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Post by lucius1958 on Jan 25, 2013 0:20:42 GMT -5
I don't suppose you have a laptop with a built-in webcam & microphone? I simply use iMovie, if that helps.
BillS
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Post by lucius1958 on Jan 25, 2013 0:13:50 GMT -5
Bernt, The 0-100 thread is pretty much defunct in modern machining. I couldn't even find it listed on the tap chart in my Machinery's Handbook. The smallest tap we use in the shop is a 2-56. Where the hole was already drilled out, chances are you wouldn't be able to use an original hinge block. The hole should be no larger than .060 (1.52mm) for the 0-80 tap to cut a decent thread. The optimum size would be around .047 (1.19mm). I hope this helps you out somewhat. Oh, Sherline lathes rock!!! BillF If the hole has been drilled out any larger than that, you would have to press or solder in a piece of brass bushing, and thread that. Are you sure you don't want to buy a good reproducer instead? BillS
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Post by lucius1958 on Jan 24, 2013 1:33:49 GMT -5
As for the hinge block, Eric Reiss writes:
"The original thread was a Waltham watch thread; but it is unlikely that anyone has the tools to cut these nowadays. An 0x80 tap is about the closest modern equivalent."
Bill
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Post by lucius1958 on Jan 22, 2013 2:42:12 GMT -5
Best procedure is to loosen the bolts on the upper bracket, plus (perhaps) the screw on the collar above that. Then lift the horn up and get it in place; after that, reset the height as above.
Bill
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Post by lucius1958 on Jan 22, 2013 2:37:26 GMT -5
Yes, the bottom of the shaft should definitely be in the hole, or just above it. A little gentle persuasion should get it back in place.
Bill
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Post by lucius1958 on Jan 21, 2013 1:31:45 GMT -5
When you say, 'the arm does not move up or down', do you mean the cueing lever is stuck? Have you checked to see whether something has been jammed under the horn? If the lever moves, but the horn and reproducer will not rise, you might check to see whether the bolts on the upper horn bracket have come loose: if so, you should reset them.
To set the reproducer to the correct height, first make sure that the right-hand bolt is centered in the groove on the lever shaft. Make sure the lever is in the UPRIGHT position. Raise the horn up by hand, and place a good flat disc on the turntable. Lower the horn, so the reproducer is resting on the disc: then raise it until the limit pin on the reproducer is about 1/8" from the bottom edge of the upper part. Holding the horn at that height, make sure the lever shaft is pushed down as far as it can go,and tighten the bolts with a wrench.
The original instructions say that the pin should be distant 'by its own diameter' from the bottom of the reproducer cup; but experience with discs that have warped slightly leads me to leave a little leeway.
Let us know if you still have a problem after trying this.
Bill
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Post by lucius1958 on Jan 20, 2013 1:19:41 GMT -5
Generally, one should classify them by label (Edison, Columbia, Indestructible, US Everlasting, etc.); by type (2 minute / 4 minute; wax / celluloid); by catalogue number - title - artist; then indicate the grading, including any defects that may be found (cracks, splits, pits, chips, scratches, scuffs, missing plaster, mold damage etc.)
Obviously, the best way to determine condition is to play them, and listen for surface noise, pops, ticks, skips or repeats. If you can't do that, then a careful visual examination, checking for the above mentioned defects, will serve as an approximate guide....
Hope this is helpful.
Bill
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Post by lucius1958 on Jan 17, 2013 1:16:24 GMT -5
Not too bad! You can always go further if you want to later on...
Bill
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Post by lucius1958 on Jan 10, 2013 0:10:10 GMT -5
???HHHHHHMMMMMM well there is many different ways of making reproducer thing's LOL well I once tried old fish paper the one that's used with rewiring old transformers for tubed radios. one gave great sound but was not loud enough or i did not correctly fasten the wiring/string to it. I recently got some string like vintage antique sewing thread the thick stuff so i am going to try this only as an experiment wish me Lucy Well, considering that Edison had people working on diaphragm materials and construction for years, it might take some hard work to come up with a better design..... And as for Lucy, you'd better ask her yourself.....
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Post by lucius1958 on Jan 9, 2013 0:43:18 GMT -5
They certainly look as if they've been amputated.....
And I only see two brackets: there should be three....
Bill
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Post by lucius1958 on Jan 9, 2013 0:33:18 GMT -5
You might also check such things as the mandrel bearing; I don't know about Standards, but Homes and Triumphs of this period often have problems there. You might also check the half-nut, to see if it's bearing too hard on the feedscrew, or has excessive wear: these can also cause problems...
Bill
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Post by lucius1958 on Jan 9, 2013 0:25:55 GMT -5
Keith aslo check the vnor check weights make sure there tight. etc ifgovnor all thing emy phone # ill walk you through th do so message me for you need to call me pleass should be checked meaning oiled bearings either side go HUH?? I think he means that you should check the governor weights, to make sure they're properly secured on the springs; and to lubricate the governor bearings.... I would also stress the importance of cleaning and regreasing the mainspring, as has been mentioned before; plus a general cleaning and lubricating of the motor and top works.... I hope this is helpful. -Bill
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Post by lucius1958 on Jan 6, 2013 2:05:06 GMT -5
As for the difference in playing speeds: 80 or 90 rpm was adequate for spoken-word cylinders; but when it came to musical recordings, the higher speeds gave much better fidelity. This was the reason the 5 inch cylinders were introduced: you got a higher surface speed, with the same running time as a regular brown wax cylinder (which generally played at about 120 rpm).
By the early 1900s, the harder-surfaced, moulded black wax cylinders, with a higher speed of 160 rpm, became the industry standard, and the 5 inch records became obsolete.
By the way: if you're planning on collecting brown waxes, it would be advisable to invest in a lighter weight reproducer to play them (like a Model B); or else find a machine with a 'floating' reproducer, such as an early Columbia or Pathé, to reduce wear on such records....
Bill
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Post by lucius1958 on Jan 1, 2013 23:56:08 GMT -5
Well, I was referring to the A series of reproducers; not the phonographs themselves...
Bill
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Post by lucius1958 on Dec 31, 2012 23:11:02 GMT -5
Here's a bit of a question: does anyone know the chronology of the various series of DD reproducers (A to F)?
I ask because I am comparing the reproducer from my A-80 (SN A12082) with one from a C-250 I'm currently restoring (SN C42351).
The A-80 reproducer has a weight with cast lugs, introduced in 1915; the C-250 reproducer is most certainly from late 1915.
So: was the A series continued as late as 1915, and the B series merely a brief transition? Or could an early reproducer have been fitted with a later-style weight as an upgrade?
Bill
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