COPPER

A PS Audio Publication

Issue 90 • Free Online Magazine

Issue 90 IN MY ROOM

A Turntable of my Own, Part 1

A Turntable of my Own, Part 1
Copper #72, #73, and #74. In that series of articles, Ken described how he cut down trees on his property, milled, planed, and cured the lumber, then built his listening room and five towering speakers. Well, Ken didn't have a turntable to go with that incredible system---so naturally, he had to build one himself, to the same standard as all his other constructions. This is the story of that turntable---Ed.> The first step in beginning a new project is constructing the pattern from which the fiberglass mold will be laminated. The above picture shows the various sheets of ¾” MDF (medium density fiber board), that is glued and clamped together. After the clamps are removed and the excess glue is sanded from the sides of the block, a layout is drawn on the top surface of the pattern. The next step is to cut the angles so that we can proceed along the lines of building up the pattern. Since a fiberglass mold will be pulled off this pattern, a two-degree angle is machined on all sides so the part can be easily removed from the finished fiberglass mold. If the two-degree draft is not cut on the sides of the pattern, the fiberglass mold will lock on and the two can never be separated. Shown above is one of the three blocks machined out to replicate the size and shape of the three arm pods. Two-degree draft is being sanded on all of the surfaces to ensure that the final pattern can be demolded from the fiberglass mold. Pictured above is the overall design of the table plinth with the 3 arm pods correctly positioned before being glued together. The arm pods, as you may be able to tell, have also been cut with two-degree draft on all sides. This photograph shows the application of a thin sheet of slate textured formica on alternating edge surfaces of the three arm pods and center pattern section. This is being applied just for aesthetic reasons so that the final part does not have an antiseptic, industrial look to it. Here we see the three tone arm pods being glued to the center section of the pattern. This shows the finished pattern temporarily bonded to a glass plate. Then clay is put in the joint between the glass plate and the pattern with a 1/64” radius. This will prevent the epoxy gel coat from seeping under the pattern. A production mold can now be made from this pattern. Before the pattern can be sprayed with a grey surface coat, it must be coated with a mold release agent so that the two pieces can be separated when the lamination is completed. Here we see a polyester gel coat being sprayed to all surfaces of the pattern. You will notice dark areas around the edges and corners of the part being laminated. This is a mixture of polyester resin, cotton flock, and glass beads to form a paste that is brushed on all of the rough surfaces, inside and outside edges, and corners of the pattern. This is applied in order to prevent air bubbles from being formed in these areas during the first lamination of fiberglass, which you see depicted in this picture. In a few days, multiple layers of fiberglass and resin have been applied over the pattern to a thickness of approximately 3/16” of an inch. This becomes the performance surface of the final mold. In order to rigidize and stabilize all of the fiberglass surfaces that have been applied to the pattern, we will bond ¾” MDF pieces to all surfaces. The final step in finishing the production mold is to apply a box that is bonded with a polyester paste to the wooden reinforcement pieces that were applied to the 3/16” thick fiberglass laminate. The mold is now completed and the molding will be the next step. Here we see the pattern around which the production mold has been laminated. The glass plate has been removed and we are now ready to separate the pattern from the production mold. Here we see the production mold after the pattern (light grey color) has been removed. The production mold (dark color) will now be sanded, polished, and prepared to laminate the plinth for the turntable. Above you see the picture of the fiberglass part that has been laminated off the prepared master mold in the previous picture. It was laminated with the same fiberglass materials as was the production mold, but to a laminate thickness of ¼”. It was then trimmed out, polished, and placed on the board you see above so that it can be used to produce a replica shape of what will be machined from solid aluminum. The MDF sub-plate you see pictured above will be sent to a machinist who will duplicate this part 1 ½” thick type 6061 aircraft aluminum. Ed.>

More from Issue 90

View All Articles in Issue 90

Search Copper Magazine

#225 Capital Audiofest 2025: Must-See Stereo, Part One by Frank Doris Dec 01, 2025 #225 Otis Taylor and the Electrics Delivers a Powerful Set of Hypnotic Modern Blues by Frank Doris Dec 01, 2025 #225 A Christmas Miracle by B. Jan Montana Dec 01, 2025 #225 T.H.E. Show New York 2025, Part Two: Plenty to See, Hear, and Enjoy by Frank Doris Dec 01, 2025 #225 Underappreciated Artists, Part One: Martin Briley by Rich Isaacs Dec 01, 2025 #225 Rock and Roll is Here to Stay by Wayne Robins Dec 01, 2025 #225 A Lifetime of Holiday Record (and CD) Listening by Rudy Radelic Dec 01, 2025 #225 Little Feat: Not Saying Goodbye, Not Yet by Ray Chelstowski Dec 01, 2025 #225 How to Play in a Rock Band, Part 18: Dealing With Burnout by Frank Doris Dec 01, 2025 #225 The People Who Make Audio Happen: CanJam SoCal 2025 by Harris Fogel Dec 01, 2025 #225 Chicago’s Sonic Sanctuaries: Four Hi‑Fi Listening Bars Channeling the Jazz‑Kissa Spirit by Olivier Meunier-Plante Dec 01, 2025 #225 From The Audiophile’s Guide: Controlling Bass Frequencies Through Membrane Absorbers (and How to Build Your Own) by Paul McGowan Dec 01, 2025 #225 Your Editor’s Tips for Attending Audio Shows by Frank Doris Dec 01, 2025 #225 PS Audio in the News by Frank Doris Dec 01, 2025 #225 Back to My Reel-to-Reel Roots, Part 24 by Ken Kessler Dec 01, 2025 #225 Holiday Music by Frank Doris Dec 01, 2025 #225 Puppy Prognostication by Peter Xeni Dec 01, 2025 #225 How to Post Comments on Copper by Frank Doris Dec 01, 2025 #225 Living Color by Rudy Radelic Dec 01, 2025 #224 T.H.E. Show New York 2025, Part One: A New Beginning by Frank Doris Nov 03, 2025 #224 Fool’s Leap of Faith is the Extraordinary Octave Records Debut from Singer/Songwriter Tyler Burba and Visit by Frank Doris Nov 03, 2025 #224 The Beatles’ “Aeolian Cadences.” What? by Wayne Robins Nov 03, 2025 #224 Persona Non Grata by B. Jan Montana Nov 03, 2025 #224 Talking With Recording Engineer Barry Diament of Soundkeeper Recordings, Part Two by Frank Doris Nov 03, 2025 #224 B Sides, B Movies, and Beware of Zombies by Rudy Radelic Nov 03, 2025 #224 The Burn-In Chronicles: 1,000 Hours to Sonic Salvation by Olivier Meunier-Plante Nov 03, 2025 #224 A Conversation With Mat Weisfeld of VPI Industries by Joe Caplan Nov 03, 2025 #224 Blues-Rocker Kenny Wayne Shepherd Celebrates 30 Years of Ledbetter Heights by Ray Chelstowski Nov 03, 2025 #224 Playing in a Rock Band, 17: When Good Gigs Go Bad, Part Two by Frank Doris Nov 03, 2025 #224 From The Audiophile’s Guide: Dealing with Odd-Shaped Rooms by Paul McGowan Nov 03, 2025 #224 TEAC’s TN-3B-SE Turntable Plays Bob Dylan by Howard Kneller Nov 03, 2025 #224 PS Audio in the News by Frank Doris Nov 03, 2025 #224 Lost in Translation by Peter Xeni Nov 03, 2025 #224 Reel-to-Reel Roots, Part 23: Better Than Rice Krispies by Ken Kessler Nov 03, 2025 #224 I Bring Joy! by Frank Doris Nov 03, 2025 #224 Screen Test by Rich Isaacs Nov 03, 2025 #224 How to Post Comments on Copper by Frank Doris Nov 03, 2025 #132 Dr. Patrick Gleeson: The Interview, Part Two by Rich Isaacs Oct 07, 2025 #223 World Fusion Meets Flamenco in Gratitude from Steve Mullins and Rim of the Well by Frank Doris Oct 06, 2025 #223 Judging Albums by Their Covers by Rich Isaacs Oct 06, 2025 #223 Recent Arrivals and 12-inch Royalty by Rudy Radelic Oct 06, 2025 #223 Summer of Creem, Part Two by Wayne Robins Oct 06, 2025 #223 Recording Engineer Barry Diament of Soundkeeper Recordings: Striving for Natural Sound by Frank Doris Oct 06, 2025 #223 Tea on the Terrace by B. Jan Montana Oct 06, 2025 #223 How Good Can Car Audio Get? by Joe Caplan Oct 06, 2025 #223 The Advantages of a Dedicated Listening Room by Paul McGowan Oct 06, 2025 #223 1! 2! 3! 4! Surrounded by the Ramones in Dolby Atmos! by Frank Doris Oct 06, 2025

A Turntable of my Own, Part 1

A Turntable of my Own, Part 1
Copper #72, #73, and #74. In that series of articles, Ken described how he cut down trees on his property, milled, planed, and cured the lumber, then built his listening room and five towering speakers. Well, Ken didn't have a turntable to go with that incredible system---so naturally, he had to build one himself, to the same standard as all his other constructions. This is the story of that turntable---Ed.> The first step in beginning a new project is constructing the pattern from which the fiberglass mold will be laminated. The above picture shows the various sheets of ¾” MDF (medium density fiber board), that is glued and clamped together. After the clamps are removed and the excess glue is sanded from the sides of the block, a layout is drawn on the top surface of the pattern. The next step is to cut the angles so that we can proceed along the lines of building up the pattern. Since a fiberglass mold will be pulled off this pattern, a two-degree angle is machined on all sides so the part can be easily removed from the finished fiberglass mold. If the two-degree draft is not cut on the sides of the pattern, the fiberglass mold will lock on and the two can never be separated. Shown above is one of the three blocks machined out to replicate the size and shape of the three arm pods. Two-degree draft is being sanded on all of the surfaces to ensure that the final pattern can be demolded from the fiberglass mold. Pictured above is the overall design of the table plinth with the 3 arm pods correctly positioned before being glued together. The arm pods, as you may be able to tell, have also been cut with two-degree draft on all sides. This photograph shows the application of a thin sheet of slate textured formica on alternating edge surfaces of the three arm pods and center pattern section. This is being applied just for aesthetic reasons so that the final part does not have an antiseptic, industrial look to it. Here we see the three tone arm pods being glued to the center section of the pattern. This shows the finished pattern temporarily bonded to a glass plate. Then clay is put in the joint between the glass plate and the pattern with a 1/64” radius. This will prevent the epoxy gel coat from seeping under the pattern. A production mold can now be made from this pattern. Before the pattern can be sprayed with a grey surface coat, it must be coated with a mold release agent so that the two pieces can be separated when the lamination is completed. Here we see a polyester gel coat being sprayed to all surfaces of the pattern. You will notice dark areas around the edges and corners of the part being laminated. This is a mixture of polyester resin, cotton flock, and glass beads to form a paste that is brushed on all of the rough surfaces, inside and outside edges, and corners of the pattern. This is applied in order to prevent air bubbles from being formed in these areas during the first lamination of fiberglass, which you see depicted in this picture. In a few days, multiple layers of fiberglass and resin have been applied over the pattern to a thickness of approximately 3/16” of an inch. This becomes the performance surface of the final mold. In order to rigidize and stabilize all of the fiberglass surfaces that have been applied to the pattern, we will bond ¾” MDF pieces to all surfaces. The final step in finishing the production mold is to apply a box that is bonded with a polyester paste to the wooden reinforcement pieces that were applied to the 3/16” thick fiberglass laminate. The mold is now completed and the molding will be the next step. Here we see the pattern around which the production mold has been laminated. The glass plate has been removed and we are now ready to separate the pattern from the production mold. Here we see the production mold after the pattern (light grey color) has been removed. The production mold (dark color) will now be sanded, polished, and prepared to laminate the plinth for the turntable. Above you see the picture of the fiberglass part that has been laminated off the prepared master mold in the previous picture. It was laminated with the same fiberglass materials as was the production mold, but to a laminate thickness of ¼”. It was then trimmed out, polished, and placed on the board you see above so that it can be used to produce a replica shape of what will be machined from solid aluminum. The MDF sub-plate you see pictured above will be sent to a machinist who will duplicate this part 1 ½” thick type 6061 aircraft aluminum. Ed.>

0 comments

Leave a comment

0 Comments

Your avatar

Loading comments...

🗑️ Delete Comment

Enter moderator password to delete this comment: