I use 3in1 or Singer Sewing Machine oil, whatever's to hand. I've given up being OCD about this stuff. Makes me more contented.
I use 3in1 or Singer Sewing Machine oil, whatever's to hand. I've given up being OCD about this stuff. Makes me more contented.
TT 1 Trans-Fi Salvation with magnetic bearing + Trans-Fi Terminator T3Pro + London Reference
TT 2 Garrard 301 with NWA main bearing + Audiomods Series Six 10.5" + Ortofon 2M Mono SE
Digital Lindemann Bridge + Gustard R26 with LB external clock
Pre and Power Amp EWA M40P + M40A
Bass Amp & DSP Behringer iNuke NU3000DSP x 2
Speakers 1 Bastanis Sagarmatha Duo with twin baffleless 15" bass drivers per side
Speakers 2 MarkaudioSota Viotti Tower
Location: Seaford UK
Posts: 1,861
I'm Dennis.
During 50 years plus in engineering I have done a lot of research into lubrication.
The first rule is that oil is generally used for high velocity differentials, ie., fast spinning objects, and grease for slower moving differentials, with the latter they are usually carrying a greater pressure load which makes grease more suitable.
This is partly to reduce viscous losses; think of the work required to stir a pot of honey, a lot of energy required.
Lithium is the universal and ubiquitous cheap grease.
I always use Molyslip, which is Bentone based, (a clay), and which contains both molybdenum disulphide and carbon particles. The former a 'V' shaped molecule, plates the surfaces, the sulphur bonding to the metal, which produces two rubbing surfaces of molybdenum protecting the substrate metal. The latter fills in the negative asperities, (holes).
I have experienced situations in which only these lubricants allows functioning, others failing, indeed they were used to get to the moon, and according to Baron Rolf Beck, who proposed to me that I did a research test on Molyslip in the 80s, (he invented it),and we could not mine for oil without.
There are so many situations in which I have used this with very great success when other lubricants have failed, that I unreservedly recommend it.
For the main turntable bearing the grease is appropriate, (maybe slightly diluted with the gearbox additive, discretion required), and when oil is needed, I use the gearbox additive, (neat), for the faster speed/lower viscosity needs, as in the motor.
In the 80s with a friend, we added the gearbox additive to his Philips R2R machine's capstan, and we heard the noise go down as it sank into the bearing.
When I had my new BMW K100S in the 80s, I used it in all the compartments, and on its 600 mile service they could not understand why the cam shims had not worn, this being another example.
All of my newly constructed bicycle, using top quality Campag parts uses it, and it is the quietist bike I have ever had.
It is also very good for infrequent lubrication needs.
A.K of the Funk Firm uses it on his turntables.
All good advice. But I suppose it's all irrelevant if the deck spins silently, to speed and gives owner satisfaction. I can feel an attack of apathy coming on............
SS
CD Teac VRDS25X(Audiotuned) DECK 1210 Mat Crystal Audio Mods MN Base/Bearing/Platter+Ebony armboard Feet Isonoe PSU Paul Hynes SR7EHD-27XL/DCSXL Ag DC lead/3 Stage Regs/Recap PCB+No Pitch/Strobe/Light ARM SME V(Kondo Ag Rewire&Tags) MC Cadenza Black FGS CABLES Arm Yannis SPD-4 IC Yannis 222 Litz+Ag bullets Power WAR PRE ATC SCA2 SPEAKERS ATC 50ASL STANDS Atacama PHONO Sugden Masterclass PA4 SUT Ortofon ST80SE POWER PSAudio P10
VALVE
PRE Croft Epoch(Modded) AMP Sondex S100 (Modded) SPEAKERS Tannoy 15"MG+RFC Warwick cabs+ Ref XO + Batpure supertweeters DECK Garrard 301 Mat Teunto Bearings 401(Bastin) Plinth Bamboo Arms 3009/3012 PSU Eagle+Tachometer MC Ag Meister II/FGS + Ortofon SPU MONO CABLES Arm Yannis 420.5 Litz+ SpeakerPC Tripple C+WBT-0681 Ag IC Oyaide FTVS-510 AgWBT 0110Ag Phonostages Paradise(4 Box Mega-Modded) / Croft Musicmaker
SS
CD Teac VRDS25X(Audiotuned) DECK 1210 Mat Crystal Audio Mods MN Base/Bearing/Platter+Ebony armboard Feet Isonoe PSU Paul Hynes SR7EHD-27XL/DCSXL Ag DC lead/3 Stage Regs/Recap PCB+No Pitch/Strobe/Light ARM SME V(Kondo Ag Rewire&Tags) MC Cadenza Black FGS CABLES Arm Yannis SPD-4 IC Yannis 222 Litz+Ag bullets Power WAR PRE ATC SCA2 SPEAKERS ATC 50ASL STANDS Atacama PHONO Sugden Masterclass PA4 SUT Ortofon ST80SE POWER PSAudio P10
VALVE
PRE Croft Epoch(Modded) AMP Sondex S100 (Modded) SPEAKERS Tannoy 15"MG+RFC Warwick cabs+ Ref XO + Batpure supertweeters DECK Garrard 301 Mat Teunto Bearings 401(Bastin) Plinth Bamboo Arms 3009/3012 PSU Eagle+Tachometer MC Ag Meister II/FGS + Ortofon SPU MONO CABLES Arm Yannis 420.5 Litz+ SpeakerPC Tripple C+WBT-0681 Ag IC Oyaide FTVS-510 AgWBT 0110Ag Phonostages Paradise(4 Box Mega-Modded) / Croft Musicmaker
Location: South Yorkshire
Posts: 2,683
I'm Andre.
I always service old gear how the original manufacturer advised. They are the ones who designed & built the things, They should know & they are the only ones i take guidance from, a lot of these units have never ever seen a service till this day & work perfectly fine, that alone is proof in the pudding that the original way is the way.
Location: Seaford UK
Posts: 1,861
I'm Dennis.
That suggests '68, that no-one ever knows better than they.
You could even argue on that basis that a given designer's speaker cannot be improved, or a better one designed.
Location: South Yorkshire
Posts: 2,683
I'm Andre.
Via modifications i suppose but it is no long an genuine article hence is out of the realms of the original designers hands. I am one of those that buys a vintage item for what it is & not a potential mod. The question then begs why are people buying something like this to mod, if its clearly no good.
With the advent of stereo LPs, the BBC found the stereo pickups were showing up the rumble of the grease-bearing Garrard 301s in use and asked Garrard if they could do something about it. They did - the result was the oil-bearing 301.
Barry
Location: South Yorkshire
Posts: 2,683
I'm Andre.
Upgraded by the designer, Not someone else. That is fine in my books.
Location: Seaford UK
Posts: 1,861
I'm Dennis.
Maybe because they can see a great deal of worth in a design, and its potential if a few limiting factors are removed or improved on.