There is a particular pleasure in finding a well-loved folk record at a fair, a car boot sale or a charity shop — a 1970s pressing of a fingerpicked guitar album, perhaps, or a folk club live recording that never made it to CD. But most second hand records arrive carrying the history of wherever they have been kept: lofts, damp sheds, garages, and the odd forgotten stack under a bed. That means dust bonded into the grooves, greasy fingerprints, paper residue from a crumbling inner sleeve, and sometimes mould.
Playing a dirty record is not just unpleasant, it is destructive. Grit sitting in the groove acts like a chisel, wearing both the vinyl and your stylus. And because acoustic and folk music depends on quiet detail — a close-miked voice, a fiddle's breath, the soft click of a banjo string — surface noise is far more damaging here than it would be on a loud rock record. Ten minutes of patient cleaning transforms what sounds like a write-off into a genuinely lovely listen.
You do not need an expensive machine. A modest, well-chosen kit will handle almost everything:
Keep the cloths and brushes in a sealed bag or box. A brush stored on an open shelf collects exactly the dust you are trying to remove.
Always deal with loose dust before introducing any liquid, otherwise you simply make mud and push it deeper into the groove.
For oily fingerprints, add a few drops of isopropyl alcohol to your distilled water — roughly one part alcohol to nine parts water — and use it only on vinyl. Mouldy records should be cleaned outdoors or in a well-ventilated room, wearing gloves. Discard the old sleeve immediately, because mould spores will happily recolonise a clean record, and wipe down the outer sleeve with a barely damp cloth.
A vital warning for anyone collecting older folk and acoustic recordings: 78s are made of shellac, not vinyl, and alcohol will attack them. Clean shellac with distilled water alone, use a softer touch, and never let them soak.
The sleeve a record came in is often the biggest culprit. Ageing paper sheds fibres and, being slightly acidic, can dull a surface over years. Replace every second hand inner sleeve as a matter of course with an anti-static polyethylene or rice paper sleeve, sliding the record in so the opening faces away from the outer sleeve's opening. Keep the original printed inner if it is interesting, but store it separately behind the record.
Handle records only by the edge and the label, and give each one a quick pass with the carbon brush before every play — it takes fifteen seconds and saves hours of cleaning later. Lower the stylus with the cueing lever rather than your hand, and keep the turntable lid closed when the record is not playing. Finally, clean your stylus regularly with a dry stylus brush, working from back to front. A clean needle on a clean record is what lets you hear the room, the fingers on the fretboard and the hush between verses — which is, after all, why we collect these records in the first place.
Learning by ear strengthens timing, memory and confidence. Start with simple melodies, hum the bass line and gradually add chords without relying on written notation.
I must explain to you how all this mistaken idea of denouncing pleasure and praising pain was born and I will give you a complete account of the system
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I must explain to you how all this mistaken idea of denouncing pleasure and praising pain was born and I will give you a complete account of the system
Reply
I must explain to you how all this mistaken idea of denouncing pleasure and praising pain was born and I will give you a complete account of the system
Reply
I must explain to you how all this mistaken idea of denouncing pleasure and praising pain was born and I will give you a complete account of the system
Reply
Beginner guitarists should consider body size, neck width and tone before buying. Try several models in person and ask for advice from experienced players.
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