I too do a version of the Loricraft/AIVS regimen; there's no question it can do a great job and it is time consuming. You can never clean the same record twice so I'm a tad skeptical of listening tests, but I'd be interested to learn your findings. I suppose the bottom line is whether the Audio Desk can replace a vacuum-based machine. Two questions: How many records will the AD do before needing service and when will full service for it be available in the US?
Some general info about those Machines:
Most think that speed/comfort is identical to superior cleaning. That is not true. You can't have all.
Some swear on various cleaning fluids and some think that their removal is key.
The fast ones
For example VPI, Nitty Gritty and all which are based on that design and the "next generation" Ultrasonic Machines.
They all do their job but after a while they reach their limit and it is done. When the lips are wet, the drying process is not able to clean the record in a way that it will be without noise. you have to clean it again later. The AD uses the same fluid again and again, through filters, but from the technical view it is not a final solution. Sooner or later most AD run into Problems, based on its technical Design.
The best ones
There was only one Design which solved all problems, that was the Keith Monks Design. The User can try all kinds of fluid, all he need is something which is able to move into the grooves. The removal is done with a point nozzle and high vacuuming power (it is simple Physics, sucking power per diameter) and the record is cleaned groove by groove and at the end it is always dry and clean (except the user flooded the record with so much fluid that it is too much for the nozzle, then he does it a 2. Time and it is done). But it is logic, that this kind of cleaning needs time. It was made for professionals who cleaned records all day long and needed the same superior result from the first record to the last.
Keith Monks passed away and Loricraft offered a cheaper copy (more or less) from this Design. There is also another one available in Germany, the Odyssey, it is from the former Monks Importer, same Design with a few improvements, but with superior technical parts.
In audiophile discussions there are a few directions (speed, price, cleaning solutions...) and of course, being owner of "the best". Like a car discussion. I think, it is more helpful to show, what is responsible for what and based on that knowledge, every reader can choose the unit which matches his ideas. I hope that my few lines will give some useful information about those units. Every unit is better than doing nothing or using a wet towel.
The Records
This is also important imo, some have problems from the pressing plant (modern Reissues for example), you can clean them 15x and you will still hear an improvement, but they will never run really silent. Based on that we have the endless discussions about cleaning fluids. I found the solution for myself: I trash them.
Older records can have groove damage, based on wrong VTF or defect diamond or bad Arm geometry.... then it is done, no way to improve them. Some have pops like mad, can be based on blisters in vinyl or the owner before used alcohol and that one removed the elastic parts in the groove walls. Then they are more or less defect too.
When you want to experiment, go for a normal, cheap, record, 80/90/100gr, made in the 70/80's, when they were sold in millions, you will find out, they run always quiet, they have a lot of dynamics and when they are dirty, you can use the cheapest fluid and after one run they sound like new again.
