Lol, the dishwasher works just great for me. For many years I used only a brush. Enjoyed your process. Wood glue, oh boy, that will create controversy lol
I avoided cleaning for so many years because I knew it would be a rabbit hole and it was. I did get a dust brush early on when I got back into records in 2017. And no tedious comments about wood glue yet, knock on wood lol!
Hey Ian, thanks for the shout out! I'm glad you were able to hear a difference with your new additions to your system. This hobby is a labor of love sometimes , isn't it?! I think I've fine tuned my cleaning ritual at least 5 times in almost fifteen years. Still have yet to give in to an ultrasonic. My process for cleaning is purely manual ( analog) and as much as I'd like to take the plunge I just feel like a machine would inevitably break on me. It's the old adage : if it ain't broke ,.... don't break the bank.
I was incredibly frustrated when I realized that not even an ultrasonic cleaner was making a difference on some of my records. I forgot to mention this in the video, but my dream was to be able to buy lower-graded records (VG) and reliably be able to turn them into higher-graded records (VG+ or NM) through cleaning. Alas, that just doesn't seem to be realistic. Thankfully I was able to sell the machine without losing too much money. I looked for a phono preamp that was known for its ability to mask noise and found the iFi iPhono3. I'm impressed with it. But, yeah, labor of love indeed! Anyway, I didn't think the Kirmuss ultrasonic was any better at removing noise than the cleaning I outlined here. Maybe another ultrasonic would be better, but I'm no longer interested in trying...at least for now.
I came here for the blah, blah, blah but stayed for the process. All that metal that you listen to Ian, contributes greatly to the noise 🤣Hope you're going well. Cheers...Ben
Hey Ben! It's funny, my talking about metal on here is out of proportion with how much I actually listen to it. This was take 3 and for the first take I cleaned a Dino Jr record and for the second it was a Pixies record. The Anthrax just happened to be the next one in the queue and it was the first take where I remembered to say everything I wanted to say. Too much going on to mention here, not sure when a chat will work out cuz weekends are just tough to make happen 🤷♂️ Cheerios...Ian
Looks like a Les Paul Special double cutaway for your avi...nice! My impression was that the results with the Kirmuss were similar to the results I'd been getting with the methods I outlined here. Maybe slightly better results with the Kirmuss, but for me not enough to justify all the time and work involved compared to this. But different strokes for different folks!
So earlier today I was doing an a/b comparison with PoT between the 1st press (single lp) and the Wax Cathedral pressing, and the WC smokes the 1st press imo. What I noticed between the two is that on the 1lp, the mids are boosted, lows are dialed down dramatically, And it’s a little compressed compared the WC pressing. I compared the waveforms to a jpn cd and cassette rip of PoT and in terms of frequency response, the WC pressing is almost identical where as the 1lp is lacking. PoT has a very “and justice for all” sound going for it, but with bass you can actually hear. I’m no audio engineer, but when you have to squeeze 32mins of metal onto 1 side of an LP, sacrifices have to be made, and in this case it was volume, dynamic range and the lower frequencies. I’m guessing they boosted the mids to compensate for dialling down the lows because the albums has scooped mids as it is, so if you attenuate the lows as well, you’re not left with much. Just my opinion, and as I said I’m no engineer, but there’s no mistake that the 1lp sounds very different to the WC pressing, CD and Cassette. That being said, I think masterdisk did an excellent job on PoT as 32mins on one side is insane (37 mins is the longest I have so far) and given the type of music, it sounds very good for what it is.
So the reason they could fit so much music on one side of the original is because it was a DMM cut, meaning they are cutting the groove into a hard copper disc rather than a soft lacquer disc. The copper can physically support closer spacing than the soft lacquer, hence the longer run times possible. Bass takes up a lot of space, which is where the RIAA eq thing comes from. Bass is eq'd out by an agreed-upon amount, then put back in by the phono preamp. The WC reissue was cut at Mobile Fidelity, who famously jack the bass and the treble. I've personally come to see that as just a parlor trick. Just because one can, doesn't mean one should! Sure, in an a/b comparison that's going to stick out like a sore thumb, but I ultimately find the original to be more balanced overall. Different strokes for different folks and the WC is impressive, but I prefer the original.
I'm going to test a few things out and get back to you, because I'm curious about this as well. My system has never sounded better, but it seems to me that the component that is making the biggest difference in sound is the phono stage, the iFi iPhono3. I still have my old turntable (AT-LP120-USB retrofitted with an Audio Technica VMN40ML cart) with my system, so I can do an A/B fairly easily. I've been wondering myself whether or not it was worth it to also spring for the new table or if just getting the phono stage would have been good enough, because I thought the VMN40ML was a good cart. I'm going to do this right now, actually, because I have a free morning here, so I'll let you know soon.
It's good you asked this question, otherwise I don't know when I would have gotten around to A/B-ing the two tables. I played each table through the iPhono3 and the U-Turn Orbit Theory with the Ortofon 2M Bronze is a lot better than the AT-LP120 with the VMN40ML cart. I can't easily switch out the carts, unfortunately, so I can't control for any influence the table or tonearm has on the sound. But there's much more detail and sense of the room being bigger with the Bronze. It seems to handle higher frequencies better. So, it's not just the phono stage, it's also the table and cartridge that is an improvement on what I had before. Whether or not, or to what degree, it would be an improvement on what you have I couldn't say, though. I just haven't heard much different gear--I've never heard an MC cart, for example --so I'm not really all that qualified to say much on the subject. I just know that my system has never sounded better and now I know that the cartridge upgrade is part of the reason why.
@@brokewithaudiophiletaste6076 nice! Appreciate the feedback! I am running two tables currently so will likely move the MP110 over to the direct drive Sansui and get the Bronze for the Thorens 👍🏻
I have avoided anything but ultrasonic (I have tried TU-8 as a liquid cleaner before without any real advantages), curious if using solutions like that or wood glue is reeking havoc on one's stylus / cartridge with residue. I use a Humminguru...first 5 minute cycle with Tergikleen surfactant, and then two more cycles with fresh distilled water (last cycle I use the dryer mechanism) with excellent results for not much $. Static is always a pain even with thorough cleaning, that is my next step I am working on lol (starting with a Kirmuss brush).
do you have a problem with static? i use a vinylvac aswell and i get left with so much static from the vacuum. ive been wet cleaning the records after vacuuming them to try and eliminate the static but it doesnt always work
Doesn't play at all. Someone who knew what they were doing might be able to restore it because it seems fairly well intact. But it doesn't power on, so I just use it as my cleaning turntable.
@@brokewithaudiophiletaste6076 Oh, bummer. The little touch sensitive buttons are pretty groovy when they're working. When I was a kid we had a philips TV with similar ones. So might be nostalgia for me. Any more interviews coming down the pipe? I think you're still the only guy to get Chris Belman and Jeff Powell on youtube!
@@Dbriskit Thanks for asking, glad you dug those interviews! I'm kinda semi-retired from making videos at this point. It felt like it had run its course. My current attitude is to make a video when I feel like I have something useful to say, which has only been about once a month. I really enjoyed doing interviews and I'm proud and happy with how they turned out. They just became really hard to get as time went on. A bunch of people (Carl Saff, Steve Albini, more) told me "yes" in principle, but when it came time to schedule something they stopped returning emails. Bob Weston was the first person I ever contacted and he sent me a long, thoughtful response about how he never does interviews anymore because he feels he's on the spot and that nothing ever comes out right. John Golden is also very high on my list, but he's never responded to any of my contact attempts. So, I just gave up on it after awhile. I've deeply enjoyed every interview I've done and would gladly do more, but I just don't have the time and energy for everything behind the scenes that goes into making them happen.
@@brokewithaudiophiletaste6076 I understand. Seems the youtube/vinylcommunity space is very, very crowded these days too. Have to fight pretty damn hard to get those views. I find all the "Controversial topic with aghast facial expression!" clickbait posts, popping up on all the VC channels, rather dispiriting. I'm guessing youtube pushes authors to do that. "Drama drives views!" 🙄
Enjoyed the video my friend. I use a homemade solution with a paint edger, then I clean them with a record vac
Interesting, never heard of using a paint edger before
Lol, the dishwasher works just great for me. For many years I used only a brush. Enjoyed your process. Wood glue, oh boy, that will create controversy lol
I avoided cleaning for so many years because I knew it would be a rabbit hole and it was. I did get a dust brush early on when I got back into records in 2017. And no tedious comments about wood glue yet, knock on wood lol!
I was thinking the same thing about the Phillips
Hey Ian, thanks for the shout out! I'm glad you were able to hear a difference with your new additions to your system. This hobby is a labor of love sometimes , isn't it?!
I think I've fine tuned my cleaning ritual at least 5 times in almost fifteen years. Still have yet to give in to an ultrasonic. My process for cleaning is purely manual ( analog) and as much as I'd like to take the plunge I just feel like a machine would inevitably break on me. It's the old adage : if it ain't broke ,.... don't break the bank.
I was incredibly frustrated when I realized that not even an ultrasonic cleaner was making a difference on some of my records. I forgot to mention this in the video, but my dream was to be able to buy lower-graded records (VG) and reliably be able to turn them into higher-graded records (VG+ or NM) through cleaning. Alas, that just doesn't seem to be realistic. Thankfully I was able to sell the machine without losing too much money. I looked for a phono preamp that was known for its ability to mask noise and found the iFi iPhono3. I'm impressed with it. But, yeah, labor of love indeed! Anyway, I didn't think the Kirmuss ultrasonic was any better at removing noise than the cleaning I outlined here. Maybe another ultrasonic would be better, but I'm no longer interested in trying...at least for now.
Oops, hit Send before saying: thanks for your suggestions and helping me understand this stuff! I've learned a ton since starting this channel.
I came here for the blah, blah, blah but stayed for the process. All that metal that you listen to Ian, contributes greatly to the noise 🤣Hope you're going well. Cheers...Ben
Hey Ben! It's funny, my talking about metal on here is out of proportion with how much I actually listen to it. This was take 3 and for the first take I cleaned a Dino Jr record and for the second it was a Pixies record. The Anthrax just happened to be the next one in the queue and it was the first take where I remembered to say everything I wanted to say.
Too much going on to mention here, not sure when a chat will work out cuz weekends are just tough to make happen 🤷♂️ Cheerios...Ian
@@brokewithaudiophiletaste6076 No worries mate. We’ll get there eventually 👍
I like my Kirmuss…but it’s a lot of work.
Looks like a Les Paul Special double cutaway for your avi...nice! My impression was that the results with the Kirmuss were similar to the results I'd been getting with the methods I outlined here. Maybe slightly better results with the Kirmuss, but for me not enough to justify all the time and work involved compared to this. But different strokes for different folks!
So earlier today I was doing an a/b comparison with PoT between the 1st press (single lp) and the Wax Cathedral pressing, and the WC smokes the 1st press imo. What I noticed between the two is that on the 1lp, the mids are boosted, lows are dialed down dramatically, And it’s a little compressed compared the WC pressing. I compared the waveforms to a jpn cd and cassette rip of PoT and in terms of frequency response, the WC pressing is almost identical where as the 1lp is lacking. PoT has a very “and justice for all” sound going for it, but with bass you can actually hear. I’m no audio engineer, but when you have to squeeze 32mins of metal onto 1 side of an LP, sacrifices have to be made, and in this case it was volume, dynamic range and the lower frequencies. I’m guessing they boosted the mids to compensate for dialling down the lows because the albums has scooped mids as it is, so if you attenuate the lows as well, you’re not left with much.
Just my opinion, and as I said I’m no engineer, but there’s no mistake that the 1lp sounds very different to the WC pressing, CD and Cassette. That being said, I think masterdisk did an excellent job on PoT as 32mins on one side is insane (37 mins is the longest I have so far) and given the type of music, it sounds very good for what it is.
So the reason they could fit so much music on one side of the original is because it was a DMM cut, meaning they are cutting the groove into a hard copper disc rather than a soft lacquer disc. The copper can physically support closer spacing than the soft lacquer, hence the longer run times possible. Bass takes up a lot of space, which is where the RIAA eq thing comes from. Bass is eq'd out by an agreed-upon amount, then put back in by the phono preamp. The WC reissue was cut at Mobile Fidelity, who famously jack the bass and the treble. I've personally come to see that as just a parlor trick. Just because one can, doesn't mean one should! Sure, in an a/b comparison that's going to stick out like a sore thumb, but I ultimately find the original to be more balanced overall. Different strokes for different folks and the WC is impressive, but I prefer the original.
How are you finding the 2m Bronze? I am seriously considering it as an upgrade for my Nag MP110
I'm going to test a few things out and get back to you, because I'm curious about this as well. My system has never sounded better, but it seems to me that the component that is making the biggest difference in sound is the phono stage, the iFi iPhono3. I still have my old turntable (AT-LP120-USB retrofitted with an Audio Technica VMN40ML cart) with my system, so I can do an A/B fairly easily. I've been wondering myself whether or not it was worth it to also spring for the new table or if just getting the phono stage would have been good enough, because I thought the VMN40ML was a good cart. I'm going to do this right now, actually, because I have a free morning here, so I'll let you know soon.
It's good you asked this question, otherwise I don't know when I would have gotten around to A/B-ing the two tables. I played each table through the iPhono3 and the U-Turn Orbit Theory with the Ortofon 2M Bronze is a lot better than the AT-LP120 with the VMN40ML cart. I can't easily switch out the carts, unfortunately, so I can't control for any influence the table or tonearm has on the sound. But there's much more detail and sense of the room being bigger with the Bronze. It seems to handle higher frequencies better. So, it's not just the phono stage, it's also the table and cartridge that is an improvement on what I had before. Whether or not, or to what degree, it would be an improvement on what you have I couldn't say, though. I just haven't heard much different gear--I've never heard an MC cart, for example --so I'm not really all that qualified to say much on the subject. I just know that my system has never sounded better and now I know that the cartridge upgrade is part of the reason why.
@@brokewithaudiophiletaste6076 nice! Appreciate the feedback! I am running two tables currently so will likely move the MP110 over to the direct drive Sansui and get the Bronze for the Thorens 👍🏻
I have avoided anything but ultrasonic (I have tried TU-8 as a liquid cleaner before without any real advantages), curious if using solutions like that or wood glue is reeking havoc on one's stylus / cartridge with residue. I use a Humminguru...first 5 minute cycle with Tergikleen surfactant, and then two more cycles with fresh distilled water (last cycle I use the dryer mechanism) with excellent results for not much $.
Static is always a pain even with thorough cleaning, that is my next step I am working on lol (starting with a Kirmuss brush).
do you have a problem with static? i use a vinylvac aswell and i get left with so much static from the vacuum. ive been wet cleaning the records after vacuuming them to try and eliminate the static but it doesnt always work
Always loved the design of that Philips model. Does she play well?
Doesn't play at all. Someone who knew what they were doing might be able to restore it because it seems fairly well intact. But it doesn't power on, so I just use it as my cleaning turntable.
@@brokewithaudiophiletaste6076 Oh, bummer. The little touch sensitive buttons are pretty groovy when they're working. When I was a kid we had a philips TV with similar ones. So might be nostalgia for me.
Any more interviews coming down the pipe? I think you're still the only guy to get Chris Belman and Jeff Powell on youtube!
@@Dbriskit Thanks for asking, glad you dug those interviews! I'm kinda semi-retired from making videos at this point. It felt like it had run its course. My current attitude is to make a video when I feel like I have something useful to say, which has only been about once a month.
I really enjoyed doing interviews and I'm proud and happy with how they turned out. They just became really hard to get as time went on. A bunch of people (Carl Saff, Steve Albini, more) told me "yes" in principle, but when it came time to schedule something they stopped returning emails. Bob Weston was the first person I ever contacted and he sent me a long, thoughtful response about how he never does interviews anymore because he feels he's on the spot and that nothing ever comes out right. John Golden is also very high on my list, but he's never responded to any of my contact attempts. So, I just gave up on it after awhile. I've deeply enjoyed every interview I've done and would gladly do more, but I just don't have the time and energy for everything behind the scenes that goes into making them happen.
@@brokewithaudiophiletaste6076 I understand. Seems the youtube/vinylcommunity space is very, very crowded these days too. Have to fight pretty damn hard to get those views. I find all the "Controversial topic with aghast facial expression!" clickbait posts, popping up on all the VC channels, rather dispiriting. I'm guessing youtube pushes authors to do that. "Drama drives views!" 🙄