COPPER

A PS Audio Publication

Issue 90 • Free Online Magazine

Issue 90 IN MY ROOM

A Turntable of my Own, Part 1

A Turntable of my Own, Part 1
Copper #72, #73, and #74. In that series of articles, Ken described how he cut down trees on his property, milled, planed, and cured the lumber, then built his listening room and five towering speakers. Well, Ken didn't have a turntable to go with that incredible system---so naturally, he had to build one himself, to the same standard as all his other constructions. This is the story of that turntable---Ed.> The first step in beginning a new project is constructing the pattern from which the fiberglass mold will be laminated. The above picture shows the various sheets of ¾” MDF (medium density fiber board), that is glued and clamped together. After the clamps are removed and the excess glue is sanded from the sides of the block, a layout is drawn on the top surface of the pattern. The next step is to cut the angles so that we can proceed along the lines of building up the pattern. Since a fiberglass mold will be pulled off this pattern, a two-degree angle is machined on all sides so the part can be easily removed from the finished fiberglass mold. If the two-degree draft is not cut on the sides of the pattern, the fiberglass mold will lock on and the two can never be separated. Shown above is one of the three blocks machined out to replicate the size and shape of the three arm pods. Two-degree draft is being sanded on all of the surfaces to ensure that the final pattern can be demolded from the fiberglass mold. Pictured above is the overall design of the table plinth with the 3 arm pods correctly positioned before being glued together. The arm pods, as you may be able to tell, have also been cut with two-degree draft on all sides. This photograph shows the application of a thin sheet of slate textured formica on alternating edge surfaces of the three arm pods and center pattern section. This is being applied just for aesthetic reasons so that the final part does not have an antiseptic, industrial look to it. Here we see the three tone arm pods being glued to the center section of the pattern. This shows the finished pattern temporarily bonded to a glass plate. Then clay is put in the joint between the glass plate and the pattern with a 1/64” radius. This will prevent the epoxy gel coat from seeping under the pattern. A production mold can now be made from this pattern. Before the pattern can be sprayed with a grey surface coat, it must be coated with a mold release agent so that the two pieces can be separated when the lamination is completed. Here we see a polyester gel coat being sprayed to all surfaces of the pattern. You will notice dark areas around the edges and corners of the part being laminated. This is a mixture of polyester resin, cotton flock, and glass beads to form a paste that is brushed on all of the rough surfaces, inside and outside edges, and corners of the pattern. This is applied in order to prevent air bubbles from being formed in these areas during the first lamination of fiberglass, which you see depicted in this picture. In a few days, multiple layers of fiberglass and resin have been applied over the pattern to a thickness of approximately 3/16” of an inch. This becomes the performance surface of the final mold. In order to rigidize and stabilize all of the fiberglass surfaces that have been applied to the pattern, we will bond ¾” MDF pieces to all surfaces. The final step in finishing the production mold is to apply a box that is bonded with a polyester paste to the wooden reinforcement pieces that were applied to the 3/16” thick fiberglass laminate. The mold is now completed and the molding will be the next step. Here we see the pattern around which the production mold has been laminated. The glass plate has been removed and we are now ready to separate the pattern from the production mold. Here we see the production mold after the pattern (light grey color) has been removed. The production mold (dark color) will now be sanded, polished, and prepared to laminate the plinth for the turntable. Above you see the picture of the fiberglass part that has been laminated off the prepared master mold in the previous picture. It was laminated with the same fiberglass materials as was the production mold, but to a laminate thickness of ¼”. It was then trimmed out, polished, and placed on the board you see above so that it can be used to produce a replica shape of what will be machined from solid aluminum. The MDF sub-plate you see pictured above will be sent to a machinist who will duplicate this part 1 ½” thick type 6061 aircraft aluminum. Ed.>

More from Issue 90

View All Articles in Issue 90

Search Copper Magazine

#227 Seth Lewis Gets in the Groove With Take a Look Around: a Tribute to the Meters by Frank Doris Feb 02, 2026 #227 Passport to Sound: May Anwar’s Audio Learning Experience for Young People by Frank Doris Feb 02, 2026 #227 Conjectures on Cosmic Consciousness by B. Jan Montana Feb 02, 2026 #227 The Big Takeover Turns 45 by Wayne Robins Feb 02, 2026 #227 Music and Chocolate: On the Sensory Connection by Joe Caplan Feb 02, 2026 #227 Singer/Songwriter Chris Berardo: Getting Wilder All the Time by Ray Chelstowski Feb 02, 2026 #227 The Earliest Stars of Country Music, Part One by Jeff Weiner Feb 02, 2026 #227 The Vinyl Beat Goes Down to Tijuana (By Way of Los Angeles), Part Two by Rudy Radelic Feb 02, 2026 #227 How to Play in a Rock Band, 20: On the Road With Blood, Sweat & Tears’ Guitarist Gabe Cummins by Frank Doris Feb 02, 2026 #227 From The Audiophile’s Guide: Audio Specs and Measuring by Paul McGowan Feb 02, 2026 #227 Our Brain is Always Listening by Peter Trübner Feb 02, 2026 #227 PS Audio in the News by PS Audio Staff Feb 02, 2026 #227 The Listening Chair: Sleek Style and Sound From the Luxman L3 by Howard Kneller Feb 02, 2026 #227 The Los Angeles and Orange County Audio Society Celebrates Its 32nd Anniversary, Honoring David and Sheryl Lee Wilson and Bernie Grundman by Harris Fogel Feb 02, 2026 #227 Back to My Reel-to-Reel Roots, Part 26: Half Full – Not Half Empty, Redux by Ken Kessler Feb 02, 2026 #227 That's What Puzzles Us... by Frank Doris Feb 02, 2026 #227 Record-Breaking by Peter Xeni Feb 02, 2026 #227 The Long and Winding Road by B. Jan Montana Feb 02, 2026 #226 JJ Murphy’s Sleep Paralysis is a Genre-Bending Musical Journey Through Jazz, Fusion and More by Frank Doris Jan 05, 2026 #226 Stewardship by Consent by B. Jan Montana Jan 05, 2026 #226 Food, Music, and Sensory Experience: An Interview With Professor Jonathan Zearfoss of the Culinary Institute of America by Joe Caplan Jan 05, 2026 #226 Studio Confidential: A Who’s Who of Recording Engineers Tell Their Stories by Frank Doris Jan 05, 2026 #226 Pilot Radio is Reborn, 50 Years Later: Talking With CEO Barak Epstein by Frank Doris Jan 05, 2026 #226 The Vinyl Beat Goes Down to Tijuana (By Way of Los Angeles), Part One by Rudy Radelic Jan 05, 2026 #226 Capital Audiofest 2025: Must-See Stereo, Part Two by Frank Doris Jan 05, 2026 #226 My Morning Jacket’s Carl Broemel and Tyler Ramsey Collaborate on Their Acoustic Guitar Album, Celestun by Ray Chelstowski Jan 05, 2026 #226 The People Who Make Audio Happen: CanJam SoCal 2025, Part Two by Harris Fogel Jan 05, 2026 #226 How to Play in a Rock Band, 19: Touring Can Make You Crazy, Part One by Frank Doris Jan 05, 2026 #226 Linda Ronstadt Goes Bigger by Wayne Robins Jan 05, 2026 #226 From The Audiophile’s Guide: Active Room Correction and Digital Signal Processing by Paul McGowan Jan 05, 2026 #226 PS Audio in the News by Frank Doris Jan 05, 2026 #226 Back to My Reel-to-Reel Roots, Part 25: Half-Full, Not Empty by Ken Kessler Jan 05, 2026 #226 Happy New Year! by Frank Doris Jan 05, 2026 #226 Turn It Down! by Peter Xeni Jan 05, 2026 #226 Ghost Riders by James Schrimpf Jan 05, 2026 #226 A Factory Tour of Audio Manufacturer German Physiks by Markus "Marsu" Manthey Jan 04, 2026 #225 Capital Audiofest 2025: Must-See Stereo, Part One by Frank Doris Dec 01, 2025 #225 Otis Taylor and the Electrics Delivers a Powerful Set of Hypnotic Modern Blues by Frank Doris Dec 01, 2025 #225 A Christmas Miracle by B. Jan Montana Dec 01, 2025 #225 T.H.E. Show New York 2025, Part Two: Plenty to See, Hear, and Enjoy by Frank Doris Dec 01, 2025 #225 Underappreciated Artists, Part One: Martin Briley by Rich Isaacs Dec 01, 2025 #225 Rock and Roll is Here to Stay by Wayne Robins Dec 01, 2025 #225 A Lifetime of Holiday Record (and CD) Listening by Rudy Radelic Dec 01, 2025 #225 Little Feat: Not Saying Goodbye, Not Yet by Ray Chelstowski Dec 01, 2025 #225 How to Play in a Rock Band, Part 18: Dealing With Burnout by Frank Doris Dec 01, 2025 #225 The People Who Make Audio Happen: CanJam SoCal 2025 by Harris Fogel Dec 01, 2025 #225 Chicago’s Sonic Sanctuaries: Four Hi‑Fi Listening Bars Channeling the Jazz‑Kissa Spirit by Olivier Meunier-Plante Dec 01, 2025

A Turntable of my Own, Part 1

A Turntable of my Own, Part 1
Copper #72, #73, and #74. In that series of articles, Ken described how he cut down trees on his property, milled, planed, and cured the lumber, then built his listening room and five towering speakers. Well, Ken didn't have a turntable to go with that incredible system---so naturally, he had to build one himself, to the same standard as all his other constructions. This is the story of that turntable---Ed.> The first step in beginning a new project is constructing the pattern from which the fiberglass mold will be laminated. The above picture shows the various sheets of ¾” MDF (medium density fiber board), that is glued and clamped together. After the clamps are removed and the excess glue is sanded from the sides of the block, a layout is drawn on the top surface of the pattern. The next step is to cut the angles so that we can proceed along the lines of building up the pattern. Since a fiberglass mold will be pulled off this pattern, a two-degree angle is machined on all sides so the part can be easily removed from the finished fiberglass mold. If the two-degree draft is not cut on the sides of the pattern, the fiberglass mold will lock on and the two can never be separated. Shown above is one of the three blocks machined out to replicate the size and shape of the three arm pods. Two-degree draft is being sanded on all of the surfaces to ensure that the final pattern can be demolded from the fiberglass mold. Pictured above is the overall design of the table plinth with the 3 arm pods correctly positioned before being glued together. The arm pods, as you may be able to tell, have also been cut with two-degree draft on all sides. This photograph shows the application of a thin sheet of slate textured formica on alternating edge surfaces of the three arm pods and center pattern section. This is being applied just for aesthetic reasons so that the final part does not have an antiseptic, industrial look to it. Here we see the three tone arm pods being glued to the center section of the pattern. This shows the finished pattern temporarily bonded to a glass plate. Then clay is put in the joint between the glass plate and the pattern with a 1/64” radius. This will prevent the epoxy gel coat from seeping under the pattern. A production mold can now be made from this pattern. Before the pattern can be sprayed with a grey surface coat, it must be coated with a mold release agent so that the two pieces can be separated when the lamination is completed. Here we see a polyester gel coat being sprayed to all surfaces of the pattern. You will notice dark areas around the edges and corners of the part being laminated. This is a mixture of polyester resin, cotton flock, and glass beads to form a paste that is brushed on all of the rough surfaces, inside and outside edges, and corners of the pattern. This is applied in order to prevent air bubbles from being formed in these areas during the first lamination of fiberglass, which you see depicted in this picture. In a few days, multiple layers of fiberglass and resin have been applied over the pattern to a thickness of approximately 3/16” of an inch. This becomes the performance surface of the final mold. In order to rigidize and stabilize all of the fiberglass surfaces that have been applied to the pattern, we will bond ¾” MDF pieces to all surfaces. The final step in finishing the production mold is to apply a box that is bonded with a polyester paste to the wooden reinforcement pieces that were applied to the 3/16” thick fiberglass laminate. The mold is now completed and the molding will be the next step. Here we see the pattern around which the production mold has been laminated. The glass plate has been removed and we are now ready to separate the pattern from the production mold. Here we see the production mold after the pattern (light grey color) has been removed. The production mold (dark color) will now be sanded, polished, and prepared to laminate the plinth for the turntable. Above you see the picture of the fiberglass part that has been laminated off the prepared master mold in the previous picture. It was laminated with the same fiberglass materials as was the production mold, but to a laminate thickness of ¼”. It was then trimmed out, polished, and placed on the board you see above so that it can be used to produce a replica shape of what will be machined from solid aluminum. The MDF sub-plate you see pictured above will be sent to a machinist who will duplicate this part 1 ½” thick type 6061 aircraft aluminum. Ed.>

0 comments

Leave a comment

0 Comments

Your avatar

Loading comments...

🗑️ Delete Comment

Enter moderator password to delete this comment:

✏️ Edit Comment

Enter your email to verify ownership: