http://vintagetechnics.co.uk/turntables.htm
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Sep 13, 2011 19:09
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So, what do you think about this amazing new record cleaning technology? Sounds ludicrous, looks like a lot of work, reportedly works fine.
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Sep 20, 2011 09:00
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Hippie Hedgehog posted:So, what do you think about this amazing new record cleaning technology? It's not new, it's old. I've tried it, and unless you've perfected your technique you're going to ruin the record. For the most part it works okay, but wet cleaning works just as well, takes far less effort and doesn't ruin your records if you gently caress up.
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Sep 20, 2011 15:21
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I use a sand blaster.
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Sep 20, 2011 17:11
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HKR posted:It's not new, it's old. I've tried it, and unless you've perfected your technique you're going to ruin the record. For the most part it works okay, but wet cleaning works just as well, takes far less effort and doesn't ruin your records if you gently caress up. I would be willing to bet it doesn't work as well as a good wet cleaning (with a surfactant) + vacuum. I doubt the thick glue can really seep down into the finest grooves. For the most part, the glue just removes dust you can see (I've tried it too).
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Sep 20, 2011 20:34
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I'm seriously thinking about trying my hand at resurfacing LPs to try to lower the noise floor from surface scratches. My neighbor has a bunch of junk LPs to test it out on. I have various 1-8k grit wet sandpapers and several polishes to try. Follow that up with a cleaning and vacuuming cycle then see what happens. It couldn't hurt to experiment on something that's going to be tossed anyway. Edit: I've heard they have machines that do this. I'm curious to know how they do it or the method used for removing surface scratches. Edit: Maybe I am insane. Found an old patent for a shellack 78 resurfacing machine. Otherwise nothing but CD resurfacing machines found on Google. Paperweight fucked around with this message at 21:13 on Sep 24, 2011 |
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Sep 24, 2011 02:08
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Paperweight posted:I'm seriously thinking about trying my hand at resurfacing LPs to try to lower the noise floor from surface scratches. My neighbor has a bunch of junk LPs to test it out on. I have various 1-8k grit wet sandpapers and several polishes to try. Follow that up with a cleaning and vacuuming cycle then see what happens. It couldn't hurt to experiment on something that's going to be tossed anyway. That's not how records work. You'd pretty much just destroy the record and kill any stylus placed on it.
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Sep 24, 2011 02:11
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Paperweight posted:Edit: I've heard they have machines that do this. I'm curious to know how they do it or the method used for removing surface scratches. I would like to know where you heard this from.
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Sep 24, 2011 14:28
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Paperweight posted:I'm seriously thinking about trying my hand at resurfacing LPs to try to lower the noise floor from surface scratches. My neighbor has a bunch of junk LPs to test it out on. I have various 1-8k grit wet sandpapers and several polishes to try. Follow that up with a cleaning and vacuuming cycle then see what happens. It couldn't hurt to experiment on something that's going to be tossed anyway. Resurfacing would apply for blank shellacs, on records that haven't been cut yet to get their surface as close to true flat as possible so the cutterhead on a recording unit wouldn't bounce or move in the z axis. If you sanded a commercial record you would start to eat away at the highest areas of the left and right wall of the grooves, losing sound, as well as pushing TONS of abrasive micro-grit straight into the grooves. To get rid of noise there are plenty of machines that vacuum the grooves out, or even run a string with cleaning solution on them through the duration of the record to get grit out. Reckless Records of London I know use the stringy-machines, they are pretty weird and look like witchcraft. The reason scratches affect play is not because they are on the flat surface of the record, its because they cut through the grooves which interrupt smooth playback and make the needle jump. At least, I think. You can take a commercial record and scratch the flat, unrecorded parts all you want because the needle never travels over those areas. You can't "undo" a real scratch. I started writing up an analogy like a groove is an irrigation canal but then I realized I sound weird. Not an Anthem fucked around with this message at 22:02 on Sep 25, 2011 |
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Sep 25, 2011 21:59
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Yeah I built a record cleaning machine that rides the vacuum arm across the record on a string. It's pretty neat. It's a copy of a Keith Monks/Loricraft design and it works really well. I give up. I won't try it. I realise it was a stupid idea. Edit: The string is the only thing that touches the record and can be advanced so you have a new section of string for every pass over the record surface. Beats cleaning a suction nozzle on a VPI type machine. Paperweight fucked around with this message at 05:29 on Sep 26, 2011 |
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Sep 26, 2011 04:43
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Not an Anthem posted:To get rid of noise there are plenty of machines that vacuum the grooves out, or even run a string with cleaning solution on them through the duration of the record to get grit out.
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Sep 26, 2011 04:49
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Ghumbs posted:The string actually isn't there to get the grit out of the grooves, it's there to keep a tiny bit of distance between the suction nozzle and the record. The more you know. (tm) I'd never seen the string vacuum machines, let alone any record store cleaning their vinyl.
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Sep 26, 2011 14:08
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Well to be fair, grinding the record down might reduce surface noise by making the surface completely smooth and devoid of music.
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Sep 26, 2011 22:12
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You could make your own Panasonic (or Pan Sonic) album by sanding any LP.
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Sep 26, 2011 22:24
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Checking a technics 1200 this week from craigslist. I'm not super-knowledgable about turntables, so is there anything in particular I should be looking out for? Or just general tips in looking over a turntable?
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Sep 28, 2011 06:05
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In my experience, if it has the original dustcover attached it much more likely to be in nice shape. Just test out all the buttons, make sure it's spinning at the correct speeds, listen to it if you can.
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Sep 28, 2011 06:45
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Echo_ posted:Checking a technics 1200 this week from craigslist. I'm not super-knowledgable about turntables, so is there anything in particular I should be looking out for? Or just general tips in looking over a turntable? Check the tonearm bearings - balance the arm so it floats above the record and make sure it moves freely and easily in all directions, and across its entire range. Any abrupt sticking or excessive friction means the bearings are notched or damaged and will need replacing. Also, it is advisable not to use the stylus it comes with as you won't know its history and it could damage your records. Buy a new stylus, or even a complete new cartridge (the Audio Technica AT95E is cheap and decent enough to start with). Other than that Technics 1200s are pretty bomb proof. Just make sure the platter sits true and turns at the right speed, consistently and quietly, without any vertical up & down motion at the edges, checking the strobe for any wobbles (there should be none, the Technics are among the most speed stable decks around).
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Sep 28, 2011 22:39
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Gram-O-Phone posted:Check the tonearm bearings - balance the arm so it floats above the record and make sure it moves freely and easily in all directions, and across its entire range. Any abrupt sticking or excessive friction means the bearings are notched or damaged and will need replacing.
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Sep 28, 2011 23:21
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Someone posted this on Vinyl Engine so in case someone here doesn't go there, here's an interesting video about a new, miraculous development in sound reproduction: http://www.archive.org/details/LivingSt1958
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Sep 30, 2011 00:13
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Stuntman posted:Does this apply to the 1800 too? Picked up one for pretty cheap and I've heard they're pretty much the exact same table with controls in a different location. I guess you mean the 1800mk2 (the 1800 was a different, earlier beast). If so, then yes, they are fundamentally very similar turntables (in fact, the tonearm test holds true for pretty much any turntable with a pivoted (as opposed to linear-tracking) tonearm). The earlier Technics direct drives such as the 1800 mk 1 are servo controlled as opposed to quartz lock. This means they don't hold speed as firmly and are prone to drifting. This causes the strobe to creep, which always irritates the hell out of me (even though it is pretty much inaudible and if there was no strobe it is highly doubtful anyone would notice). It is normal though, as long as there are no massive, and noticeable, deviations or hiccups.
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Sep 30, 2011 14:00
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Is there such a thing as a high fidelity ground loop breaker? I'm working on a headphone amplifier which needs to maintain very good SNR (for obvious reasons), and the potential for ground loops seems high, so if it's possible to find one that doesn't distort significantly it seems like a good thing... It should give the advantages of balanced transmission to unbalanced equipment, assuming the internal ground is also insulated, right?
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Oct 2, 2011 21:13
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What are you building? I completed an AMB Labs M3 headphone amp and Sigma 11 power supply this past spring with no problems. It is three channels including left, right and an active ground. Balanced is four channels with a ground for each side and if I remember right gives a 3dB boost to the signal to noise ratio if the signal source is also balanced. I don't think you're going to get that from an unbalanced source and headphone amp. If this is a community project like the M3, the best place to find info is on their forums. AMB answers any questions about his projects and products on his forums. I had to repair the power supply after I unplugged it and plugged it back in while powered up. The capacitor rail in the amp acted like a short and fried the two .47 ohm resistors in front of the pass mosfets. If I hadn't searched for this on the forums, I would have never figured it out. Edit: Capacitors most definately. They dry out or leak over time. Most likely your equipment is solid state so you have a wide variety of choices to replace them from. They'll end up being a lot smaller than the originals and won't break the bank to replace them all. Paperweight fucked around with this message at 17:15 on Oct 6, 2011 |
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Oct 4, 2011 05:16
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I've got an old 70s Harman Kardon 2-channel receiver that has an interesting quirk. When I first power it up and try to play some music, it will cut in and out at a very regular interval, with an accompanying popping noise. As it "warms up", this off-and-on cycle slows down until it eventually just stays on and operates normally. I used to not have a problem with this because it would only take about 30 seconds to "warm up" and then I could operate normally. However, its been getting worse, taking up to 5 minutes or longer to finally work. Sometimes it won't resolve itself at all anymore unless I power it off and try again to start it up. What does this problem seem like to you guys? Bad capacitors? Grounding problem? Failing solder joint? I'm not uncomfortable with taking the thing apart, but I'm not really sure where to start.
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Oct 6, 2011 00:33
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plester1 posted:I used to not have a problem with this because it would only take about 30 seconds to "warm up" and then I could operate normally. However, its been getting worse, taking up to 5 minutes or longer to finally work. Sometimes it won't resolve itself at all anymore unless I power it off and try again to start it up. If a problem goes away after warming up, it's usually a cracked solder joint. They are caused in old equipment by repeated warming up and cooling down. As the components warm up, the solder expands and the cracks are "mended" until you turn the equipment off again. This usually happens around the high-current components. In an amplifier, I guess this would be either at the big amplifier transistors, or one of the big capacitors in the power supply. As usual, exercise great caution when measuring or re-soldering stuff in the power supply, those caps can kill you if you don't discharge them before touching the leads.
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Oct 7, 2011 09:25
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So like any good recently-employed hipster I'm looking to get into vinyl for the first time since my dad decided that his old Vector Research TT belonged in storage (but he's keeping it, regardless). Since you can't get an SL-1200 for less than $700 these days, I've been looking at the goon-standby Pro-Ject Debut III. In the last 26 pages of this thread, nobody's made any mention of the Music Hall MMF-2.2, which costs about $100 more than the Debut III, comes in fewer colors, shares several interchangeable parts, and is made in the exact same factory as the Pro-Ject. I've seen a lot of reviews comparing one of the two to the Rega RP1- and the consensus seems to be that both are better than the Rega- but beyond that, everything sort of dissolves into hazy audiophile-speak. Despite hours of internet scouring, it seems like nobody's done a direct comparison between the two sister TT's. Does anybody have any experience with the MMF-2.2? What exactly sets it apart from the Pro-Ject? Is it better in some quantifiable way?
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Oct 8, 2011 19:33
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I'm having a strange problem. I have a Sansui 221 receiver, speakers are Bose 501s and the turntable is vintage Pioneer. FYI it works great on FM stereo audio, as well as with my computer or MP3 player plugged into it. The problem I'm having is that, from the turntable, the right channel is really really quiet with a noticeable hum. Here's where it gets really weird though: (I'm doing this with the balance all the way to the right) If I turn down the volume and then remove the ground wire and put it back, the volume in the right channel returns... then starts to slowly fade until it is barely audible and the hum is noticeable again. I can do this all day with the same results.... ...even stranger... I just tried it without the ground connected at all and I don't have problems except for a lot more "fuzz" sound that is coming out of both speakers - not intolerable, but I feel like this isn't the right solution....
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Oct 9, 2011 20:40
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So my Oma just gave me some old Sansui gear and a ton of old vinyls. She claims to have bought it(the Sansui gear) around 1975, it seems to be in really good condition! A receiver(S-X1070) and turntable(P-L35). The speakers (S-715) which i think are the coolest sound great and look almost as good. Ill post pictures later when i have figured out where i can put them in my room. Should i be as excited as i am? The stylus on the turntable is bust, how would i know what stylus to replace it with?
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Oct 12, 2011 08:51
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SassyCommander posted:The stylus on the turntable is bust, how would i know what stylus to replace it with? What's the cartridge model number, or if you can't find it, the turntable model number?
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Oct 12, 2011 10:31
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He said its a p-l35, they're p-mount carts, googling it looks like people like the orotofon omp5e or omp10. Linear trackers look so fun, congrats Sassy! Disciple of Pain, has this always been a problem or is it recent? It could be the preamp in the receiver or the grounding of the tonearm? Electric Bugaloo what is your max price for a turntable? MMF 2.2 does not have a 100$ bump in enjoyment, and that 100$ can go towards another table or other audio equipment. There are plenty of great turntables just over the Project Debut/Rega intro offerings pricepoint too. Not an Anthem fucked around with this message at 17:22 on Oct 12, 2011 |
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Oct 12, 2011 17:17
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Not an Anthem posted:He said its a p-l35, they're p-mount carts, googling it looks like people like the orotofon omp5e or omp10. Linear trackers look so fun, congrats Sassy! I found a dealer near by me and looked at the prices for the cartridges you mentioned, they are more expensive than i thought they would be. The OM5E is $85(AUD) and the OMP10 is $116(AUD). Then i looked a bit further at the pricier stylus'/cartridges and one was $4000, ha! I'll probably buy the OMP10, thanks for the help! Should i know what linear tracking is?
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Oct 13, 2011 00:10
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SassyCommander posted:Should i know what linear tracking is? It just means that the pickup mechanism travels along a rail in a straight line parallel to the record, rather than in an arc from a fixed pivot like a conventional tonearm.
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Oct 13, 2011 05:12
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I found this ad on my local clist, I was wondering if anyone here knows anything about these parts (except the dvd player haha): http://chicago.craigslist.org/chc/ele/2645240047.html Sony acoustic control stereo integrated amplifier, model #TA-AX285 Sony Quartz lock digital synthesizer tuner, model #ST-JX285 Sony automatic stereo turntable, model #PS-LX285 Pair of Sony floor speakers, SS-U420 I wasn't able to find a ton online, except that maybe these guys connect together in some proprietary/direct/unusual way? Anywho any insight from people who know way more about turntables/audio equipment would be appreciated
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Oct 13, 2011 19:20
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