Wood glue to clean vinyl records,treasure chest toy box plans rau,wood furniture construction plans 00,free woodworking plans planter box ideas - Downloads 2016

These heavy weight planks with non-slip traction backing simply stay where they are placed. Dotfret and the rest of you Euro-boys really started a wildfire with this topic on our side of the Atlantic.
Over the next two years the AudioKarma thread examined influences on applications like humidity and drying time, as well as the wisdom of diluting certain glues on both sides of the Atlantic.There were impressive testimonials as well as impressive doubters.
So I recently found out that there are PVA emulsions being marketed for sealing and binding loose materials in messy building jobs - also marked as suitable for gluing wood, and sold very cheaply.The question is, will they clean records?I bought some cheap PVA glue in a supermarket, intended for sticking paper. Thought I’d add some tests that I completed recently on comparing cleaning methods as well as two PVA products.
Hand Cleaning Versus VPI Typhoon Versus Titebond IIPVA glues have limitations in getting out certain growths and grunge – dried soda pop and molds, for example. Two years ago, after reading Dotfret's assessment of this novel and effective vinyl restoration method.
For comparative files I used my trial version of iZotope’s RX spectral analysis & repair program and uploaded 30-second sound clips to a file storage site. If you apply wood clue across the top of these types of contamination on your vinyl, you stand a good chance of ripping off the tops of Coke droplets or mold while leaving behind residual sugar caramel or tendril’s of mold growth still attached to the grooves.
There's a variation of the original formula targeted for Southern states or jobs that need a little more set-up time - Titebond Extend. Thanks.The .wav sound file speak for themselves, I wish we have such a tool for plinth testing ! This is close to RCM speed and allows for easy spreading of the glue across the record surface. In this test I used a Columbia LP (Beethoven’s 7th) that was a Petri dish for living mold.This LP was so infested, that it refused to track and really was tortuous for my Grado, so I didn’t even bother with making a base recording.
The first step in this test was to use a record cleaning solution, a cut-down painter’s brush and a distilled water rinse for hand cleaning. It’s a bit “fiddly” as they say over there and it does takes a bit of practice, but even my first attempt on a not-so-loved ancient and filthy specimen, produced a dramatic, near elimination of surface noise. I then gave it a coat of PVA wood glue,let it dry and peeled it off, I then cleaned it again on the machine.
I used Pfanstiehl’s Pfan-Stat – an extension of the original Discwasher solution that is alcohol free, but contains a good sufactant, anti-static carbon, as well as an anti-fungal agent.The results were ghastly. To prep the record for the wood glue, I used 4 small pieces of vinyl (First-aid) tape and placed them halfway into the run-in space of the record at the 4 compass points. It’s not hidden away in some book, and my vinyl loving Dad would have approved.) More to the point, it’s big enough to span most playing surfaces. While the surfaces of the record looked absolutely clean and the stylus was able to track the groove, it was like listening to Beethoven in an infantry firefight.Here are a couple of iZotopeRX grabs of the recording (full 30 second sample, followed by a close up of the first 8-10 seconds).
Prior to gluing, I still use tape halfway in on the run-in at the four compass points for “lifters” when it’s time to peel.
Although I’ve switched from first-aid vinyl tape to Painter’s tape because it leaves almost no residue.
Wood glue being predominantly made up of polyvinyl acrylate and is a close cousin to polyvinyl chloride (LPs) so they get on well together without any plasticising transfers – at least, for the short run. After the failed hand cleaning, as alluded to Scott, I took the LP down to our local high-end Audio Shoppe, slid $2 across the counter and had it cleaned on a VPI Typhoon RCM. When they do come apart, gobs of junk caught in the grooves throughout the ages lifts off with the glue.This was my first attempt. If there are any orphaned islands in the run-out, I run the glue back from the middle of the modulation grooves to capture them so there’s one contiguous puddle. The results were exceptionally good in removing the debris field of uprooted mold from the grooves. A little too much – probably about 40-45 grams of glue when 30 grams probably would have done the job.
Just before taking the record off the ROK, I draw fingernail along the outside of the vinyl to break through for an outer limit peel border.The Nyquil dosage cup that I used to measure out 30 ml.

If you can’t afford a commercial RCM, think long and hard about getting a vacuum hose crevice tool and modify it for record cleaning. Too little – and it’ll be the devil trying to get it off in big pieces – the ideal being to get the film to peel back in one big piece.
Interpreting what you’re seeing comes with practice, because both noise and signal get registered as events.For our purposes, lets zero in on a “crack” – something a little heavier than dust – (a piece of silica?
If you make it just a bit thicker toward the lip, this will help to give purchase for lift off.
8, 2007The method became defined more as restoration than a cleaning alternative, yet still reserving the mantle as cleaner of first resort whenever true grit soils a record.
We should all be so lucky to have records whose lives have never taken on a transfer of floor grit, which are really tracked-in contaminants from the earth we cannot escape - mostly silicas. December 27, 2008I have in my possession all the issues of the long-defunct Audio Conversions magazines. Sometimes the cracks and pops got right into clip – or off the spectral chart.The third grab is a section of clean run-in groove before recorded music. If one has a record that is suspected of having unfloatable grit, why would we want to brush this around the grooves in wet solutions? In the penultimate issue (No.16) contributor Eric Stubbes refers to an article by Reginald Williamson that appeared in Audio Amateur issue 4 of 1981.
The light blue would represent stylus noise or hiss while the orange band at the bottom would represent inaudible (sub-sonic) rumble coming from the turntable.Titebond II versus Titebond ExtendAfter a couple of years of glue peeling, it took a bit of searching to come up with two grungy records that had filth distributed roughly equal on both sides. I’ll try some tape on the run-out space next time.Through this “death mask” impression, the grooves modulations are easy to see. What is a better description of valve grinding compound, than grit in solution for grinding metal?
The two classical LPs that I finally dug up have relatively low signal to noise ratios in their original recordings. While there is some dirt pictured here, a lot of the big stuff are small imperfections on the vinyl that were magnified by bubbling as the glue dried.Seeing, is not always believing. To further enhance the “noise” aspect of these tests, I chose my most microphonic cartridge – a Grado MF 3. The turntable used was a Pioneer PL-518 – Servo DD and chosen for its dustcover to eliminate feedback. Side (A) got the Titebond “Extend”, while (B) got the Titebond II.The first difference was in drying time.
Someone had bought a commercially labelled product, and realised that he was paying a lot of money for a bottle of wood glue!
With a fan blowing across both glues (The record on the second test was glued up at roughly the same time.) The Titebond II was dry in 2 ? hours, while the “Extend took 7 ?. They detailed their successes and failures on a French forum.I have conducted some experiments, and concluded that it is a very effective method of removing crackles and pops from vinyl.
The “Extend” never quite self-peeled, but it did begin to separate itself from the vinyl in many places, so that peeling was a quick pull and took seconds with no glitches.
The Titebond II, which peels much easier than the original formula was still no match for “Extends” ease in peeling. What’s more, because of the subtle lifting during drying, there was no static charge generated, but there is plenty with the Titebond II.
So, if a film of wood glue is applied to a vinyl record, it can be peeled off - and any dirt in the grooves is removed with the film.The application of the method requires a little practice. In the playing, after peeling, I could find no difference between the two in their effectiveness in removing dirt. I have tried three types of glue, and three ways of spreading the film, with variable success.
While pretty much all snap, crackles and pops are gone, there seems to be some groove wall noise that I suspect is stylus damage. Still the results are pretty dramatic.The Comparative FilesIn these grabs RX’s zoom resolution feature to take close-ups as well as the full sample run.

Four 2cm lengths of adhesive tape (Scotch tape, Sellotape etc) are tagged at 3, 6, 9 and 12 o'clock on the outside edge run-in - this makes it easy to lift up the film edge when dry. I use the kitchen scales to weigh the glue bottle, then scatter glue across the disc surface, reweighing the glue bottle to see how much I have used - about 30g to 35g on a 12" LP gives me a good result. I spread the glue into a uniform film using the edge of an old credit card (I have tried a brush, but found it harder to get a level film - I got better results with my fingertip). It can generate quite a bit of static as a result of the peel, depending on one’s environment.Titebond Extend – As the name implies, had an extended drying time for this application. Peeling if needed, is a breeze with no detectable static generation.The one surprise was that the thin vinyl Columbia LP was temporarily warped by the drying action of the glues – possibly as a result of uneven drying times.
About half an hour after the last visible white area has dried, I lift a piece of the sellotape and carefully peel the film off.
Thankfully, unlike heat warpage, the record returned to its flat state once the glues were removed.Next up… Tackling tenacious mold, with hand scrubbing, a VPI Typhoon, and finally, PVA glue.
If it tears, I go to another piece of sellotape and peel from that direction to try and correct the tearing.
It is necessary to practice on a few unloved records to perfect your technique - it does depend on the make of glue how much you should use.
I tried diluting the glue with a little water, as some others have done, and found that the resulting film was too thin to lift off easily - then again, this will also depend on the glue used. If the film is too thin, it will tear on removal, and leave small pieces of film on the disc which are the very devil to get off.
The answer is to apply more glue from that localised area out to the edge (and sellotape), let that dry and peel again. If the film is left overnight to dry, that may be too long - it may become brittle and tear easily on removal, needing a very gentle touch to get it off in one piece.This is a tedious, fiddly and relatively expensive method of cleaning records - but the end result beats any other cleaning method for noise reduction. Much better than washing!From: Rap January 28, 2007I find that the best way for me to get the glue of in one go is to apply a layer of glue with a brush and then letting that dry. Now I apply another thin layer on top of the dried glue and put a piece of A3 paper on top of the wet glue. Then chase out all the air bubbles and half an hour later the hole thing comes off in one go. I sometimes use a x-acto knife very carefully, just to peel the starting point.What I am thinking is: Could I store the records with the glue on? In a wood joint, the hardening is quite slow because most of the surface is out of contact with the air.
The oxygen can permeate the glue, however, and with age the glue in that joint becomes more rigid.
On the record surface it is a lot easier for the air to permeate the film, and it becomes rigid quite rapidly.
When I returned it would not peel easily - the film tore and broke when I tried to get it off.
I am now on my fifth attempt at getting the remains of the first coat off the surface.It is possible that, if left for a much longer period, the plasticisers from the record would migrate into the film and render it flexible again. The main ingredient of the record is polyvinyl chloride and the glue is polyvinyl acrylate, so they are chemically similar - but I would guess that the bond would actually strengthen with time, and I am certain that the migration of the plasticisers would do the record absolutely no good.
So, like with other methods of cleaning, minimise the number of times you do it, and minimise the contact time, to maximise the life of your vinyl.
If you are really serious about conserving your recordings, the best thing is to use those exotic Japanese album liners immediately after you clean them.

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