sreten said:
Hi Sreten;
Here is my perhaps muddled thinking.
I have a turntable right now - Ariston + Grace + Adikt - that is pleasing to listen to.
I would like something better. Why? Because I think the music I listen to on something better will sound better, and that's important to me. The better my music sounds, the more I enjoy it.
Now I could buy something. I could probably even buy something better, maybe a VPI Scoutmaster or Aries-3 or a Pro-ject RPM-10, or maybe something else. I don't think I could get away with buying a new Linn or a VPI HRX - "you spent HOW MUCH on a RECORD PLAYER?" is the phrase that comes to mind
But I also think I could make the Ariston better. For sure, a quieter motor. A better tonearm than the Grace.
If I spend the money on say the basic Origin Live motor kit and their souped-up Rega RB250, and put that in my Ariston, I will have spent at least 800 pounds, as much as a VPI Scout or a Pro-ject RPM-9.1. And will I have something as good as either one of those? Hmm, I'm not sure.
Alternatively, I could get some custom machining done, build some things myself, experiment a bit, have some fun, learn some things.
I could do just a little bit, like get a quieter motor, buy a second hand but better arm or build an arm that only requires a new armboard, not all those other mods. Basically fix the major warts with my Ariston.
Or, I could go a step further, and try to fix what I see is the main design flaw - the way the centre of mass is placed close to one spring, thus throwing the basic balance of the whole subassembly out of whack. To fix this, I'd have to take some more serious modifications, like replacing the top plate, subchassis and armboard, and I'd have to find a motor quiet enough to mount on the subchassis to stop the drive belt from acting as a "fourth support point" and further disturbing the dynamic behaviour of the suspended mechanism.
But if I'm going to go that far, I might as well build a new plinth assembly that isn't basically a hollow boomy wooden box with a twangy steel top plate. And maybe I'll have to buy an expensive motor. So maybe it's worth trying to build a tonearm. It won't cost much to try, and if it's a bad job, I won't have wasted much money.
And if I'm going to build a tonearm, why not build one that is a bit longer, and benefit from the better geometry?
As you can see from the foregoing, I am inclined to ignore the advice that says "the road to somewhere very unpleasant is paved with good intentions".
tkwou, your Ariston's looking good. Bonzini, you really have started something here! I don't own an Ariston any more ( I had three at one stage ) but as a result of these discussions I've decided to try and make an aluminium subchassis and armboard for my Sondek. I have ordered some good quality aluminium plate cut to the correct sizes and all I have to do is drill the necessary holes for the spring bolts, the bearing housing and armboard mounting bolts. I can't afford to machine a large piece to try to emulate the Keel but at least the armboard will be replaceable if another arm requiring a different hole is to be fitted. The armboard will be bolted to the subchassis with three short allen bolts. The physical layout will follow the original subchassis/armboard layout as it's easier for me to make. If it works well I see no reason why it can't be done for the Ariston. A do it yourself Keel for your Ariston Bonzini! Sounds good to me. Si.
Hi all,
Just scanned through thread and thought I would pass on these comments.
I was invited along to the Linn LP12 upgrades evening here. They had two TT's set up. One full upgrades and one standard. Both had same arm and cartridge and ran throught bi amped Linn amps and speakers.
Purely subjective of course but there was definately a big step up in quality in upgraded TT and I would also note that the same track on their top cd player sounded far better on the vinyl upgraded player as well.
The sound can be described as very clean, open and detailed. Whether or not I could acheive this quality in DIY will remain to be seen as DIY TT is a long term project for me I think.
So in short if LOTO ticket comes in I would buy full tilt LP12 new. Until then you guys please keep on producing great DIY TT's that I can run with when the time comes.
Cheers
Ian
Just scanned through thread and thought I would pass on these comments.
I was invited along to the Linn LP12 upgrades evening here. They had two TT's set up. One full upgrades and one standard. Both had same arm and cartridge and ran throught bi amped Linn amps and speakers.
Purely subjective of course but there was definately a big step up in quality in upgraded TT and I would also note that the same track on their top cd player sounded far better on the vinyl upgraded player as well.
The sound can be described as very clean, open and detailed. Whether or not I could acheive this quality in DIY will remain to be seen as DIY TT is a long term project for me I think.
So in short if LOTO ticket comes in I would buy full tilt LP12 new. Until then you guys please keep on producing great DIY TT's that I can run with when the time comes.
Cheers
Ian
harwoodspark said:
harwoodspark, this sounds like an interesting experiment. a few comments.
1. depending on the weight, but you could make the subchassis even more rigid, if that is your goal, by bolting or bonding or both two or three judiciously located aluminum right-angles - think of the way the latest Linn steel chassis is reinforced
2. you could also think of bonding the armboard to the subchassis
3. note that the arm collar - the ring into which the arm pillar slides - is also part and parcel of the Keel
4. note the comment on the info sheet for the LP-12 upgrades to the effect that the variations in thickness are part of minimizing vibration
Despite my dislike in principle of the unequal forces on each spring, the Keel seems to be designed to maintain the same weight distribution as the old rig. Which seems really weird to me, but then what do I know?
The pictures of the Keel being machined on the LP-12 info sheet are pretty interesting. I'm left a bit puzzled as to the huge price of the Keel. Sure they have some R+D to recover, but I would think Linn would look at the great number of Sondeks out there and want to sell a new Keel to each and every Sondek owner, something they could likely do if the price were, say, 1/3 or 1/4 of what it is. Oh well.
bonzini said:
Hi Sreten;
Here is my perhaps muddled thinking.
I have a turntable right now - Ariston + Grace + Adikt - that is pleasing to listen to.
I would like something better. Why? Because I think the music I listen to on something better will sound better, and that's important to me. The better my music sounds, the more I enjoy it.
Now I could buy something. I could probably even buy something better, maybe a VPI Scoutmaster or Aries-3 or a Pro-ject RPM-10, or maybe something else. I don't think I could get away with buying a new Linn or a VPI HRX - "you spent HOW MUCH on a RECORD PLAYER?" is the phrase that comes to mind
But I also think I could make the Ariston better. For sure, a quieter motor. A better tonearm than the Grace.
If I spend the money on say the basic Origin Live motor kit and their souped-up Rega RB250, and put that in my Ariston, I will have spent at least 800 pounds, as much as a VPI Scout or a Pro-ject RPM-9.1. And will I have something as good as either one of those? Hmm, I'm not sure.
Alternatively, I could get some custom machining done, build some things myself, experiment a bit, have some fun, learn some things.
I could do just a little bit, like get a quieter motor, buy a second hand but better arm or build an arm that only requires a new armboard, not all those other mods. Basically fix the major warts with my Ariston.
Or, I could go a step further, and try to fix what I see is the main design flaw - the way the centre of mass is placed close to one spring, thus throwing the basic balance of the whole subassembly out of whack. To fix this, I'd have to take some more serious modifications, like replacing the top plate, subchassis and armboard, and I'd have to find a motor quiet enough to mount on the subchassis to stop the drive belt from acting as a "fourth support point" and further disturbing the dynamic behaviour of the suspended mechanism.
But if I'm going to go that far, I might as well build a new plinth assembly that isn't basically a hollow boomy wooden box with a twangy steel top plate. And maybe I'll have to buy an expensive motor. So maybe it's worth trying to build a tonearm. It won't cost much to try, and if it's a bad job, I won't have wasted much money.
And if I'm going to build a tonearm, why not build one that is a bit longer, and benefit from the better geometry?
As you can see from the foregoing, I am inclined to ignore the advice that says "the road to somewhere very unpleasant is paved with good intentions".
Hi,
Well my way of thinking would be to extract the best possible from
the set-up I have with cost being a major issue, but not work, but
avoiding any time consuming re-work that has lesser impacts.
What about this Scenario ? :
You rebuild the whole thing for a 10" to 12" arm.
You build a 10" to 12" arm, its poor ..... What do you do then ?
The stereophile article on the Linn mods needs careful interpretation,
reading between the lines, and may be journo-waffle, it would not be
the first time "facts" are stated to make a review more definitive.
One aspect of said review regarding the "Stage 1" mods :
....it implies the subchassis mounted motor is not a good idea ...... ???
I have tweaked / slightly modded a SystemDek IIX / Linn LVX+ from
what I'd consider good sound quality to very good sound quality
at a cost of peanuts, but lots of fiddling and around 30 hours of
listening tests - having my IIX/RB250 as a reference helped.
🙂/sreten.
I have just seen on eBay that the maker of the Cetech carbon fibre subchassis is back in production. Apparently he has moved to New Zealand and restarted production in small numbers hoping to increase production soon. I don't know what the Vector subchassis sells for and I don't even want to ask how much a Keel cost. Starting bid is $250 USD.
Hi Bonzini. I'm going to try and reply to the points you made in your last post.
1. I'm going to use solid aluminium plate and I may machine it out slightly to emulate the design of the Keel. I don't think I could make my version stiffer than the Keel. Please bear in mind that I'm not trying to make an exact replica of the Keel, just something along similar lines. There will only be two pieces. The subchassis and the armboard so it will follow the already established format that we already know.
2. I don't wish to bond the arm board to the subchassis because I may want to remove it and fit another because I may wish to use an arm of differing geometry, unlike Ivor who wants to restrict your choice. (clever eh! ).
3. I'm going to fit my Ittok to the aluminium armboard so the armboard will be look similar to the original wooden one.
4. I think vibration is the wrong word. Resonance is the right word and everything resonates at some point or another so we just have to engineer our way around it so it causes the least intrusion. I have no idea how this aluminium subchassis and armboard will sound in this respect. I'll cross that bridge when I come to it.
5. With your dislike for unequal forces on each spring, that's not a problem. One spring will carry the most weight so it just a matter of calculating the difference in weight on the other two springs and machining two round metal collars of the extra weight required and fixing them to the underside of the subchassis around the other two springs. You then have equal weight bearing down on all three springs.
6. I think I understand why the Keel is so expensive as are most Linn products and a lot of other high end manufacturers products also. There are a lot of wealthy people out there who will buy products like this but wouldn't entertain them if they were more cheaply available to a wider section of the community. Ivor knows that there are plenty of muppets out there who wouldn't think twice about spending this sort of money on a lump of aluminium!
I'm going to collect the ally plate tomorrow and I've set aside some bench space in my workshop. I'm having a few days off as well so I'll be able to make a start.
I have to agree with sreten about the tonearm.If you can't do it with nine inches what makes you think you do it with twelve?You already have a fairly good arm and I feel that the impending turntable mods will have a more resounding effect than changes to the arm.
But I will say this and it's only my opinion.If you can afford the dc motor kit then I think the investment is worthwhile, more so if you're going to keep the turntable for a long time or fit it to another turntable later on as I did. Si.
1. I'm going to use solid aluminium plate and I may machine it out slightly to emulate the design of the Keel. I don't think I could make my version stiffer than the Keel. Please bear in mind that I'm not trying to make an exact replica of the Keel, just something along similar lines. There will only be two pieces. The subchassis and the armboard so it will follow the already established format that we already know.
2. I don't wish to bond the arm board to the subchassis because I may want to remove it and fit another because I may wish to use an arm of differing geometry, unlike Ivor who wants to restrict your choice. (clever eh! ).
3. I'm going to fit my Ittok to the aluminium armboard so the armboard will be look similar to the original wooden one.
4. I think vibration is the wrong word. Resonance is the right word and everything resonates at some point or another so we just have to engineer our way around it so it causes the least intrusion. I have no idea how this aluminium subchassis and armboard will sound in this respect. I'll cross that bridge when I come to it.
5. With your dislike for unequal forces on each spring, that's not a problem. One spring will carry the most weight so it just a matter of calculating the difference in weight on the other two springs and machining two round metal collars of the extra weight required and fixing them to the underside of the subchassis around the other two springs. You then have equal weight bearing down on all three springs.
6. I think I understand why the Keel is so expensive as are most Linn products and a lot of other high end manufacturers products also. There are a lot of wealthy people out there who will buy products like this but wouldn't entertain them if they were more cheaply available to a wider section of the community. Ivor knows that there are plenty of muppets out there who wouldn't think twice about spending this sort of money on a lump of aluminium!
I'm going to collect the ally plate tomorrow and I've set aside some bench space in my workshop. I'm having a few days off as well so I'll be able to make a start.
I have to agree with sreten about the tonearm.If you can't do it with nine inches what makes you think you do it with twelve?You already have a fairly good arm and I feel that the impending turntable mods will have a more resounding effect than changes to the arm.
But I will say this and it's only my opinion.If you can afford the dc motor kit then I think the investment is worthwhile, more so if you're going to keep the turntable for a long time or fit it to another turntable later on as I did. Si.
tkwou said:
Hi tkwou. Do you know the auction number for this item? Price of the Keel in England is £1950 or roughly $ 3800 USD. Bloody frightening isn't it?
Si.
Item number for the Cetech is 120139927411. This is the second one I have seen. Can't remember how much the first on went for but it was a lot less than 1950 GBP.
sreten said:
I'm completely in agreement with your principles as stated above.
If I build a 12" arm and it's poor, I don't think it's a big loss. I'm talking about a real prototype here, where the cost of materials is pretty low, and also the effort is not too great (I'm following Altmann's lead here). Also I will have my Grace on hand to make a direct comparison. I'll also get a bit of an idea about how the platter / bearing assembly might work if it was installed in a more massive and less resonant structure than the original Ariston arm board.
I think the big risk is when I cross over to the big time and start building the new subchassis, because unlike the Linn, the Ariston subchassis needs to be torn apart to free the bearing, it's machine pressed into the subchassis. This is a kind of point of no return.
On the other hand, there are enough people with good stories to tell, you included, about DIY composite subchassis that I'm not too frightened about that.
Getting a new motor worries me, because I see it's an easy place to start out on the slippery slope of spending lots of money. Ditto buying an arm.
If memory serves, I think Mr. Dudley says he prefers the more Linn-like sound - warmer upper bass, or something like that - that he gets with the motor mounted on the top plate.
But you're right, it's a tough one to interpret.
The above is great advice and I think well worth following. I guess my assumption is that my Ariston / Grace needs more than slight work - it needs a vastly improved motor and a better tonearm. But maybe I'm wrong.
Acrylic Armboard
tkwou:
See here, 'RD-11' with 10mm Black Acrylic armbord...This is a seriously modified Ariston..
http://www.vinylengine.com/phpBB2/album_page.php?pic_id=4420
tkwou:
See here, 'RD-11' with 10mm Black Acrylic armbord...This is a seriously modified Ariston..
http://www.vinylengine.com/phpBB2/album_page.php?pic_id=4420
First Cetech ebay auction
I was the winner of the 1st Cetech auction. I ended up winning the auction for US$435. I received the subchassis last weekend and will be installing it this weekend.
Chris
tkwou said:
I was the winner of the 1st Cetech auction. I ended up winning the auction for US$435. I received the subchassis last weekend and will be installing it this weekend.
Chris
Hi,
Regarding the modded / tweaked IIXE/LVX+ :
Sourced for a friend with a budget of £150 turntable / arm / cartridge.
His requirements also mandated the IIXE, i.e. no manual speed change.
I set it up initially with a Grado Black cartridge. The sound though
obviously "hifi", even to a casual observer, to me was disappointing.
It was not what I'd call a "good music making" machine, technically
speaking from my perception : the dynamics and resolution across
the frequency range were too variable and in some frequency areas
not good at all compared to my reference, overall there was not a
"cohesiveness" to the sound.
After some hours of servicing / tweaking / alignment the
main changes occurred with the following mods/tweaks :
4) Remove main bearing from subchassis and then replace but
using Araldite to lock it in place.
5) the MDF armboard should fit directly to the subchassis, no
spacers should be used. Use PVA wood glue to semi-permanently
bond the armboard to the subchassis.
5 was critical IMO. The deck as it came used spacers under the
armboard to set it level with the top plate. Removing them
improved things, the wood glue gave the resolution.
4 was done after 5. Icing on the cake - but this really did change
the bass depth, integration and dynamics from good to very good.
In the process of tuning the Grado Black was replaced by an Ortofon 510.
The final result was a more subtle and more musical turntable.
Much better consistency of integration, dynamics and resolution.
Compared to my reference IIX/RB250/MC15SmkII :
As good ? No - Mine has a step more of all the above.
Worth upgrading from LVX+ to RB250 ? No - not cost effective in context.
The main apparent issue with the LVX+ was some loss of control,
(dynamics and resolution) somewhere in the upper treble, only
really apparent in direct A/B comparisons.
IMO what it needed was a better cartridge or a 520 stylus.
What I'm getting at with the above is fine tuning makes a big difference .....
Before you get your jigsaw out - which I have also done on other
turntables that IMO needed some remedial structural redesign.
IMO the critcal parts of a sunchassis turntable are the suspended parts.
If the suspension works then the plinth arrangement etc. is not critical.
Also note that good placement is critical for resolution, the purpose
of the suspension is not to prevent feedback, it is for resolution.
🙂/sreten.
Regarding the modded / tweaked IIXE/LVX+ :
Sourced for a friend with a budget of £150 turntable / arm / cartridge.
His requirements also mandated the IIXE, i.e. no manual speed change.
I set it up initially with a Grado Black cartridge. The sound though
obviously "hifi", even to a casual observer, to me was disappointing.
It was not what I'd call a "good music making" machine, technically
speaking from my perception : the dynamics and resolution across
the frequency range were too variable and in some frequency areas
not good at all compared to my reference, overall there was not a
"cohesiveness" to the sound.
After some hours of servicing / tweaking / alignment the
main changes occurred with the following mods/tweaks :
4) Remove main bearing from subchassis and then replace but
using Araldite to lock it in place.
5) the MDF armboard should fit directly to the subchassis, no
spacers should be used. Use PVA wood glue to semi-permanently
bond the armboard to the subchassis.
5 was critical IMO. The deck as it came used spacers under the
armboard to set it level with the top plate. Removing them
improved things, the wood glue gave the resolution.
4 was done after 5. Icing on the cake - but this really did change
the bass depth, integration and dynamics from good to very good.
In the process of tuning the Grado Black was replaced by an Ortofon 510.
The final result was a more subtle and more musical turntable.
Much better consistency of integration, dynamics and resolution.
Compared to my reference IIX/RB250/MC15SmkII :
As good ? No - Mine has a step more of all the above.
Worth upgrading from LVX+ to RB250 ? No - not cost effective in context.
The main apparent issue with the LVX+ was some loss of control,
(dynamics and resolution) somewhere in the upper treble, only
really apparent in direct A/B comparisons.
IMO what it needed was a better cartridge or a 520 stylus.
What I'm getting at with the above is fine tuning makes a big difference .....
Before you get your jigsaw out - which I have also done on other
turntables that IMO needed some remedial structural redesign.
IMO the critcal parts of a sunchassis turntable are the suspended parts.
If the suspension works then the plinth arrangement etc. is not critical.
Also note that good placement is critical for resolution, the purpose
of the suspension is not to prevent feedback, it is for resolution.
🙂/sreten.
Sondek sub chassis.
Bonzini, how are you? I have paid for the ally plate and it will be cut to size and ready for collection next week. Once I have it, it should only take a few days to drill the required holes etc and then build it into my turntable. I have also been messing about with the other turntable I've been building. It's all made out of ally but I haven't made the bearing yet. I don't know how to get the photo's on here but if you want to see them I'll mail them directly to you if you wish. Regards, Si.
Bonzini, how are you? I have paid for the ally plate and it will be cut to size and ready for collection next week. Once I have it, it should only take a few days to drill the required holes etc and then build it into my turntable. I have also been messing about with the other turntable I've been building. It's all made out of ally but I haven't made the bearing yet. I don't know how to get the photo's on here but if you want to see them I'll mail them directly to you if you wish. Regards, Si.
Hi all;
Sorry to be so quiet over the last 10 days, I was down south visiting some friends.
We're getting ready to move the family back to Canada next week, so this week will be "interesting".
tkwou, I'd like to get together for a coffee sometime if you're able to and if it's convenient. no special agenda, I'd just like to hear some more of your experiences. I recall you saying you're away in later August, perhaps in September sometime? My office is just off the Broadway corridor near Oak, is that anywhere near convenient for you?
harwoodspark, I'd greatly appreciate seeing your images. I've tried to post one here with no luck.
sreten, as always thanks for your reasoned and thoughtful ideas. I'm going to give the whole thing some clear thought when I get home and can listen to the deck carefully, sort out what I think are its major problems. I'm still kind of itching to try building a 12" arm prototype just to see what it's like in comparison to my G707. I can do that without altering the Ariston at all, just borrowing the subchassis / platter / motor.
Anyone here have any further ideas about replacement motors, if mine turns out to be as bad as I remember and as incorrigible as I think?
Thanks, all!
Sorry to be so quiet over the last 10 days, I was down south visiting some friends.
We're getting ready to move the family back to Canada next week, so this week will be "interesting".
tkwou, I'd like to get together for a coffee sometime if you're able to and if it's convenient. no special agenda, I'd just like to hear some more of your experiences. I recall you saying you're away in later August, perhaps in September sometime? My office is just off the Broadway corridor near Oak, is that anywhere near convenient for you?
harwoodspark, I'd greatly appreciate seeing your images. I've tried to post one here with no luck.
sreten, as always thanks for your reasoned and thoughtful ideas. I'm going to give the whole thing some clear thought when I get home and can listen to the deck carefully, sort out what I think are its major problems. I'm still kind of itching to try building a 12" arm prototype just to see what it's like in comparison to my G707. I can do that without altering the Ariston at all, just borrowing the subchassis / platter / motor.
Anyone here have any further ideas about replacement motors, if mine turns out to be as bad as I remember and as incorrigible as I think?
Thanks, all!
Hi Bozini, good to hear from you again. On your way home. I'd love to be where you are now with the Tour and all. I'd love to meet with you when you get home. I'm out in New Westminster.
I just got a piece of black acrylic for the Ariston armboard. I would like to install threaded studs into the board so that I can mount it to the subchassis with just locknuts. I think I can get a much more solid mount this way. I don't want bolts showing on the armboard. I am also buidling the power supply for the Axis board now but I'm waiting for a transformer. I under estimated the voltage drop for the power supply which is regulated at 320VDC so my present transformer can't supply the voltage under load. Anyways while I was waiting I decided to see if the Axis supply would work on my Linn LP-12. I thought that it would work because I have placed a LP-12 platter on an Axis table before and it played just fine. To my disappointment I was wrong. The LP-12 must use a different motor which is more difficult to drive. It keeps hunting for the correct speed with the ps unable to stay in quiet mode. I guess the simplest thing to do would be to change to an Axis motor but I don't really want to get another motor. Not sure what I will do for now. Back to the Valhalla I guess.
I just got a piece of black acrylic for the Ariston armboard. I would like to install threaded studs into the board so that I can mount it to the subchassis with just locknuts. I think I can get a much more solid mount this way. I don't want bolts showing on the armboard. I am also buidling the power supply for the Axis board now but I'm waiting for a transformer. I under estimated the voltage drop for the power supply which is regulated at 320VDC so my present transformer can't supply the voltage under load. Anyways while I was waiting I decided to see if the Axis supply would work on my Linn LP-12. I thought that it would work because I have placed a LP-12 platter on an Axis table before and it played just fine. To my disappointment I was wrong. The LP-12 must use a different motor which is more difficult to drive. It keeps hunting for the correct speed with the ps unable to stay in quiet mode. I guess the simplest thing to do would be to change to an Axis motor but I don't really want to get another motor. Not sure what I will do for now. Back to the Valhalla I guess.
Hi tkwou;
Does your original Ariston armboard have a countersunk allen-head bolt that goes through from the top?
To me this seems like a sensible solution as it is a very positive way of anchoring the armboard firmly. I get that you don't want stuff showing but a nice-looking countersunk allen-head bolt... It might be worthwhile to check out Lee Valley's hardware, too, they have a LOT of decorative stuff and a store on SW Marine Drive.
When machinists thread aluminum they usually thread it "large" and insert a "thread insert" made from steel. I wonder if this approach would work with acrylic? In conjunction with some kind of glue to hold the inserts firmly? Maybe the machine shop you used in North vancouver would have an idea.
I imagine that gluing the armboard would be the best solution but then if you didn't like it... hmm...
Does your original Ariston armboard have a countersunk allen-head bolt that goes through from the top?
To me this seems like a sensible solution as it is a very positive way of anchoring the armboard firmly. I get that you don't want stuff showing but a nice-looking countersunk allen-head bolt... It might be worthwhile to check out Lee Valley's hardware, too, they have a LOT of decorative stuff and a store on SW Marine Drive.
When machinists thread aluminum they usually thread it "large" and insert a "thread insert" made from steel. I wonder if this approach would work with acrylic? In conjunction with some kind of glue to hold the inserts firmly? Maybe the machine shop you used in North vancouver would have an idea.
I imagine that gluing the armboard would be the best solution but then if you didn't like it... hmm...
I don't have the original armboard anymore. It was made of some kind of fibreboard and was drilled for a Mayware. I was using a Syrinx in the table so a friend machined a piece of aluminum alloy for me. Very solid but much heavier than fibreboard. It made the suspension difficult to balance even with Linn silver springs. I think the newer black springs would probably work better but I never got around to it.
bonzini said:
I've seen Helicoils used in engineering plastics many times. You don't need to use glue with this type of insert, would get kind of messy anyway. There are other types of threaded inserts used for jigs and fixtures, but Helicoils are the most common and easiest to get, and available in metric too.
Jeff
Hi,
I made inserts from a high tensile bolt. Overdrilled the stripped thread and glued the bolt into the newly tapped hole. Cut it off flush and then drilled and tapped the bolt to the original thread size.
The "problem" with the helicoil system is the special tap required to match the original thread pitch but to the larger diameter of the insert. A full set are required if you work with many standard threads.
I made inserts from a high tensile bolt. Overdrilled the stripped thread and glued the bolt into the newly tapped hole. Cut it off flush and then drilled and tapped the bolt to the original thread size.
The "problem" with the helicoil system is the special tap required to match the original thread pitch but to the larger diameter of the insert. A full set are required if you work with many standard threads.
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