eel, which on a non direct drive
Yes, thats how those thorens worked. But the secondary platter of the thorens isnt as good an idea as it sounds, as dropping the platter to start the record causes a great big thunk, and someone's going to get the fade up point wrong sooner or later. Hence it was common practice to not use them, and just hold the record still with a finger to pause it.
NT
eel, which on a non direct drive
Not required with a flywheel on the motor spindle, but required a starting circuit to get the motor up to speed before the programme start.
A foam mat directly onto a cast zinc platter gives closest audio reproduction so that you can easily distiguish instruments. A stereo cartridge is particularly sensitive about the record support
which on a non direct drive
That's how I got my quartz controlled direct drive parallel tracking turntable. Revox sold a bunch to the SABC and they rejected them as they were completely effing useless for DJ work.
I did a job via the company I worked for to get Revox out of a hole..essentially they were trying to record subsonic VLF timestamps in an audio tape, and needed an ultra steep minimal phase shift low pass filter to pull them off, which with the help ofa text book I had, was not that hard..
..and they gifted a couple to my boss who gave me one as a 'bonus'
But the idea pre-dated stereo - and there's no vertical output from a mono cartridge. Slip mats get round the problem.
But lots of rumble. Turntables with the best measured signal to noise were belt driven - before direct drive came along. FWIW, start speed is unimportant for a domestic deck.
But presumably after the era of releasing your grip on the corner of a square of green baize?
Chris
Hmm.. I have a BD2 somewhere, I wonder if its worth finding it? It had something like a sure 95 with an elliptical diamond on the arm.
No - the BBC made turntables which lifter the platter clear in 78 days - before pop radio stations. They had a later very sophisticated version which motored the turntable up and down - the platter resting on pads to the side of the turntable. Based on a Garrard 301. The beauty of those designs is you could cue up a record and leave it - unlike a slip mat where you have to hold on to it.
Just to add, the 78 rpm only version I referred to above was mainly used for playing in sound FX. Like, say, on a Goon Show. All done as live. I believe that used 8 turntables and two operators. The skill levels were incredible.
Oh yes! I remember seeing those in the BBC studio at the first Radio Show I went to when I was 14 - so that would be 1958. 301s with modified bearings.
Don't know about 'motoring' though. I thought it was direct mechanical linkage between the turntable bearing arrangement and the operating lever.
The first time I saw someone doing the green baize trick - many years later - my first reaction was "How crude!"
"It doesn't take a genius to spot a goat in a flock of sheep"
This is because you're thinking in UK terms. The sorts of sheep and goats one would find in biblical territory do in fact look pretty much like each other.
I was able to kill the rumble on the SP25 idler drive by mixing the motor mounting rubbers. Cant remember arrangement but consist of both grey and black for the three point mounting for the four pole motor. Attention to the platter bearing will also help but I believe that the changes in elastomers show that Garrard knew how to fix the problem but didn't quite get round to it in production. I expect there was also variations in the mounting plate for four pole motors.
Depends on the preference of the owner. I prefer a quick start speed and no lazzy bands, which rot.
I hope youre not suggesting that garrard had any connection with low rumble decks.
NT
There were two units based on the 301. The DRD5 was a single unit with a mechanical lift mechanism, and a pickup arm fitted with an Acos crystal cartridge. 33 and 45 only - designed to supplement an area with 78 rpm only turntables. The one I referred to was the RP2 - two units in one desk, and designed for both microgroove and 78 rpm, with a Tannoy magnetric cartridge and turnover stylus. This unit had the motorised lift. Must have cost a fortune to make. It even had a mirror and light arrangement to show the groove number (as it were) to aid track location.
They did also produce lazzy band drives. The top BSR decks under the Macpherson (or some such) brand were rumoured to be from Garrard and were of true Hi-fi standards (measured by myself as a service item).
I seem to recall a bank of illuminated indicators along the back, angled at about 45 degrees which displayed the selected speed and flashed if the wrong stylus appropriate to the speed was selected ...
Ah! Another Radio Show memory - possibly 1959 or 1960 ...
One operator and four turntables. 25 years of broadcasting, or something like that, at breakneck speed. All short clips, all on separate disks and surrounded by the audience - which must have been off-putting! I was fairly close to the action and it was a truly amazing sight.
It sounded good as well!
I've not seen any permanent 'flats' in Garrard idler wheels. First of all, they only occur when the drive is left engaged on the slower speeds with the power disconnected, which is not the normal operating procedure. Secondarily, they are only temporary and can be eliminated by running the turntable with the motor-board clamped down for an hour. The clamping down of the motor-board allows sufficient warmth for the rubber to soften without deterioration and running with the drive engaged massages the idler back into shape. The idler can also be removed and softened in warm water, but then requires replacement, lubrication and testing. It's easier just to clamp down the motor- board for an hour.
To me, it's a wishy-washy system, a product of minimal and inferior design.
Put another half twist in the wires at the cartridge.
That's bodging it.
It'll make you smile when you fix one to be rumble-free. It's not hard, you just need two different motor mounting rubbers and an O-ring under the platter bearing.
That was the RP2, and would have been in a desk of two units. But in a TV studio, commonly two of these giving four units in all.
The turntable was driven up and down by a motor allowing remote control, if needed. Possibly from the backstop switch on a fader.
It also used the 110 volt winding on the Garrard motor. To allow a boost at higher voltage when it was started up.
I can imagine. By the time I started in broadcasting, tape (and the machines) was common and cheap enough to edit freely. So we'd normally transfer disc sound FX to tape and edit them up in the correct order. Less risk of c*ck ups than swapping lots of discs. So I really do appreciate the skills of those early grams swingers.
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