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@@polish-ecuadoriandoge4044 this is a common model that Victor sold in the hundreds of thousands between 1911 and 1920. You can find them on eBay., Or stop in to see me and I will sell you one, I always have at least one spare hanging around of this model.

@@terryharvey6504 for most sound boxes you would be replacing the diaphragm, the diaphragm gasket, the isolator gasket in the back, and sometimes the two small springs on the needle bar. Sometimes you can get away with reusing the springs if they’re in good enough condition, and sometimes you can get away with reusing the diaphragm, but there was a risk that it will be bad after you’ve done all the work. Often times you will have to adjust the needle bar because it’s been dropped onto records hundreds of times or maybe even onto the floor and it’s no longer aligned properly. That is probably the biggest part or at least the part that takes the longest to get right as you must work very carefully not to break it as you gently bend it back into shape. I would say that 85% of the boxes work onrequire some adjustment to the needle bar. Then you tested and hope for the best.

@@Rockisland1903 funny I found 6504 aligned with my name. That is the Victor 12 inch Red Seal catalog number immediately before the historical first commercial electric recording of a symphony orchestra Victor 6505 Dance Macabre with Leopold Stokowski and the Philadelphia Symphony!

I was curious how you adjust the needle bar springs?

@@TKELCH I use a heat gun to warm up the isolator gaskets so they will come out. The problem with the pot metal reproducers is the metal itself swells as it internally corrodes locking it very securely in place. A heat gun would help rusty iron, but it can do nothing with stuck pot metal. with the isolator gaskets that have petrified rubber you’d loosen up the rubber and makes it more pliable so that you can get it out without damaging things.

@@spencerbergquist781 Electrola was the name of the record label, it refers to electrically recorded records. They were by this time, part of EMI same as HMV and Columbia. I don’t have a great deal of information on the history of this company except that the 106 amongst other types of gramophones where produced by Electrola so the people who bought their records, had something to play them on that the company can make a profit from. Just like how the Victor company had the Victor record label along with a huge factory, making machines to play them. after the war, only the record label remained as the companies facilities were either bomb damaged, or shipped off to the east

@@wywot great idea, I looked into it on that jungle website and it seems glue sticks common every color of the rainbow, including dark, green and red. I am going to give this a try along with some ideas I’ve been working on for making my own isolator gaskets, but I’m not sure how that one’s going to work out. I also scored a sheet of green leather material that might give me what I need to patch in the missing little bit of rexine on the case. It’ll never be an exact match because age has colored it, but it will be close.

@@xXBURITOOXx I am happy I could be of assistance, being in Sweden you probably have better access than I do to both HMV and electrola as both would have been sold in Sweden before the war.

True, it a lot easier to find brass No 4,s here and they hardly cost anything.

Have no a VV 6 with a Exhibition which I have repaired thanks to you 😊

@@xXBURITOOXx there is no gap. It just sits on there glued down to the metal with a raised edge around the outside of the turntable. That’s just a bump in the metal not anything to hook to. This is how all the HMV’s do it also.

Ok thanks 😊

@@theragingbull7059 That motor originated with the Victor company in 1918 as the so-called improved motor. This just meant that they reconfigured the governor and put both main Springs inside one spring barrel. HMV called it the number 32 motor and used it in lots of machines, it even turns up in some oddball portables, like the colonial model 114. The only HMV versions I have are inside HMV machines so obviously I’m not selling those. I do have Victor motors of that type but that would be it if this is something you think you can use just contact me using the email on this account and I will see what I can dig up for you.

​@Rockisland1903 what is your email my friend??? And is thumping coming from a clean spring mean it's needs more grease?

@@theragingbull7059 rockisland1903victrola@gmail.com Thumping can mean a dry spring, but if you’ve already cleaned the spring, put in fresh grease and it’s still doing it. There might be a slight dent in either the spring barrel or the barrel cover that is causing the spring to hang up a little bit. It might also mean that one or both of the new springs might be slightly wider than they should be again, causing it to hang up a little bit when it’s unwinding. I have had that happen, more often with the older style of motor with the individual spring barrels, but it could happen with any motor. Not a lot you can do in the case of a wide spring, except to let it wear in. A dry spring you could add more grease a dent in the barrel or its cover you have to take it all apart, clean it out again put it on a straight edge find the dent and tap it out with a wooden or brass dowel pin, and a hammer

@@Rockisland1903 cause it is the spring barrel and springs of a hmv 102

@Rockisland1903 cause the thumping is coming from a hmv 102 portable, and is it possible to mix what grease the person who I bought this from with another grease that I have. Its poly graphite grease.

@@deweydodo6691 that is where you secure the winding handle when you are transporting the machine. The large clip on the motor board is where you secure the tone arm.

@@spencerbergquist781 the auto stop was a dealer ad on in these years as the nine was not offered with it that early. It isn’t the easiest device to use and has to be set each time you play a record to that particular. Records length. As demonstrated in my videos sometimes they work as intended, and sometimes not.

@@Tojazzer I have had multiple VV - 50 machines that had exhibition reproducers. I would have to say the vast majority of the ones I have worked with had the exhibition. One time I found an all brass number four reproducer on a 50, that was a happy day. One or two exhibition reproducers on these machines is just somebody selling them sticking it on there so they have a reproducer if it was missing. When you start seeing more than 10 or 20 like that, chances are that’s how they came. Ago I remember reading someplace about at least the early models coming with the exhibition reproducer that could be upgraded like any other Victrola at the owners expense if they chose. I did have a 50 that once came with a number two on the tone arm and the blue paper Jewel case inside the horn that contained a very nice exhibition.

The VV 35 on the other hand always had the number two after it’s released in 1923 as the second portable Victrola made by the Victor Company

​@@Rockisland1903I just checked with Baumbach's Look For The Dog. He claims that the vv-50 did in fact come with the No. 2 reproducer. This would make sense as they both debuted at the same time in 1921. Nice to find a brass no. 4. That's a keeper.

@@theragingbull7059 I don’t have a 109 here in front of me to examine just now, but there is always a way to get the doors off. You might have to do it from the inside of the machine which means pulling the motor board and maybe even loosening the horn. But you should be able to see something of the hinge and if you see something of the hinge, there should be screws that hold the hinge to the door someplace. I have never yet seen a gramophone with doors that did not have a way to get the hinge off. Just take your time and examine it and carefully disassemble however, much of the machine you must to reach whatever holds the hinges to the wood. Most of these HMV tabletop models are somewhat copy of the Victor machine. This one looks close size to the Victrola number eight. I do have a 106 put away and I will try to get a look at it tomorrow to see what holds the hinges in place as it’s probably very similar to what you have

@Rockisland1903 cause I don't see any hinges with these doors I thing I would have to remove the wood surrounding it.

@@corricatt oak, and mahogany were the only two choices available.

The horn opens to the rear of the case and sound is deflected off of the inside of the open lid and record storage box. I just posted two new videos today about the 2-60 that show the horn construction in more detail. There is no volume control other than stuffing a sock in the horn opening

The No4 is the last reproducer to be non orthophonic produced by the victor company. It's use ends in 1928 with the last 2-60, but it would continue in use by The Gramaphone Company in the UK with the 101 until 1931, and in Germany by Electrola well into the 30's

Thanks for this info!

Yes, it does have a very nice sound, and is solidly constructed.

@@MangoOnQuest the brass gear on the main shaft? It’s likely that other HMV and maybe some Victor motors have the same gear. This style of motor was used in things like the HMV 100 and I believe the very earliest 101s. But while the shape of the plates may change, the actual components inside the motor can remain the same in some cases. Without the old gear in front of me, I have no way of comparing them and I am only guessing. I do have a spare number 59 motor, I do not have one of these earlier motors, except inside machines that I’m not breaking up, if you are in the UK then UK eBay is the place to keep an eye for stuff like this. If you are in the US, you can send me the old gear and I can try to match it, but I cannot guarantee it’s going to work without noise in your machine. Every gear wears differently and this is the gear that will make the most noise in any Victor or HMV motor or any photograph motor for that matter as it is the gear that is moving the fastest and is most prone to wear. This and the governor shaft that it runs with. The governor shaft is steel so it’s not going to wear as badly as the brass gear will when it’s not properly lubricated. You can contact me using the email on this channel if you want to send it to me to try to match.

@@Rockisland1903 is there any way i can send the gear from the netherlands? or maybe i can send pictures and if that is not possible thank you for your help.

@@Rockisland1903 the 59 motor does seem to have the right cogwheel so ill see if i can buy it

@@MangoOnQuest yes that would not be a problem, I sent you a couple of emails in reply to the one you sent me this morning and the address to send the gear is in one of them

@@bobbysher4465 not surprising, but a bit more expensive than the usual oak. Obviously, I am not an expert on wood types unless it’s quarter sawn oak, that one I can recognize easily enough. Ordinarily when I finish fixing a machine I keep it for a little while and then sell it to make a room for the next one. This little machine I still have.

@@theragingbull7059 I am sure somewhere somebody has done it. It’s easy enough to do. All you need is to swap out the isolator gasket in the back and use the isolator gasket that’s intended for the Victrola number two or number four reproducer in place of the one used on the orthophonic tone arms. Performance is not greatly improved, it really isn’t much better than using a number four. Remember that the later reproducers take advantage of the tone, arms and horns that were designed for them. You will not find these improvements in an older Victrola, nine or something like that.

@@Rockisland1903 so it would be fine to use electricly recorded records on a no2 reproducer with possibly no problems to the record or the reproducer

@@theragingbull7059 I never recommend using the later electrically recorded records on any spring power acoustic phonograph as all of them have heavy reproducers with steel needles most of the time that can and overtime will damage the Post 1935 made records. That said I do this myself from time to time and so long as you keep it to once in awhile you’re not going to damage the records in your lifetime to any noticeable degree. You will not damage the reproducer by playing these later records, it is the records that are made of softer material They will be damaged first. Records made before 1935 contained shale dust in the mixture. This rock dust was designed to wear down the steel needle and conform it to the groove of the particular record being played. If you then attempted to use that same needle on a different record it will be coming a cutting implement. After 1935 with the shift to electric machines with their lightweight stylus there was no longer a need for the dust to be mixed in with the record material.

@Rockisland1903 like the ones that particularly say non breakable and are somewhat flexible like the loony toons storybook records but still electricly recorded one still made out of shellac are perfectly fine

@@theragingbull7059 that sounds like you are talking about 1950s vinyl 78’s. Vinyl is way too soft to be safely played on any Victrola type machine. These require the electric players or they will be destroyed fairly quickly. these were the last of the 78 RPM records that started to appear in the Elvis era after the mid-1950s

Hi, I'm the owner and interestingly enough 3 out of 7 off market players I own have the same reproducer on all of them, so they must be pretty common for later brands.

@@Looney3987 this type of reproducer is sort of a generic sort that was common in the 1940s and 50s up until the end of these types of machines being used in the 1960s. Its design is very basic and its major flaw is its weight. it is heavier than any reproducer used on any Victor machine before 1930 and this is not good for your records. It is, however pretty much the only type of reproducer you will find in the later years and the one most commonly available today inexpensively. This is not the heaviest of them all I do have one that is heavier and larger, needless to say, I am not using that one to play records. sometimes they will have designs on the chrome cover like musical notes or maybe RCA stuff like that. I forget what company made these, but it was not one of the big names, but it did provide parts to them.

@@TKELCH yeah there’s a buzz, but you don’t hear it when the record is playing so the machine is at least doing what I wanted to do and letting me play some of these records I’ve had kicking around forever. I can do things like free up the motor and replace a needle cartridge, but my knowledge of electronics ends there, I do know that the single tube inside is working or at least it lights up

@@James-ns2hs the record material itself is stronger and tougher than a wood toothpick. Remember these records held up fairly well to steel needles and steel is a lot tougher than bamboo. The whole point of going to the fiber needle is that it reduced record wear.

@@Rockisland1903 thank u!

@@James-ns2hs no they will not damage the records.

@@Rockisland1903 that actually worked on my Silvertone, the sound is not as loud though; do you know what would cause the switch to stop/engage the turntable is not working? is it an easy fix? the switch is not loose and I do see a spring underneath the turntable

@@James-ns2hs first year after remove the turntable then you will be able to see the mechanism. There is likely a piece of leather in that mechanism that connects to the turntables lip to stop its movement. It probably has to be replaced. This is standard on all the brakes used in all of these types of players mechanism may vary, but they all use a piece of weather as the actual brake material.

@@Rockisland1903 sorry for bothering u but thanks for the tip; very ignorant here; how many times should I crank it up, 30? I dont want to ruin this turntable. I usually crank it up to 30 rotations, but it will only play one side before I have to do it again. Does this mean the spring or whatever its called is going bad?

@@James-ns2hs heavy machine is a little different. I have some Victrolas that I have to crank 70 times until it’s full power, and others that only take 25. This has to do with not only the length of the spring itself, but the mechanism employed in the gearing to wind it up. You keep winding it until you meet resistance and then you stop. Never try to force past the point where you feel it reaching its limit. You want to have full power when you play a record so you don’t run out in the middle of playing and plus it will also help the motor push through a worn record. Your machine is an HMV 102 like I am playing in the video with the toothpicks? Yeah, that one’s probably gonna be around 45 to 50 cranks before it reaches this full wind.

@@user-ru3tt4pu1q did you replace the diaphragm? I have seen new diaphragms that simply were bad right out of the package. These are made of natural materials and it is always possible that there is an internal fault that cannot be seen by eye, but it’s enough for a nasty buzz. Possibility too, the diaphragm is touching the reproducer body, this is especially a problem when using two piece gaskets. The original gasket was a one piece. This is not yet available in the states for the number four only for the number two. I don’t know of any other suppliers outside the US. Most will have to use the two piece gasket in the number four and with these it is possible if you’re not careful that the diaphragm slips a bit when you close it back up and touching the side of the reproducer. When this happens, that’s an instant buzz. You’ve done it five times already, so I’m guessing that’s probably not the case here. And of course, the needle bar pivots. These things can be a pain to adjust. The proper way is that they are just touching the needle bar enough so there is no side to side movement, but they are not restricting the needle bar from moving. they are not tightened down. This is easy enough to do when you have the reproducer apart and you have the needle bar floating free in there so you can move it around and see what it’s doing. There is nothing in the reproducer body itself that is going to cause any problems. It’s just brass. It’s hard to diagnose these kinds of things when it’s not in front of me, but what I mentioned above should cover the major points that caused buzz in these reproducers, or any other sound related problems. By ripped through the record, do you mean actual physical damage of the record? That would be needle related. Yes it is possible to get brand new needles that are bad. So always the first thing try a new needle before you tear apart the reproducer I assume you tried this reproducer on another machine and it produced the same sort of problem? How about the sound from the horn? Do you hear distortion low volume or other issues when the lid is closed and you’re playing it? Now reproducers do buzz when you were listening to them up close with a lid open, this was the whole point of the lid in the first place to suppress that noise. Before you do anything else, try that reproducer on your 101 and see if it does the same thing. Then start checking down the list I mentioned above. To check the diaphragm you may have to get another diaphragm , no, you will have to get another diaphragm unless the one that came with the reproducer originally is still good enough to put back in to test

@@Rockisland1903 Ok so I've swapped the no.4 from my 101 onto the 156 and it is considerably better. I'm guessing it's the gaskets I've put in it, it's had a new diaphragm which seems fine but the gaskets are rubber-foam tubing; it's worked fine for the 101 but I'm guessing it might be twisted or something? I'm in the UK and I've heard horror stories about the 'proper' replacement gaskets, I'll strip the back off it again and have another look

@@user-ru3tt4pu1q the proper replacement gaskets are the one piece gaskets as used by the manufacturer originally. There is a trick to using these gaskets they will not just easily slide around a diaphragm. First they need to be warmed up to make the rubber a little more elastic. I do this by placing the gasket onto an ordinary old-fashioned 60 W lightbulb, one of the ones that gets hot not an LED. I leave it there until I’ve determined that it’s soft enough to safely go around the diaphragm. The sponge rubber gaskets that come in two pieces work just fine and it is extremely difficult to twist one of these without it being immediately noticeable from the outside of the reproducer around the edges of the diaphragm. The issue I have with these gaskets is that it is possible if you are not taking care for that diaphragm to slip and end up, touching the side of the reproducer, as in diaphragm to metal contact. The other issue is that because these gaskets contain thousands of tiny air bubbles you have to clamp them down with the diaphragm and then leave them alone for a few days until the equalize where they want to be while they’re doing this, the diaphragm could move slightly in or out, this will throw off your needle bar alignment if you put the needle bar on right away.

@@Rockisland1903 Ah ok, thanks very much for that; I remember setting the pivots perfect but I've just tried them and they seem much stiffer now, I'll see if I can switch the diaphragm material for a slightly thinner kind. I think the diaphragm is being sandwiched a little too hard (which is weird, I used the same stuff for the other no.4 and that's fine). I've heard these soundboxes are terrible for tuning and alignment but wow this one is not easy at all! I'll have a look and see what I can do, thankyou again for your help, good luck with your other projects! How's that 102 doing now, is that homemade gasket material still holding up?

@@user-ru3tt4pu1q why anything else? The number four just takes some getting used to because they are different design as far as the needle bar goes then the earlier ones. That 5B I was working on was not mine. I was asked to try to salvage something of it by somebody else and it is now back on the way to them. I would not worry about the gaskets being too tight. The original rubber gaskets had a tight fit to the diaphragm to eliminate any possibility of air leaks. There were also a much denser material and they were squeezed in between the two half’s of the reproduced body. I would readjust the needle bar pivot, then try it again. Remember to make sure that before you reattach the needle bar to the diaphragm the needle has to be at a 90° alignment with the side of the reproducer body. If it’s not, you can adjust this by very gently, bending the needle bar towards the top part of it just remember that it still has to align with the little hole in the diaphragm when you’re done, it’s very common for these things to be out of alignment due to being dropped on records a few hundred times in their lifespan or on the floor or possibly because the original gasket material was a little thicker or thinner, causing the diaphragm to sit in a different spot a little bit throwing the bar out of alignment. I am working on several 102‘s at the moment the red one and two black ones but a serious heat wave, that is hitting us right now has slowed me up.

@@skullheadwater9839 Silvertone was the Sears house brand name for many years. Like everything see sold these machines were made for them by an outside supplier. I don’t have any information on who those suppliers might’ve been beyond. The average motor was a.SAAL, at least in the machine that I had. That machine now belongs to a nice lady in upstate New York what little information I found on the silver tone machines was just reading things online and a few comments that were left in the video. I am assuming like the Victrolas of this type this machine will be somewhere between 1913 and 1921. Sears sold these machines all across the country and probably mail orders as well, and they had a wide range of models.

@@danielkartman6992 in my case, my phone is heavy enough not to move around even at 80 or 85 RPM. Anything with a smooth case however, would probably fly right off there. I will warn anybody using the app that nausea is a possibility trying to focus on something that’s spinning like that. Tape roll idea would definitely help with a lighter phone.

@@danielkartman6992 the right needle has arrived, but it is so hot and so humid It will be sometime before I attempt to change it out.

Thank you, I was not sure if the rubber gasket idea would work, or if the sound quality would be the same. It is playing without buzz, or distortion, but my ears aren't sensitive enough to tell if it's a bit off. It's the best I can do without correct materials for the gaskets.