I have a Goldmund Studio Turntable which I bought new about 30 years ago. It works perfectly still, but I've never been able to lubricate the bearing, which of course is a direct drive motor. I feel that it should have fresh oil by now, but have no idea how to go about it. Thanks and grateful for any suggestions!
Lubricating Goldmund Studio Turnatble
- Thread starter michael.s
- Start date
Hi Michael,
Sorry, a bit late; maybe this post helps: https://www.audioasylum.com/cgi/vt.mpl?f=vinyl&m=1003270
If you want to know more about the Studio, just let me know. I have one too.
Sorry, a bit late; maybe this post helps: https://www.audioasylum.com/cgi/vt.mpl?f=vinyl&m=1003270
If you want to know more about the Studio, just let me know. I have one too.
Never too late - thanks for responding! I gave up on the idea of lubricating it, especially as the factory advice was - don't. It still works perfectly but I don't use it as much these days. My CD playback system has been gradually improving over the years, thanks to many upgrades, and now I prefer this to LPs. I keep the turntable now not for the sound quality but to play LPs that are special to me in respect of the music. Its sacrilege I know, but I've found myself wondering if I might part with it & the LPs. The Goldmund takes up a lot of space, as you'd well know, for something that gets such little use here.
You're welcome Michael. Yes, LP's take up a lot of space, so does the turntable. Also, it is difficult to upgrade as not many modern preamps provide a phono section. Sure, some FM, Soulution have it as an option, but for many (me too) these are way over budget.
I am surprised [if] the T3 armcontroller (PL5, 6, 7 or 8) still works well, as many caps that are used for the time delays are elco's and don't have any life in them anymore. Also, the small variable resistors 22 kOhm and 2.2 kOhm are open and may need to be changed because of wear.
In my case i have many records that are simply not available on CD.
If you need info, just let me know. Maybe i will post something in a separate thread for the Studio users. This will take some time.
I am surprised [if] the T3 armcontroller (PL5, 6, 7 or 8) still works well, as many caps that are used for the time delays are elco's and don't have any life in them anymore. Also, the small variable resistors 22 kOhm and 2.2 kOhm are open and may need to be changed because of wear.
In my case i have many records that are simply not available on CD.
If you need info, just let me know. Maybe i will post something in a separate thread for the Studio users. This will take some time.
Hi Michael,
I’m new to the Forum and just saw your post. I purchased a Studio with an SME V arm and a Kiseki Purple Heart cart last week.
Wondering if I could ask your advice on something?
I’ve read several posts on various Forums from people that highly recommend swapping out the 3 sub-chassis springs for sorbothane pucks / half spheres. Wondering if you’ve done that upgrade on your Studio?
Unfortunately none of the posts I’ve read seem to mention what parts they actually used for the swap, and most of the posts are years if not decades old, so I haven’t received any responses yet.
I know you need to use 3 different stiffness spheres just like the springs, but again can’t find any specifics.
Any chance that you or someone you know might be able to help me out with this? Thanks either way.
Mike
Hi Mike, welcome and the Kiseki is a beauty for sure.
I have read about swapping the springs for sorbothane pucks, i had read it long ago on the site of Arthur Salvatore (https://www.high-endaudio.com/RC-Tables.html#ClA). I never did this myself, it might be worth trying but my faith in this site was not stellar.
Not sure if you can buy these with different stiffness, but i have seen sorbothane pucks with different thickness, so you could stack a few different pucks on top of eachother to level the platter.
What does make a huge difference - especially in dynamics- is putting the table on 3 Goldmund cones. When i did this, it felt i moved the table to another class - although it must be noted that it doesn't move into Reference territory. In the 80's or 90's Goldmund supplied threaded cones for the ST4, but i have never found these anywhere, so i use the normal cones.
My table was imported from Germany. Their distributor supplied the Studio with a much larger power supply for the platter motor, so i guess this must contribute to its great sound too. Some specialists make better power supplies for the Studio, one special case is the Tesserac - but this one is also very rare. I have the idea to make an even bigger power supply, or a battery powered power supply, but i am in another project now which has to be finished first. Maybe it helps if you know the motor is the same as the JVC QL-A75 turntable (service manual can be found on the net) if you have the later version. Earlier versions had a Pabst motor.
Best regards, Michel.
I have read about swapping the springs for sorbothane pucks, i had read it long ago on the site of Arthur Salvatore (https://www.high-endaudio.com/RC-Tables.html#ClA). I never did this myself, it might be worth trying but my faith in this site was not stellar.
Not sure if you can buy these with different stiffness, but i have seen sorbothane pucks with different thickness, so you could stack a few different pucks on top of eachother to level the platter.
What does make a huge difference - especially in dynamics- is putting the table on 3 Goldmund cones. When i did this, it felt i moved the table to another class - although it must be noted that it doesn't move into Reference territory. In the 80's or 90's Goldmund supplied threaded cones for the ST4, but i have never found these anywhere, so i use the normal cones.
My table was imported from Germany. Their distributor supplied the Studio with a much larger power supply for the platter motor, so i guess this must contribute to its great sound too. Some specialists make better power supplies for the Studio, one special case is the Tesserac - but this one is also very rare. I have the idea to make an even bigger power supply, or a battery powered power supply, but i am in another project now which has to be finished first. Maybe it helps if you know the motor is the same as the JVC QL-A75 turntable (service manual can be found on the net) if you have the later version. Earlier versions had a Pabst motor.
Best regards, Michel.
Hi Michel,
Thanks so much for the reply!
I’m very excited about the SME and the Kisek, along with the table itself. Definitely a big leap in my analogue gear for sure!
Yes, I read that article as well thanks. It’s one of the ones that comes painfully close to providing the parts info, but doesn’t. Lol.
The procedure itself seems pretty basic in all the Posts, but what I’m not sure about is the stiffness (as we touched on), as well as the fact that I have yet to find a picture of a sorbothane half-sphere with a hole in the centre, thru which you could access the Allen key adjusting bolt to level the table?
That’s obviously a necessity in order to be able to properly level the sub-chassis, and as no one mentioned anything about “drilling a hole” thru the middle of the sorbothane, there must be something out there that fits the bill. I guess the pucks would solve that issue, but a few people had specifically mentioned using the half-spheres, which would seem to have more “adjustability / squishability”?
The search continues - I’ll let you know if I have any epiphanies : )
Thanks for the tips regarding the cones and the power supply. I’m assuming the Goldmund cones will be as hard to find these days as everything else Goldmund related, but I’ll post some ads and see if anyone responds. I do have a set of Black Diamond Racing Cones (of course they came in a pack or 3, and not 4 though ).
Do your Goldmund cones look similar to those commonly available now, or are they a much bigger design?
I’ll definitely keep my eye out for an upgraded power supply as well.
My Studio is in fact a late model, so maybe I can find one that’s specific to that JVC motor.
One last question for you (for now, anyways. Lol)
Do you, or any other Goldmund owners you might know of, happen to have a Goldmund Relief Mat you’d be willing to sell? My Studio was actually supposed to have one included in the deal.
I have the Relief Clamp, but unfortunately the Seller (it was part of an Estate sale, so not his gear) couldn’t find it with the other equipment in the end. It would certainly be nice to be able to pair it with the clamp to get the most out of the table.
Thanks again Michel, and feel free to offer any other advice you might think of. It’s very much appreciated!
Cheers,
Mike
Hi Mike, in fact i never heard of the Relief Mat, i don't have it. From what i understood, the idea behind the Studio was that the platter was made from a material similar to vinyl records to prevent unwanted vibration transfer to the stylus. In this idea there seems no room for an extra mat, but maybe i am mistaken.
As for the Goldmund Cones; these come up for sale sometimes. You need 3 for the Studio, not 4.
The power supply may be a good upgrade, i have seen some offers for upgraded power supplies for some tables, but never specific for the Studio.
Also keep in mind that the motor board contains some small capacitors, which are now at the end of their design life. For this you need a specialist to repair it.
Maybe there is no need to drill a hole in sorbothane pucks, maybe you can discard the screws and set the level by chosing the proper height of stacked -and cilindrical- pucks.
As for the Goldmund Cones; these come up for sale sometimes. You need 3 for the Studio, not 4.
The power supply may be a good upgrade, i have seen some offers for upgraded power supplies for some tables, but never specific for the Studio.
Also keep in mind that the motor board contains some small capacitors, which are now at the end of their design life. For this you need a specialist to repair it.
Maybe there is no need to drill a hole in sorbothane pucks, maybe you can discard the screws and set the level by chosing the proper height of stacked -and cilindrical- pucks.
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