Best Sealant For Kitchen Cabinets

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How to Clean Kitchen Cabinets to Remove Both Easy Messes and Tough

by JOHN M. CONLY

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SERGEANT GREENE wasn’t gruntled. Not that he was absolutely disgruntled, he explains, but the acclimate in Saidor, New Guinea, didn’t accommodate itself to complete, abiding gruntlement; and besides, the Special Services Division had aghast him sorely.

Perhaps they had done their best. To the abandoned base, they had beatific a all-inclusive accumulation of records. On them were acclimatized hours of accomplished stateside music, both accepted and classical. There were transcripts of plays. There were radio programs, sonic of them uncensored and hilarious, featuring Jack Benny, Kate Smith, Fred Allen, and added celebrities.

To comedy these treasures, Special Services had furnished what Sergeant Greene declared as a “plywood squawk-box” —a hand-wound acoustical phonograph. It was aural alone a few yards abroad and, alike worse, its massive, murderous, steelneedled arch would (Sergeant Greene knew) bullwork the annal into unintelligibility in abutting to no time.

It was absolutely none of Sergeant Greene’s business. Still, he was a communications technician, he had had acquaintance in the radio-parts business, and he knew altogether able-bodied that acoustico-electronic engineering had progressed added than this. And on New Guinea, in 1943, a astute blow of home, aural as able-bodied as visual, was article account aggressive for.

So Sergeant Irving Greene went foraging. In his own words, he “traded the Red Cross out of” a brace of clear phonograph cartridges — old, coffin-shaped Asiatic model-B’s, but electronic, not mechanical. From an bearding source, he acquired a 110-volt motor. He raided junked aircraft for abridgement apparatus and, by agency best accepted to himself, came into control of an Army field-radio amplifier, a ability transformer, and an arrangement of earphones. Anon an electric phonograph, of sorts, was in action.

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However, earphone alert was antisocial. Hence it small, adaptable architecture activity developed on the base, accompanied by the abiding dematerialization of pie pans, wire, bolts, manila file-folders, and added different supplies. Aback the activity came to fruition, Sergeant Greene had an arrangement of six loud-speakers. Each was powered by an earphone diaphragm, loaded by a manila cone, army in a pie-pan frame.

What came out was not what would be alleged aerial allegiance by today’s standards. But it was badly aloft to what the cleanup gramophone had produced. In fact, Sergeant Greene’s assembly in accoutrements were so bound to him that later, in the Philippine invasion, aback they absolved a brace of big-ticket U.S. bartering radio phonographs (somewhat the worse for Japanese usage) they banned to accept to them until Greene had “improved” them.

Greene was abundant afflicted by this affirmation of aureate aerial amid the GIs. Already out of compatible and aback home, he began agilely admonition the account of high-grade complete accessories for the home-hugging music lover. In abbreviate adjustment he was (and still is) active a custom audio administration for one of the nation’s bigger radio-parts houses, Sun Radio and Electronics of New York.

Business was brisk, appropriate from the start, but it alone took fourteen hours a day, so Irving Greene began autograph a book. In due time he acquired two collaborators, James R. Radcliffe and Robert Scharff, an automated artist and a decorator.

At the 1951 Audio Fair in New York aftermost November, Greene, continuing at the access to the Sun Radio exhibit, was able to accost all but a actual few of the Fair’s 10,000 visitors with the account that the book would be accessible in a month, and so it was. It is alleged Accomplish Music Live (Medill McBride, $4.50) and it is a basic album of what the ambitious assembler of a high-fidelity homemusic arrangement affliction to know. It tells why a single-cone loud-speaker “cries” over assertive chords (the lowfrequency accordance intermodulate mechanically with the aerial ones, causing the closing to breach up) and how to arise a Garrard almanac banker in a bookshelf, which can be done. And it gives some actual advantageous affairs secrets.

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Armed with this opus, the hi-fi client will be like the medical accommodating who gluts secretly on the AMA Journal and can allocate with “Doctor, it hurts actuality and here,” and get appropriate bottomward to “Doctor, I affectation all the classical affection of cervical adenitis.”Doctors abhorrence this, of course. Fortunately, audio accessories salesmen don’t assume to — for Irving Greene’s book is alone the beginning. About the boilerplate of April there will be appear the additional book on aerial allegiance for laymen: The Saturday Review Book of Recorded Music and Complete Reproduction, by Edward T. Can by, C. G. Bourke, and Irving Kolodin (Prentice-Hall, amount unannounced). Apparently this assignment will supplement the added with some exactitude, dealing, for example, rather assiduously with the abstruse ancillary of records, which Greene’s book tucks into an addendum page.

Probably the capital acceptation of these publications, however, is that they betoken the maturity, the arrival, so to speak, of the “quality” home-music customer. He is no best an atoning burglar into the branch of the audio engineer, nor yet an “uncommercial” crackpot, base of the businessman’s notice. He has now had two books accounting for him and he is the arbiter of a bisected billion dollars a year industry. He rates, businesswise, with the photography enthusiast, or he anon will.

Smart manufacturers are appetite to ahead his needs. One botheration of contempo best (LP is alone in its fourth year) is how to abundance longplaying annal at home. Continuing in accepted almanac cabinets, they become bearding envelope edges, duplicate one from addition unless adorned with cruddy tabs. They can’t be put in accepted albums afterwards auctioning their advisory envelopes. To let them accrue in bags is easiest — but dangerous. Vinylite is softer than shellac, and the beneath of twenty records, if there is dust in its envelope, is acceptable to be actively gouged. Solutions now are offered by H. Royer Smith (Philadelphia) and Aim Industries (New York). Both accommodate accessible LP containers. The HRS items are album-shaped boxes ($2 or $3) which will authority 10 LPs apiece, with envelopes, and are big abundant for book on the back. The Aim albums absolutely are albums, but their envelopes are big abundant to authority LPs with their envelopes and are cut abroad for identification thereof. They are priced about the aforementioned as the HRS boxes. Both are acceptable to present a rather abutting vertical fit in some almanac cabinets.

Another brace of credibility has additionally been accomplished by customers, anticipation by affirmation at the Fair. One is that some barter appetite almanac changers, and intend to accept them, alike admitting the experts assert that attention single-play turntables are better. The added is that some barter don’t appetite changers;— accepting about annihilation but LPs in their collections but additionally can’t allow to pay $50 or added for alone machined turntables by Rek-O-Kut or Presto.

Credit charge go to Oarrard, of Britain, for chief that, if bodies charge accept changers, they ability as able-bodied accept acceptable ones. Since July, agitation complaints (after sales) on Garrard RC80 throe-speed changers accept gone beneath 1 per cent, an about absurd development in a commonly trouble-fraught field. Garrard hits taken affliction additionally of the non-changer folk, by agency of a $24 three-speed almanac player, identical with the RC 80 as to arm, turntable, and motor but bare a alteration mechanism. A actual agnate job (with a flip-over alluring armament befuddled in) is produced by Goldring, a newcomer in the trade. For some time, of course, General Industries (Elyria, Ohio) has been authoritative $12 singleand multispeed turntables, as acceptable as those; in best changers, but for some acumen few food banal them.

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There has been adequately adamant strife, too, over the catechism of how big apostle cabinets charge be. The experts accept insisted on size. In a box cabinet, they acicular out, the o jective was to annihilate off the accidental complete generated by a loudspeaker’s rear surface. The best way to do so was to allowance the cabinet. Yet this gave the apostle cone a stiffer air amount abaft than in front, the chiffonier actuality abundant abate than the room, and acquired distortion, mostly at the amount of bass tones. Solution: accumulate the chiffonier big. (One at the Fair, ascent four Bozak speakers, independent 16 cubic anxiety of air!)

Customers argued, not unreasonably. that they hadn’t abundant amplitude for such monsters in their active rooms, abundant as they craved the sounds they made.

This was the acumen for ihe crowds about the Audio Fair affectation apparent “R-J Company.”Messrs. R. and J. (Frank Robbins and William Joseph, a artist and a radio salesman) had fabricated a adventurous accomplishment to acquisition a boilerplate ground. Their cabinets (literally “ beneath wraps” — burlap) were cubic and alone a few inches bigger than the speakers they housed. A apostle in an R-J chiffonier is bankrupt abaft by a actual baby box but, to adjust this, it is front-loaded, too. The aboveboard air alcove is bankrupt off but fora aperture through which the complete comes. A aperture distributes complete rather well. Organ-pipe makers begin this out continued ago. An English engineering abutting activated it to loud-speakers in the 1940s but, for some reason, didn’t break with it. Critics of the R-J arrangement at already acicular out that, admitting it alike the speaker’s advanced and rear burdens, it additionally gave it a actual annealed air beanbag adjoin which to fight, blurred its ability and necessitating added ability to accomplish it work.

This is true, and it is asinine to argue that an R-J is a acting for a acceptable big cabinet. Nevertheless, it does economize on space, and some actual able custom-installation men absent no time in applying for licenses to accomplish it.

In the small-size, big-bass category, the R-Js had alone one rival, a pilot archetypal of the Electro-Voice “Baronet.”This is a miniature aberration on the now accustomed bankrupt bend horn theme. Placed an inch out from a room’s corner, it feeds the bass emitted from the speaker’s rear backward, beginning it is repropagated out of the bend by the allowance walls, reinforcing the aboveboard low notes. What fabricated the “Baronet” notable was its admeasurement — two anxiety aerial and a bottom wide, aloof big abundant for an eight-inch speaker.

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There were added addendum of antithesis at the Fair, too, break that the exhibitors accomplished they had a non-hobbyist accessible to accord with. The babble akin went down. Maximilian Weil, of the Audak Company, could about-face off his loud-speaker and allure bodies to accept for “needle talk” from his bigger “Chromatic” Audax phono-cartridge with some aplomb that they could apprehend whether it had any — which it around hasn’t.

Some exhibitors absolutely acclimated articulation annal and tapes to authenticate their equipment, rather than the bass drums and piccolos of yore. This was a abundant concession. Articulation reproduction is a acceptable archetype of antithesis and naturalness, but hardly of advanced range; alike Yma Sumac’s aerial acute rarely sends an oscillograph indicator to added than 8000 cycles per second. Some alienated souls had looked up the letters of abstracts conducted in the 1930s and 40s by Bell Laboratories and RCA engineers, wherein the characteristics of agreeable sounds in auditoriums were analyzed. The RCA engineers had gone so far as to say that no agreeable sounds of accent were begin in the breadth aloft 10,000 c.p.s., a ambit with which no accurate audiomaniac would be satisfied.

Probably the RCA men had abstract somewhat. It is accurate that aerial (and actual low) tones “decay” with distance. At a symphony concert, the adhering cheep of the violins and the hiss of the flutist’s animation are absent afore they get to the boilerplate listener. He hears a filtered, antiseptic tone. Not so the recording microphone, which is usually placed abutting to the orchestra in a recording session, and with the anteroom abandoned and unabsorbent. The result, played brick to the music lover, doesn’t complete natural.

On the added hand, a violin sonata recorded beneath the aforementioned affairs may complete absolutely accustomed —because the affairs are the adviser has heard a abandoned violin this intinnately before. In a violin abandoned or a cord quartet the adhesive noises are allotment of the music. This botheration appropriately avalanche to the recording engineer. not to the maker of amplifiers or loud-speakers. Which is not to say that an amplifier with adjustable accent controls (like the new H. H. Scott, which absolutely can accomplish a symphony orchestra complete “live” at low volume) cannot generally accomplish up for the bad acumen of an overenl husiastic. recording director. It can.

The Fair did crop one able archetype of accumulation wide-range recording and amazing reality. This was a set of annal fabricated by Emory Cook, a arch experimenter in diskcutting techniques. Cook’s records, blue-blooded Sounds of Our Times, were not music, but artlessly noises. One of them admirably reproduced the close-up call of a candid and the abroad cycle of summer thunder. Addition put forth, horrifically, the babble of trains casual through a adit at Peekskill, New York. A third dealt affectionately with the tinkling agreeableness of a accumulating of old music boxes Cook says he hopes the alternation will never end, and asks bodies to advance noises they appetite to hear. This cavalcade hereby suggests that he try reI cording the sounds of an Audio Fair. It’s too bad he couldn’t accept got the 1950 one, though. Alike the locomotives couldn’t angled that.

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