Arriving at the top of Pangea Audio Distributing’s Record Doctor record cleaning machine line-up, the new Record Doctor X remains faithful to the original design, with an easy-to-place compact cabinet and a handy storage tank for the simple removal of spent record cleaning fluids.

The new model goes several steps further by adding a powerful bi-directional turning motor, a screw-down clamp system that protects the LP’s label, and a new vacuum swing arm.

Like the majority of Pangea Audio products, the new Record Doctor X is shipped in sturdy eco-friendly, recyclable packaging, bypassing the messy and harmful Styrofoam used by much of the competition.

“The so-called vinyl resurgence blossomed into a full-blown, thriving category with more music lovers returning to the format every day,” adds Mr. Niemi. “Record Doctor X gives this growing audience a super-efficient, cost-effective tool for cleaning and preserving records for years of listening pleasure.”

The new Record Doctor X record cleaning machine is available in both carbon-fiber vinyl and high-gloss black finishes.

For additional information on Pangea Audio Distributing’s Record Doctor X vacuum record cleaning machine, visit: https://www.audioadvisor.com/announcing-rdx.

Don’t get me wrong: the Audio Deske Pro that I’ve used from Germany for years has been a true Teutonic stalwart. But for whatever reason—200 watts of ultrasonic power and a direct drive disc rotation motor can’t hurt—the Klaudio just seems to debug vinyl records. It eradicates clicks and pops that I had assumed were simply ineradicable with a vengeance. The result is tomb-like silence on all but the most damaged LPs. Yeah, baby!

How does it work? It takes about twenty minutes to assemble the hoses and external plastic water reservoir that houses a small and submersible brushless pump. You can employ either tap or distilled water. Knobs on front allow you to set the timing for both the cleaning and drying cycles. Plop an LP in and the ultrasonic transducers that are placed perpendicularly to it automatically conduct their business. No rollers, no detergent. Just good old H20. Build quality is superlative. Even the on-off rocker switch is oversized.

Acoustic Sounds’ Chad Kassem, who indicates that he invested a not insubstantial sum to reintroduce the brand, is mightily proud of the nifty machine that he’s selling direct. He should be. The sonic effects it has on an LP are equivalent to a turntable upgrade. I could babble on further about the Klaudio’s merits, but it’s time to go clean a few more cherished LPs.

Pro-Ject VC-E1 

$499

Using the VC-E is simple, but good technique is essential to maximize its potential. The machine comes with a small bottle of concentrated cleaning fluid, a larger bottle for the mixed-with-water cleaning solution, and a cleaning brush. The Pro-Ject VC-E supplies the basic tools necessary to clean records efficiently and easily. For any LP lover who wants to hear every bit of potential sonic goodness from his records, the VC-E is an excellent way to boost your LP collection up to a cleaner state of being. 

VPI 16.5

$850

The VPI 16.5 record-cleaning machine is one of those stalwart products that isn’t fancy or expensive, but gets the job done, day after day. The vacuum system is more than adequate to remove embedded dirt, and the 16.5 is easy to use. Solidly built and ultra-reliable, the 16 and 16.5 have been in continuous production for more than 30 years. 

Kirmuss KA-RC-1 Ultimate

$970

This unusual product is billed as a “record restoration” device rather than strictly a record cleaner. Although it uses ultrasonic cleaning action, the Kirmuss does much more, but requires intensive hands-on involvement from the user. The process requires about a day dedicated to cleaning and restoring multiple records. If you have the time and patience, you’ll be rewarded with a more spacious soundstage and truer instrumental timbre. 

Degritter Ultrasonic LP Cleaner

$2990

The breadbox-sized Degritter brings all the benefits of ultrasonic LP cleaning to an effective, easy-to-use, and relatively affordable product. You can adjust the Degritter’s many cleaning parameters, or simply choose a standard cleaning cycle for easy operation. Sonically, the Degritter delivers, with fewer ticks and pops, less surface noise, a blacker background, and a heightened impression of instruments in space. Easy to use, well-built, with many sophisticated features, the Degritter delivers on all the promises of ultrasonic LP cleaning.

Audio Desk Systeme Vinyl Cleaner

$3995

This completely automated record cleaner is simply the state of the art. The ultrasonic cleaning technique loosens dirt embedded in groove modulations that are too small for even the finest bristles. The sonic results go far beyond quieter surfaces. The Audio Desk renders a dramatic increase in resolution, soundstaging, and immediacy.

Clearaudio Double Matrix Professional Sonic

$6500

The latest version of Clearaudio’s record cleaning machine retains all the convenience of the Double Matrix (simultaneous cleaning of both sides of a record) while adding ultra-sonic scrubbing to the original brush-and-fluid method. Built like a tank and easy to use, this is a highest-quality record cleaner.

A lot of thought went into this design. The 300W ultrasonic amplifier drives four transducers, two on each LP side. The ultrasonic frequency is nominally 120kHz, with a frequency-sweep feature that presumably improves the cleaning function. The comprehensive owner’s manual is a model of clarity and presentation.

In practice, the Degritter delivers all the incontrovertible benefits of ultrasonic cleaning. I pulled out a copy of Joni Mitchell’s classic Court and Spark that I bought more than 40 years ago (and have since replaced with a remastered version), and listened to it before and after cleaning. I also compared the sound before and after cleaning with another record I’ve had for decades, Bill Evans’ You Must Believe in Spring. I also tried a couple of recent used acquisitions, Linda Ronstadt’s For Sentimental Reasons (a spectacular recording, by the way), and Dexter Gordon’s The Monmartre Collection, Volume Two (that was sent to me in a Montmarte Collection Volume One jacket). This record, not available in any digital format, captures Gordon in his prime (1967) with a terrific band. With all these LPs, a cycle through the Degritter didn’t just reduce surface noise, as you’d expect; it also presented a startlingly blacker background that made the music seem to exist independently of the physical medium. The effect is a more believable presentation and a heightened sense of contemporaneous music-making. I really heard this on the Dexter Gordon record; the feeling of hearing a four-piece group play in a jazz club was more pronounced after cleaning. Ultrasonic cleaning also seems to make it easier to hear individual instruments, as though each exists as its own entity rather than being fused into a single fabric.

The Degritter was easy to use, has many sophisticated features, appears well built, and delivered on all the promises of ultrasonic LP cleaning. It’s also priced about a thousand dollars below the competition, making it a solid recommendation.

Basically, the VC-E is a mini-vac. It sucks up cleaning fluid that has been applied with a brush via a slit on a wand that is placed over the record, while a motor slowly turns the record so it can make a complete revolution underneath the vacuum wand. The final result should be a clean record. As far as specifications go, there’s no published noise level, but Pro-Ject does list the motor as doing 30rpm. Vroom, vroom.

The VC-E is heavy enough so that it won’t shift around while in use, and the overall level of fit, finish, and design makes it very likely that it will remain serviceable for many years. But there are two small nits I will pick. 

First, the top plate and base plate of the VC-E are made of a layered material sandwiched between metal sheets, which I assume helps damp the motor’s noise. But the two plate’s edges are borderline abrasive. A bit more finishing and they would not be so rough. 

The second nit concerns the three bolt heads that form a triangle on the top surface of the VC-E. I suspect that at one time they were an almost mirror finish, but on my review sample their surfaces looked as if several households of fleas had been ice-skating on them, leaving little scratches back and forth. Little nits, I know. But fixable.

Ergonomics
Using the VC-E is simple, but good technique is essential to maximize the VC-E’s cleaning potential. The machine comes with a small bottle of concentrated cleaning fluid, along with a larger bottle for the mixed-with-water cleaning solution, as well as a cleaning brush. One useful item that is missing from the VC-E accessory kit is a small applicator bottle to apply the solution to your records. I had a spare spray bottle around that I used for that purpose. 

The entire record cleaning process goes like this: Remove the record from its sleeve, place it on the VC-E spindle, screw down the label plate which holds the record firmly on the spindle while protecting the label from any moisture damage, apply the record cleaning solution, use the brush to spread it evenly over the whole record, turn on the vacuum and motor, lift and place the vacuum wand over the record surface, let the VC-E suck all the fluid off the record, and you’re done. The most important aspect of technique when using the VC-E is your brush work. The brush should always follow the grooves of the record. It should never go vertically across the grooves. Ideally, the brush will loosen any debris that liquid alone could not unbind from your record’s surface. I had several brushes from other manufacturers’ record cleaning systems to compare with the Pro-Ject brush. The VC-E’s brush definitely has softer, more flexible bristles than the one I use with my VPI machine. You are less likely to scratch a record’s surface with the VC-E brush, but it also may not loosen all the dirt from an especially recalcitrant disc. I would recommend getting a second brush with stiffer bristles for those difficult-to-clean records.

The only tricky part of using the VC-E record cleaning machine is the fact that since it does not have a platter under the entire disc, you must be careful how much downward pressure you use with the record cleaning brush. While you would have to exexecute a karate chop to break a record while it is mounted on the VC-E machine, it’s fairly easy to put a bit too much downward pressure on the brush and bend the record downward slightly. I found I had to “lighten up” compared to the pressure I routinely apply to a brush when using the VPI 16.5 record cleaning machine. 

Sound
If there is one incontrovertible fact in audio, it’s that a properly cleaned record will always sound better than an uncleaned one. That being said, I have summed up the primary sonic advantage of a record cleaning machine. Don’t like pops, clicks, and low-level rubbing sounds emanating from your LP? Cleaning is a better connection to sonic bliss. Since I know that, I clean every record that I purchase before I play it—especially used records. Perhaps that’s why my phono carts tend to last for many years.And while cleaning will not remove the deepest scratches, it will get you much closer to those deep black backgrounds that we audiophiles all favor.

Summary
While acquiring a record cleaning machine does require an outlay of cash, if you are an avid LP listener it will soon repay you with better sound and cleaner discs. In the end you might actually save money since clean records will cause less wear on your cartridge, so it may well last longer than if it had been fed a steady diet of uncleaned LPs. 

After a bit of practice to refine your technique, the VC-E cleaning machine is capable of transforming your average semi-clean record into a shiny thing of beauty. I’ve found during many years of cleaning records, that whether one manufacturer’s cleaning machine can produce a better final result than another depends more on the user’s technique than the machine itself. Practicing and perfecting your brushwork can make a huge difference in the level of clean you can obtain.

The Pro-Ject VC-E supplies the basic tool necessary to clean records efficiently and easily. For any LP lover who wants to hear every bit of potential sonic goodness from his LPs, the VC-E would be an excellent way to boost your record collection up to a cleaner state of being. 

Specs & Pricing

Rotational speed: 30rpm
Included accessories: Brush, vacuum arm, extra self-adhesive arm strips, plastic clamp, Wash-it bottle, mixed-solution bottle, power cable
Power connection: 110/120, 230/240 50/60 cycles
Dimensions: 310 x 266 x 210mm
Weight: 6.5 kg
Price: $499 

Sumiko (US Distributor)
2431 Fifth Street
Berkeley, CA 94710
(510) 843-4500
sumikoaudio.net
project-audio.com

The KA-RC-1 system arrived with instructions for use. Towards the end of the evaluation period, the instructions were updated, which added an additional selection to make before proceeding with one of two cleaning processes. This evaluation is based on instructions in the version 8.4 of the owner’s manual (there has since been a version 10). For readers interested in the KA-RC-1 (or for its owners), regular periodic visits to the Kirmuss website for online manual updates are suggested. Because the owner’s manual is filled with many steps, I’d suggest reading through it several times to grasp the process, which is pretty involved but straightforward once understood. With that said, there are sections of the KA-RC-1 restoration process that require user judgment before moving on to the next step. Specifically, the user must determine visually when all the contaminants and residual release agents have been removed from the grooves so that he can proceed to the next (polishing) step. In order to allow space for describing the results achieved, the steps and process will be briefly covered in this report. The user is encouraged to visit the Kirmuss Audio website to get more detail, read the user manual, and view training videos.

System Preparation
A preparation process is required each time the KA-RC-1 system is used. The process begins with adding approximately 1.75 gallons of distilled water to the stainless-steel ultrasonic basin followed by 1.4 ounces of 70% isopropyl alcohol. The alcohol kills any dormant or live fungus removed by the process, and is not part of the cleaning agent. The Ultrasonic washer assembly is turned on, and a one minute and thirty-six-second pulse cycle (to de-gas the water/alcohol solution) is activated. This pulse cycle is repeated a second time. This removes any air that has been introduced in the basin when being filled. Air in the water reduces the cavitation effect and its efficiency. Once the second pulse cycle is completed, the record washer assembly (the device that holds the records) is placed on top of the ultrasonic washer and plugged into the 3.5mm power jack. The unit is now ready for record-groove restoration.

Restoration Process
To start the restoration process, the ultrasonic washer is set to a five-minute cycle and the record is placed in the proper rotating slot; the record should be rotating during the process when properly seated. Upon completion, the record is removed and sprayed with the anti-bacterial/anti-static record-ionizing solution in three locations (12, 4, and 8 o’clock). The goat hair brush is used to work the solution into the grooves of the record. The spray process is repeated for the other side of the record. The record is then placed into the ultrasonic washer for a second five-minute cycle. At the end of the second five-minute cycle, the user has to make his first decision.

According to the user manual, if the record has large sheets of water or hundreds of water droplets remaining on its surface, the user proceeds to implement a total of 5-to-6 two-minute wash cycles (anti-bacterial/anti-static solution and goat hair brush followed by a two-minute wash). During this process a “toothpaste-like” material forms after application of the anti-bacterial/anti-static solution with the goat hair brush. This is material that the ultrasonic cavitation has softened and dislodged, and then brought to the surface via the goat-hair brush. If there continues to be toothpaste-like material during final cycle, another cycle should remove it. 

After the anti-bacterial/anti-static solution, it is time to move on to the final steps, which Kirmuss calls polishing. These include placing the record on the KA-RS-1 record platter (or felt mat), spraying it with a very light mist of distilled water, wiping the record with the optician’s microfiber cloth, polishing the grooves with the felt side of the carbon-fiber/felt brush, followed by polishing it with the carbon-fiber side, and repeating this process for side two of the record. Next, the owner’s manual says to place the dried record onto a turntable and spray the goat-hair brush with a small mist of the same anti-bacterial/anti-static solution. With the record spinning on the turntable, the user moves the goat hair brush across the record several times. Repeat for side two. At this point, the manual says the restoration process is complete. There are additional suggestions for record maintenance following the restoration process.

Cleanup
The owner’s manual warns against keeping water in the ultrasonic washer tank overnight. The unit has to be drained and cleaned at the end of the day after each restoration session. The process includes draining the water from the tank, wiping the tank with the 70% isopropyl alcohol-damped Rabbit cloth, removing the felt assemblies from the record washer slots, rinsing them with a light mist of distilled water, patting them dry with the Rabbit cloth, and then letting them air dry before reinserting them into the record washer assembly. The user must also rinse the underside of the record washer assembly and use the Rabbit cloth to dry it. The water may be drained from the unit and returned to the original containers, but must be used within one day (or a maximum of 15 records) to prevent fungus from growing in it. 

Observations
The KA-RC-1 system is unlike other record cleaners. There are many steps and decisions to be made in the groove restoration process that require user engagement during the hands-on process. Several 12″ records were given the Kirmuss restoration treatment. In all but one case, the 4-to-5 five-minute process was used—only one 2-LP used record boxset required the 5-to-6 two-minute cycles. 

One of the notes in the KA-RC-1 owner’s manual informs the user to quit using the unit after 35 minutes of nonstop operation to allow a 10 minute cool-down (the top cover is removed for this cool-down). In one instance, on an autumn day, the temperature monitor moved to the high temperature mode during a multiple LP cleaning session. When this occurred, the temperature inside the room was near 76 degrees. The cool-down process listed in the owner’s manual requires removing the top cover and letting the water temperature decrease until the monitor bar shows an acceptable color. This is said to take 10–15 minutes. The cool-down on this autumn day required a little more time than specified—closer to 20 minutes. After that cool-down, the restoration process continued without further issue. 

Because of the ultrasonic cavitation heats the water, the parts of the records immersed in the water will thermally expand as they do with other cleaning units (this is normal thermodynamics), while the portion of the record in the air will want to retract to normal. The result is a slight bit of expansion and retraction visible during the cleaning process as a mild warp. When the record is removed and reaches room temperature, it returns to its normal state.

When compared to other methods used to clean records, the KA-RC-1 system yielded results that ranged from no sonic changes to a more open sound. In one case, an album of Mahler’s Fifth produced a much more spacious sound with excellent instrumental timbre. The entire soundstage was more clearly audible to the point of near-supernatural reproduction of instrument placement. However, this same performance lost a noticeable amount of initial transient information. Moreover, upon removal of the album from the turntable, the cartridge contained a healthy amount of white crud pulled from the grooves. The KA-RC-1 owner’s manual points out that when this happens, the record needs to go through another cleaning process. This LP met the criteria for completing the first round of the two-minute cycles. Even though this record didn’t produce any toothpaste material during the second round of 5-to-6 two-minute cycles, the entire process was applied a second time. Upon playing the record, the white crud showed up again. Instead of doing a third set of two-minute cycles, the album was subjected to a single five-minute final cycle without any of the anti-bacterial/anti-static solution added. After this replay there was zero white crud from the grooves. In addition, the initial transient information missing prior to the final extended five-minute ultrasonic wash was restored. Subjectively, it appears the final cycle needs to be longer than two minutes when that cleaning cycle is used. Perhaps the manufacturer can shed some light on this observation. It should be noted, that this was specific only to the multiple two-minute cycle process. Finally, note that the stylus profile used to play the restored records (line-contact) falls into the high-precision category (along with micro-ridge, microline, and Shibata) that provides more intimate contact with the groove walls.

Conclusion
At an affordable price of $970 for a restoration system that incorporates ultrasonic cleaning, the KA-RC-1 gave expected audible results when a record was “cleaned.” The process worked with some reservations. The first reservation (the accumulation of toothpaste-like goop on the stylus) was lessened with a longer final five-minute ultrasonic cleaning cycle after the multiple two-minute processes. The second reservation is allocating the time it takes to complete the restoration process along with the necessary preparation and cleanup. For those of us with busy schedules, a dedicated day may be required to utilize (and maximize) the KA-RC-1 restoration process when cleaning multiple records. With each record requiring several minutes to process (only two 12″ records can be ultrasonically cleaned at one time—three 12″ records with the model made for Upscale Audio), inclusive of the initial 5-minute start cycle to polishing finish, a certain level dedication is required to use the Kirmuss. If you can devote the time and energy needed to get the best of this restoration process, you should seek out a demo and give the KA-RC-1 vinyl restoration system a try. It works, if you have the time and patience to use it properly.

Specs & Pricing

Type: Ultrasonic record cleaning system
Dimensions: 21.3″ x 13.3″ x 10.9″
Weight: 21.6 lbs.
Price: $970

KIRMUSSAUDIO DIV. OF 
KIRMUSS & ASSOCIATES, LLC
51 West 84th Ave., Suite 301
Denver, Colorado 80260
(303) 263-6353
kirmussaudio.com
ckirmuss@frontier.net

Editor’s note: Prices correct at time magazine went to press. Please check with suppliers due to recent fluctuations in the Pound Sterling.

Cleaning Machines

The Okki Nokki RCM (£435) is hardly new but has been steadily improving in looks and build quality over 15 years. It’s a simple all-manual vacuum-suction machine, tidy and low in noise that stands as an exemplar for affordable wet‑cleaning.

The platter motor is bidirectional and runs smoothly in either direction, operated by a simple three-way toggle. The suction cycle meanwhile has the least din of any such machine I’ve tried. All-important suction from the 500W pump is not as high as my favourite VPI HW-17 though, requiring up to four revolutions to dry the surface, where the latter completes the task in under two. That does mean the velvet strips remain in contact with the record somewhat longer, potentially accelerating wear – and these do need regular checking and replacement when worn. 

Siting the record on the platter requires care as the spindle is under 2 mm high before the thread starts, and I found it too easy to place a record non-concentrically on the shank shoulders.

The metal clamp feels solid but mind you don’t quickly spin it loose and drop it, as it will damage the record or even the machine as it lands. Getting the right torque took some practice – too loose, and the record stuck to the tube after losing contact with platter. Too tight, and a circular mark was left on the record label from the puck’s rubber O ring.

The supplied goat-hair brush deserves mention; it is an effective two-row brush of natural fibres embedded in a wooden handle. Slightly on the soft side, it works effectively in spreading solution and working it deep into the record.

Cleaning results were very good, if perhaps not quite as pin-drop quiet as with upmarket machines. Nonetheless in its new immaculate white finish besides black, this is the best vinyl cleaning machine for the money. Additional accessories include a clear acrylic lid and 7-inch armtube. It has a notably compact footprint too, a serendipitous 33.3 cm square.

Stylus Cleaner

Keeping your stylus clean and free of contamination is a self-evident step in ensuring good vinyl reproduction. Various techniques are possible, from simply blowing or using a record brush to banish dust balls, to the more clinical approach of isopropyl alcohol on a cotton bud. The latter is often frowned upon though, as some diamonds are only fixed in place by soluble glue, and alcohol is feared to wick up the cantilever and compromise rubber suspensions. 

Many new cartridges include a stiff brush which can do a good job at lifting obvious build-up. Linn Products advocates a scarier method using the legendary green paper – a strip of abrasive sheet like fine wet’n’dry, with the sandpaper dragged along the needle’s very point.

Over the years I’ve alternated between careful use of a moistened medical-grade cotton bud, and an Audio Technica AT-637 ultrasonic cleaner. A different high-tech approach is offered by DS Audio with its ST-50 stylus cleaner (£75). This has a sliver of transparent gel housed in a compact metal tray the size of a snuff box. The gel is made from an advanced urethane resin that has remarkable ‘sticky’ properties, crucially without leaving a residue, and said to be developed for holding micro-dust in clean-room environments.

The gel in its nickel-plated tray is placed on a static platter, the needle gently lowered onto the fly-paper polymer, then raised. This action quickly captures any debris from the diamond, and just one or two needledrops worked as advertised, leaving the needle entirely muck-free when viewed through an 8× loupe.

Similar products are available, but this is may be the only one that uses ether-based urethane, so that absorptivity is not compromised over time by hydrolysis. In fact, the gel can be removed from its tray and rinsed under a cold tap to clean it, suggesting a good investment for squeaky clean stylus care.

Tracking force gauges

Time was when a simple Shure see-saw balance was deemed sufficient to set cartridge tracking force. Then like so much in audio, and life in general, we went digital. First up was the Winds Arm Load Meter ALM-1/01, originally many hundreds of pounds, followed by The Cartridge Man’s marginally more accessible yet eminently precise meter. Now the entrance fee for a digital balance has tumbled to just a few pounds, thanks to a plethora of Chinese-made devices marketed at jewellery and pharmaceutical enthusiasts.

The van den Hul Stylus Force Gauge (£81) is a seemly starting point among many facsimiles under different names, and there appears to be two distinct types in circulation. 

There’s a cheaper plastic-bodied version, typically around £10–20, working to two decimal places and powered by two watch batteries. It has mechanical buttons on its chassis but potential issues – my sample from ten years ago was eating (expensive) batteries before it stopped working altogether.

The vdH gauge is a different proposition, despite sharing the same style. For power it takes AAA batteries (2×), and while I’ve not tested long-term I’d anticipate these lasting longer.

It’s a weightier all-metal affair in die-cast aluminium, about 50% larger at 120 × 52 × 26 mm (wdh), and features a touchscreen with strong green backlight behind the large-segment LCD. Like most such ‘stylus balances’ it betrays its origins with selectable weighing units, handy for assaying your earrings to the nearest carat (ounces and pennyweight also available). 

For cartridge calibration it has the benefit of reading to three decimal places, making it easier to see if a nominal ‘1.75 g’ downforce is actually set closer to 1.745 or 1.754 grammes, for instance. Until recently I survived with a Clearaudio Stylus Gauge EXACT, good to one decimal place; now I’m finding adjustments in the order of 0.02 g are audible with a vdH Grasshopper and so I depend on two- or three-decimal precision to record changes and repeat settings.

Ortofon has a high-quality offering in the DS-3, made for the Danish company in Japan. This resembles more closely a laboratory or jeweller’s balance, with a large top plate about 60 mm square that extends on one side to provide a flat shelf to carry the stylus. That platform is set 3 mm above the base, slightly above a heavyweight pressing, but closer to ground zero than the vdH at around 5 mm. This could be of interest to users of ‘stable balanced’ unipivots, which may be sensitive to measurements taken above actual playing level.

The DS-3 also takes AAA batteries, this time not requiring a tiny screwdriver to extract. It reads ‘only’ to two decimal places, in other words the nearest hundreth of a gramme, yet does feel like an even better constructed balance. Its maximum load is 200 g rather than the 5 g of vdH; not essential for magnetic pickups but handy to enable the Ortofon to earn its keep in the kitchen, for example, as well as the music room.

Record Brushes

Record brushes are a popular and for some indispensable accessory. Besides the dry brushes used for sweeping up surface dust there are those used wet for cleaning and restoration

For wet cleaning many enthusiasts swear by natural goat hair, as the tapered strands are thought to better reach the bottom of the groove. A few years ago I settled on the Tonar Wetgoat with its single line of stiff bristles, and the Analogue Studio Goats Hair Brush (£21.99) has a similar form, albeit with three stacked rows of bristles in a wooden handle.

The fibres are softer than the Tonar, giving a gentler action, a tad too compliant for my taste, although the sheer number of bristles that are in contact at once should mean plenty of mechanical contact per cleaning revolution.

Back on dry land, in the ’70s the velvet block was almost de rigueur, with inlets for a few drops of water to barely moisten the pad and ward off friction-induced static. These have been almost totally supplanted by carbon-fibre wands, usually with two rows of fibres and a hinged cover that doubles as fibre wiper. AudioQuest sells a good example of the breed, its Anti-Static Record Brush (£17.95) pimped up with gold-plate strips either side. This suggests increased conductivity to the user-as-earth, promoted by a ‘zero Ω anti-static’ legend on the side. Curiously while carbon may have high intrinisc conductivity, its resistance here was measured at several tens of ohms. 

In contrast to some models the brush ends are relatively uniform along the length, giving more consistent contact along the record radius. Overall the AudioQuest proved to be a respectable well-made record brush.

Analogue Studio has several similar brushes in its range. Resembling a dustpan brush in profile, the Big Vinyl Carbon Fibre Record Brush (£18.95) is easy to hold in a fixed place as the record spins, if less manoeuvrable through the wrist for elegant sweeps off the surface. Perhaps its main drawback, in common with its handle-free counterpart the Hand Held Carbon Fibre Brush (£16.95), is the lack of any built-in method to remove dust from the fibres. It’s tempting to use a finger or the palm to wipe off debris but this will result in trace oil meeting the fibre ends, and thence to the record surface, an absolute no-no. Keep a microfibre cloth on standby.

If static charge is a concern, perhaps the best way to discharge is by connecting the brush to electrical earth: meet the De-Stat Brush With Grounding Cable (£16.99). This takes the classic wiper/guard form, adding a detachable 1 m wire with a spade terminal. This can be connected to an amp’s earth post to keep the brush at ground potential, and the shiny chrome-effect plastic also proved conductive too. 

Almost an order of magnitude dearer, the Yukimu ASB-1 (£140) nevertheless proved a most versatile brush, good for the most delicate of vinyl sweeping as well as dusting around delicate fixtures like tonearms and cartridges. Marketed by Furutech outside Japan, this 165 mm-tall brush resembles a makeup artist or painter’s sable, with very soft fibres around 20 micron thin. 

These are a 50:50 mixture of light goat’s hair, plus an innovative synthetic developed by Mitsubishi Chemical known as Corebrid B. This fine acrylic staple fibre incorporates a conductive carbon-loaded core that promises to allow coronal discharge of the weak microamp currents that flow in static conduction. In testing I found that a little tickling of the SME tonearm and its dust-magnet outriggers with the Yukimu would leave it spotless for longer than other spring-cleaning regimes. It also makes for a safe and strangely satisfying way to chase away random fluff from the vinyl surface.

Destatic treatment

On the basis that prevention is better than cure, why not stop dust from being drawn to a record in the first place? That’s the aim of static-neutralising products like the Furutech Destat III, a hand-held ioniser running from four AAs. Resembling an ice curling stone, this lightweight gadget includes four balanced-ion generators that ionise surrounding air, and a silent fan that wafts the charged molecules toward your object of interest – not just LPs, it can be directed at the deck itself or anything that tends to get charged and collect dust. Besides helping reduce static ionisers also seem to have a calming feel-good effect on humans too.

Hole truth

The final accessory here I was blissfully unaware was even needed but will be useful to owners of certain turntables that closely follow engineering standards. The Clearaudio LP Drill (£40) is a simple tool to ream out the centre hole on any record that has been issued fractionally undersize. 

International standards (IEC98-1958/1964/1987 and DIN45547-1981) agree that the diameter of the hole shalt be 7.24 ±0.09 mm. Some manufacturers such as Linn, Rega and Michell err toward the undersized (at 7.09, 7.15 and 7.14 mm respectively) so are unaffected by the majority of pressings, but Clearaudio itself plays closer to the rules. So if you find too many records are just too tight for comfort, use this drill to gently enlarge the hole. Verified at precisely 7.24 mm, this is a hard-to-find bit size, which Clearaudio mounts in a high-quality aluminium handle. 

[Thanks to Analogue Seduction, Decent Audio, and Sound Fowndations for providing samples of the featured accessories]

Whether you’re an established expert or someone simply exploring the idea of adding an analog machine to your front end, this event will be tailored to the interests, needs and knowledge of those attending. While the machines used for the workshop will be ATR’s own state-of-the-art 102 2-track and 104 4-track, the day is not geared towards any specific brand or format. The in-depth information and experience provided will apply to any analog machine. You will learn subtle alignment techniques and tips to achieve the most dialed-in analog experience possible.

Location for the event will be Michael Romanowski’s Coast Mastering studio in Berkeley, California. Michael is a co-founder of The Tape Project, which in 2007 launched with the lofty goal of bringing original master tape level performance into your home. They’re still doing it today, and Mr. Romanowski is joined as an event participant by fellow engineer, Managing Director and co-founder of The Tape Project, Paul Stubblebine. Paul and Michael are two of the leading experts in analog recording today.

Coast Mastering is located in the former Fantasy Studios building, itself one of the most storied recording studios in US history. The list of artists who have recorded there is jaw dropping (most famously Creedence Clearwater Revival), not to mention soundtrack mixes including those for One Flew Over the Cuckoo’s Nest, Apocalypse Now, and Amadeus. The location for this workshop is significant and worthy of the trip on its own merits.

Finally, the world class expertise and facility will be finished with world class playback systems so that attendees can enjoy the fruits of their labor. Electronics from Doshi Audio will be partnered with loudspeakers from Rockport Technologies. Work hard. Play harder.

Learn from and enjoy the best in the analog industry. Space will be limited to just 12 lucky attendees. No matter how much or how little you think you know about analog tape machines and recordings, put this event on your calendar.

Participation is $500 per person. 

Please contact Tim Marutani (Tim@marutaniconsulting.com; (510) 652-1911) for further information or visit www.doshiaudio.com/reel-tape-workshop to reserve one of the limited spots!
 

Critical Mass Systems Sotto Voce Equipment Rack
$3500
CMS Sotto Voce racks are not just vastly less expensive than the firm’s state-of-the-art efforts; they also offer comparable performance in a more traditional and appealing package. The frame and shelves are made of gorgeous Sapele African hardwood (natural or optional black finish) with sturdy metal connections milled from billet aluminum. The sonic improvements are not subtle—bass tightens, transients gain more verve yet maintain better control, rhythms sharpen, and low-level noise plummets. It’s that last factor that opens the soundstage and is key to the SV’s remarkable ability to elicit dimensionality from a recording. Fully upgradeable to accommodate CMS’ upscale array of “filters” (they replace the stock shelves but are mechanically far more complex). The filters provide further noise reduction, while the “purity quotient” takes a sizable jump. Available in three heights, the tallest, at 38″, is a four-tier unit that offers 10″ spacing out of the box yet is easily adjustable.