Grafonola 202 and lots of questions:

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Phono48
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Re: Grafonola 202 and lots of questions:

Post by Phono48 »

Yes, the 112A and the 202 both have "double horns", in that from the base of the arm, the internal horn travels down almost to the front of the case, where it ends, but there is another outer horn that is wrapped around it, which comes back and forms the large opening at the back of the machine. On both these machines, the internal horn and the arm are mounted on a lever attached to the lid, so that as the lid is closed the horn and arm drop into the cabinet, and rise to the playing position when the lid is raised. However, there is a serious downside to the 202, which is that the socket where the arm joins the horn is made of pot metal, which over time expands and causes the arm to be loose. It often expands to the point where is falls apart completely, so the machine becomes almost useless. You will come across many examples where the socket has had a bodged repair, and I have scrapped many a 202 because they can rarely be repaired satisfactorily. The socket on the 112A is brass, so it not affected, but both machines have pot metal internal horns, which are prone to breakage at the point where the two horns are joined by the swivel point at the end nearest the front of the machine. The 201 has a similar problem with the arm socket, but the 109A has the brass version.

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Inigo
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Re: Grafonola 202 and lots of questions:

Post by Inigo »

Thanks for the explanation. Is there any audible difference between these two types of horn? Has anyone in the forum tested the same records played on either machine (109/201 against 112/202} to see if there is more volume, more bass, more clarity or crispiness in the sound?
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Re: Grafonola 202 and lots of questions:

Post by epigramophone »

On the 112a and the 202, the long alloy horn pivots on lugs at the narrow end of the tin horn. At this weak point the alloy is very thin, and the lugs can easily break away. Repair is possible but tricky. After sticking the broken parts back together, for which I use Super Glue, I drill through the entire assembly, pass a threaded rod through it which is then secured with nuts at either end.

Having done the job on a rare brown crocodile 112a I swore that I would never attempt it again, then along came an even rarer green crocodile 112a with the same problem.

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Re: Grafonola 202 and lots of questions:

Post by Phono48 »

I also stick the broken bits together with superglue, then I use one of the fibreglass car body repair kits, which contain fibreglass bandage, and a two part liquid, which is mixed, and must be used rapidly. I wrap the fibreglass bandage round the horn, then brush the liquid on. Everything then sets rock hard in a minute or so. The same method of repair can also be applied to the other end, at the fragile arm socket, but it will always be very visible, and to my mind, unacceptable.

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Inigo
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Re: Grafonola 202 and lots of questions:

Post by Inigo »

Thanks for the tips. The fiberglass bandage sounds interesting!
What about the sound of both horns?
Anybody has tested one against the other?
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Re: Grafonola 202 and lots of questions:

Post by VanEpsFan1914 »

A further update--I'm cleaning & conserving the machine. It won't need to be "Restored" so much as "Preserved" and, of course, brought up to date on maintenance.

The auto brake works. Thank you, everyone, I couldn't have done it without you. The metal ring was still wrapped round the spindle shaft, and the rubber/Bakelite collar was intact. So I stretched the ring back out, clipped it into the collar, and got the thing put together. It runs nicely now and is very simple to use.

I also did some work on the tone arm. It's been repaired in the past.

I have been polishing the brightwork on the machine with a Dremel, some expired Mother's Mag and Aluminum Polish (wish I had Blue Magic again) and rouge. It is coming out very silvery indeed, though there is some corrosion--but I am polishing through that.

Some of the Rexine is separating on the front and will be glued down with a watered white glue. It's going to be an invisible repair.

The reproducer diaphragm mask is loose and I don't know if it's going to cause a buzz. Viva-Tonal parts are a new one to me.

Oh--and, I found some unused needles lying in the horn. I did crank it up and hear it--and it sounds lovely! What a real treat. It literally is "Like Life Itself," as the old advertisements say. Part of me now wants to rethink the plan to have Wyatt Markus look at the reproducer.



WHAT'S NEXT:
1. Treat wood motor-board & case exterior to shine again
2. Service No. 50 spring motor (which runs great, by the way.)
3. Bind new sleeves in old "Expanda" Album out of lid, so as to contain records
4. Figure out a way to bring the gold back to the old decal on said album lid.


I like this machine more the more I fix it, and there are 300 soft-tone Chamberlains on the way here so I should have plenty of needles to enjoy it.

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Re: Grafonola 202 and lots of questions:

Post by epigramophone »

4. On every Columbia 201/202 album I have seen, the gold transfer is far less bright and clear than the one inside the lid. If you discover a way of brightening it up, please share it with the rest of us.

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Re: Grafonola 202 and lots of questions:

Post by VanEpsFan1914 »

That will happen. I've been polishing it with a Dremel and cotton buffing stuff (the old brightwork had gotten gray and sticky-feeling with tarnish) and it's beautiful. With all that woodwork, chrome, and black leatherette it looks like something from a car show instead of an old record player...and will look even nicer when I get the leatherette sorted out.

Some Chamberlain soft-tone needles arrived th other day so I was able to play a 1940s recording of Offenbach's Gaîte Parisienne, all eight sides. The little machine sounded pleasantly quiet with soft-tone, but still pumped some impressive volume on louder passages without squawking or screeching like gramophones sometimes do.

Automatic brakes are nice. I was writing a talk on sympathy as compared and contrasted with empathy...too much thinking for my wooden head, so it was nice not to have to run across the room to shut off the machine.

With some old 1920s records it really, really can put it out. They aren't equalized and you can hear the difference--anything 1925-1937 sounds like a brand new recording on this machine.

More updates. I'll try brightening the transfer on that decal...without washing it off.

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Inigo
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Re: Grafonola 202 and lots of questions:

Post by Inigo »

I find this buffing trick most interesting. I have several Spanish Columbia pressings whose gold lettering on the labels suffers from the same greying+sticky aspect. Have you ever tried buffing the labels? It's it dry cotton buffing, or you add some buffing cream?
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Re: Grafonola 202 and lots of questions:

Post by forfun »

Hi!
Have you disassembled the Garrard50 motor already?
I have the same gramophone, but with Columbia50 motor (I think it is the same one)
And I would like to know if there are balls in the joints where the governer shaft placed?
They are missed in my motor, but it seems that they should be there.

BR
Eugene

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