Distributed By — Chrysalis Records Ltd. Phonographic Copyright p — Chrysalis Records Ltd. Copyright c — Chrysalis Records Ltd. Engineered At — Ely Cathedral. Jeczalik for writing all tracks see global credits while the center labels are more specific for each individual track see Extra Artist credits. There are three nearly-identical editions of this LP: 1. Hello everyone and happy new year … Well, I am still using a homemade method for more than 45 years: Liquid soap for babies and I get a surprising cleaning.
It is also true that before placing a record on the turntable, I take the precaution of cleaning it with a silk brush for babies, so that my records never get to deteriorate as much as you see in the article. Also, alternate a normal capsule for less good discs and another supereliptic for select discs.
I have been using Revirginizer. You massage it into the record and let it cure then peel it off. Great product developed by a chemist record collector here in Australia. Which will do about 30 12 inch sides. Great results. Removes deep in the grooves and is anti static.
Greetings and happy new year to VC World from Minnesota. I have been testing many methods over the years from spin clean to ultrasonic to own solutions. There seems to be a lot of comments saying how much work it would be to play before and after and being able to tell the difference is a lot of work…. For those that might doubt the sound differences and quality….. Even different types of water made difference before and after testing and different amounts per quart or pint jars of tergitol can make a difference.
Thank marcuslattimer comcast. Tap water in Sydney is reasonably soft and quite good enough. I have recently upgraded to using one of those flat paint applicators with the fine and soft bristles: Works a treat!!
And cheaper then every other solution proposed! From my experience this RCM is the most practical. In my opinion the cleaning results are equivalent in regard to vacuum machines. But the big difference is the noiseless operation. You can clean a disc while your wife is sleeping and stay alive after that.
I tested several cleaning fluids. Sometimes I prefer to repeat the first step for very dirty discs. The Loricraft machines are a manual version of the Keith Monks machine used by the BBC in the golden age of the vinyl.
I used also an ultrasonic machine. The results were somewhat surprising. After the cleaning the number of clicks detected by the software have increased!!. However, when listening, the audible clicks have diminished. Is the ultrasonic cleaning producing non-audible damages? As I do not have a microscope I cannot say. Meanwhile I stop using the ultrasonic method. I was pleased to see this article, but there are two major flaws in the testing methodology: 1 no play-grading to assess sonic improvements; and 2 lack of repetition to see whether cleaning solutions are harmful to the music itself.
An initial cleaning of a very dirty record does not provide the information vinyl enthusiasts most need about cleaning solutions. Greetings all, I have been into vinyl off and on for forty years. I currently use a tergitol hand clean, ultrasonic rinse, vacuum and hand finish. I am having excellent results. Most of what I am cleaning now are my worst case albums. I would like to offer it as a service in the Edmonton area.
I have a Facebook page I have posted a couple before and after of some thift store records. I put the record on my old player, give it a spin, apply the solution, use a soft brush Okki Nokki to spread it evenly, let it rest for a couple of minutes and then remove it gently with a microfibre cloth.
This sucks off most of the liquid and the dirt particles. So far, there has only been one instance where this did not work. Perhaps someone spilled glue over that record, as it was impossible to remove. Then a distilled water rinse and vacuum repeat.
Most of the commercially available fluids work pretty well with a vacuum system. It consists of Isopropyl alcohol distilled water and about. I always follow with a distilled water rinse, a gentle lint free cloth wipe and an air dry. I use a solution of Tergitol, Hepastat, alcohol, and distilled water that I spread and gently scrub in with a microfiber brush. I then vacuum it off with an inexpensive attachment to my shop vac. I rinse and vacuum twice with distilled water. It even improves the sound quality of some passages.
I do this on a small rotating platform using a label protector. If you are cleaning a lot of LPs, the cost is minimal. All my LPs are pristine. It does a great job of removing debris and static. Seem to be pretty similar but the V. I am pretty certain the brushes inside are made with goat hair. Non-abrasive of course. Then after researching online, I make a home brew for my solution.
The key here is not to use too much drying agent, as it will leave a residue that is hard to get off if you do. Without looking under a microscope or anything like that, they come out super clean and never play back with any static at all.
The other thing is I clean my stylus after every record is played. Of course, even brand new records, come filthy with white specs of dust or whatever. So every record is cleaned before going on my turntable and I am then able to achieve an awesome listening experience with no background noise at all, as long as the records do not have a manufacture defect. Troy no, 30 bucks a bottle.
Either as a spray solution with a micro fibre cloth. And later cleaning with distilled water. Or the same as a bath using a disco anti stat device. And later a disc vacuum device. Will that be your next test? With regard to wood glue and the difficulty in application due to undue viscosity, it might help to experiment with diluting glue with distilled water and applying it with a soft brush. The effect should be the same in terms of getting down in the grooves and lifting out particles.
The trick might be finding the dilution sweet spot where it peels off easily. Once the film gets too thin it will probably be more prone to cracking. As regards cost per record, buying it by the gallon would be more economical than by the smaller applicator bottle size. If ya know what I mean. I appreciate the blog article but what is dumbfounded to see that you did not mention protecting the labels. I realized that these were probably not prized records but I use the glass handling suction cups from the Home Improvement store and stick one on each side to completely seal off the label from any liquid.
One Sided Love. Track Listing - Disc 2. Dirty, Dirty [Alternate Version]. Scratchy [Takes ]. Dear Song Singer. Downtown [Unedited Long Version]. Susie's Song. Radio Spot. Can't Help Loving That Girl. Don't Go. Dance, Dance, Dance Neil Young.
Look at All the Things Danny Whitten. Beggars Day Nils Lofgren. Dirty, Dirty Danny Whitten. Nobody Nils Lofgren. I'll Get By Danny Whitten. Crow Jane Lady Jack Nitzsche. Hit and Run John Blanton. Try George Whitsell. Or, if you are one who buys vinyl because you believe it sounds better, keep doing it and let your opinion be known.
At some point, companies will respond by offering better digital products intended to compete with the vinyl market. They have the technology to do this today and just need a nudge from us to do so. Hey, thanks for your kind words and comment.
Interesting stuff. I think, in many ways, this will make a bigger difference to audio quality than any preference for one format over another. Out of interesting, which current playback systems would you say achieve the current digital standards? Totally on board with consumers voting with their feet. Some might argue it already has. Agree Marc. It feels odd to complete a mix that sits 16 dB below what might be considered full scale. But if I submit a clean dB mix, Spotify will simply increase loudness by a few dB to match.
With these new standards in place, the loudness wars are effectively over. However, I can mention a few names on the production side. DMG EQuilibrium, for example, implements filters that were impossible to achieve as products a few years ago due to computer limitations. Artists are recording at deeper bit depths and faster sampling rates, which enables digital processing with very low artifacts. All good. I think a big challenge moving forward is the room itself, whether the living room for playback or the studio for recording.
While this sounds like a digression from your topic, it all adds up, on the way from the musical performance to the final product. Great player, great room, great mics, great engineers, great mix and master, great delivery method. If all these ducks are not in a row, then the potential advantages of digital over vinyl becomes much less apparent.
This is a great summary.nonsense sounds () Most recent Oldest Shortest duration Longest duration Any Length 2 sec 2 sec - 5 sec 5 sec - 20 sec 20 sec - 1 min > 1 min All libraries make this noise Rebecca Parnell BLASTWAVE FX Apple Hill Studios.