I've just recently been upgrading my DJ equipment ready for the start of the House Party/BBQ season which us and a close circle of friends throughout the summer get together at the various houses, eat, drink and play tunes from dusk till dawn, so I've been getting all the gear up to scratch, new mixer, Amp, speakers and the most important bit of kit 'The Stylus' which got me thinking what the state and condition is of the said stylus at Rare Soul venues? you hear of horror stories over the years of iffy and bad sound systems at gigs but apart form bad sound, sub standard equipment etc. how often is the stylus checked, maintained and replaced with new ones?, when you consider the value of many of the records I would like to think that the condition of the stylus should be nothing less than first class, I remember several years ago at an Allnighter Roger Banks totally wrecked his copy of Syl Johnson - 'Do You Know What Love Is' because the arm setting on the deck was too heavy and the stylus was way past it's sell by date resulting in the record having cue burn all the way through it, Roger went mental but nothing was done or offered to cover the fact that the record was fcuked caused by sub standard equipment i.e. a shagged stylus.

When you consider that you can buy a pair of high quality 'Stanton' heads and stylus for example from about £60/70.00 I think this is a small price to pay to avoid any possible nightmares of damage to records, just wondering how often people maintain and change the stylus, if you consider that even a good quality one lasts for approx 500 hours playing time which by my calculations based on say an 8 hour allnight session means used 60 times, that it would need to be replaced at best once a year? but I suspect some would be used longer or never changed? I guess with this time scale and life span that it's easy to forget to change/replace on a regular basis but remember this a stylus can be replaced but in many instances the records can't if they are damaged as a result of cue burn, iffy of clapped out stylus, would be interested on your thought on this.

Regards - Mark Bicknell.

Edited May 16, 200817 yr by Mark Bicknell

The stylus are checked at every Middleton, and have even been replaced with new mid event... the old ones been destroyed so they can't be used again by mistake.

Edited May 16, 200817 yr by pikeys dog

I'd have thought too, that any discerning DJ would carry a pair in his box...

better to be prepared, cause a bit of a fuss and swap the stylus than risk ruining something precious to you...

then bollock the promotor for providing shite equipment!

Most promoters are DJs or work closely with DJs and the decks ares set up. Whenever i had to use a set of hired deckls you took it for granted that the previous user was a hip hop/scratch DJ and you reset the deck.

here's a tip if the numbers on the weight are facing the rear of the deck you'll need to reset.

I do carry a set of carts, rubber mats a screwdriver and record centres but i'm just fussy.

I'd have thought too, that any discerning DJ would carry a pair in his box...

better to be prepared, cause a bit of a fuss and swap the stylus than risk ruining something precious to you...

then bollock the promotor for providing shite equipment!

good point kirsty, but, not all stylus's are interchangeable, i once d.j.'d at a venue in london in the 80's played my mint tommy frontera (at the time there was only keb & a few others who had this record), it hissed all the way through afterwards, totally f***ed, i could have cried........in fact i think i did

I've just recently been upgrading my DJ equipment ready for the start of the House Party/BBQ season which us and a close circle of friends throughout the summer get together at the various houses, eat, drink and play tunes from dusk till dawn, so I've been getting all the gear up to scratch, new mixer, Amp, speakers and the most important bit of kit 'The Stylus' which got me thinking what the state and condition is of the said stylus at Rare Soul venues? you hear of horry stories over the years of iffy and bad sound systems at gigs but apart form bad sound, sub standard equipment etc. how often is the stylus checked, maintained and replaced with new ones?, when you consider the value of many of the records I would like to think that the condition of the stylus should be nothing less than first class, I remember several years ago at an Allnighter Roger Banks totally wrecked his copy of Syl Johnson - 'Do You Know What Love Is' because the arm setting on the deck was too heavy and the stylus was way past it's sell by date resulting in the record having cue burn all the way through it, Roger went mental but nothing was done or offered to cover the fact that the record was fcuked caused by sub standard equipment i.e. a shagged stylus.

When you consider that you can buy a pair of high quality 'Stanton' heads and stylus for example from about £60/70.00 I think this is a small price to pay to avoid any possible nightmares of damage to records, just wondering how often people maintain and change the stylus, if you consider that even a good quality one lasts for approx 500 hours playing time which by my calculations based on say an 8 hour allnight session means used 60 times, that it would need to be replaced at best once a year? but I suspect some would be used longer or never changed? I guess with this time scale and life span that it's easy to forget to change/replace on a regular basis but remember this a stylus can be replaced but in many instances the records can't if they are damaged as a result of cue burn, iffy of clapped out stylus, would be interested on your thought on this.

Regards - Mark Bicknell.

OK, I know records were designed to be played and that's exactly what I've done over the last 40 odd years. But it really makes no sense to play RARE records often on different decks with different styli. They'll get beat-up.

I've probably said it hundreds of times before, but it's just crazy to play rare records on anything other then preferably one really well-calibrated set of decks which are maintained regularly. These records are rare artefacts in many cases - like rare paintings, so it makes no sense to scrawl all over 'em does it?

Also, there is such ferocious concentration on record grading these days! People still expect to get mint records from 40 years ago LOL.....Well, those are becoming less and less now. So where will the future good condition copies come from?

Vinyl is now almost redundant in most areas of the music business apart from specialist areas. It won't be long before it becomes economically unviable to continue manufacturing decks and certainly keep various styli in stock - I can no longer replace the stylus on my state-of-the-art deck at home for instance. They just don't make 'em anymore.....

I recently tried to glimpse into the future to see where all this was leading and I've attached an article I wrote for Manifesto called "Northern Soul In The Digital Age".

Manifesto___Northern_Soul_In_The_Digital_Age.doc

Whilst it's full of the usual hyperbolic writing I'm known for, I think it speaks a lot of unplatable truth for many of us, so I guess it's worth reading.

I now carry the biggest music collection I've ever had in my life. It's a combination of several thousand vinyl, several thousand CD's and several thousand digital files.

Because my collection is always in a mutating state, I'm also in the business of selling stuff, like most of us on here so I have to deal with the vinyl grading issue all the time and it's a pain in the ass! Some of the records I sell are 40 years old and have obviously been played on a number of decks over the years and are still perfectly good, yet people expect mint condition stuff more often than not. Well, that just ain't gonna happen in the future.

The mint records are the ones which never get played and who wants to just LOOK at a record?

Different decks are deadly. Believe me.

Ian D

Edited May 16, 200817 yr by Ian Dewhirst

we're on our third set in less than 2 years at the Attic Mark, its only right when youre asking people to come and play their valuable and sometimes irreplaceble vinyl that the stylus are spot on.

Horry??

Horry??

Buggar I just noticed that, still it was very early this morning when I posted the thread, still I'm thick at the best of times.

Regards - Mark Bicknell.

A gauge is good for setting up the cartridge. I will scan one, suppose you can print it up and try it.

Edited May 16, 200817 yr by Prophonics 2029

This is something that I take very seriously....the decks at Burnley are set up correctly, and the stylus on each deck renewed every second month without fail......like Mark said, we have the the best DJ's in the land as our guests, playing some of the rarest vinyl. You can't take chances with these wonderful vinyl gems......Same goes for cueing up [back winding] don't do it. Sure it sounds more proffessional, but I'd rather hear a bit of a gap between tunes than suffer sssssssssssss cue burn.

Phil.

A gauge is good for setting up the cartridge. I will scan one, suppose you can print it up and try it.

So how does this gauge work etc.

This is something that I take very seriously....the decks at Burnley are set up correctly, and the stylus on each deck renewed every second month without fail......like Mark said, we have the the best DJ's in the land as our guests, playing some of the rarest vinyl. You can't take chances with these wonderful vinyl gems......Same goes for cueing up [back winding] don't do it. Sure it sounds more proffessional, but I'd rather hear a bit of a gap between tunes than suffer sssssssssssss cue burn.

Phil.

Here, here Phil, never used a set of headphones in my life or cueing/back winding think the same lines as you the worst your gonna have is 2/3 second gap before the record starts, I've lost count the number of blank looks I've got over the years when a fellow DJ's say's 'There's the cue button or headphone control' alway's done it by eye and it works for me still I'm a professional....lol at what I don't know...lol

Regards - Mark Bicknell.

This is something that I take very seriously....the decks at Burnley are set up correctly, and the stylus on each deck renewed every second month without fail......like Mark said, we have the the best DJ's in the land as our guests, playing some of the rarest vinyl. You can't take chances with these wonderful vinyl gems......Same goes for cueing up [back winding] don't do it. Sure it sounds more proffessional, but I'd rather hear a bit of a gap between tunes than suffer sssssssssssss cue burn.

Phil.

It really makes me cringe when I see people 'back winding' precious vinyl

It really makes me cringe when I see people 'back winding' precious vinyl

Me too. I keep thinking 'that's another £200 wiped-off the value of that record' LOL....

I've lost count of the amount of cue-burned styrene pressings I've heard over the years.

It got to the point when I would actually turn down styrene presses of certain records as I knew they weren't as robust as vinyl pressings for regular deejaying.

There's a LOT of Amy, Bell, Mala, Dyno-Voice, Smash, Fontana, Okeh, Columbia, Date and Loma records out there with the dreaded hiss........

Ian D

Edited May 16, 200817 yr by Ian Dewhirst

A gauge is good for setting up the cartridge. I will scan one, suppose you can print it up and try it.

Got one of these, I think it came with my Technics deck. However, if you use a concorde type head, then the problem doesn't really arise. Just get the weight/tracking right. Easier to cue up by eye too. Never ever use headphones/backwinding. Not really needed. I always cue by eye, and to avoid a gap, start the next record as the previous one start to fade, and fade the next one up. Usualy avoids a gap, or fade it up as you waffle your intro!

Edited May 16, 200817 yr by Trevski

Got one of these, I think it came with my Technics deck. However, if you use a concorde type head, then the problem doesn't really arise. Just get the weight/tracking right. Easier to cue up by eye too. Never ever use headphones/backwinding. Not really needed. I always cue by eye, and to avoid a gap, start the next record as the previous one start to fade, and fade the next one up. Usualy avoids a gap, or fade it up as you waffle your intro!

interesting point about the cuing up with the concords, i've been thinking about reating myself to a set of these for some time now and with the styli on my decks up for renewal then perhaps now is the time

i know some of them are really quite expensive but does anyone use these already and have recommended model?

interesting point about the cuing up with the concords, i've been thinking about reating myself to a set of these for some time now and with the styli on my decks up for renewal then perhaps now is the time

i know some of them are really quite expensive but does anyone use these already and have recommended model?

I guess the industry market leader is 'Stanton' but like most things there are numerous makes that are as good, I use Stanton Disc Master V3 (which I believe is also favoured by 'The Treski' fela) to record my weekly radio show on which is fitted to the turntable for that and everyday use which comes in at about £50.00 per cartridge and comes with two stylus so pretty good value, the Stanton Diablo V3 is also pretty good and comes in at about £40.00 includes cartridge and one stylus I think but still good value for money and is the model I have on the house party messing about with decks, both of these are I think good mid priced concord designs but of course like everything else you can pay upwards of £100.00 each for the better top of the range ones, if I was to reccommend one I'd go for the Disc Master it more than does the job.

Regards - Mark Bicknell.

I guess the industry market leader is 'Stanton' but like most things there are numerous makes that are as good, I use Stanton Disc Master V3 (which I believe is also favoured by 'The Treski' fela) to record my weekly radio show on which is fitted to the turntable for that and everyday use which comes in at about £50.00 per cartridge and comes with two stylus so pretty good value, the Stanton Diablo V3 is also pretty good and comes in at about £40.00 includes cartridge and one stylus I think but still good value for money and is the model I have on the house party messing about with decks, both of these are I think good mid priced concord designs but of course like everything else you can pay upwards of £100.00 each for the better top of the range ones, if I was to reccommend one I'd go for the Disc Master it more than does the job.

Regards - Mark Bicknell.

Discmaster 3 is definately my choice Mark, boy you do have a good memory!

Check 'em here at HTFR. They are a very good supplier.

Discmaster 3 is definately my choice Mark, boy you do have a good memory!

Check 'em here at HTFR. They are a very good supplier.

thanks you 2, i shall take a look and see what they are like, i have been using the same stanton carts for some time, but with regular styli changes, i have wanted the concords but thought £100 each was a little steep so these could be the perfect solution

all the best...andy

I'd have thought too, that any discerning DJ would carry a pair in his box...

I've actually witnessed young Mr Trouble at one small event replace the stylus with a set of his own for his spot.

I bring our own bought especially for Boomerang and that way can 'time' each set before replacement. It was something we girls used to do in Sydney (I was taught well ), although most of the others around the country didn't bother then. I guess it's also worth investing in the better ones for optimum sound quality - so better to be safe than sorry.

I think anybody who doesn't do this for a venue, is simply disgusting (I can't think of a nicer word) and may as well be stealing vinyl from their guests, with how badly they could damage their records.

No excuses

m

Here, here Phil, never used a set of headphones in my life or cueing/back winding think the same lines as you the worst your gonna have is 2/3 second gap before the record starts, I've lost count the number of blank looks I've got over the years when a fellow DJ's say's 'There's the cue button or headphone control' alway's done it by eye and it works for me still I'm a professional....lol at what I don't know...lol

Regards - Mark Bicknell.

Allways believed you don`t have to cue in if you use the microphone, allways thought thats what DJ`S do anyway, slightly off topic but P*SSED UP people coming up on the stage does my head in, i know of someone who actually fell on the decks whilst JOHNNY HONEYCUTT was playing p*ssed and wrecked the record what do you do in that situation? apart from severly BRUISE yer knuckles, had a laura greene ISSUE scratched by a P*SSED up person knocking the deck on the stage

Allways believed you don`t have to cue in if you use the microphone, allways thought thats what DJ`S do anyway, slightly off topic but P*SSED UP people coming up on the stage does my head in, i know of someone who actually fell on the decks whilst JOHNNY HONEYCUTT was playing p*ssed and wrecked the record what do you do in that situation? apart from severly BRUISE yer knuckles, had a laura greene ISSUE scratched by a P*SSED up person knocking the deck on the stage

Again on the cue bit, It is hard for us 'by eye' guys when the kit doesn't include a decent light to work by! Have now started to carry a little halogen torch just so you can see the grooves in some venues! (The cue lights on Tecknics etc are crap!)

So how does this gauge work etc.

It lines the cartridge up on a near perfect tangent, the record are cut in a straight line as against radial arm so by putting the stylus on the mark you can square it up, move it backwards and forwards to achieve the setting.

NB. it can only be used if you have a headshell it won't work with the Concord type

Edited May 17, 200817 yr by Prophonics 2029

Again on the cue bit, It is hard for us 'by eye' guys when the kit doesn't include a decent light to work by! Have now started to carry a little halogen torch just so you can see the grooves in some venues! (The cue lights on Tecknics etc are crap!)

I have a very useful toy on my key ring, a little halogen torch. that does the job

I Have been cuing for years by placing stylus on vinyl and moving platter around clockwise until first sound is heard( whilst deck is off ) and obviously using headphones. waiting for other tune to fade out on the other deck and holding the slip mat of the impending playing deck ;turn that turntable on whilst holding the slipmat with finger so platter is spinning but record and slipmat is stationary and bang with the crossfader instant sound. I have not had any problems with cue burns on anything and there is no 'dead air " waiting for the next tune to kick in with a full dance floor

works for me

pete m

At the Hitsville gigs I prepare the Technics with brand new Stanton headshells, wiring kits and Grado DJ styli. I also have a spare set (brand new) standing by. Quite expensive, but worth the effort. Would be aghast if someone's 'Detroit Sounds of Friction' or the like got damaged.

One of the worse nightmares when DJing in my experience is fellow "DJs", especially 'promoter types' coming up to the decks and 'fiddling'. If you want something done - ASK THE DJ! Don't start fiddling from over the other side of the decks! Especially taking records that don't belong to you off the platter! You're not doing the DJ a favour, you're fiddling with his 45s! STOP IT!

At the Hitsville gigs I prepare the Technics with brand new Stanton headshells, wiring kits and Grado DJ styli. I also have a spare set (brand new) standing by. Quite expensive, but worth the effort. Would be aghast if someone's 'Detroit Sounds of Friction' or the like got damaged.

One of the worse nightmares when DJing in my experience is fellow "DJs", especially 'promoter types' coming up to the decks and 'fiddling'. If you want something done - ASK THE DJ! Don't start fiddling from over the other side of the decks! Especially taking records that don't belong to you off the platter! You're not doing the DJ a favour, you're fiddling with his 45s! STOP IT!

That really get's my goat up to Dave when somone comes up and starts 'fiddling' often this is due to a sub standard sound system in the first place or not setting it up correctly, another thing that really does my head in on the big stage type venues is when there is no monitor speakers set up and you can't hear what it sounds like out front it's like being detatched from the gig and with the gear out there for sale these days there is no excuse not to supply a quality sound system at venues, theres nothing worse than shite sound and no excuse for it.

Regards - Mark Bicknell.

Discmaster 3 is definately my choice Mark, boy you do have a good memory!

Check 'em here at HTFR. They are a very good supplier.

nice one trevski, just been on there site needed to replace my stylus"s, went for the

red stanton diablo v3 bargain at £65 for a pair they also come with a lifetime guarantee

regards

russ

That really get's my goat up to Dave when somone comes up and starts 'fiddling' often this is due to a sub standard sound system in the first place or not setting it up correctly, another thing that really does my head in on the big stage type venues is when there is no monitor speakers set up and you can't hear what it sounds like out front it's like being detatched from the gig and with the gear out there for sale these days there is no excuse not to supply a quality sound system at venues, theres nothing worse than shite sound and no excuse for it.

Regards - Mark Bicknell.

I know what your saying mark, gets on my t*ts, but how do you do a sound check if the place is empty before starting the event? BUB allways made me laugh he just cranked everything up to maximum as soon as he started

Technics stylus alignment tool for a fiver on the link below if anyone wants it.

https://cgi.ebay.co.uk/Technics-Stylus-Alignment-Tool_W0QQitemZ270237162513QQihZ017QQcategoryZ4785QQssPageNameZWDVWQQrdZ1QQcmdZVi

ewItem

Stanton Groovemaster have always been my choice as it happens - buy from the US, what with the £/$ ratio presently.

All this worry and knowledge today regarding stylus, and the subsequent chat re 'checking' and 'calibrating' and the like, makes it appear to me that people have only recently taken this into consideration, and now can talk the talk as regards stylus.

Over half my collection was played at home on an owd (lovely) Garrard deck, with a £3.00 stylus for years and suffered not a jot of wear over the years.

Expensive stylus give you better response, more clarity and a tad more bottom end maybe, but stylus that cost £6.00, as opposed to £180.00 do no more, nor less, damage to your vinyl.

Don't believe the hype.

Stanton Groovemaster have always been my choice as it happens - buy from the US, what with the £/$ ratio presently.

All this worry and knowledge today regarding stylus, and the subsequent chat re 'checking' and 'calibrating' and the like, makes it appear to me that people have only recently taken this into consideration, and now can talk the talk as regards stylus.

Over half my collection was played at home on an owd (lovely) Garrard deck, with a £3.00 stylus for years and suffered not a jot of wear over the years.

Expensive stylus give you better response, more clarity and a tad more bottom end maybe, but stylus that cost £6.00, as opposed to £180.00 do no more, nor less, damage to your vinyl.

Don't believe the hype.

Totally agree Barry but a knacked stylus is a knacked stylus be it £6.00 or £180.00, my original point was based on the stylus being in tip top condition, changed and serviced on a regular basis, something which I've done througout my collecting days at home and rather exspect the same from equipment out and about.

Regards - Mark Bicknell.

I know what your saying mark, gets on my t*ts, but how do you do a sound check if the place is empty before starting the event? BUB allways made me laugh he just cranked everything up to maximum as soon as he started

good point Harry,We always setup the nite before in an empty room of course.In a small venue,the bodies have a big effect on the sound.So sometimes, as Mark B said ,a bit of "fiddling" goes on to acheive a better all round sound, for all in the room.

Regarding stylii,change them on a regular basis(hours used).

Don't forget tho',not all records are in tip top condition to start with,a better stylus will pick up everything. .

DJ'S "FIDDLE" TOO!!! .

also come with a lifetime guarantee

This is a dangerous statment.....don't think this means your lifetime.

I agree with Barry and Mark, but I just use the Stanton 500 carts, the styli cost around £20 each, and at that price I can afford to change them every 2 months. If you use a much more expensive cart, the styli's are also very expensive. Then the temptation will always be there to keep them in too long. I also have a pair of headshells set up with carts/styli ready as spares should anything go wrong. If you wanted to do that with say an Ortofon or Stanton Groovemaster, it would cost you a fortune.

Phil.

also come with a lifetime guarantee

This is a dangerous statment.....don't think this means your lifetime.

I agree with Barry and Mark, but I just use the Stanton 500 carts, the styli cost around £20 each, and at that price I can afford to change them every 2 months. If you use a much more expensive cart, the styli's are also very expensive. Then the temptation will always be there to keep them in too long. I also have a pair of headshells set up with carts/styli ready as spares should anything go wrong. If you wanted to do that with say an Ortofon or Stanton Groovemaster, it would cost you a fortune.

Phil.

i use the stanton 520's and we had to change one last night as one chanel went on left turntable so to keep it even changed the other one as well i find it cheaper tou just buy the cartridges as ther is always deals on buying 2 together, find it is sometimes more expensive to buy the stylus luckily have just ordered some more, always pays to keep spares with your equipment.

mark

i use the stanton 520's and we had to change one last night as one chanel went on left turntable so to keep it even changed the other one as well i find it cheaper tou just buy the cartridges as ther is always deals on buying 2 together, find it is sometimes more expensive to buy the stylus luckily have just ordered some more, always pays to keep spares with your equipment.

mark

Yes I've noticed the deals on a pair of carts. Problem is, it's a very fiddly job replacing carts, and getting them lined up properly. Whareas 10 seconds to change a stylus.....

Phil.

Edited May 18, 200817 yr by quinvy

also come with a lifetime guarantee

This is a dangerous statment.....don't think this means your lifetime.

I agree with Barry and Mark, but I just use the Stanton 500 carts, the styli cost around £20 each, and at that price I can afford to change them every 2 months. If you use a much more expensive cart, the styli's are also very expensive. Then the temptation will always be there to keep them in too long. I also have a pair of headshells set up with carts/styli ready as spares should anything go wrong. If you wanted to do that with say an Ortofon or Stanton Groovemaster, it would cost you a fortune.

Phil.

Phil, the Stanton groovemaster styli are only £16.95 each and on the concorde type cartridge just push on/pull off, easy peasy to change. As to fiddly job,'nighter fingers' would find it harder replacing a tiny little styli than a simple push on cart and tighten up the collar methinks! Might be worth re-investigating the concorde type Phil, as they really are much easier to work with on cueing etc. IMHO everyone should use 'em at venues.

Phil, the Stanton groovemaster styli are only £16.95 each and on the concorde type cartridge just push on/pull off, easy peasy to change. As to fiddly job,'nighter fingers' would find it harder replacing a tiny little styli than a simple push on cart and tighten up the collar methinks! Might be worth re-investigating the concorde type Phil, as they really are much easier to work with on cueing etc. IMHO everyone should use 'em at venues.

This is a interesting and difficult topic...

Ive always used the old square Stantons but have recently been recommended the new Shures... Which as we all know ruled the 70s...I know Reggae DJs love the Shures and they are the scratch DJs choice. They are supposed to track with a much lighter weight and you can back ALL the weight off a Technics and still get great results..

It was also said a few years back that concordes were responsible for major cue burn and Ive always feared them.

Mr Darge was a major rewind/cue up artist back in the day but after he ruined a lot of styrene pieces he backed off the technique.

This is a interesting and difficult topic...

Ive always used the old square Stantons but have recently been recommended the new Shures... Which as we all know ruled the 70s...I know Reggae DJs love the Shures and they are the scratch DJs choice. They are supposed to track with a much lighter weight and you can back ALL the weight off a Technics and still get great results..

It was also said a few years back that concordes were responsible for major cue burn and Ive always feared them.

Mr Darge was a major rewind/cue up artist back in the day but after he ruined a lot of styrene pieces he backed off the technique.

Concordes are fine for cueing by eye, don't know about being responsible for cue burn, cant see it myself as they are lighter than a conventional headshell/cart/styli. Use my stanton discmasters with 2g weight and trackinf force, relatively light. Would be suspicious of cueburn with anything really, and simply refuse to do it!

As the discmaster replaces the need for a headshell, they fit the same, just push on, only one way to do it so no lining up fiddles, and the screw collar draws it int place easily. Fast simple changing if needed in any situation.

i use the stanton 520's and we had to change one last night as one chanel went on left turntable so to keep it even changed the other one as well i find it cheaper tou just buy the cartridges as ther is always deals on buying 2 together, find it is sometimes more expensive to buy the stylus luckily have just ordered some more, always pays to keep spares with your equipment.

mark

Yes I've noticed the deals on a pair of carts. Problem is, it's a very fiddly job replacing carts, and getting them lined up properly. Whareas 10 seconds to change a stylus.....

Phil.

i have spare heads so just change the heads at home no problem/

mark

We at the friendship have from day one calibrated our equipment and ensured the cartridges and styli are either new or only around 6 hours play old,

we also spend around four hours before a venue after weve set up the gear..getting the sound right

when we had mr bicknell on in december 2004 we had renewed the cartridges and stylus that night but we had just replaced them in the previous night in november...there was too much at stake not to do that in our opinion.

we might be bloody minded about it but it pays..we always have a top notch sound,,and no damaged tunes

Geeooooordie

We at the friendship have from day one calibrated our equipment and ensured the cartridges and styli are either new or only around 6 hours play old,

we also spend around four hours before a venue after weve set up the gear..getting the sound right

when we had mr bicknell on in december 2004 we had renewed the cartridges and stylus that night but we had just replaced them in the previous night in november...there was too much at stake not to do that in our opinion.

we might be bloody minded about it but it pays..we always have a top notch sound,,and no damaged tunes

Geeooooordie

And it would be a pleasure to test out the equipment at the Friendship again sometime in the future and I promise to bring my own cartridges....lol bugger was it really three and a half years ago, how time fly's.

Regards - Mark Bicknell.

have recently been recommended the new Shures... Which as we all know ruled the 70s...I know Reggae DJs love the Shures and they are the scratch DJs choice. They are supposed to track with a much lighter weight

The SHURE WhiteLabel is superb, and indeed tracks with very light weight, gives great sound and causes very little wear to the records.

Fairly cheap at about £40 each as well (replacement stylus goes for about £15-£20).

The SHURE WhiteLabel is superb, and indeed tracks with very light weight, gives great sound and causes very little wear to the records.

Fairly cheap at about £40 each as well (replacement stylus goes for about £15-£20).

Hi Sebastian

Were is the best place to buy these?

Johan

I've actually witnessed young Mr Trouble at one small event replace the stylus with a set of his own for his spot.

Me too... t'was the same night he called us all a bunch of twats over the mic for not dancing to his cover up.

Phil, the Stanton groovemaster styli are only £16.95 each and on the concorde type cartridge just push on/pull off, easy peasy to change. As to fiddly job,'nighter fingers' would find it harder replacing a tiny little styli than a simple push on cart and tighten up the collar methinks! Might be worth re-investigating the concorde type Phil, as they really are much easier to work with on cueing etc. IMHO everyone should use 'em at venues.

https://av-sonix.co.uk/groovemaster-package-170546-p-658.html

How hard is it?

Take your own ffs.

Or does that mean you have to put yer hand in yer pocket?

I know the script mate 'Trevski', or whatever your Mam called you.

Direct your put downs at me, and not at me via one of your mates.

I can cope (that is, when I can see that you know what you are talking about anyhow, otherwise I may think that you are talking out of your arse).

Edited May 22, 200817 yr by Barry

Hi Sebastian

Were is the best place to buy these?

Johan

They sound p*ssing awful.

I've actually witnessed young Mr Trouble at one small event replace the stylus with a set of his own for his spot.

As little respect that I give my vinyl, when I am off me tits playing out, I would never dream of sticking me records on a deck that has been prepared by an all nighter promoter - you may as well bang a fecking clout nail in the head....

....ask Steve Croft!

I'll give you my lowdown on stylus - you can waste a lot of wedge and get nowt - in my experience, and I have played records out four nights a week for 20 odd years, the Stanton Groovemaster (in it's many forms over the years - it's changed colour and size etc), brings the best out of your record, it can almost take the place of a bigger an more costly amp as regards quality output.

Listen to to the £16.95 people if you wish - I am happy to give you an educated view.

You will get 18 months to two years out of them GM stylus, a bargain for the response you get out of them.

Otherwise, you can spend £40 on a pair of panel pins that you think look cool.