Options for ridding records of static electricity

Antinn, another great old article. I can only calculate the PSI the vinyl is subjected to under static conditions which I probably should have mentioned. Playing a record is not a static process (no pun intended) it is a dynamic one with the stylus wiggling all over the place subjecting the vinyl to variations in pressure I certainly have no way of determining. I was Just trying to give everyone the basic picture that the pressure is considerable, in the order of tens of thousands of pounds per square inch. The article mention 10 X 10 to the forth power. That would be 100,000 PSI. But their contact patches were much smaller.
This article was written when we were still using only spherical styli. He mentions 10 gram VTF! Obviously we have advanced consideraby since then. Our styli are tiny in comparison and undoubtedly have a much higher polish. The contact patch with our special shapes is much higher lowering the PSI the vinyl is subjected to and increasing the frequency response to as high as 100 kHz. 30,000 PSI is certainly in the ballpark.
Anyway, thanx for pulling up these articles. They are fun to read given their age and most of these concepts remain true to this day.

Mijostyn, Antinn, and anyone else anal enough to be interested, here is the Shure Corporation website where they post pdf files on many questions that arise with respect to playing LPs:https://service.shure.com/Service/s/article/high-fidelity-phonograph-cartridge-technical-seminar?lan...I call your attention to the paper on static charge.  They describe many interesting experiments in some detail and also mention that they found no evidence that friction between the diamond stylus tip and the groove is an important cause of static charge build-up.  I agree it would be more forceful if they had mentioned how they came to that conclusion.
Mijo, you wrote above, "The other theory as to how static forms on records is that the spinning record creates "friction" with air generating the charge."  That is exactly one hypothesis that I already put forward. (See any of 3 posts above.) I don't know if it's valid any more than you do.  One recent search led me to a statement that air per se is probably not such a good electron donor, but that dust particles and/or moisture in air may confer a charge to a good electron acceptor, like vinyl.  If so, we are back to your obsession with dust, and you have one more reason to obsess.
I drive the Sound Labs with a pair of Atma-sphere OTL amplifiers that started life as "MA-240s", a model that was discontinued in the late 90s.  It originally used six 6C33C triodes as output tubes, but I have modified mine to use four 7241 triodes, which collectively produce the same amount of power (~100W into 16 ohms, maybe).  I have also built my amps from parts supplied by Atma-sphere such that each tube has its own driver tube.  This enables me to set bias separately on each tube, so there is no single tube hogging current and doing most of the work.  Many other tweaks in the circuit as well.  The Sound Lab speakers are tweaked in that I removed all the passive crossover parts and drive the audio step-up transformers (two of them in the SLs, one for bass and one for treble) in parallel directly from the OTLs.  This dramatically increased both the speaker impedance (measured at several frequencies from 20Hz to 10kHz) and the efficiency of the speaker. No subwoofer used so far.

The Beveridge speakers are direct-driven by the Beveridge direct-drive amplifiers I described earlier.  The 2SWs require a woofer as they are designed to go down to ~100Hz.  For woofers, I use a pair of transmission lines I built myself when I was an intern, nearly 50 years ago.  I modeled them after the TL woofer section of the IMF Monitor speakers. They incorporate KEF B139 woofers that are extremely low in distortion but do give up a bit of the very extreme low bass as a trade-off.  The woofers are driven separately from a Threshold amplifier that gets signal from a Dahlquist electronic crossover.  The 2SW has its own built-in electronic hi-pass filter, and I drive that directly.

That experiment you mention, if you intend to measure bias V on an ESL while grounding your meter to house ground and touching your HV probe to a stator (?), sounds possibly dangerous.  I myself would not do it.  For under $100 you can get a decent electrostatic charge meter that should allow measurement of the charge without anything touching anything, with ground to the speaker.

No Lewm, I was talking about measuring the record. I built my own adjustible bias supplies. I maintain a pretty dry environment and can push the panels a bit harder than the stock bias supplies. The only parts I kept are the two power transformers. I have the probe to make sure the bias supplies are putting out exactly the same voltage. I measure between power supply ground and the bias supply output with the panels connected. They are old Acoustat 2+2s which I have had from new. They spend a few years in another friends system while I played around with Apogee Divas. I got them back after I sold the Divas. I also removed the stock interface and replaced it with a 100 to 1 Sowter Transformer. They are driven with JC 1's. I cross to 4 subwoofers which I built at 125 Hz.
I have a better subwoofer design in my head which I will probably make next Winter. They will use a total of 8 Morel 12" drivers in a balanced force configuration. I also plan on getting a pair of 845's in the hopefully not too distant future. The 2+2s are wonderful but selfish. The treble rolls off quickly off axis. 
An old trash record is on the turntable spinning now with the dust cover up. We shall see if it developes a charge. Afterwards I am going to play the record without the sweep arm to see what happens. As you probably have noticed there are opinions all over the place as to what does and doen't create static on records. I have read that Shure paper many times. Overall I prefer Antin's article. I would like to get this settled once and for all:)

Acoustats are excellent.  Just about the only brand of good ESL that I have not owned, but my dear friend here in Northern VA had them for many years, so I am quite familiar with them.  Acoustat actually originated the idea of using two audio step-up transformers, one for bass and one for treble.  I think they called that the "Medallion" option.  Sound Labs basically borrowed the idea from Acoustat in the late 90s, I think. At first, SL drove one fraction of the panel with a bass transformer and a smaller fraction with the treble transformer, but in recent years, they drive all panels full range with both transformers.  I think Acoustat went down that road, too.  I just have no room in my upstairs listening space, where the gigantic 845PXs dominate, to add anything like the size of the subwoofers you use.  But I have often considered some smaller alternatives.
Seems you've been nudged off the ledge of absolute certainty that the stylus causes static charge on the LP, at least.  That's a good sign.

Ok guys...I had a static problem for years and literally tried every device, carbon fiber brushes, even grounded to the wall outlet, Zerostat etc etc. This past winter I decided to re-clean my 600 + album record collection and decided to do it with a ultrasonic cleaner. Did my research and got a ultrasonic cleaner, a device to rotate 4-albums at a time and made my own cleaning solution utilizing distilled water, 91% isopropyl alcohol, Triton X-100 and  Hepastat 256. The Hepastat is the defining difference static wise. Everything else gave me squeaky clean (LOL...quiet clean) albums , but the Hepastat is a quat and thus an anti static. 
I have been playing my albums (some over and over) on my VIP Aries 3 with a Benz LPS MR for the past 7 months and have not had to brush, Zerostat or anything else to remove static. 
Clean quiet and static pop free...