Help in reducing distortion from old mono records.

get a mono cart w/ the correct stylus for the type of record you are playing.

ET

Chris, its possible the copy you bought was played by its previous owner who had a table and cart that did not track well, adn likely damaged the grooves. If that is the case, then your best bet is to look for another copy.

One thing you can try is to take your record cleaning solution and cut it 50% with Distilled water. Mix it well and let it soak for a few hours on the offending side. You'll have to come back every 10 min to add more fluid to keep the surface wet. After an hour or two of this use your VPI or nitty gritty to vacuum off the fluid. Let the record sit flat for a few days, then give it a play. This process will remove the junk from the groove walls that has been ground in, and may reduce the distortion somewhat. If you are referring to the Ansermet performance on London, I have the same London LP, and do not have the distortion issues mentioned.

Best

J

I've gotten interested in some of the old mono classical records and noticed the same thing, occasionally. In 2 instances, I got 2nd copies of the same record, and found that the 2nd copy played much better. I talked to a couple of experienced dealers in old records, who were of the same view as Johnss--that the distorted-sounding records had probably been played with a problematic stylus years ago. But they also advised as does Electroid that if you're really serious about the old mono records, it pays to get a mono cartridge and stylus. I don't have room for one myself now, but it's on my list.

To Johnss and Electroid,

I know that playing a record with a bad stylus can damage the grooves, but The Fire Bird suite on side 1 of the record in question plays fine. It's the choral piece on side 2 that distorts, as I stated in my thread.

I suppose it's possible only one side of this LP could have been damaged, but it seems unlikely. The Fire Bird suite was a more popular piece then the Choral one on side 2, and thus would have been more likely played than the other one. If the stylus was bad enough to cause that much damage to side 2, then that would indicate that The Fire Bird suite was probably never played at all.

I've noticed that massed Choral voices or high sopranos distort on a lot of these old records, and the problem isn't limited just to old monos but some of the first generation stereo ones as well, although to a lesser extent. Could there have been that many people out there with bad stylus' playing them?

Other than the possibility of groove damage, I've come to the conclusion that there are probably two causes for this problem.

1. The modern turntables and stylus' we use today simply cannot track these LP's properly. A turntable with a higher mass tone arm and a high quality mono cartridge may be needed, but what kind of turntable/cartridge and where do you get them?

2. That these records are just plain lousy. The technology used in the cutting of these old LPs simply wasn't good enough to record high frequencies properly, and nobody in their right mind and with ears to hear should be telling us that these things sound better than their more modern reissues, LP or CD.

What do you think? I think it's some of number one with some of number 2 thrown in also. After all, there are plenty of great sounding reissues out there taken from vintage LP's, so there must be a way to make them sound good.

I'm just trying to find out how!

I think it's simply inner groove damage, which in my experience is much more prevalent on choral, vocal and piano recordings; not just the old mono ones, but also lp's from the late 70's when light tracking force was all the rage. It is not suprising to me at all that an all orchestral piece has none, even if played more. My stereo guru says that people used to align their mono carts at the edge of the record, rather than with the usual null points.

I returned a $300 mono Furtwangler Tristan because of inner groove distortion, even though the records looked perfect. That was uncomfortable. I love mono Classical opera, so I zero in on the very last tube-cut editions, which have that great tube sound. It's your best chance at the least damaged monos, IMHO. Of course, you've got how many stereo releases from '58 to '89 to choose from? : )