Cavitation revolutionized record cleaning more than a decade ago when Reiner Gläss’s Audiodesksysteme introduced its original fully automatic machine. Mr. Gläss’s innovative machine, which automatically spun the record in ultrasonically cavitated water, then dried it with fans, at first was plagued with reliability issues, and because it is sealed, it was not easy to repair.
Like many manufacturers, Mr. Gläss relied upon outside vendors to supply some of the internals, including the pump, which pushes the water up from the reservoir and into the cleaning chamber. Unfortunately for Mr. Gläss and his customers, many pumps failed, and in short order, the Audiodesksysteme RCM got a less-than-enviable reputation for (un)reliability. I avoided reviewing it until reader feedback assured me that the problems many had experienced with the early units had been solved. I reviewed it enthusiastically in 2012; Fred Kaplan followed up with an equally enthusiastic review.1 I bought the review sample and have had a great, though not perfect, experience with it.
For 4 years or so, Audiodesksysteme pretty much had the cavitation-based record-cleaning field to itself. The advantages over vacuum-type machines are obvious: It cleans better and avoids static electricity because there’s no dry rubbing.
This story is from the January 2021 edition of Stereophile.
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This story is from the January 2021 edition of Stereophile.
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