Here is a list of the parts for the record cleaner.

• A used canister vacuum cleaner. Get one with fairly strong suction. Hand held units generally are not powerful enough. I found a good vacuum at a thrift store for only $4.
• A hose and crevice tool. These will often be found with with the vacuum but if not they are easy to find and cheap.
• An inexpensive used turntable. Only the bearing and platter will be used and almost any turntable can be used. Just make sure that the platter is fairly sturdy. I used an old Pioneer table from a thrift store that cost me $8.
• A nylon VPI record cleaning brush. This is the most expensive single item ($25 from Audio Advisor).
• A record clamp. This can be easily constructed from MDF or acrylic.
• Record cleaning fluid. See the formula below.
• A squirt bottle for applying the cleaning fluid.

The vacuum cleaner may be used as is. I suggest removing the vacuum bag to improve suction. The small volume of liquid pulled from the records quickly evaporates so nothing needs to be done to trap it. In my case I wanted a one piece assembly so I dissembled the vacuum and embedded the vacuum motor into my record cleaner box. This also had the unexpected benefit of being considerably quieter.

The turntable may also be used as is or it can be integrated into a record cleaner box as I have done.

Next the crevice tool needs to be modified. Use a saw to square off the end of the crevice tool and then plug the end. I cut a thin piece of MDF to fit into the end and then glued it in place with 5 minute epoxy. Now cut a narrow slot into one side of the crevice tool. The slot should be about 3-3/4" long and about 1/16" wide. Extend the slot all the way to the end of the crevice tool to create a small opening at the end of the tool. This acts as a pressure relief and also maintains a minimum amount of air flow. Be sure that the slot is smooth and has no burrs. A hand held Dremmel is ideal for cutting the slot. Line both sides of the slot with velvet. Velvet works better than felt since it retains less liquid. Contact cement works best for attaching the velvet.

My record clamp is a 4" circle cut from 3/4" MDF but other materials could be used. A small plastic equipment foot from my junk bin was used to create a handle for spinning the record. The record clamp needs a rubber grip of some sort to turn the record while it is being vacuumed. A rubber O ring or rubber weather-stripping around the circumference of the clamp provides the needed traction and also keeps the cleaning fluid off of the record label. Having a good clamp makes the cleaning process much easier so don't cut corners for this item. A threaded clamp would probably work even better for this application if you happen to have a threaded spindle.

For the record cleaning fluid I use Laura Dearbon's formula from her book "Good Sound". There are a number of other formulas that could also be used. The following is quoted from Laura's book (without permission, of course).

The safe formula is the same as archival commercial preparations, except that you are mixing it yourself and therefore it costs you a fraction of the price of ready mixed. It can be used for both hand and vacuum cleaning. It is a 25 percent solution of isopropyl alcohol in water, with a drop of surfacant. Ethyl alcohol, sometimes applied to records in the form of vodka is more damaging to vinyl than is isopropyl. Use it only in an absolute pinch.

Drugstore isopropyl contains too many impurities to qualify it for record cleaning. Use technical or lab-grade isopropyl, which is extremely pure. Reagent grade is unnecessary and far more expensive. Water should be steam distilled, triple de-ionized. Both of these are readily available at a chemical supply house, which should sell them to you in pint and gallon sizes.

You also need to add a drop of surfacant, or wetting agent, to reduce the surface tension of the water so the formula can penetrate down into the grooves. Very high frequency grooves, in the range of 15 kHz, can be as small as four millionths of an inch, according to Wald Davies of LAST. Though alcohol itself helps somewhat, you still need a wetting agent. Two excellent and safe choices are Triton X-114 from Rohm-Haas and Monolan 2000 from Diamond Shamrock. Both of these are nontoxic - but don't take them internally - and biodegradable. Very importantly, they leave behind no residue on the record. They are harmless in these small amounts to record vinyl and, as far as is known, to any of the conceivable by-products and impurities likely to be found in record vinyl.

Kodak's Kodaflow is sometimes recommended as a wetting agent. Do *not* use this as it contains chemicals in addition to surfacants that would leave behind residues bad for both record and stylus. Kodak recommends against this application.

The first step in cleaning the record is putting a small portion of the cleaning fluid on the record surface. A puddle of fluid 2 inches around should be enough. You should use enough fluid to completely flood the surface of the record.

Turn the record clockwise about 10 turns while using the VPI record brush to distribute the cleaning fluid over the surface of the record and into the grooves. Repeat the above for another 10 turns while turning the record counter clockwise.

The last step is to vacuum the cleaning fluid from the record surface. Hold the crevice tool flat over the record and turn at least 10 turns. A couple of turns will remove all of the visible liquid but more turns are needed to get the last of the fluid out of the grooves.

Found @ [www.teresaudio.com]

As the stylus navigates its torturous travail through the undulating grooves that comprise the record surface, incredible pressure is exerted on the vinyl and the friction produces a fair amount of heat. This process alone is hard enough on the relatively soft vinyl that comprises the LP, add to this equation the dust, dirt and other contaminants so often found on our records, and we have a recipe for disaster. The fact is, playing heavily soiled records literally destroys them!

Dust and debris that have accumulated over time are the cause of irreparable damage to the vinyl when contacted by the stylus during play. It has been shown that this contact produces a mini-explosion of sorts, known as a conchoidal shock-wave. This incident literally "blasts" a hole into the groove wall, creating permanent, irreparable damage. This small hole reveals itself during each and every successive play as a tick or pop, and nothing short of buying a new record will eliminate it. The only way to prevent this catastrophic damage is to make certain that the grooves are scrupulously clean before stylus ever touches vinyl.

Now that we understand the importance of a pristine record, let's look at how to effectively clean our own collection. To begin, it will be useful to classify the methods available into categories - dry and wet cleaning. Dry methods employ some type of brush that is designed to sweep the record surface, thus removing dust. Wet methods use a fluid of some sort to enhance the process. Dry brushes are best used as part of a maintenance program to keep records clean, wet methods are used on an occasional basis to deep-clean the grooves. As I see it, both methods are important, and mandatory if you want to preserve a valuable collection or want the very best performance.

Let us first look at dry brush technology. Years ago, the WATTS Company in Britain began producing the first effective range of dry brush designs. Those of you who go back a way will recall the Disc Preener and Dust-Bug offerings from this Company. Both units used a plush pad to remove dust from the surface of the record. The next step in dry brush technology was taken by another British firm, DECCA, which introduced the first brush to use tiny carbon fibers. Some one million individual fibers are in each brush, the purpose of which were to deep-clean the grooves while removing static. It worked, but it also shed fibers.

Next to come along was the unit that I regard today as the undisputed King of the Hill in dry brush technology - the HUNT/EDA (again from England). This brush combines the plush pad concept with carbon fibers to produce a better mousetrap. It seems the plush pad does a very good job of cleaning the surface of the record, while the carbon fibers reach deep into the recesses of the groves. The HUNT/EDA us very effective and should be used before each and every play.

The next category of cleaners employ liquid to further augment the cleaning process. The theoretical advantages of these systems are enticing - the liquid lifts trapped or stubborn residue and debris from the bottom of the grooves. There are a number of offerings from various Manufacturers, and each has its own combination of strengths and weaknesses. Various cleaning solution and brushes are available, again, each with advantages and disadvantages. Of the ones I've tried, none have been very effective. Of them all, I've had the best feedback from people about the Disc Doctor system.

As I see it, there are a trio of thorny hazards that exist with most of the wet cleaning systems: volatility, residue and removal. Some of the liquid record cleaning fluids are extremely aggressive. And while they may not do any damage over the short term, we really aren't sure about the long term consequences resulting from their repeated use.

The real key to any wet cleaning system is the ability to completely removing the dirty liquid. It does little good to dredge debris from deep in the grooves and simply deposit higher on the groove. The obvious answer is to apply the fluid, allow it to do its job, and then remove it completely (with completely being the key word). Enter the vacuum record cleaning system. For some years now, the most effective method of deep-cleaning records has been the vacuum record cleaning machine (a popular choice is the VPI 16.5). This process is a combined approach utilizing a liquid cleaning solution together with a vacuum removal system. Here, one receives the benefit of the wet cleaning process, without the fear of residue.

The type of cleaning fluid used is an important factor in determining the effectiveness of a vacuum record cleaning machine. Many commercially produced formulations are available, some are good, some not so good. Most solutions are water based with varying amounts of alcohol, and a pinch of surfactant. However, some solutions are more aggressive than others. These products should be used with great care. Some theorize that an aggressive solution can attack the vinyl (by leaching plasticizers that keep the vinyl pliable) with repeated use.

While no specific research has been done (to my knowledge) on just how often a record can be cleaned with a given fluid before damage occurs, I would suggest a conservative approach given the rarity of vinyl these days. With most fluids, clean your records only as often as is absolutely necessary. Some manufacturers feel that only a few cleanings throughout the life of the disc is advisable.

Of the record cleaning machine fluids available today, the most positive feedback has been generated by those from Record Research Labs. The RRL fluids are the work of Brian Weitzel, a chemist and analog enthusiast in the Pacific Northwest. Weitzel labored to produce a fluid that is very safe, non-invasive, yet effective method of cleaning records to audiophile standards.

Conclusion:

For long-term record care, I recommend combining wet vacuum technology for deep cleaning, and a good dry brush for maintenance. Use a vacuum record cleaning machine when the record is new, and then several times throughout the life of the disc as required. A good dry brush should be used prior to each and every play. Don't forget your stylus, which should be thoroughly cleaned before each play. Record Research Labs and Lyra Needle Nectar are two good examples.

Once you have cleaned your collection, you must address proper storage techniques. LPs should be stored vertically. Be certain that records are not left at angle, as warpage is likely to occur.

I also strongly recommend that you treat your collection to both inner and outer sleeves. Internal sleeves should always be used to replaced the paper sleeves commonly found on LPs. I prefer rice paper or poly-lined paper sleeves that use a rice-paper like liner material. Additionally, an outer sleeve will not only protect the record jacket, but reduce the influx of dust. A good selection of both inner and outer sleeves can be found at Sleeve City.

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