After silence, that which comes nearest to expressing the inexpressible is music.
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Posted on December 30, 2015
An Affordable Solution To Maintaining And Restoring Your Vinyl Collection:
GLOBALLY RECOGNIZED AS THE LEADER WITH PATENTED TECHNOLOGY DEVELOPED IN THE USA.
After now 7 years of continued extensive research and trials, audiophile and business owner Charles Kirmuss developed an affordable and simple to use RECORD CLEANING AND RECORD GROOVE RESTORATION SYSTEM based on researching the record making process and the environments that records are manufactured and stored in. Indeed manufacturing products for 4 decades, he leveraged a sonic manufacturer to create a base engine to keep costs down. Studying peer products as well as bthe cause and effect of standing waves, cavitation, plama drive, and the effects of like charges between water and a record, he instituted his own changes and patented embelishments, and thus further created a safe record suspension system that does not skewer records, damaging them, and with a patnet design, created the proper spacing to ensure proper effect on even the effect of removing the release agent of 70 plus years ago, hiding those contaminats that are microwelded by the heat created by the dyne of the needle on the record groove. The invention is not a common sonic cleaner. Not a look alike. The Kirmuss process guarantees 1.3 to 4+ dB gain iover floor from your cartridge.
With ETL C US and CE Electrical and Safety Approvals our affordable system will increase your listening pleasure by removing most of those annoying unwanted pops and crackling sounds from both new and old records and giving breath to the artist and music as fungus as well as remnants of prior cleanings and relase agent in that order are stripped off the record.
This is NOT some home-made product! It is not a commercial cleaner look alike.
The KirmussAudio Model KA-RC-1 Revolutionizes The Way We Clean RESTORE Records
First and foremost; our Patented and Patents Pending record suspension system assures that records of any speed and size see their grooves cleaned SAFELY. No damage to the record by mechanical intrusion of skewers and the like. FOUR RECORDS AT A TIME MAY BE PROCESSED. The distance between records is critical. Any less distance between the records sees a high standing wave negating the benfits of cavitation.
Secondly; only distilled water with a maximum of 40 mL (1.4 oz) of ISA (Isopropyl) 70% solution constitutes the initial de-grease bath. IT DOES NOT CLEAN THE GROOVES. The alcohol in safe quantity per the PVC Chemical Compatability Chart is used to kill the live and dormant fungus that resides on records. Only in the first 5 minute initial wetting cycle does this remove some of the surface dust, fingerprint oils, sand.. This as both the record and the water retain the same charge. In subsequent RESTORATION CYCLES (of either 2 or 5 minutes, followed by a 5 minute rinse, we apply a PVC FRIENDLY, WATER SOLUBLE, anti-bacterial, anti-fungal and anti-static Ionizing Surfactant spray onto the record. When brushed in using the supplied goat hair brush, the application now changes the charge of the record with relation to the water in the ultrasonic’s tank. …Thus starts the groove cleaning and groove restoration process. The 500 MPH (805 KPH) plasma wave created by cavitation is now attracted to the both the record and the record’s groove. (Patents Pending). With the plasma wave now brushing against the applied surfactant, this now first removes accumulated surface contaminants present from other cleaning systems and processes. Then as we process the records in multiple cycles, ( of 2 or 5 minutes), we then finally remove the release agent found below and the contaminants that were microwelded into the grooves by the heat of the needle that were causing those unwanted pops and crackles.
Ultrasonics need an ionizing surfactant to aid the plasma wave to be attracted to the record, as vinyl typically repells water. Without this, groove restoration and cleaning may not occur. Putting our agent onto a recoird or into a tank of water with any other ultrasonic for the reasons explained below will not work. DO NOT USE OUR SURFACTANT WITH OTHER ULTRASONIC SYSTEMS AS PERMANENT DAMAGE TO RECORDS MAY OCCUR. SPECIAL NOTE: With the AudioDeske system, we gum up the pump and gear mechanism. ONLY USE OUR KA-AS-1 with our system.
As to determining when a record is clean and restored, our process allows you to see this first hand. As the surfactant is brushed onto the record and into the grooves over multiple 2 or 5 minute cycles, a rise and then a fall, or decrease of the appearance of a toothpaste-like substance that has been brought up by the goat hair brush is noted; this is of materials that were softened by the prior cycles of the ultrasonic cycle process as witnessed. This validates the effectiveness of the system: removing fungus, contaminants, as well as agents applied in prior cleaning methods and systems. The Last Cycle is determined when these materials rapidly evaporate or diminish in quantity. RECORDS COME OUT VIRTUALLY DRY as water is repelled by PVC. The record is clean and is RESTORED.
…ONE CANNOT JUST PLACE RECORDS INTO ANY ULTRASONIC MACHINE AND EXPECT WHERE EVEN AN HOUR IN A MACHINE WILL THERE BE ANY REMOVAL OF CONTAMINANTS AND THE RELEASE AGENT. Our patented discovery: Impossible due to the like charge of the record with respect to the like charge of the water in the basin, with or without a solvent solutiuon added to the water.
YES WE OFFER A PROCESS, A PROCESS THAT WILL AS STATED BY “THE ABSOLUTE SOUND, March 2020″, WHERE WE ARE BILLED AS A RECORD RESTORATION DEVICE; (not just a (surface) record cleaner). QUOTE: ” You’ll be rewarded with a more spacious soundstage and truer instrumental timbre.” END QUOTE. (The KA-RC-1) does deliver results as advertised/claimed. April 2020.
Listening the transient speed, the immediacy, the clarity of music reproduced with the details of everything played and the full emotion of the musicans transferred to the instruments. Take away all microscopic background noise and the music stands out further. Call it a black background, call it low noise floor, every detail serves only to enhance the music further. Add immediacy to the music to take you to a live reproduction. Close your eyes to get to the live performance with fast transients. How do you tell if the music is live or not? It is by the fast transients and the immediacy of the music, the bite of the horn, the sharp strike of the piano key.
