The smell kind of grows on you. One thing to keep very firmly in mind
with the linseed oil/turpentine mix is this is the stuff that when
soaked up in rags in a bucket will reliably spontaneously combust. This
is something that is usually applied with a rag pad in small doses.
On 05/23/2012 07:06 PM, DanKj wrote:
Glycerine/alcohol was a trick used by hack piano tuners to tighten loose
tuning pins, and has been mostly discredited. Glycerine works by
attracting mositure from the air, so I would expect it to cause wood to
constantly expand & contract along with the humidity in the room. I used
linseed/turp on a Credenza, over 20 years ago, and the wood still seems
fresh and not dried-out. My living room smelled like turpentine for
about a year, but it wasn't overpowering.
----- Original Message ----- From: "Philip Carli"
<[email protected]>
To: "Antique Phonograph List" <[email protected]>
Sent: Wednesday, May 23, 2012 5:53 PM
Subject: Re: [Phono-L] Victor Orthophonic Credenza adjustment
Which do you think is less invasive? I've always had mixed feelings in
the use of both linseed oil and turpentine, but am willing to have
another opinion to change mine...
________________________________________
From: [email protected] [[email protected]] on
behalf of Rich [[email protected]]
Sent: Wednesday, May 23, 2012 5:37 PM
To: Antique Phonograph List
Subject: Re: [Phono-L] Victor Orthophonic Credenza adjustment
Boiled linseed oil and real turpentine will work much better. Verify all
joints are tight first.
On 05/23/2012 01:37 PM, Philip Carli wrote:
One thing I've been meaning to do to my Credenza that I've heard good
things about is resealing the horn with a 50/50 mixture of glycerine
and alcohol. Ideally it involves removing the motorboard and all
fittings (tone arm etc.) and "painting" the inside of the horn with
the machine upside down, then the next day turning it upright and
doing the same. The alcohol helps the glycerine penetrate the wood
and reseal any joinery that might have dried out over time, then the
alcohol evaporates and leaves the wood revivified. Supposedly it
makes for a more "forward" and resonant sound. Haven't done it yet,
but know people who have recommended the technique. Philip Carli
________________________________________
From: [email protected] [[email protected]] on
behalf of William Berndt [[email protected]]
Sent: Wednesday, May 23, 2012 12:53 PM
To: Antique Phonograph List
Subject: [Phono-L] Victor Orthophonic Credenza adjustment
In February I purchased a Victor VE8-30X. I really wanted one with a
spring motor, but when I visited Ron Haring, of the six or so
machines he had (he has an unbelievable inventory - well worth a
visit) one was in such fine condition that I caved and bought it.
Having sold my Victor VV4-3, I was initially surprised that it didn't
sound as good - rather dull, and less volume. First I removed the
tonearm, and discovered there was no gasket underneath, so I made one
out of rubber, which improved the sound a bit. I started using my HMV
5B soundbox which greatly helped the higher frequencies, and had been
using since, but several people said it still sounded thin with less
warmth and bass response than it should have. Recently, I read of
adjusting the screw on the soundbox balance bar, and did so in 1/8
turn increments - wow, what a difference! After an hour or so of
turns and tests, I now have dramatically more volume, and very nicely
balanced with highs like the HMV 5B, b
ut
with better bass.
Are there any more "tweaks" I can do? Ron already replaced the ball
bearings in the soundbox, and I always use teflon tape on the tonearm
end for a tight seal.
Many thanks for any suggestions,
Will
Chicago, IL
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