I have a Rek-o-Kut tr12h lathe ... I have not had any good results yet.. I have no manual and have just been wasting blanks trying to get good sound.. I have tried old aluminum core blanks... no luck really.. I have also tried mr. kim's clear wax... sounds shittier... I also have been playing around with heating my stylus... I am using a nichrome wire out of a toaster with a 12 volt box tied into it.. It gets real hot and I think it should work.. I just recently go another head.. it's an RCA.. I have not received it in the mail yet.... I am excited to see if it will make a difference.. anyways.. I am glad you made this thing so we can all figure out how to "save the vinyl" .. there can't really be that many people out here that really know what's up.. I'm gonna start recording video of my experiments and make a site for it so you guys can really get a visual of what I am doing and how I am doing it... I am a dj and producer and would love to make my own records... well.. nice to meet you all and hopefully we'll get this shit figured out.
peace,
Alan Mills
dj Sllim Nala
new to this... I have a Rek-O-Kut lathe
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jessefreelance
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RecordMan
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Rek-O-Kut Sound problems!
I ran the mastering department for over twenty years at a small independent company called Ewing Records. What the hey I ran the press for the records as well as the printing press for the L.P. jackets.
If you are having sound trouble with the Rek-O-Kut head it may well be in the head. Rek-O-Kut was not known for great fidelity.
If you are running that stlyus heat at 12 volts please be careful that will be way too hot especially if your wire is as thick as the gague used in a toster.
The wire should be about the thickness of a hair folical (sp) and you shouldn't go more than 6 volts. The Scully I used to use was set at about 3.5 volts. Your included cutter angle and depth of cut will make a big difference on your fidelity , most cut too deep which will load down the older non-feedback heads. Naturally you don't want to cut too shallow either or the record will skip on the play side. Experiment will be your best teacher, take a blank disk and make test cuts of not more than 15 seconds, side by side. Try different cutting depths at the same levels note your changes then note which sounds best on playback. Do the same on level and equalization. I know this is thought to be a strict rule' but I know many companies messed with the RIAA equalization curve especially for Jukebox cuts. I knew a fellow that cut masters for a Cincinnati based independent outfit that used a Presto for mastering his disks were outstanding the secret was he cut a wide pitch and used a feedback cutter - they do make the difference. The energy supplied by throwing lots of energy at the disk overcomes surface noise - The RCA head will perform much better than what you were previously using, but keep in mind these older heads were designed for transcription levels not the high energy disks of the 50's thru the 80's that you are acoustomed too! Put an old Gramphian or Haeco head on that machine and you will get a great sound!
If you are having sound trouble with the Rek-O-Kut head it may well be in the head. Rek-O-Kut was not known for great fidelity.
If you are running that stlyus heat at 12 volts please be careful that will be way too hot especially if your wire is as thick as the gague used in a toster.
The wire should be about the thickness of a hair folical (sp) and you shouldn't go more than 6 volts. The Scully I used to use was set at about 3.5 volts. Your included cutter angle and depth of cut will make a big difference on your fidelity , most cut too deep which will load down the older non-feedback heads. Naturally you don't want to cut too shallow either or the record will skip on the play side. Experiment will be your best teacher, take a blank disk and make test cuts of not more than 15 seconds, side by side. Try different cutting depths at the same levels note your changes then note which sounds best on playback. Do the same on level and equalization. I know this is thought to be a strict rule' but I know many companies messed with the RIAA equalization curve especially for Jukebox cuts. I knew a fellow that cut masters for a Cincinnati based independent outfit that used a Presto for mastering his disks were outstanding the secret was he cut a wide pitch and used a feedback cutter - they do make the difference. The energy supplied by throwing lots of energy at the disk overcomes surface noise - The RCA head will perform much better than what you were previously using, but keep in mind these older heads were designed for transcription levels not the high energy disks of the 50's thru the 80's that you are acoustomed too! Put an old Gramphian or Haeco head on that machine and you will get a great sound!
Interested in buying old disc lathes for rehab. Was a mastering engineer for Ewing records in Dayton, Ohio for 20 years.
Looking for Neuman AM-131 Lathe or anything similar!
Looking for Neuman AM-131 Lathe or anything similar!
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Steve E.
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RecordMan, welcome!! I can see that you are a very valuable addition to this board. Wow! That is a rich posting.
What do you mean by the "high energy disks of the 50's thru the 80's"? Are you talking about:
1) the materials used in making the acetate, or
2) the qualities of the actual recordings (dynamic range, frequencies response, transients) or
3) the loudness goal of the finished product, or
4) something else?
Thanks!
Steve
What do you mean by the "high energy disks of the 50's thru the 80's"? Are you talking about:
1) the materials used in making the acetate, or
2) the qualities of the actual recordings (dynamic range, frequencies response, transients) or
3) the loudness goal of the finished product, or
4) something else?
Thanks!
Steve
Re: Rek-O-Kut Sound problems!
Hi Record Man, I finally got my Rek-o-Kut working and I have to disagree on the fidelity. My recordings that I make (some straight from the radio) are brilliant and clear. I had the machine reconditioned by a guy who replaced a lot of the capasitors etc... and it cuts on blanks beautifully. !
RecordMan wrote:I ran the mastering department for over twenty years at a small independent company called Ewing Records. What the hey I ran the press for the records as well as the printing press for the L.P. jackets.
If you are having sound trouble with the Rek-O-Kut head it may well be in the head. Rek-O-Kut was not known for great fidelity.
Re: Rek-O-Kut Sound problems!
Hi there RecordMan,RecordMan wrote:...I know this is thought to be a strict rule' but I know many companies messed with the RIAA equalization curve especially for Jukebox cuts. I knew a fellow that cut masters for a Cincinnati based independent outfit that used a Presto for mastering his disks were outstanding the secret was he cut a wide pitch and used a feedback cutter - they do make the difference. ...
What do you mean by wide pitch? Supposedly you dont mean the rpm speed. Are you talking about the RIAA "equalization" curve?
What do you mean by feedback cutter?
And if one messes with the RIAA curve, whats the limits and whats the final resault? I mean how much different (in a good way) can it be from the original recording?