Tonearm Issues with Hand Crank Suitcase Phonograph

[hydnar]

Hello,

I have a few tonearm issues that I'm trying to fix on this hand crank suitcase phonograph. There isn't any identification badges on the suitcase but the motor is marked The General Industries Co. Elyria, Ohio U.S.A. Junior. I am guessing this machine was manufactured in the 1930's or 40's. I have included some pics and a few youtube links in an effort to better illustrate these issues.

The first issue is that the tonearm does not move freely and easily across the record playing area. It feels like the arm is sticking in the base where it connects to the cabinet. This base is riveted to the the cabinet. Is there a way to correct this issue without causing damage?

The second issue is the way the reproducer fits onto the tonearm. Tightening the screw to hold it to the tonearm does not secure it properly. Neither the arm or the reproducer appear to have excessive wear. Is there a gasket or collar missing? Could this be the wrong reproducer for this arm? What is the correct way to attach the reproducer to the arm?

Youtube links:

https://youtu.be/BTWs4XtIXdA

https://youtu.be/3g3kOO6PrGQ

Thanks in advance for any help with this project.

Randy

[Lucius1958]

Could be a Birch, or Walters-Conley (big manufacturers of portables at the time): the motor is a Heinemann, IIRC.

Can't tell from the photo or video; but is there a significant gap between the tone arm & reproducer? That would be filled by a rubber insulator.

As for the sticky tone arm; you could try to get some penetrating oil down in there, and see if that works. If there's any pot metal in the assembly, it may have swollen with age; in that case, you'd have to disassemble it and file the sticky bits down. That might require taking the heads off the rivets (from the underside, where the damage will be invisible), and using some sort of bolts to re-attach it.

Perhaps other members can offer a better solution?

- Bill

Edit: The bottom ends of the rivets look like split ends which have been bent over; could careful straightening with pliers enable you to remove them? You might have to remove the horn to get at them; in which case you'd have to re-seal it again. Alas, these inexpensive portables were not designed for easy restoration.

[Inigo]

After the repairs, you could try to seal the horn better to the board. The airtightness of this is vital in the quality of sound obtained. But the horn is made of fabric or maybe a paper paste, so you must find a sealant that is easily removable in case of need, and one that doesn't wet that horn material. It seems a delicate matter...

[JerryVan]

Have a look here for some info on your reproducer fit-up issue.
viewtopic.php?f=2&t=51269

As others have mentioned, the pot metal tone arm has swollen a bit, making it tight in its base. A common & annoying problem . Before you try disassembling things, put a bit of oil in the joint, and with the reproducer removed, constantly swing the arm back and forth throught the tight spots. Be careful not to slam the arm against any "stops" at each end of travel. You don't want to break them off. The idea is to hopefully wear away some of the swollen metal from the tight spots. Repeated swinging of the arm may result in things starting to fee a bit more free. If so, then perhaps that's all that's needed.

[hydnar]

Thank you to all that have offered suggestions!!

Prior to my original post I had applied some penetrating oil between the mounting collar and the tonearm and let it set a day or so. Although it did help somewhat, the joint was still way to stiff to allow the tonearm to follow the grooves of a record. Yesterday, after reading JerryVan's post, I tried a more aggressive approach. I sprayed some WD-40 in a cup and using a Q-tip, applied it to the joint. Then I worked the arm back and forth for a few minutes. I repeated this application for a half hour or so, all the while rotating the suitcase to allow the WD-40 to penetrate different areas around the collar. While working the arm, I tried to concentrate on the areas that were the most resistant, and applying slight upward and downward pressure to the arm. I did notice that when I wiped up the fluid as it worked out of the joint that it was dirty, actually black. I'm not sure if this was years of years of dust and dirt build up in the joint or if was some of the collar wearing away as I rotate the swollen arm. Anyway, after a half hour or so of this the joint is much less stiff. I'm am going to repeat this process again today and I believe after that the joint should be good. After I am done loosening the joint what should I use for lubricating the joint? Should I use 3 and 1 oil or something like white grease?

Well I'm off to the hardware store to find some sheet rubber to use to fabricate a new gasket for the tonearm to reproducer connection.

Thanks again to all that offer suggestions and solutions!!

Randy

[Phono48]

After I am done loosening the joint what should I use for lubricating the joint? Should I use 3 and 1 oil or something like white grease?

White grease is good, 3 in 1 is not! The solvent in it dries out after a while and makes even more problems.

Barry

[JerryVan]

After I am done loosening the joint what should I use for lubricating the joint? Should I use 3 and 1 oil or something like white grease?

White grease is good, 3 in 1 is not! The solvent in it dries out after a while and makes even more problems.

Barry

Very true about 3in1 oil... it's junk!

I'm thinking you may have trouble working white grease into the joint. Just some light grade of lubricating oil should be fine... just not 3in1 .

[Inigo]

Or when it has become softer and working properly, I prefer to use a thick soft grease, as it helps sealing the joint. The base of the sound transmission is that the sound tube, from the soundbox to the horn opening, is as airtight as possible.

[OrthoFan]

One thing that's often overlooked during the restoration of these later production portables is the sound box or reproducer, itself. The diaphragm is held in place by what was once extremely soft and flexible rubber gaskets, which over time, have turned rock hard. This not only transfers the vibrations of the diaphragm to the sound box's shell, but restricts the normal plunging movement of the diaphragm.

I've listened to a few restored portable sound boxes and was amazed at the difference--what was high pitched and shrill became mellow and full sounding--especially vocals. (The mid range was greatly expanded, along the lines of what you can hear in this video -- https://www.youtube.com/watch?v=GcnnUpsAVRI ) It should be noted that some of the later sound boxes were held together with screws, while others were riveted together, which can present a challenge to restorers.

I also agree with Inigo that the area around the molded horn should be sealed. When I worked on my Birch portable, which was a similar design, I smeared some white glue along the edge of the horn to fasten it to the motor board, and create an air tight seal.

OrthoFan

[Inigo]

Yes, I'm also fan of the white glue. I find it seals quite well, I have used it even to seal the soundbox neck to the tonearm with great results. It's easy to remove just pulling it out with a toothpick. My modified soundboxes hmv nos 4 and 5a/b are sealed with white glue too, all around the gap between the back and the front ring.