Building high-end 'tables at Home Depot: Photos


Since those who are following this project will find it difficult to find the required answers for easy reference, and also for anyone not familiar with it, I start this new thread with the promised photos. Sorry, but I must once again re-post what was posted on my other thread to do so. For more detailed information re. this whole thing, please refer to the other Home Depot thread, as all of the enormous amount of information is contained there. Of course, I would be pleased to answer questions from the curious. I will also copy an answer I gave someone else at the end of the other thread, after this intro. Please excuse me, as this does give good info as well regarding the whole point of this project. Here we go:

PICTURES!!!!

I here re-run the whole thing together with address to see the Home depot creations:

"These are three "Home Depot" creations: the marbled beast is the prototype I wrote about, with sloppy marbling (didn't stir it enough, didn't dip it in right), but still you can see the effect, it fools many into thinking it is made of stone. The two-tier design was meant to address that worrisome rumble aspect which I later found out wasn't an issue. I removed the motor entirely from the top-plate and mounted it on the large bottom plinth, which is made of a sandwich of 1 1/2" chipboard, drywall (for plaster's resonance-killing properties when sandwiched: an experiment) and Baltic Birch-ply. This is very difficult to do, as the motor must be in precisely the same orientation without a millimeter's deviation, or there will be serious wow. The motor rests on the original Lenco springs inside the large non-resonant box, for which a space sufficient for the motor was cut out. I later found that all this trouble was not necessary, as I could not hear any more noise (which is none) leaving the Lenco as is in a single solid plinth. Much simpler, much easier. The top plate is mounted on a simple piece of Baltic Finnish birch-ply, to reduce total mass (mass being reserved to kill motor resonances/energy only) so as not to store energy. That was the design brief for my prototype: a mix of the advantages of high-mass design with the advanmtages of low-mass design. The top tier is further isolated from the bottom tier by lossy silicone putty, held in place by nuts and washers. Rudimentary, but effective.

The oak-trimmed version is built of pure MDF (four 3/4" layers) to which I actually glued the oak, which is a "false" box, much easier to do than building a real box. Using a miter saw, I simply cut each piece of solid oak to the precise dimensions of each side consecutively, so that slight deviations caused by having the pieces cut at Home Depot were not an issue. Each slab of oak is glued and held in place with small nails, then left to dry overnight. For those interested, I can give furtehr details. One of the pieces of MDF had significantly smaller dimensions (1/2" all around), which I filled with caulking gun rubber compound before gluing the oak in place, to further damp the Beast. The feet are large acorn-headed bolts, which used to be available in that attractive brass, which act precisely like Tiptoes, but without the cost: small contact area, strong "escape route" for vibrations coming from the 'table itself. The black piano finish is spray-painted, and the whole routered (quite easy) for that elegant look. This 'table wit Rega arm had a Kiseki Purpleheart Sapphire, rare, expensive and exotic moving coil from Koetsu's main competitor of the day, low-output moving coil at .4 millivolt, played through tube separates through speakers with below 40 Hz reach, with no audible rumble, even in the silences between the songs, at the end of the LP, or at the beginning. In fact, I often get up to make sure I remembered to lower the stylus!

The black and white version is made of MDF to which is bonded the white Corian slab. Very effective as well: no box, no rubber damping (except the metal top-plate) needed. The style was my capitalizing on the black Lenco body and the white Corian, to recreate the Black and White linoleum of the '50s. It is small and heavy (Corian being very dense), and also has black spray-paint finish, which looks like a piano finish. It has the same acorn-headed bolts for Tip-toe feet as the others, the point being small contact area to prevent vibration moving up into the structure as well. All feet are adjustable and lockable for easy levelling, as they are for all three 'tables. Cheap and easy, using wood glue and contact cement.

Other photos show the solid internal structure to understand the principle: no enclosed resonating spaces, therefore the motor hangs in the air in open space to further dissipate its vibrational energy. The rest is dense, inert, solid. Simple, cheap, easy.

The marbling I will show you with better instructions than I had when I built my first one on a whim, the others all being so beautiful I sold them at a large profit to fund my travels to exotic places!"

I would also like to point out the photo with the cartridge resting on the record, to demonstrate the amount of VTA deviation: you might like to find other solutions than cutting off the edge of the metal top-plate, as the deviation is not huge. I have used cartridge spacers, and there must be quite many thick platter mats available. While too-high VTA does make things brighter, the Lenco's thunderous bass goes a long way towards restoring the balance.

Pictures at John's Turntable Site, at http://www.terrypogue.com/Johnnantais/john.html.

PICTURES!!!!

I here re-run the whole thing together with address to see the Home depot creations:

"These are three "Home Depot" creations: the marbled beast is the prototype I wrote about, with sloppy marbling (didn't stir it enough, didn't dip it in right), but still you can see the effect, it fools many into thinking it is made of stone. The two-tier design was meant to address that worrisome rumble aspect which I later found out wasn't an issue. I removed the motor entirely from the top-plate and mounted it on the large bottom plinth, which is made of a sandwich of 1 1/2" chipboard, drywall (for plaster's resonance-killing properties when sandwiched: an experiment) and Baltic Birch-ply. This is very difficult to do, as the motor must be in precisely the same orientation without a millimeter's deviation, or there will be serious wow. The motor rests on the original Lenco springs inside the large non-resonant box, for which a space sufficient for the motor was cut out. I later found that all this trouble was not necessary, as I could not hear any more noise (which is none) leaving the Lenco as is in a single solid plinth. Much simpler, much easier. The top plate is mounted on a simple piece of Baltic Finnish birch-ply, to reduce total mass (mass being reserved to kill motor resonances/energy only) so as not to store energy. That was the design brief for my prototype: a mix of the advantages of high-mass design with the advanmtages of low-mass design. The top tier is further isolated from the bottom tier by lossy silicone putty, held in place by nuts and washers. Rudimentary, but effective.

The oak-trimmed version is built of pure MDF (four 3/4" layers) to which I actually glued the oak, which is a "false" box, much easier to do than building a real box. Using a miter saw, I simply cut each piece of solid oak to the precise dimensions of each side consecutively, so that slight deviations caused by having the pieces cut at Home Depot were not an issue. Each slab of oak is glued and held in place with small nails, then left to dry overnight. For those interested, I can give furtehr details. One of the pieces of MDF had significantly smaller dimensions (1/2" all around), which I filled with caulking gun rubber compound before gluing the oak in place, to further damp the Beast. The feet are large acorn-headed bolts, which used to be available in that attractive brass, which act precisely like Tiptoes, but without the cost: small contact area, strong "escape route" for vibrations coming from the 'table itself. The black piano finish is spray-painted, and the whole routered (quite easy) for that elegant look. This 'table wit Rega arm had a Kiseki Purpleheart Sapphire, rare, expensive and exotic moving coil from Koetsu's main competitor of the day, low-output moving coil at .4 millivolt, played through tube separates through speakers with below 40 Hz reach, with no audible rumble, even in the silences between the songs, at the end of the LP, or at the beginning. In fact, I often get up to make sure I remembered to lower the stylus!

The black and white version is made of MDF to which is bonded the white Corian slab. Very effective as well: no box, no rubber damping (except the metal top-plate) needed. The style was my capitalizing on the black Lenco body and the white Corian, to recreate the Black and White linoleum of the '50s. It is small and heavy (Corian being very dense), and also has black spray-paint finish, which looks like a piano finish. It has the same acorn-headed bolts for Tip-toe feet as the others, the point being small contact area to prevent vibration moving up into the structure as well. All feet are adjustable and lockable for easy levelling, as they are for all three 'tables. Cheap and easy, using wood glue and contact cement.

Other photos show the solid internal structure to understand the principle: no enclosed resonating spaces, therefore the motor hangs in the air in open space to further dissipate its vibrational energy. The rest is dense, inert, solid. Simple, cheap, easy.

The marbling I will show you with better instructions than I had when I built my first one on a whim, the others all being so beautiful I sold them at a large profit to fund my travels to exotic places!"

I would also like to point out the photo with the cartridge resting on the record, to demonstrate the amount of VTA deviation: you might like to find other solutions than cutting off the edge of the metal top-plate, as the deviation is not huge. I have used cartridge spacers, and there must be quite many thick platter mats available. While too-high VTA does make things brighter, the Lenco's thunderous bass goes a long way towards restoring the balance.

Pictures at John's Turntable Site, at http://www.terrypogue.com/Johnnantais/john.html.
johnnantais
Of course I can't know what's going on out there, so for you people who may be rushing to glue your slabs together before I have a chance to post new assembly photos, heed these instructions! First of all, choose the straightest edge on each slab to use as your reference point when making the templates for your work. Secondly, from this straight edge, choose the straighest side adjacent (at a 90-degree angle) to this for your second reference point for your measurements. So, all perfectly lined up on one long side (the cuts at Home Depot will be slightly off), and perfectly lined up on the other adjacent side. It doesn't matter if the two remaining sides are slightly off, you'll be using a sander at the end to even things out. From these two sides you will be making the same template on each individual slab. For instance, given the Lenco dimensions of 15 1/4" x 13", if you have calculated an extra 1 1/2" front and back, then you use the straight edge you have chosen for all slabs to measure a line 1 1/2" from that edge (choose two point from that edge, and draw a line across the slab from that), repeating for each slab in turn. If you have chosen, say an extra 2" for the sides, then using your adjacent (90-degree angle) straight edge as your reference, you make two points at 2" from that edge, for each slab in turn. Then, simply measure the precise distance of the Lenco from that line, being 15 1/4" from the side line, and 13" from the back (or front) line, again making two points on each side, and drawing a line throough them. Now you will have the same Lenco top-plate-sized box at precisely the same points on each slab. Make a coloured mark also on each reference side so you know which straight edges you used as your reference points come gluing day, as you will re-line them up this way. All sanding/rectification will be done AFTER the plinth is glued together.

Now make sure you do ALL drilling and cutting for each slab individually, as trying to hold a straight 90-degree line for a hand-held drill through 3"-4" when drilling the holes for the fastening bolts will not work. By drilling each slab individually, you will be able to drill through the whole thing together at the end regardless of small deviations (you will still be able, given reasonable accuracy, to see the hole going through all four or five layers), so you will have no problems.

For those rushing to disassamble their Lenocs in preparation for the project, be very careful not to remove necessary parts! Leave the on/off switch assembly in place, as well as all parts related to the idler-wheel and its carriage arm. Remove the arm, yes, but again being careful. The mountings for the four springs that are there for the suspension are screwed into tapped holes, and it is these tapped holes which will be used to fasten the Lenco to the finished plinth. So remember, each slab measured, cut and drilled individually as without large expensive equipment you will not be able to achieve the necessary accuracy, both for final assembly and the illusion of a professional finish. Have fun!

P.S. Some Lencos used small solid silver dumbbells inside the power-switch assmebly!
TechnoPop: Kraftwerk, Yaz, Depeche Mode, Art of Noise, Yello, Colourbox...If you haven't heard these on an idler-wheel 'table, you haven't heard them period! Idler-wheel drives excel in the bass, where they have greater reach, power, slam and speed than belt-drives designs. Of course, these attributes also benefit all music, as stand-up bass in jazz ensembles and all bass instruments are simply heard more clearly on these 'tables. This power and slam covers the entire frequency-range, it's just that it's the bass which will first astonish and thrill you! Don't worry about the high-frequencies, as both Lencos and Garrards had much lower measured rumble than LP12s in their day. Join in the experiment, it's educational, fun, and rewarding in all kinds of ways! And cheap and fun! I recently listened to the above bands and had to share this great entertainment with you.

The issue is one of Dogma, unfortunately. To make this point clearer I will give a dictionary definition of "dogmatic": "asserting a matter of opinion as if it were fact". All kinds of audio authorities have written about the "fact" of idler-wheel rumble, and gone to great lengths to explain it via theories and so forth: now, more than 30 years after the essential demise of the idler-wheel drive, they continue! Of course the audio industry has never been guilty of cynically promoting sonically-inferior technologies for a great increase in profits...but wait! Of course, NOW I remember, they did tell us that transistor amps were vastly superior to tube amplifiers! They had all kinds of charts, graphs and theories to back them up too! Oh, and then there was that "Perfect Sound Forever" thing which engineers and scientists went to great length to support scientifically. Now they give us DVD and SACD which gives us 10 times the resolution of their original "perfect medium".

This whole issue of building your own plinth for a Lenco to produce a true high-end 'table has been an incredible education, as all kinds of facts have surfaced which I didn't have access to when I discovered them 10 years ago. The Lenco is cheap because of dogma, "opinion paraded as fact." Despite the fact of Garrard businesses around the world, and the fact that Sugano used one to design his cartridges (still no one to address this fact), Garrards have been dismissed due to rumble even by many of their owners. Why? Because of the tremendous pressure to believe this is so via "opinion presented as fact," along with lengthy technical theories.

So here I ask these still-vocal "authorities" (similar "authorities" asserted that the sun circled the earth well after the publicaton of the works of Galileo and Copernicus, one Professor refusing to look through Galileo's telescope - as certain persons today pronounce themselves against the Lenco without hearing it - because "as if with magical incantations to charm the new planets out of the sky"...this argument sounds familiar, hmmm) to explain the following information which was sent me on my other thread: "In 1962 Garrard 301 cost £ 17 14s 6d plus tax whilst the Goldring Lenco GL70 (predecesor of GL75) cost £ 22 10s plus tax (admittedly it had an arm and 301 didn't) but it shows it wasn't a cheap deck. Interestingly in 1976 GL75 still had a £ 10 price lead over 401. Rumble figure for 401 was quoted as 'almost non-existent' - I haven't been able to find a rumble figure for GL75 but the GL78 which was more expensive and had a slighly bigger and heavier platter (but I think it used the same motor?) came in at -60dB (original LP12 only quoted 'better than -40dB!)." So it turns out after all that the idler wheels including the Lenco produced significantly less rumble than the belt-drives that supplanted them. So why did the belt-drives conquer all? Oh, I forgot about the audio industry cynically promoting inferior products such as transistors (in the beginning) and compact discs due to the greater possible profits. Include retailers among this group. Of course, I didn't need all this research to tell me there was no rumble, as in a large variety of systems neither I nor anyone else had ever heard any. But it seems we need "expert opinion" to make it so. I fear certain "experts" in the industry who have spoken out will find themselves somewhat discredited: that's what you get for offering opinion as fact, a far more common phenomenon in science than is commonly thought.

The other interesting thing revealed by the above information is that in a world where Garrard 301/401s were considered the "ne plus ultra", the Lencos sold for significantly more, and sold despite this fact in large numbers. Since all early audio reviews were in fact almost purely technical - presenting only such things and flutter, rumble and wow figures - then the Lenco must have had very impressive figures to compete with the Garrards. Why then did they become derided? What else but "expert opinion."

Here I must quote from the owner's manual for a Goldring-Lenco G 99, Lenco's version of the 301/401 designs, sold without tonearm: "The hardened steel centre spindle runs in a sintered bronze bush with a special thrust pad. The 4-pole constant velocity motor limits changes in turntable speed to less than 1% for up to 13% change in line voltage. Rumble and hum are negligible. Maximum wow and flutter is 0.2%. The turntable, which is die-cast from zinc alloy, is non-magnetic and weighs 8 lbs. A thick rubber mat is fitted. Another feature is the push-button on-off switch which also engages and disengages the drive. A neon pilot gives the "99" an added refinement. The switch circuit is entirely click suppresed......" It all sounds vey impressive, a fitting competitor to the far more famed and expensive Garrards. The great thing is that, apart from the strobe light and the pilot light, the G 99 is mechanically identical to the L78s and L75s, which is a good thing as the G 99s are rare while the others are common. So am I pointing the finger at all those Garrard owners who paid more for their 'tables than I did for my Lencos? Absolutely not, as they were the victims of a Dogma created and propagated to this day by industry "authorities". Besides, they bought the superior technology. We've come this far in this lengthy battle, so might as well not beat around the bush.

So am I claiming to be brilliant because I realized the potential of the Lencos when I discovered them? Absolutely not: I discovered them because of the Dogma propagated by the "experts" and the audio press - here I quote from a letter I had sent Richard in happier days, before "experts" began to "educate" him: "Also, it was a British mag which reviewed the Swiss Lencos against the British Garrards, so I would tend to think that there was quite a bit of bias involved (until quite recently, early 90s or so, American 'tables and mainland European 'tables were quite negatively reviewed in the British press, the British versions always considered superior. And of course, the majority of the audience slavishly follows the mainstream press, including those who work in shops, which is the whole point of such forums as Audiogon." Because of this enormous (and undeserved) bias against the Lencos and the enormous cult following of the Garrards (because of the British audio press), when I discovered the evident superiority of idler-wheel designs (remember, I already owned two "high-end" 'tables at this point), I was simply unable to find a Garrard 301 or 401 to rebuild to see what the idler-wheel technology could do (there was essentially no 'net then). Because of the same dogma, however, Lencos were plentiful and cheap. So, being the heaviest and best-engineered idler-wheel drive I could find, I simply did to it what I would have done to a Garrard 301. The result is this thread.

So you're lucky that I post this cheap, easy and educational recipe for a true high-end 'table (incredibly high-end, as I sat unimpressed before a $6000 'table today), and while you are at it, thank all those authorities who created a situation where you can buy Lencos cheaply! Thank you British Press! Thank you, "experts"! I for one, am thankful! Kisses! Hopefully, these "authorities" will continue to artificially depress the value of Lencos! Keep up the good work!

And remember, you can marble them too, or cut to any shape (I have done lozenges!)
Hello-

I'm definately interested in building one of your Home Depot turntables. Please provide info on how to do it. Thanks.

Mickey
Annapolis, MD
Hi Mickey,

I thought this particular thread was dead long ago!! Threw me for a loop. All the instructions are on the other Home Despot thread, and there are many links hidden in there. The simplest and easiest to follow with links to the others is at http://members.home.nl/fmunniksma/lencol78.htm

Sorry, but my own photos are not yet set up on a separate website.
Hello Johnnantais,
I have Lenco 78 to rebuild. Your information is quite helpful. Do you know where I can find and buy the templates to build the plinth? Thanks for response! KB