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Step by Step Vinyl Record Cleaning

Posted on January 29, 2025 by johnny keys

Start – Cleaning Album Jackets – Conclusion: Preferred Method

I recently unboxed my old vinyl album collection. I was delighted to find that some of the albums were in exceptional condition. Unfortunately, a few of my favorite albums were in very bad condition. I decided to try to clean the vinyl discs myself. After researching some expensive cleaning systems, I opted to clean my records manually and I was able to salvage some of my favorite albums. The materials I needed were inexpensively sourced including:

I knew that working on a vinyl record was a delicate operation, so I took precautions to protect the record. I laid down a clean dish towel on the floor to use as my work surface. I then carefully placed the vinyl record on the towel. I then filled my spray bottle with distilled water.

I selected a record from 1980 which suffered sleeve and record damage. The paper from the sleeve rotted and transferred to the vinyl. I almost considered this beyond repair.

If the paper is strongly bonded to the vinyl record, it might take multiple spray applications of distilled water to loosen and soften the material. Each time you spray the water on, you can try lifting the paper again. Do this until the bond is loosened enough that the paper will release.

I carefully sprayed distilled water from my spray bottle onto the record, avoiding the center label. After a few seconds, I gave the record a firm wipe with a microfiber cloth, following the groove pattern. The microfiber cloth was the right size to clean the entire record surface, and it didn’t get caught on the label. This successfully removed the larger debris from the surface of the vinyl. The next step will give it a more detailed cleaning.

After applying the record cleaning spray, I wiped the record firmly with a microfiber cloth. I followed the groove pattern in a circular direction around the entire record. I found that this method worked best for me, but you may want to experiment to find what works best for you.

On the turntable, I gave it a final clean with my record brush and then played my refurbished vinyl record!

The record cleaning process did its job. The result is not bad at all. The cleaned vinyl doesn’t sound brand-new, but it plays well and sounds infinitely better than before. All the dirt, dust, and debris are gone, and I was able to play the album without any skips or pops. It’s certainly listenable now, and I’m glad to say that I still consider it a favorite among my vinyl records.

Considering the condition of the album jacket and inner sleeve, I decided to store my newly cleaned album in a new inner sleeve. This will protect my album for years to come!

The final step in my process was to store the old printed inner sleeve in the record pocket and use the gatefold album cover to store the newly sleeved clean record. I then slid everything into its plastic outer sleeve.

Conclusion: Preferred Method

The best cleaning procedure I found is to simply spray distilled water on the vinyl. DO NOT get the label wet! Then, wipe the vinyl with a microfiber cloth, following the groove pattern. If your record has paper that has transferred to the vinyl, spray the record a few times with distilled water. Let the water soak into the paper, and then gently wipe it off. The paper should easily come off.

Cleaning Album Jackets

When cleaning a vinyl record, the record itself isn’t the only thing that needs attention. Cleaning an album jacket is a more delicate process than cleaning the record itself. The paper of the album jacket can be fragile and liquid cleaners could cause more damage. This is why you shouldn’t spray liquid cleaners directly onto the album jacket. The best way to clean the album jacket is to dampen a clean microfiber cloth with a few sprays of Simple Green All Purpose Cleaner and then gently wipe the album cover.

Down the Rabbit Hole – Vinyl

Posted on January 6, 2025 by johnny keys

I grew up listening to vinyl records, both albums and 45s. I loved the sound of the music, and I still have memories of sitting in my room, listening to my favorite albums over and over again. In 1982, I traded in my turntable for a Philips CD-100 compact disc player. At the time, CDs were the new trend, and I was eager to experience the improved sound quality they promised. But I eventually realized that CDs lacked the warmth and depth of vinyl. I still have a lot of my old vinyl records, and I recently decided to get back into playing them. I’m looking forward to getting my old records back in rotation and enjoying the full, rich sound of vinyl once again.

I went to the attic and retrieved my old turntables. Unfortunately, the drive belts had deteriorated with age and I need to replace them. Also, I’m researching which turntables and cartridges to replace my old equipment and get the best sound quality from my records.

*Alnicov 2PCS Turntable Belt Replacement Fold Length 270MM for Retro Vinyl Record Player Fit for All Kinds of Belt-Driven Turntables*

It was a bit of work to find drive belts for my turntable until I finally found them on the Amazon and Walmart online stores. The drive belts I purchased fit both my Sony and technics turntables.

I bought this Sony turntable in the 1980s to match my Sony AM/FM receiver/amplifier’s remote. I believe the turntable still has the original Empire cartridge, which is a P-mount, moving-coil type. I’m not sure if the cartridge is still good, but I think it is. I’ve never had any problems with the turntable or the cartridge, so I guess they’re both in good condition.

This semi automatic Technics SL-B2 was my first “real” piece of audio equipment and I remember my excitement when I first opened the box and installed it with my Craig ‘all in one’ stereo system. I used it for about ten years until I replaced it with the new Sony automatic turntable. When i took it out of storage, the belt was totally disintegrated and stuck to the bottom of the turntable chassis. Other problems were the cueing system was frozen in the raised position and I noticed the strobe light for the speed adjustment was burned out. but I replaced the drive belt and I slowly spun the platter, This reset the cueing system, which now seems to work well. I also rebalanced the tone arm and set the anti-skate dial.

Down the Rabbit Hole

I retrieved my old turntables from the attic and basement and I was excited to find them, but unfortunately neither one is working. However, my album collection is in decent condition and should be playable. I purchased replacement belts for the turntables, but that did not fix the problem. I then downloaded the service manuals for each player, and now the turntables are sitting on my workbench in the basement awaiting further repair. I am hopeful that I will be able to get at least one of them working again, but the repairs seem complicated. These are delicate mechanisms, and I am not sure if I have the skills to fix them.

I examined a Technics turntable that had been sitting unused for some time. The cueing mechanism was stuck in the raised position, so I tightened the adjustment screw to lower the tone arm (which turned out to be a mistake!). Unfortunately, when I tested the unit, the tone arm just skated across the record. The turntable is now on my workbench for a more invasive diagnosis. I bought and set up a new Denon DP-300 turntable. While doing so, I learned some tips that I then applied to setting up my Technics SL-B2 turntable. The SL-B2 is a semi-automatic turntable with a tone arm that returns to the rest position at the end of the record. To set it up, I first loosened the cueing arm which I had previously overtightened by mistake. Next, I moved the tone arm to the “end of record” position, where it would return to the rest position. Finally, I slowly rotated the turntable platter until it caught and returned the tone arm. The next step was balancing the tone arm, which I did by setting the tracking weight to 2 grams. I guessed the right value, but 1.5 g to 2 g is a reasonable range. I then set the anti-skate dial to 2 and adjusted it while playing a record to 3. It appears to be working, but I haven’t tried it with my stereo system yet.

I recently replaced the drive belt on my Sony turntable. Unfortunately, after replacing the belt, the speed control on the turntable no longer works properly. When I switch the speed between 45 and 33 rpm, it doesn’t switch correctly. Also, the turntable is spinning too slowly. So, it’s off to the workbench for further diagnosis and repair.

sony_ps_lx433_430_431_433_sm Download

Technics-SLB-2-Service-Manual-pdf Download

33-78 strobe mat Download

16-45 strobe Download

Options

Although I am going to try and fix what I have, I decided to buy a replacement turntable to replace the more than forty year old, non-functioning units

Denon DP-300F Fully Automatic Analog Turntable with Built-in Phono Equalizer – So after a bit of hand-wringing, I selected this Denon DP-300F turntable. Some set-up was required but it gave me some ideas to try when I work on my legacy units. i wanted the fully automatic model that was easily upgraded. I don’t want to babysit a manual turntable, so fully automatic was a must. It also has a balance weight and adjustable anti-skate. The included Denon cartridge is adequate for my purposes although I may eventually upgrade to an Ortofon 2MR Red cartridge. That said, I am happy with the Denon unit “out-of-the-box” so upgrading now is not in my budget.

Ortofon 2M red with headshell

But the rabbit hole gets deeper as I retrieve my record collection from storage in cardboard boxes and milk crates

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How to Open mic?

Posted on December 25, 2024 by johnny keys

Introduction – Equipment – The Signup Sheet

Introduction

Yes, indeed. Open Mic Night. I, myself, have hosted and performed at these things. As a host, the first rule is that open-mic isn’t all about you or your band, its for other people to show their talent. This means showing some kindness and care when setting up performers regardless of talent or skill level. This is a big event for many participants. For some, it’s their first time performing in public. These participants have put in many hours of practice and rehearsal for this event. They’re nervous, but they’re also excited. They’re looking forward to sharing their talent with the audience. Its a time for the host to show empathy and encouragement.

“An audience of one is all you need”, – William Gedney, 1955 Brooklyn, New York

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Equipment

Unless you are lucky enough to host an open mic at a venue that already has a PA system and microphones, you will need to bring your own equipment.

An acoustic open mic is a live performance that allows audience members to participate. It can be held in an intimate and quiet venue, such as a coffee house, or it can be held in a larger venue, such as a club or a concert hall. The size of the venue will determine the type and amount of PA equipment that is needed. A small venue may not need any PA equipment at all, while a larger venue may require a full sound system.

Alto Professional TX310 – 350W Powered PA System with 10″ Woofer

A nice little setup for an open mic would include powered speakers, a microphone or two (with stands), and a small mixing board. The mixing board should have at least six channels for the microphones and guitars or other instruments. The speakers should be able to handle a wide range of frequencies, and the microphones should be sensitive enough to pick up vocals and instruments at all volumes. The mixing board should be able to handle at least two microphones at the same time, and have at least four inputs for guitars and other instruments.

JBL Wireless Two Microphone System with Dual-Channel Receiver

Pyle Profess
ional Audio Mixer Sound Board

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The Signup Sheet

This may be the most important part of your open mic kit. Aside from being a guide to the lineup for the night, it can help to manage the stage. Early in the night, the audience is “cold” and sober, so a performance that will wake up and energize the crowd is needed. My technique for warming up the room was to be prepared with easy-to-play songs with a pick-up band from the sign-in sheet. I’d start with a few classic rock anthems before moving on to some songs I knew would go over well with the bar’s crowd. There are a few things to keep in mind. The most obvious is that you’ll be performing at a bar, so most likely there will be a large screen TV playing whatever game or competition is going on at the moment. Don’t try to compete with it, go with it. You want people watching the game to enjoy watching your band, too.

If you are going to have a sign-up sheet for performers, then you need to have a good sign-up sheet. First, you need to include the name of the venue and the date of the gig at the top of the sheet. The sheet should also include a column for the name of the performer, a column for their instrument, and a column for their email address. I personally like to use a spiral-bound notebook for my sign-up sheets. I also add my business cards and a few pens to the notebook. That way, the sign-up sheet and supplies are all in one place. I also reuse the same notebook each week, so that I can look back and easily remember the names and instruments of returning performers. I also mark how many songs each person performs. This is to give everyone a fair chance and to keep the show moving. I try to limit the performers to about three songs, but that number depends on how many other players they can integrate into their act and, sorry to say, their talent. Three is the minimum. This gives the performer a warm-up song plus two more to show their stuff and still gives everyone else a chance to play.

My Favorite Albums

Posted on April 4, 2024 by johnny keys

There are many albums and artists I enjoy, and I listen to them often. These are some of my favorites since they were released. I must point out that this list is subjective. I thought it would be interesting to mention a few off the beaten path rather than just listing the obvious hits.

Her Satanic Majesties Request – The Rolling Stones (1967)

Her Satanic Majesties Request (1967) was the first album produced by the Rolling Stones themselves. Recorded between February and October 1967, it was delayed by the band’s drug use, court appearances and jail terms which resulted in the band rarely being all together in the recording studio. Unlike anything they had created before, this album featured experimental sound effects, new instruments and african rhythms. In addition, the surrealistic album jacket and lenticular cover photo make it a real time capsule of 1960’s psychedelia.

“Every day at the studio it was a lottery as to who would turn up and what – if any – positive contribution they would make when they did. Keith would arrive with anywhere up to ten people, Brian with another half-a-dozen and it was the same for Mick. They were assorted girlfriends and friends. I hated it! Then again, so did Andrew (Oldham) and just gave up on it. There were times when I wish I could have done, too.”
-Bill Wyman in his 2002 book Rolling with the Stones

This is one of my favorites and also one of the first albums that I listened to. The first song I learned on piano by ear is “She’s a Rainbow”. After over sixty years, I can still listen to the entire album in a single sitting.

Quadrophenia – The Who (1973)

Quadrophenia is the second of The Who’s “rock opera” albums which was the only album completely written by Pete Townsend. After “Tommy” and “who’s Next”, The Who needed to produce another ‘hit’ and Quadrophenia successfully reached #2 on the Billboard Chart in 1973. Pete Townsend indirectly suggested that it was the last album with Keith Moon playing well, returning to his signature drum style. The critical reception was good, as were most reviews. The album was well-received for the music, but there was also praise for the lyrics. The lyrics were seen as insightful, but some critics thought they had gone too far, as they were somewhat morbid.

“never recorded anything that was so ambitious or audacious again”
-Pete Townsend, 2011

I originally bought this album shortly after its release on a friend’s recommendation. I immediately loved this album as a teenager, not only for its rebellious theme but also for its powerful rock and roll sound. As I grew older, I also developed an appreciation for the craftsmanship in the music.

A Trick of the Tail – Genesis (1976)

“A Trick of the Tail” is the first album after founding member, Peter Gabriel, left Genesis, and in my opinion, the band hit a home run. At first, when Peter Gabriel left the band, it seemed like a death blow to lose the lyricist and lead singer. However, incredibly, the band carried on with drummer, Phil Collins, filling the lead singer/frontman duties. This album is a transition from the old Peter Gabriel era of Genesis into the Phil Collins’ more mainstream songs. But this album still retains the Gabriel spirit but starts to add a heavier rock vibe in the new songs.

“It was very satisfying for us to show that we could carry on … It was great not to have to involve another person too.”
– Tony Banks

I was 15 years old and my dad drove me and my girlfriend to see Genesis in concert. The show was at the Beacon Theatre, and it was an unforgettable night. It was the 11:30 PM show, and we didn’t get home until the wee hours of the morning. Bill Bruford (Yes, King Crimson) was on drums, and the music was just phenomenal. It was a show that we will never forget, and it’s one that keeps me playing and coming back to Genesis after all of these years.

Songs From the Wood – Jethro Tull (1977)

Songs From the Wood was released in early 1977, this was the tenth album released by Jethro Tull. I was never a big fan of Jethro Tull, I thought their songs too ‘dark’ and ‘moody’. “Songs From the Wood’ was a big change in tone for me, combining rock and roll with classical folk music and medieval instruments.

“Jethro Tull with kitchen prose, gutter rhymes and divers songs from the wood”.
– Front Cover from ‘Songs From the Wood’

This is my goto aLbum when the weather changes in the autumn. I think it is the perfect accompaniment to the change of seasons.

Eat to the Beat – Blondie (1979)

Blondie was a favorite since the ‘Parallel Lines‘ album. I believe that ‘Eat to the Beat‘ represents their career peak in songwriting. Their more polished sound lead to a more focused sound on tracks such as “The Hardest Part” and “Atomic”. Debra Harry’s phrasing and range perfectly fit the

“The music was good but the group was showing signs of wear and tear. The meetings, the drugs, the partying and the arguments had beaten us all up, and it was hard to have a positive attitude when the project was finally finished. … Was this the record that the public was waiting for, or was it just the waste of seven sick minds? I had never experienced this kind of emotional rollercoaster before, and I have never forgotten the sounds, smells and tastes that came with it. I guess that was what they meant: Eat to the Beat.”
– Mike Chapman, production

I played with a ‘punk rock’ band that covered Blondie’s ‘I Know but I Don’t Know’ song. This lead to me buying ‘Parallel Lines’ and my admiration of the Blondie band. At this time, Blondie had many songs on the radio. This might have been the beginning of the end for a band to follow up a success like ‘Parallel Lines’, but ‘Eat to the Beat’ continued Blondie’s radio-play domination.

Melt – Peter Gabriel (1980)

The third Peter Gabriel did not have a title keeping with the first two albums, later was known by fan nickname ‘Melt‘. The use of cymbals was banned, but the album introduced ‘gated reverb’ drums which became a signature sound of 1980s music. Phil Collins used the effect on this album’s song ‘Intruder” and later on his solo record on ‘In The Air Tonight’. This album was also to be a part of a triptych with Robert Fripp, David Bowie and Peter Gabriel, each would perform the others song on their own album. Fripp and Gabriel shared ‘Exposure’ and ‘Here Comes the Flood’ respectively, however David Bowie not participate in the end.

“Artists given complete freedom die a horrible death”, Gabriel explained to Mark Blake. “So, when you tell them what they can’t do, they get creative and say, ‘Oh yes I can,’ which is why I banned cymbals. Phil was cool about it. [Marotta] did object and it took him a while to settle in. It’s like being right-handed and having to learn to write with your left.”
Peter Gabriel interview, 2011

Exposure – Robert Fripp (1979)

‘Exposure‘ is Robert Fripp’s first solo album recorded between 1977 and 1979. It features performances by Peter Gabriel, Daryl Hall, Phil Collins and Brian Eno. The cover design and photography is by Blondie’s Chris Stein. The music is more accessible than some of Fripp’s concurrent King Crimson offerings.

“I’d like to play you a few things that I think might be commercial”
Robert Fripp

Scary Monsters – David Bowie (1980)

Beat – King Crimson (1982)

My favorite line-up of players including Adrian Belew (vox, gtr), Bill Bruford (drums), Tony Levin (bass) as well as founding member Robert Fripp.

Signals – Rush (1982)

The Golden Age of Wireless – Thomas Dolby (1982)

This is Big Audio Dynamite – Big Audio Dynamite (1984)

Songs From the Big Chair – Tears for Fears (1985)

Debut – Bjork (1993)

I really liked the first few Bjork albums but this is my=favorite.

What I am Listening to…

Posted on February 17, 2024 by johnny keys

NEW MUSIC

SURPRISE CHEF – Education and Recreation

R&B/Soul
Buy!

MOUNT PALOMAR – Brace for Impact

Electronica/Dance

Björk – Volta

Electronica/X-pop

I’ve been a fan of Björk since her early albums, “Debut” and “Post,” which were released in the 1990s. Her 2007 release, “Volta,” is new to me. After listening to it, I think it’s a return to her x-pop roots.

Broadcast Spectrum

*This is my internet radio setup: Portable Bluetooth Speaker, IPX7 Waterproof Wireless Speaker and old pixel 6 phone*

I live in a dead zone for both AM and FM radio signals. The first time I set up my hi-fi system, I thought it was broken because when testing the radio, there was only silence with the ribbon antenna. Eventually I solved this problem by installing a FM antenna in the attic.

I mainly listen to radio on the internet, even for local stations. i use an app to listen to radio called Radio Garden. Radio Garden is a non-profit Dutch radio and digital research project developed from 2013 to 2016, by the Netherlands Institute for Sound and Vision, by the Transnational Radio Knowledge Platform and five other European universities. According to the service, the idea is to narrow the boundaries from the radio. The interface is a world map with dots indicating radio station locations.

Also, I use my OG iPod and iTunes to listen to music. I’ve got all the albums and songs I’ve bought over the years loaded on those devices. I add new music every so often, and I’ve got a total of 6386 songs in my collection. But even with that many songs, I get tired of them and start looking for new sounds. I listen to a lot of different genres, and I like to mix it up. I’m always on the lookout for new music to add to my collection.

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My Radio Stations

I’ve been listening to music on Radio Garden. It’s a great app that lets you travel the world listening to radio stations. Here are some of my favorite stations, both local and not:

*Svara Radio’s co-founder Mark Owens* (Image: Noah Robson)

SVARA Internet Radio

I am listening to SVARA radio, an internet radio station from Liverpool, UK. SVARA broadcasts a mix of new music and DJ programs. The DJ programs feature a variety of genres, including House, Afrobeat, and Techno. Occasionally, SVARA plays songs by Bowie, Bjork, Talking Heads, and Arctic Monkeys. Overall, the station offers a pleasing mix of sounds that I can listen to all day without commercial interruptions or DJ commentary. It provides a pleasant soundtrack in my home. Use Radio Garden or play from website.

Founded by Mark Owens and Josh Wilson from Huyton, the station focuses on grassroots arts, culture and music ranging from alternative and indie to dance and hip-hop.

“We’re unique to the other stations, as in we’re not really dealing with commercial music. We’re dealing with stuff that’s still modern, contemporary, but a different kind of music to what gets heard on our commercial stations.”
Svara Radio’s co-founder Mark Owens

Club FM Dublin

“Dublin’s Hottest Dance Mix” Broadcasting on 107.1 FM Across Dublin. DAB Dublin, Cork ,Waterford and the Northeast. Use Radio Garden or ask Alexa to play Club FM Dublin

WBGO FM 88.3 – Newark NJ

I primarily listen to WBGO, a public radio station in Newark, New Jersey. Because it is a public station, it is commercial-free. I enjoy listening to their Big Band and light jazz selections, as well as their local news programming. I especially like the way they mix in interviews with local musicians and other interesting guests. Use Radio Garden, ask Alexa to play WBGO or listen from WBGO’s website

“I was born with music inside me…Like my ribs, my kidneys, my liver, my heart. Like my blood. It was a force already within me when I arrived on the scene. It was a necessity for me-like food or water.”
Monifa Brown, Host of WBGO Saturday Afternoon Jazz

WKCR 89.9 FM

I discovered WKCR by accident. When I first started listening to it, I thought it was a classical music station. After listening for a few hours, I realized it was just one music genre show among many, playing a variety of music from jazz to techno. From that day on, WKCR has been my go-to radio station. Another plus is no commercials!

WKCR-FM, Columbia University’s non-commercial student-run radio station presents a spectrum of alternative programming—traditional and art music, spoken arts, and original journalism. Granted its FCC license in 1941, WKCR is both steeped in tradition and committed to innovation. In the New York area, the station can be heard at 89.9 megacycles in FM; worldwide, it streams online.

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Downloads/Purchases

I recently purchased the live recording of Yes’s early albums, entitled “Keys to Ascension.” I was not disappointed. Progressive rock from the 1970s is my favorite genre, and I am a fan of Yes, Genesis, Pink Floyd, and other bands from that era. This live recording sounds excellent, and includes songs from “Time and a Word” to “Going for the One,” as well as several new studio recordings. Recorded in 1996 at the Fremont Theater in San Luis Obispo, California, the performance was captured in a small theater with only 650 attendees. The band performed with its classic lineup of Rick Wakeman on keyboards, Jon Anderson on vocals, Chris Squire on bass, Steve Howe on guitar, and Alan White on drums. Compared to Yessongs, the recording has a very crisp and full audio range.