VPI HW-17-F Brochure

AUDIO SMORGASBORD

As an avid collector of vinyl, I am
convinced that the regular use of any
of the vacuum-cleaning machines on
the market is essential, for both the
longevity of your records, and in the
pursuit of ultimate sound quality.
But, with a number of such machines
available, it can be a daunting task
to select just one.

I have been happily using my
Loricraft PRC2, for
a few years, but

at £1595 it is out of
the equation for all but
the most dedicated
collector.
In the past, when asked which
machine any prospective buyer
should purchase, I have simply worked
on the assumption that they should
work out some kind of “cost per clean”
philosophy, to ascertain a relative
figure to spend on such a device.
While a basically sound theory, this
is an over-simplified way of contem­plating the predicament, and works
on the assumption that you pay for
what you get. It was therefore very
interesting to have the chance to

directly compare both my own
machine and the subject of this
review, the VPI HW-17F.

VPI manufacture three models
of vacuum-cleaning machine, from
the HW-16.5 (see RP’s review in issue 1),

up to the HW-17

(not imported to the UK)

and 17F – the F model includes
a fan for continuous use. At £895, it
is not the cheapest cleaner on the
market, but should be within the reach
of many collectors. All components
are heavy duty and, although not
displaying the same build quality as
the Loricraft, it should be dependable
throughout many years of use.

This has got to be one of the most
uncomplicated vacuum-cleaning
machines to operate – with a
comprehensive, yet straightforward,
instruction manual. Having set up the

machine, and filled the reservoir from
the supplied 8oz of Record Cleaning
Machine Fluid, just secure the record
to the turntable, before flicking the
“Table” switch upwards, for clockwise
movement of the disc. The machine is
not as silent as the Loricraft, omitting
“gear noise”. Swing the applicator over
the record and press the “Pump”
button briefly, to dispense the fluid –

this is the only area of operation

that needs a little care, as

pressing for too long can

release too much fluid.

After three revolutions,

the turntable should be

reversed, before returning

the applicator head to its

rest position. It is then ready

to vacuum the disc. The

direction of revolution should be
returned to clockwise, before swinging
the pickup tube across the record and
switching the “Vacuum” on. This
produces a noise rather like a vacuum
cleaner, and the tube is sucked onto
the surface of the disc. Again the
Loricraft is much quieter, but if
memory serves me, the HW-16.5 is
even noisier. Two revolutions later
switch off the “Vacuum” and return
the tube to its rest position, before
removing the record and repeating
on the other side. And believe me,
it really is easier than it sounds.

As with all these cleaners, it is
vital that the cleaned disc is now
“zapped” with a Milty Zerostat, and
given a new anti-static inner sleeve.
The waste fluid is transferred to
a “catch basin”, which is easy to e
mpty via a drain hose, although

The VPI HW-17F

Professional Record Cleaning Machine

by Simon Groome

108

AUDIO SMORGASBORD

evaporation handles the product of all
but continuous use.

While perfectly happy with the
ease of operation, I was initially less
delighted with the audible results, but
only because I had the Loricraft with
which to make direct comparisons.
Using the 12” single of

Perfect, by
Fairground Attraction (RCA PT 41846),
the VPI made the sound slightly clearer,
as if a veil had been lifted, and there
was now a larger soundstage. But,
once cleaned on the
Loricraft machine,
this recording
revealed more detail,
an even deeper
soundstage, and far
more body and
presence. Overall,
images seemed fuller
and more coherent,
and the whole
recording became
more alive and easier to
follow. Through careful
tests, on a number of
recordings, from new
pressings, which require
the removal of mould
release agents, to old,
fairly worn vinyl, I was
able to discover that there
were two major reasons for
this. Firstly, the cleaning fluids
involved in the two processes, and
secondly, the operation of brushing
the record’s surface.

VPI advise that you should
only use their own cleaning fluid, as
“others…may contain chemicals that
can damage… the machine”, but also
go on to say that “adding 25% isopropyl
alcohol to VPI fluid will give better
cleaning of dirty records”. Loricraft
recommend fluid comprising one-third
isopropyl to two-thirds distilled water.
The adding of isopropyl to VPI fluid
results in quieter backgrounds, more
detail, and a more three-dimensional
soundstage, and I now regard this
mixture as a necessity for getting the

best out of any VPI machine. However,
the use of isopropyl is frowned upon
in certain quarters, where critics claim
that it can lead to the leaching of
stabilisers from the vinyl surface and
subsequent long term damage. Whilst
this isn’t my experience, for those
concerned by the possibility Disc
Doctor fluid, a ‘two-pot’ treat and rinse
solution, offers an alcohol free
alternative which delivers excellent

results at the

expense of some

additional fuss.

The second

variation in

perform-ance

comes with fluid

application.

The VPI HW-17F’s

applicator head has a brush on its
under-side which spreads the fluid
across the surface of the disc, while
the Loricraft is manual in operation,
like the HW-16.5, and requires a,
separate, hand-held brush to do the
job. If using an independent brush
on the HW-17F, I have discovered,
much of the variances in audible
results are redressed. This can only
be a result of a lack of pressure from
the HW-17F’s applicator brush, and
I would therefore advise the use of
a separate brush when using this

machine. The brush from the HW-16.5
is readily available as a separate item.

Having worked out howto get
the best results from the 17F, lifting
its performance to the same level
as the Loricraft, there remains one
other thing to watch out for. With
the Loricraft machine, the vacuum
pickup tube rests on a small length
of cotton thread, during operation.
This is then moved approximately
5mm, onto a clean area for the next
record side. But, in the case of the
VPI, and the majority of vacuum­cleaning machines, the tube is
isolated from the disc’s surface by
the same two velvet pads for every
cleaning. If you have ever seen what
is in the waste fluid produced by
these types of machines, you will
understand my concern. All cleaning
fluids start as clear liquids, but when
expelled after use, they usually
resemble murky soup, with grease and

grime floating in them. After

regular employment, this filth

and debris could be smeared
over your records. Therefore
these pads need cleaning on

a regular basis, and although VPI

recommend that they should be

“gently wiped…with a slightly

damp cloth each time you finish

using the HW-17F”, I feel that this
is not enough. A good scrub with
clean record cleaning fluid is nearer
the mark. Luckily, the tube and its
turret simply lift out of the machine
(mainly to allow them to be swapped
for an alternative tube with a shorter
slot should you want to clean 7”
or 10” records) making thorough
cleaning an easy proposition. It’s
also an essential one if you want to
maintain the cleaning performance
of the machine.

Having had an opportunity to
reflect on my experiences, I’m now in
a position to offer rather more robust
recommendations when it comes to
cleaning records, and I’ll start with
technique. Some form of vacuum

109

110

machine is essential, but to get the
best from it you are going to have
to take care when it comes to choice
of cleaning fluid and its method of
application. You also need to ensure
that the mating surfaces of the machine
(record mat and vacuum nozzle)
are kept scrupulously clean. Bearing
this in mind my recommendations are
as follows:

For most people the HW16.5 offers
a fast and effective way of cleaning
records, and at £425 is all the machine
they’ll need. It offers much of the
robust quality of the 17F without the
latter’s automation or fan cooling.

Iwould however recommend
replacing its foam mat with the cork
version from the 17F, allowing easier
cleaning. Even better, use two
separate mats, one for clean record
sides, one for dirty.

The 17F is larger but quieter than
the 16, although not as quiet as the
Loricraft. Unless you see yourself using
it on a continuous basis (about ten
minutes of record cleaning is about as
much as I can take!) it’s real advantage
lies in its use with ‘two-pot’ cleaners
where the active agent can be applied
by hand and the distilled water used
for rinsing held in the reservoir. If you

go for a 17F then make sure that you
use a separate applicator brush and
follow the advice regarding mats
outlined for the 16.5 above.

As for myself, I will stick to my
trusty PRC2, but with Loricraft now
producing a scaled-down PRC3, for
£950, this may become my
recommendation for the future. As they
say, “watch this space”.

Supplied by
The Cherished Record Company

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AUDIO SMORGASBORD

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BH24 1AL

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