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Thread: Marco's cleaning process with new vinyl, using an RCM

  1. #1
    Join Date: Jan 2008

    Location: Wrexham, North Wales, UK

    Posts: 110,012
    I'm AudioAl'sArbiterForPISHANTO.

    Default Marco's cleaning process with new vinyl, using an RCM

    Quote Originally Posted by YNWaN View Post
    What is true is that the dryer the atmosphere is the more likely static is - not the other way round.
    Indeed, and of course it's important to remember that, because of that, the levels of static and dust experienced will vary depending upon the environment one inhabits

    For reference, here's the process I use for cleaning new records (bearing in mind that I use a VPI RCM):

    1) Ensure that one's hands, together with the platter mat of the VPI machine, are spotlessly clean before handling records, and also for placing the first record on the platter for cleaning. Fit the nozzle, used in the drying process, reserved specifically for cleaning new records, and prepare the VPI brush for use, also reserved solely for the same purpose. Ensure that both are spotlessly clean before beginning the cleaning process.

    Yes, to avoid the contamination of new records, I have separate brushes and nozzles for cleaning both new and used vinyl!

    2) Switch on RCM, and whilst the platter is in motion, slowly 'drizzle' the cleaning solution (which I make up myself), in small amounts, onto the surface of the record, ensuring even coverage.

    3) Switch off RCM, and in a circular motion, with the pristine clean brush, reserved solely for cleaning new records, gently 'work' the liquid into the record grooves, ensuring that the entire surface of the record is coated in the cleaning solution. Then allow it to penetrate into the grooves for about 10 seconds and loosen any dirt or mould release agent, located deep within the grooves, which may remain as a by-product of the vinyl manufacturing process.

    4) Switch RCM back on, and whilst holding the brush vertically over the record surface, press it gently into the record grooves, as the platter is in motion, and keep it there for a two or three revolutions, allowing the brush to lift up any 'crud' that shouldn't be there, and allow it to accumulate underneath the bristles.

    5) Lift the brush off of the record, and whilst the platter is still in motion, place the drying nozzle over the accumulated cleaning solution, containing the removed debris (invisible to the naked eye), switch on the vacuum cleaner and proceed to 'hoover up' all of the solution until the record is bone dry and sparkling clean. Leave the record on the platter just for a few seconds to allow it to 'air dry' before turning it over and repeating the whole cleaning process for 'Side B'.

    6) Once done, [this is where the Zerostat gun comes in], there is usually a small build of static, as a result of the felt strips, fitted to the drying nozzle, passing over the record surface and making light contact with it, during the drying process. Therefore, simply 'zap' the record surface once with the Zerostat gun, thereby discharging it from any static, lift the record off of the platter and pop it into an anti-static record sleeve.

    Job done! The record is now pristine clean, totally static-free, and ready for use. It will also stay that way for a very long time, unless mishandled

    The same process is used for cleaning second-hand records (using the dedicated brush and nozzle for that purpose), although depending on how dirty the records are, this could affect steps 3) and 4), where more effort may be required to loosen off any 'crud', in order that it is removed thoroughly.

    Marco.
    Main System

    Turntable: Heavily-modified Technics SL-1210MK5G [Mike New bearing/ETP platter/Paul Hynes SR7 PSU & reg mods]. Funk Firm APM Achromat/Nagaoka GL-601 Crystal Record Weight/Isonoe feet & boots/Ortofon RS-212D/Denon DL-103GL in Denon PCL-300 headshell with Funk Firm Houdini/Kondo SL-115 pure-silver cartridge leads.

    Paul Hynes MC head amp/SR5 PSU. Also modded Lentek head amp/Denon AU-310 SUT.

    Other Cartridges: Nippon Columbia (NOS 1987) Denon DL-103. USA-made Shure SC35C with NOS stylus. Goldring G820 with NOS stylus. Shure M55E with NOS stylus.

    CD Player: Audiocom-modified Sony X-777ES/DAS-R1 DAC.

    Tape Deck: Tandberg TCD 310, fully restored and recalibrated as new, by RDE, plus upgraded with heads from the TCD-420a. Also with matching TM4 Norway microphones.

    Preamps: Heavily-modified Croft Charisma-X. LDR Stereo Coffee. Power Amps: Tube Distinctions Copper Amp fitted with Tungsol KT-150s. Quad 306.

    Cables & Sundries: Mark Grant HDX1 interconnects and digital coaxial cable, plus Mark Grant 6mm UP-LCOFC Van Damme speaker cable. MCRU 'Ultimate' mains leads. Lehmann clone headphone amp with vintage Koss PRO-4AAA headphones.

    Tube Distinctions digital noise filter. VPI HW16.5 record cleaning machine.

    Speakers: Tannoy 15MGs in Lockwood cabinets with modified crossovers. 1967 Celestion Ditton 15.


    Protect your HUMAN RIGHTS and REFUSE ANY *MANDATORY* VACCINE FOR COVID-19!

    Also **SAY NO** to unjust 'vaccine passports' or certificates, which are totally incompatible with a FREE society!!!


  2. #2
    Join Date: Jan 2008

    Location: Wrexham, North Wales, UK

    Posts: 110,012
    I'm AudioAl'sArbiterForPISHANTO.

    Default

    Thought I'd move this to a separate thread of its own, should anyone wish to refer to it. Cheers!

    Marco.
    Main System

    Turntable: Heavily-modified Technics SL-1210MK5G [Mike New bearing/ETP platter/Paul Hynes SR7 PSU & reg mods]. Funk Firm APM Achromat/Nagaoka GL-601 Crystal Record Weight/Isonoe feet & boots/Ortofon RS-212D/Denon DL-103GL in Denon PCL-300 headshell with Funk Firm Houdini/Kondo SL-115 pure-silver cartridge leads.

    Paul Hynes MC head amp/SR5 PSU. Also modded Lentek head amp/Denon AU-310 SUT.

    Other Cartridges: Nippon Columbia (NOS 1987) Denon DL-103. USA-made Shure SC35C with NOS stylus. Goldring G820 with NOS stylus. Shure M55E with NOS stylus.

    CD Player: Audiocom-modified Sony X-777ES/DAS-R1 DAC.

    Tape Deck: Tandberg TCD 310, fully restored and recalibrated as new, by RDE, plus upgraded with heads from the TCD-420a. Also with matching TM4 Norway microphones.

    Preamps: Heavily-modified Croft Charisma-X. LDR Stereo Coffee. Power Amps: Tube Distinctions Copper Amp fitted with Tungsol KT-150s. Quad 306.

    Cables & Sundries: Mark Grant HDX1 interconnects and digital coaxial cable, plus Mark Grant 6mm UP-LCOFC Van Damme speaker cable. MCRU 'Ultimate' mains leads. Lehmann clone headphone amp with vintage Koss PRO-4AAA headphones.

    Tube Distinctions digital noise filter. VPI HW16.5 record cleaning machine.

    Speakers: Tannoy 15MGs in Lockwood cabinets with modified crossovers. 1967 Celestion Ditton 15.


    Protect your HUMAN RIGHTS and REFUSE ANY *MANDATORY* VACCINE FOR COVID-19!

    Also **SAY NO** to unjust 'vaccine passports' or certificates, which are totally incompatible with a FREE society!!!


  3. #3
    Join Date: Mar 2008

    Location: Galashiels

    Posts: 13,669
    I'm inthescottishmafia.

    Default

    What do you use to make up your cleaning solution Marco?
    “Music has always been a matter of energy to me, a question of fuel. Sentimental people call it inspiration, but what they really mean is fuel. I have always needed fuel. I am a serious consumer. On some nights I still believe that a car with the gas needle on empty can run about fifty more miles if you have the right music very loud on the radio”

    Hunter S Thompson

  4. #4
    Join Date: Jan 2008

    Location: Wrexham, North Wales, UK

    Posts: 110,012
    I'm AudioAl'sArbiterForPISHANTO.

    Default

    Hi Ali,

    75% de-ionised water, 20% isopropyl alcohol and 5% own-brand supermarket washing-up liquid (such as Sainsbury's Basic range). I've found that works very well, and I can make up litres of the stuff for next to nothing!

    However, I've ordered some of this to try with my second-hand records, which I think will be very good: http://www.ebay.co.uk/itm/Super-Enzy...item19c8d406ea



    Marco.
    Main System

    Turntable: Heavily-modified Technics SL-1210MK5G [Mike New bearing/ETP platter/Paul Hynes SR7 PSU & reg mods]. Funk Firm APM Achromat/Nagaoka GL-601 Crystal Record Weight/Isonoe feet & boots/Ortofon RS-212D/Denon DL-103GL in Denon PCL-300 headshell with Funk Firm Houdini/Kondo SL-115 pure-silver cartridge leads.

    Paul Hynes MC head amp/SR5 PSU. Also modded Lentek head amp/Denon AU-310 SUT.

    Other Cartridges: Nippon Columbia (NOS 1987) Denon DL-103. USA-made Shure SC35C with NOS stylus. Goldring G820 with NOS stylus. Shure M55E with NOS stylus.

    CD Player: Audiocom-modified Sony X-777ES/DAS-R1 DAC.

    Tape Deck: Tandberg TCD 310, fully restored and recalibrated as new, by RDE, plus upgraded with heads from the TCD-420a. Also with matching TM4 Norway microphones.

    Preamps: Heavily-modified Croft Charisma-X. LDR Stereo Coffee. Power Amps: Tube Distinctions Copper Amp fitted with Tungsol KT-150s. Quad 306.

    Cables & Sundries: Mark Grant HDX1 interconnects and digital coaxial cable, plus Mark Grant 6mm UP-LCOFC Van Damme speaker cable. MCRU 'Ultimate' mains leads. Lehmann clone headphone amp with vintage Koss PRO-4AAA headphones.

    Tube Distinctions digital noise filter. VPI HW16.5 record cleaning machine.

    Speakers: Tannoy 15MGs in Lockwood cabinets with modified crossovers. 1967 Celestion Ditton 15.


    Protect your HUMAN RIGHTS and REFUSE ANY *MANDATORY* VACCINE FOR COVID-19!

    Also **SAY NO** to unjust 'vaccine passports' or certificates, which are totally incompatible with a FREE society!!!


  5. #5
    Join Date: Nov 2013

    Location: Yorkshire

    Posts: 4,243
    I'm Andr'e.


  6. #6
    Join Date: Mar 2012

    Location: Gloucestershire

    Posts: 3,377
    I'm Paul.

    Default

    "Archive" solution recipe as used by record libraries stateside and in the UK in bygone times:

    25% (max) lab grade 99.9% pure IPA;

    75% demineralised/de-ionised water;

    Add to this 0.5 to 1% by volume Ilford Ilfotol wetting agent (do not use older recipes such as Kodak Photoflo as the additives could leave a residue).

    Personally, I'd avoid using washing up liquid as it contains large amounts of salt but a little (as in a few drops per litre) may be ok.

  7. #7
    Join Date: Mar 2008

    Location: Galashiels

    Posts: 13,669
    I'm inthescottishmafia.

    Default

    Cheers chaps, I'll have a look.
    “Music has always been a matter of energy to me, a question of fuel. Sentimental people call it inspiration, but what they really mean is fuel. I have always needed fuel. I am a serious consumer. On some nights I still believe that a car with the gas needle on empty can run about fifty more miles if you have the right music very loud on the radio”

    Hunter S Thompson

  8. #8
    Join Date: Aug 2012

    Location: Hartlepool UK

    Posts: 1,640
    I'm Alan.

    Default

    Ali
    A small bottle of this goes a long way http://www.garrard501.com/Test_L_ART_KNOSTI.pdf I mix with triple distilled water.
    I tried using the knosti stuff and I also used a mix as per Reffc above without washing up liquid but after trying this L'art du son the records are ultra clean and literally shine plus I noticed next to no static when you lift it off and when you use the brush on the record before playing it feels silky with no drag so I am impressed and will be getting another bottle when this one is gone, it really is worth the money IMO

    Alan
    Turntable - Garrard 401/Jelco 750L/Ortofon Kontrapunkt B, Pioneer PLC 590, Micro Sieki MA505 , Denon DL103R - DIY Paradise Phono stage - Reel 2 Reel Studer A810, Otari MX55,Tascam BR20, Revox A77, B77, PR99, TEAC X1000 & 3440, Digital HTPC / Young Dac - Preamp - DIY B4, 821, Power Amp's DIY Avondale NCC300 Mono Block, Speakers Wilmslow Kit Volt BM220.8 / Scanspeak D2905/9500

  9. #9
    Join Date: Dec 2011

    Location: Far Away

    Posts: 1,396
    I'm Gone.

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    Sorry folks but in my opinion L'art du Son is a complete no no and I say this with a heavy heart as Martina Schoener is a friend of mine and someone whose opinion in most things audio I respect. L'Art du Son fluid is, as I understand it, organic and many people report things grow in it. Now I know it says only make up the concentrate in small amounts, but I left an unopened bottle of concentrate in a cupboard for a few months and even the concentrate had strings growing in it. I have not done any tests but the thought that I was putting a growing medium on my records fills me with dread.

    BTW after a lot of research while I was working with Loricraft, we got the perfect mix of IPA, distilled water and wetting agent. Paul from Reffc almost has it right . I can't give the exact mix in case Loricraft want to sell it at a later date and it could be considered commercially confidential information.

  10. #10
    Join Date: May 2011

    Location: Somewhere

    Posts: 1,863
    I'm Paul.

    Default

    I have L'Art du Son and if you keep to small quantities at a time and refrigerate growths are almost eliminated. As far as it's use is concerned I would strongly recommend a rinse with an alcohol based cleaner or distilled water. I only now reserve it for problem discs were it may remove some stubborn deposits. It also alters the sound in a way that is not positive in my view pointing towards some being left in the grooves. Hence a strong suggestion it is thoroughly rinsed and vacuumed off after it's done it's cleaning job. Needless to say I rarely use it finding that the standard Okki Nokki concentrate does a very good job for the cost.

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