Have you ever noticed the total absence of audio equipment from the luxury houses presented in glossy architecture and interior design magazines? It makes the inhabitants of such property come across as rather uncultured.
In fact, not only is an audiophile grade sound system a minimum requirement for the home of anyone affluent enough to hire an interior designer, but it is important to choose a designer who can appreciate the aura of sophistication and intellect projected by a beautifully restored vintage disk recording lathe, set in a handcrafted custom cabinet, in a conspicuous corner of the living room!
One hundred years ago, on October 19, 1919, RCA was founded. Among countless other things, they made some amazing ribbon microphones, several disk recording lathes, a few different cutter heads and some of the best sounding vacuum tubes, many of which are still in regular use to this day.
We recently had the pleasure of having Symatic over, from Bristol, UK, for a week of training on how to cut (and how not to cut) records.
Symatic runs Cut & Paste Records, a record label attracting some serious attention among skratchers, with high quality releases of skipless skratch samples, lock-groove tones, beats, and relevant music.
All Hardinge HLV and HLV-H variants feature a continuously variable speed drive to the spindle. It starts with a 3-phase, two speed squirrel cage induction motor, rated at 500 rpm and 1500 rpm nominal (less in practice, due to slip) at 50 Hz. This would be 600 rpm and 1800 rpm at 60 Hz.
Finding a Hardinge HLV can be challenging enough, especially if, like us, you happen to be located in Europe. At 1400 lbs, shipping and handling gets complicated. In a previous post, we described the joys of forklifting the beast onto a platform trolley (with suitable structural support added to the building), to get it to the workshop, though narrow corridors and doorways. Once there, it had to be lifted off the trolley and placed directly on the floor. With no chance of being able to drive the period-correct forklift truck into the shop, we had to get creative. A hydraulic engine hoist along with slings and tacks got the job done neatly. With the lathe on the floor and properly leveled, it was time to check it over, replacing, adjusting, lubricating and cleaning parts along the way!
Tasos of Epos Laboratory (a Grado retipping specialist) from the beautiful south of Greece is the lucky owner of this 1950's Rek-O-Kut disk recording system.
It consists of a Rek-O-Kut Model V 16" turntable, which he found in the USA (where else?) as a non-runner. The motor was in bad shape and refused to run at all. Even if it would run, it was expecting to be fed on a regular diet of 110 VAC/60 Hz!
The best finds always pop up in the summer, when everyone else is on holidays! Still, they are not always nearby or easy to deal with. When this 1954 Hardinge HLV precision toolroom lathe appeared on the horizon, it took all of 5 minutes to decide to go for it and one week of frantic international phone calls to organize everything. An engineer was sent to check it over, local transportation to an industrial machinery crating facility, international transportation, more local transportation and another week later it was finally in our yard!
A customer recently imported a vintage Presto 75A disk recording lathe from the USA, with a view to cutting records in Europe.
He quickly discovered, like many people before him, that it was spinning a bit slower than it should, when operated from 50 Hz mains, via a simple step-down transformer. As with most vintage record cutting machines, the platter is powered by a synchronous AC motor, which "locks" to the line frequency.
We have done 50 Hz conversions (and even some 60 Hz ones!) on many different lathes and turntables, using all of the possible methods of doing so: New rubber rollers, new capstans, new belt pulleys and even electronic frequency conversion (Agnew Analog Type 191 frequency converter) for professional disk mastering systems.
This week, we will have a look at the Presto 75A, a high quality machine, dating from the 1930's, which was even used by the BBC as a broadcasting turntable!
Depicted here, are two external rotor, polyphase, electronic commutation motors, fitted to custom mounting plates, ready to be installed in disk recording systems, to control the leadscrew.
These are very high precision motors, with features allowing accurate, closed-loop control of speed over a wide range, as well as positioning applications. A combination of hall sensor arrays and high resolution encoders makes them extremely versatile, compatible with a wide range of lathes.
With powder coated end-bells in Agnew-cream-white and our fancy engraved stainless steel product plates riveted on, with type designation and serial number stamped by hand as a seal of approval following our extensive testing and quality control procedures, our transformers now look as good as they are!
As with the vast majority of disk recording lathes of US manufacture, this 1956 Rek-O-Kut Model V was configured to spin at the correct speeds when powered by 50 Hz mains. One of our customers imported it from the USA and wanted to run it at 230 VAC/50 Hz European mains power. We have encountered this situation countless times by now. We recently also described how we converted a Presto MRC16 to 50 Hz operation by making new rubber rollers to different dimensions, while some years back, we developed the first version of Type 191, a stable electronic frequency converter for professional disk mastering lathes, which are often impractical or costly to convert by other means (Lyrec direct-drive motor on Neumann lathes, belt driven Scully lathes, gear-driven Fairchild systems, etc).
We are very excited to present our new product plates, featuring our new logo, engraved on stainless steel plates!
The new logo was designed by Sabine Agnew and the choice of stainless steel as a material for the plates acts as a further statement of our commitment to exceptional quality, to accompany our products throughout their extremely long service life with no deterioration.
This item is the latest addition to our collection of experimental transducer prototypes. What you see is a multi-layer miniature winding on a custom machined former, entirely made in-house at the Agnew Analog Research & Development Laboratory.
Over the past few years, we have restored a number of SME 3009 and 3012 tonearms, covering most of their variants made over the impressively long production life span of this model range.
This outstanding tonearm was first introduced in 1959, setting a standard for high performance tonearm design which is still hard to beat, 60 years later.
We have used our restored SME tonearms on a large number of reference reproduction systems, for our own use and for our customers, such as the Thorens TD160 project which was presented here last February. These systems are excellent for Quality Control in vinyl record manufacturing, to ensure that any defects are caught early.
They are of course also capable of offering an intensely enjoyable, accurate listening experience, coupled with an accurate cartridge.