WEBVTT
Kind: captions
Language: en

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Have you ever run across a set of records
where something seems a little… off?

00:00:04.860 --> 00:00:06.120
Take a look at these.

00:00:06.140 --> 00:00:10.340
This album is across three
discs. Here’s disc one, side one.

00:00:10.340 --> 00:00:13.280
And on the back is side… six.

00:00:13.280 --> 00:00:13.780
The fu--?

00:00:13.780 --> 00:00:19.900
Side two is on the next disc? Alright then
I suppose we should find side five on the

00:00:19.910 --> 00:00:23.580
back of this one and... yeah. Sure enough,
we do.

00:00:23.580 --> 00:00:26.860
Only this last disc has any semblance of normalcy.

00:00:26.860 --> 00:00:31.780
It seems like it ought to be
disc two, seeing that it has sides 3 and 4,

00:00:31.780 --> 00:00:34.640
but no! This is disc three.

00:00:34.640 --> 00:00:37.000
Did they just suck
at numbers in the ‘60s?

00:00:37.010 --> 00:00:41.149
Well a few people did, I’m sure, but in
fact this apparently bizarre numbering scheme

00:00:41.149 --> 00:00:46.010
is quite logical. You see, this record set
was designed specifically to be used in an

00:00:46.010 --> 00:00:52.460
automatic record changer. Arranging the sides
like this was often called automatic sequencing.

00:00:52.460 --> 00:00:57.219
Now, as someone who lived until the age of
13 or 14 before ever using any sort of record

00:00:57.220 --> 00:01:01.480
player, the idea of a record changer seemed
laughable.

00:01:01.480 --> 00:01:03.640
See, I had grown up with one of these things

00:01:03.640 --> 00:01:08.956
(those shiny things are called compact discs, they held music on them, and this is a compact disc changer,

00:01:08.956 --> 00:01:11.300
it’s pretty neat I did some videos on these things,

00:01:11.300 --> 00:01:12.820
oh look a card)

00:01:12.820 --> 00:01:14.880
so when I heard of record changers I envisioned

00:01:14.880 --> 00:01:20.310
some really giant version of this. But in
fact record changers were nothing more than

00:01:20.310 --> 00:01:25.159
an ordinary looking phonograph save for two
modifications; an extraordinarily long and

00:01:25.159 --> 00:01:28.740
funky spindle, and a weird floating arm thing.

00:01:28.740 --> 00:01:32.310
These things are certainly not rare by any
means, in fact they were pretty standard fare

00:01:32.310 --> 00:01:37.000
in homes from the 1940’s through to the
1970’s. They eventually fell out of favor,

00:01:37.000 --> 00:01:38.760
and Audiophiles HATE them!

00:01:38.760 --> 00:01:41.250
but in this video
I’d like to pay tribute to the cleverness

00:01:41.250 --> 00:01:43.800
that is the automatic record changer.

00:01:43.800 --> 00:01:48.340
Let’s start with a field trip to the 1920’s.
By this point we had already decided that

00:01:48.340 --> 00:01:53.360
cylinders were the Betamax of sound formats
and were all in on disc. Only trouble was

00:01:53.369 --> 00:01:59.100
that the 78 RPM records of the day could only
hold between 3 and 5 minutes of music per side.

00:01:59.100 --> 00:02:02.860
So, having just settled in listening
to your favorite set of tunes, you’d quickly

00:02:02.860 --> 00:02:06.300
have to get back up and do some good ‘ol
fashioned disc jockeying.

00:02:06.300 --> 00:02:10.700
Well that’s no good, is it? So, we humans,
ever looking for problems to solve, set to

00:02:10.709 --> 00:02:15.989
work on enabling a more leisurely experience.
If this website I found is to be believed,

00:02:15.989 --> 00:02:20.680
the first record changer with a design similar
to this was invented by Eric Waterworth of

00:02:20.680 --> 00:02:27.069
Hobart, Australia in 1925. However, his invention
never made it to market, likely due to difficulties

00:02:27.069 --> 00:02:30.299
in getting records to play upside down.

00:02:30.299 --> 00:02:34.629
The first record changer to really find a
groove was the Automatic Orthophonic Victrola,

00:02:34.629 --> 00:02:40.010
by our friends at the Victor company. This
design, from 1927, used a rather precarious

00:02:40.010 --> 00:02:44.859
looking arrangement of stacked records held
at an angle. A weird hoop thing would rise

00:02:44.859 --> 00:02:50.069
up, grab a disc from the stack, place it gently
on the turntable, then it would be played once.

00:02:50.069 --> 00:02:55.980
And then the hoop thing would pick it
back up and not-so-gently drop it down a padded chute.

00:02:55.980 --> 00:02:57.340
I mean, it worked.

00:02:57.340 --> 00:02:58.599
But yikes!

00:02:58.600 --> 00:03:03.680
To give you an idea how desperate we were
for automated record playing, the Victor VE 10-50,

00:03:03.680 --> 00:03:08.519
the first and most basic model with
the automatic changer, retailed for $600,

00:03:08.519 --> 00:03:13.870
which is worth about $9,000 in 2019 money.
And if you think nobody bought them, you’d

00:03:13.870 --> 00:03:18.960
be wrong, as an estimated 12,000 of these
things were produced in 1927 alone.

00:03:18.960 --> 00:03:21.909
We wanted automation and we wanted it yesterday.

00:03:21.909 --> 00:03:26.570
But let’s fast forward a few decades. Throughout
the 1930’s, ‘40s, and 50’s, record changer

00:03:26.570 --> 00:03:31.109
development continued at a breakneck pace.
Plenty of clever innovations made their way

00:03:31.109 --> 00:03:36.780
into the hands of consumers, as well as plenty
of duds, but by the 1960’s (and especially

00:03:36.780 --> 00:03:40.060
into the ‘70s) we had pretty much settled
on this design.

00:03:40.060 --> 00:03:41.769
This Glenburn changer is one

00:03:41.769 --> 00:03:48.599
of many, many copies of the infamous BSR changer.
If you bought any sort of stereo in the late

00:03:48.599 --> 00:03:54.290
sixties to mid ‘70s, odds are it had something
really similar to this in it. I have heard

00:03:54.290 --> 00:03:58.689
both that Glenburns were considered cheap
knockoffs and that they’re better than your

00:03:58.689 --> 00:04:01.879
average BSR, so take that as you will.

00:04:01.879 --> 00:04:07.170
So. How does one use this clever contraption?
Let’s compare this rather standard turntable

00:04:07.170 --> 00:04:10.080
from Sony with our miraculous Glenburn.

00:04:10.080 --> 00:04:12.400
The Sony is a no-surprises affair.

00:04:12.400 --> 00:04:14.060
You put the record on the turntable,

00:04:14.060 --> 00:04:16.500
and you put the stylus on the disc.

00:04:16.500 --> 00:04:17.680
That’s about it.

00:04:17.680 --> 00:04:23.580
But this record player.... There’s, there’s
more to consider! There’s this …

00:04:23.580 --> 00:04:24.090
thing.

00:04:24.090 --> 00:04:28.700
And look at all these selector levers! I don’t
know, Winnifred, this looks pretty complicated!

00:04:28.700 --> 00:04:31.530
[in a 1960’s instructional demo voice] 
Have no fear, as with a little knowledge and training,

00:04:31.530 --> 00:04:35.920
you’ll find a record-listening experience
that’s automatic beyond belief!

00:04:35.920 --> 00:04:41.319
First, lift the record stabilizer arm out of
the way. Next, be sure to select the appropriate

00:04:41.319 --> 00:04:46.700
diameter of the disc you’ll be playing.
This standard LP is a 12 inch disc, so we’ll

00:04:46.700 --> 00:04:50.120
set it to 12. Then, double check the speed
setting.

00:04:50.120 --> 00:04:52.470
33 and a third and how!

00:04:52.470 --> 00:04:57.160
Now that we have all the settings dialed in, we can
place our record on the spindle.

00:04:57.160 --> 00:04:57.860
Uh-oh!

00:04:57.860 --> 00:04:59.440
It’s all wonky!

00:04:59.440 --> 00:05:04.990
Not to worry! Reposition the record
stabilizer, and we’ll be just one step away.

00:05:04.990 --> 00:05:09.240
With our record sitting neat and pretty, simply
switch on the turntable by moving the selector

00:05:09.240 --> 00:05:15.180
from Stop to Start, and then to Auto. It will
spring back to the Start position, but don’t worry!

00:05:15.180 --> 00:05:17.960
Automatic operation is underway!

00:05:17.960 --> 00:05:20.930
Now your record automatically drops into place,

00:05:20.930 --> 00:05:23.840
and the tone arm travels to the outer edge
to play it.

00:05:23.840 --> 00:05:24.920
Beautiful!

00:05:24.920 --> 00:05:30.000
When your record is over, the record player automatically returns the tone arm to the resting position, and

00:05:30.000 --> 00:05:34.580
even turns itself off! Plus, it secures the
tone arm in place.

00:05:34.580 --> 00:05:37.580
What marvels we enjoy today!

00:05:37.580 --> 00:05:42.680
But… wait. That’s just a real Rube Goldbergian
way to play a record automatically.

00:05:42.680 --> 00:05:45.220
What was the point of holding them up in the air like that?

00:05:45.220 --> 00:05:49.979
I’m glad you asked! The notched spindle
prevents the disc from falling until this

00:05:49.979 --> 00:05:55.749
actuator moves to the left. This action both
decreases the effective diameter of the spindle,

00:05:55.749 --> 00:06:00.960
allowing the disc to fall, and it also pushes
the disc past the lip it was resting on.

00:06:00.960 --> 00:06:06.449
But - and here’s the real kicker - thanks to
this second piece, we can place another disc

00:06:06.449 --> 00:06:12.069
on top! When the bottom record is pushed off
the ledge, the very piece that does the pushing

00:06:12.069 --> 00:06:16.979
prevents the disc above it from falling, too!
The result is a machine that will play a stack

00:06:16.980 --> 00:06:19.980
of discs automatically one-at-a-time!

00:06:19.980 --> 00:06:24.020
But… last time the record player stopped
when it was done playing. What’s to keep

00:06:24.039 --> 00:06:25.340
it from doing that again?

00:06:25.340 --> 00:06:30.610
Why, the record stabilizer, of course! Notice
how it rests higher-than-usual when braced

00:06:30.610 --> 00:06:35.390
against a record. This tells the record player
that there’s another disc to play! After

00:06:35.390 --> 00:06:40.180
the last disc has fallen, the lever drops
down, and now it knows it’s time to stop

00:06:40.180 --> 00:06:43.580
after this disc is done. It’s just like
magic!

00:06:43.580 --> 00:06:45.180
Well it’s not really like magic.

00:06:45.180 --> 00:06:47.240
Ha ha,
it sure is! The recor--

00:06:47.240 --> 00:06:49.300
No. Stop it.

00:06:49.300 --> 00:06:50.780
We’re done with that.

00:06:50.780 --> 00:06:54.300
This is actually one of the
most basic designs of record changer, as they

00:06:54.310 --> 00:06:59.210
really peaked in performance in the late 1950’s
and early ‘60s. After that, many of their

00:06:59.210 --> 00:07:04.289
more advanced features dwindled away. For
instance, many record changers could automatically

00:07:04.289 --> 00:07:08.760
determine the diameter of the discs, negating
the need for this selector. Some did this

00:07:08.760 --> 00:07:12.500
by using the tonearm to deliberately bump
into the edge of the disc it was about to

00:07:12.500 --> 00:07:17.189
play to determine its size. Other methods
were used, too, though a common theme with

00:07:17.189 --> 00:07:22.439
those machines was that mixed sizes of discs,
if they were supported at all, had to be stacked

00:07:22.440 --> 00:07:26.260
largest to smallest. Not always, but usually.

00:07:26.260 --> 00:07:30.280
Can you see now why this record set has the
sides in such a strange order?

00:07:30.280 --> 00:07:32.760
With this record player, it’s not weird at all!

00:07:32.760 --> 00:07:35.590
If you stack the three discs like this, with side one on

00:07:35.590 --> 00:07:39.539
the bottom, 2 in the middle, and three on
the top, then it will play each of those sides

00:07:39.539 --> 00:07:45.499
in that order. Then, flipping the entire stack
over plays the opposite sides in reverse sequence,

00:07:45.500 --> 00:07:49.680
so it will play side 4, then 5, and finally
6.

00:07:49.680 --> 00:07:51.640
Automatic sequencing of records goes back

00:07:51.640 --> 00:07:55.300
pretty much as far as record changers have been available.

00:07:55.300 --> 00:07:59.059
These rather delightful Looney
Tunes children’s sets are auto-sequenced,

00:07:59.059 --> 00:08:05.469
and, uh, they’re from 1948. But certainly
not everything was, awkward pause as I reach

00:08:05.469 --> 00:08:09.979
for another set of records, these selections
from Gilbert and Sullivan’s H.M.S. Pinafore

00:08:09.979 --> 00:08:15.430
are sequenced as normal. By the way, these
things - they’re called record albums. They’re

00:08:15.430 --> 00:08:19.900
like photo albums, but they hold records.
Before the advent of long-play records, a

00:08:19.900 --> 00:08:24.760
group of songs was sold in one of these record
albums. And that’s where the name comes from.

00:08:24.760 --> 00:08:27.439
Fun fact.

00:08:27.439 --> 00:08:31.039
The most clever thing about these machines,
at least from my perspective, is that their

00:08:31.039 --> 00:08:35.779
automatic functions are achieved using the
same motor that spins the turntable. This

00:08:35.779 --> 00:08:40.490
record changer, along with the vast majority
of others, is entirely mechanical. The tone

00:08:40.490 --> 00:08:45.120
arm’s movement, along with the dropping
of the next record, are driven off the turntable

00:08:45.120 --> 00:08:50.339
itself. In fact, with the record player unplugged,
we can make it go through its automatic routines

00:08:50.339 --> 00:08:52.680
by simply turning it by hand.

00:08:52.680 --> 00:08:56.589
Thanks to the miracle of precarious rigging,
we can watch what the mechanism does as it

00:08:56.589 --> 00:09:01.510
changes a disc. It’s all just a bunch of
cam drives, pushing on this and pulling on

00:09:01.510 --> 00:09:06.620
that. This piece here is attached to the tone
arm, and you can see how changing the size

00:09:06.620 --> 00:09:09.140
selector changes where the tone arm will stop.

00:09:14.420 --> 00:09:17.480
It’s really a fascinating bit of engineering cleverness.

00:09:17.480 --> 00:09:21.740
The designers were aware that any sort of
drag on the turntable is likely to introduce

00:09:21.740 --> 00:09:26.910
some wow and flutter, so the mechanism is
effectively disengaged from the turntable

00:09:26.910 --> 00:09:31.660
unless some sort of automatic function is
being performed. Of course it’s kind of

00:09:31.660 --> 00:09:35.750
impossible to convey this over video, but
I can definitely feel that it’s difficult

00:09:35.750 --> 00:09:40.990
to spin the turntable as it does its rigamorol,
but as soon as the tone arm settles to where

00:09:40.990 --> 00:09:45.310
it would be playing a disc, the mechanism
diesengages and it becomes much easier to

00:09:45.310 --> 00:09:49.920
rotate. In fact, there's so little drag on
the turntable, pretty much just the friction

00:09:49.920 --> 00:09:55.310
of the motor and idler wheel, that it takes
a fair while to come to a stop. But, as soon

00:09:55.310 --> 00:09:59.930
as the tone arm makes it to the center, it
re-engages the mechanism, and now the turntable

00:09:59.930 --> 00:10:01.940
no longer spins freely.

00:10:02.600 --> 00:10:04.720
Actually, I suppose
I can convey this over video.

00:10:04.720 --> 00:10:09.820
Here. It’s spinning nice and fine but as soon as it starts
moving the tone arm… it quickly comes to

00:10:09.820 --> 00:10:13.930
a stop without the help of either my hand
or the motor to keep it along.

00:10:13.930 --> 00:10:18.360
Of course one of the downsides of this approach
is that the speed of the changing is impacted

00:10:18.360 --> 00:10:23.000
by the RPM of the records you’re playing
(in nearly all of these turntables). The movement

00:10:23.000 --> 00:10:27.720
is fairly graceful with long play records,
but introduce some 78s like those Looney Tunes

00:10:27.720 --> 00:10:32.080
ones we saw earlier into the mix and it
gets real herky jerky.

00:10:32.080 --> 00:10:37.340
These discs, by the way, are 10 inch discs so I’ve put the selector into the 10 position.

00:10:37.340 --> 00:10:40.160
And of course, if you happen to have a set of spoken-word or

00:10:40.160 --> 00:10:44.900
other records that play at the rather uncommon 16 and ⅔ RPM speed,

00:10:44.900 --> 00:10:48.420
the once-graceful movement
becomes annoyingly slow.

00:10:54.840 --> 00:10:55.900
Finally.

00:10:55.900 --> 00:10:57.260
And now let’s talk about why

00:10:57.260 --> 00:10:59.400
Audiophiles HATE them!

00:10:59.400 --> 00:11:05.600
First, let’s address the simple truth that some audiophiles apparently are incapable of appreciating.

00:11:05.600 --> 00:11:11.160
Most humans will happily make sacrifices to quality for convenience.

00:11:11.160 --> 00:11:14.060
I feel that needs repeating with greater emphasis.

00:11:14.060 --> 00:11:21.640
Most humans will *quite* happily make sacrifices
to quality if the experience is more convenient.

00:11:21.640 --> 00:11:27.420
If you value quality over all else, that is
fine. We salute you in your pursuit of perfection.

00:11:27.420 --> 00:11:32.209
But do not judge your fellow humans for tastes
that be different to yours, and do not try

00:11:32.209 --> 00:11:35.180
to convince us that our standards are too
low.

00:11:35.180 --> 00:11:38.920
Also--what is convenient is in the eye of the beholder.

00:11:38.920 --> 00:11:41.050
That deserves consideration, too.

00:11:41.050 --> 00:11:44.690
Alright, now that I’ve checked that off
my list, let’s start with the more tenuous

00:11:44.690 --> 00:11:49.910
concerns regarding record changers. Notice
that as more records get stacked, the angle

00:11:49.910 --> 00:11:55.160
of the tone-arm changes. This makes the angle
at which the stylus sits in the groove not-quite

00:11:55.160 --> 00:11:59.680
optimal, which may impact the quality of the
sound coming from the cartridge.

00:11:59.680 --> 00:12:00.600
Blasphemy!

00:12:00.600 --> 00:12:04.660
Let’s see how bad it really is, though.
Here’s what a record sounds like being played

00:12:04.660 --> 00:12:06.720
resting directly on the turntable.

00:12:06.720 --> 00:12:10.300
[Music
plays]

00:12:28.480 --> 00:12:31.680
Alright, and now stacked on top of 5 other records.

00:12:31.680 --> 00:12:35.380
[Music plays again, with
no appreciable change in quality.

00:12:35.380 --> 00:12:41.620
Even in person before the digitizing and compression that I and then YouTube did to it these sounded identical.

00:12:41.620 --> 00:12:50.900
Seriously, I think I have pretty good ears, and these two recordings in their uncompressed nature are indistinguishable in person through some pretty great headphones. But obviously my ears are just not good enough to enjoy music correctly]

00:12:50.900 --> 00:12:54.060
[Wow I didn't know you could fit that much in one caption]

00:12:54.060 --> 00:12:57.140
I’ll even switch back and forth
repeatedly. Spot the difference!

00:12:57.140 --> 00:13:02.660
[A different track plays, with the recording switching
back and forth at random.

00:13:02.660 --> 00:13:07.200
It’s completely unnoticeable. But then again, I’m no audiophile

00:13:07.200 --> 00:13:09.100
(I just play one on TV)]

00:13:14.440 --> 00:13:17.680
Did you see that ludicrous display last night?

00:13:20.520 --> 00:13:23.040
Yeah, I can’t hear it either.

00:13:23.040 --> 00:13:27.560
OK, then the other, slightly more legitimate
concern is that the act of stacking discs

00:13:27.569 --> 00:13:32.350
is just plain bad for them! I mean, you don’t
want to just go around touching the surface

00:13:32.350 --> 00:13:37.009
of a vinyl record. Surely letting them rub
together when the stationary disc falls on

00:13:37.009 --> 00:13:40.880
the rotating one will result in a disaster!

00:13:40.880 --> 00:13:43.089
Well, not really. I mean, think about this

00:13:43.089 --> 00:13:47.490
for a second. The sound recording on a record
isn’t ON the surface of the disc. It’s

00:13:47.490 --> 00:13:53.350
below the surface, between the grooves. Sure,
in theory, a big piece of dust or other debris

00:13:53.350 --> 00:13:57.639
might cause cause some sort of a scratch during
the brief period of acceleration from stopped

00:13:57.639 --> 00:14:04.240
to moving, but generally discs rubbing against
each other proved to be pretty harmless. Again,

00:14:04.240 --> 00:14:10.379
the only parts that touch, under normal circumstances
anyway, are the tops of the groove walls which...

00:14:10.379 --> 00:14:13.629
don’t actually contain any of the sound.

00:14:13.629 --> 00:14:17.910
The one bit of damage that was known to occur
(and quite frequently, mind you) was a bit of

00:14:17.910 --> 00:14:22.610
chewing up on the label right around the hole,
especially for the discs on the bottom of

00:14:22.610 --> 00:14:28.899
a tall stack. You might potentially have the
weight of 4 or 5 vinyl--or even shellac--records

00:14:28.899 --> 00:14:33.899
resting on just this little shelf, and when
the disc gets pushed off of it, that might

00:14:33.899 --> 00:14:40.399
do some nasty things to the label. But I mean,
when you imagine a record as a delivery medium

00:14:40.400 --> 00:14:46.700
for the day’s popular music, and not a fragile
collector’s item to be protected, who cares?

00:14:46.700 --> 00:14:51.050
No seriously, now you’d shout bloody murder
over the wearing down of the center hole,

00:14:51.050 --> 00:14:54.680
but back when this was popular… not so much.

00:14:54.680 --> 00:14:59.630
Nevertheless, the general public did eventually
grow to view these as less-than-ideal for

00:14:59.630 --> 00:15:04.129
the preservation of their discs. It took a
great long while, though, as remember until

00:15:04.129 --> 00:15:10.350
the 1970’s a record changer was more-or-less
the norm. I think a few things contributed

00:15:10.350 --> 00:15:15.850
to their demise. First was the fact that the
truly elegant designs of the ‘50s and ‘60s

00:15:15.850 --> 00:15:20.700
were standardized into these cheaper, ineloquent
hunks of OK I guess.

00:15:20.700 --> 00:15:24.540
By the 1970’s, record changers had become pretty mediocre.

00:15:24.540 --> 00:15:28.220
Sure, they worked fine, and honestly this one sounds very nice

00:15:28.220 --> 00:15:33.280
(aside from the fact that it runs
ever-so-slightly too fast which infuriates me)

00:15:33.280 --> 00:15:37.160
But by the 1970’s, changers just weren’t
very good record players.

00:15:37.160 --> 00:15:41.970
And very good record players, almost without exception, weren’t changers.

00:15:41.970 --> 00:15:46.699
Additionally, the market was moving away from
monstrous console systems which these would

00:15:46.699 --> 00:15:52.079
fit nicely into, to more compact bookshelf
and component systems, meaning that the extra

00:15:52.079 --> 00:15:58.629
height and bulk of the changer suddenly became
a disadvantage. And lastly, and I’ll admit

00:15:58.629 --> 00:16:04.120
this is just me musing about human tendencies,
I think they just went out of style. Ya gotta

00:16:04.120 --> 00:16:09.060
admit this Sony unit is a whole lot sleeker
looking than its Glenburn counterpart. Yeah,

00:16:09.060 --> 00:16:13.690
it’s quite a bit newer, but without a tall
spindle and the extra depth required for the

00:16:13.690 --> 00:16:17.329
mechanism, it could save quite a bit of space
in the Z dimension.

00:16:17.329 --> 00:16:21.899
But regardless of who or what killed the changer,
I hope we can appreciate its cleverness for

00:16:21.899 --> 00:16:27.290
a little while longer. I especially like the
automatic sequencing, in my eyes it’s almost

00:16:27.290 --> 00:16:32.769
like a hack. And, one other thing I didn’t mention
about that--even on a manual turntable, assuming

00:16:32.769 --> 00:16:38.231
you’re willing to stack your records, it’s
arguably more convenient. Play side one, then

00:16:38.231 --> 00:16:44.420
put two on top of it, then three on top of
that. Flip the top record over to play four,

00:16:44.420 --> 00:16:50.779
flip the top two to play 5, and flip the whole
stack to play six. I suppose though if you’re

00:16:50.779 --> 00:16:54.500
unwilling to let the vinyl get a little cozy
with its partners,

00:16:54.500 --> 00:16:56.500
then yeah it’s a pain in the ass.

00:16:56.500 --> 00:17:02.420
Oh, and although we shunned the idea of stacking,
turntable automation didn’t die out completely.

00:17:02.430 --> 00:17:07.410
Fancier turntables could start a record automatically
with the press of a button. And while that’s

00:17:07.410 --> 00:17:13.240
a little advanced for this guy, he’s still
happy to return the tone arm for you and shut off.

00:17:13.240 --> 00:17:18.280
And of course, it also uses the movement
of the turntable to provide movement of the tonearm.

00:17:18.280 --> 00:17:22.120
Thanks for watching, and I hope you enjoyed
this video. Now comes the time where I thank

00:17:22.120 --> 00:17:26.000
the fine folks who support the channel on
Patreon, with a special thanks going to the

00:17:26.000 --> 00:17:30.770
people scrolling down your screen. Your support
has really been a life changer, and it’s

00:17:30.770 --> 00:17:34.900
making sure there’s always another video
waiting to drop. If you’d like to join these

00:17:34.900 --> 00:17:39.030
people in supporting the channel, check out
my Patreon page. Thanks for your consideration,

00:17:39.030 --> 00:17:40.320
and I’ll see you next time!

00:17:41.320 --> 00:17:44.560
♫ sequentially smooth jazz ♫

00:17:46.380 --> 00:17:48.400
That was real!

00:17:48.400 --> 00:17:49.480
YES!!!

00:17:49.480 --> 00:17:52.620
Ha ha ha! On the word
“Drop!”

00:17:55.180 --> 00:17:58.560
No video fakery this time, ha ha!

00:17:58.560 --> 00:18:02.410
I promise, that was actually real! I’m
so.. Yeah if you can’t tell by the smile

00:18:02.410 --> 00:18:05.600
on my face… uh.

00:18:06.600 --> 00:18:07.300
YES!!

00:18:07.500 --> 00:18:11.700
Let’s compare this rather standard turntable…
I used the hand motion wrong

00:18:11.700 --> 00:18:15.560
Other methods, other… ugh that was a really
good take and then we screwed it up.

00:18:16.080 --> 00:18:18.320
Then it will play each of those di -

00:18:18.540 --> 00:18:20.900
[stares
intensely at the camera]

00:18:20.910 --> 00:18:23.180
Should have thought that through, Jared.

00:18:23.180 --> 00:18:24.660
That’s
right, Clover.

00:18:24.660 --> 00:18:27.180
“You’re just coming up with names on the spot!”

00:18:27.180 --> 00:18:28.380
No I’m not!

00:18:28.380 --> 00:18:29.200
“Yes
you are!”

00:18:29.200 --> 00:18:29.760
Yes I am.