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Nickel plating

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Next to re-covering a leathercloth case, nickel plating was a new activity to gain experience on.

Older machines mostly don't have chrome, but nickel plating for the shiny parts. (Chrome plating became viable industrially I believe around '26.) Some of the fittings and screws of the 101 were a bit rusty, some of the screws more than a bit.  To bring back some shine to these parts also, they were re-plated.


Several sites on the internet describe how to do electroplating and shops offer for sale solutions or kits to do nickel plating. From some online hints on plating, however decided to do electroplating entirely with regular home and kitchen ingredients. These rusted fittings for the carrying handle ('pakawa') were badly pitted, but even then were improved by the process. (Chemical de-rusting would perhaps have been better.)


This electrolyte was mixed from kitchen ingredients; vinegar, salt and sugar. For nickel an old coin was found, a battery for the electricity.

Measure what is the smallest amount of liquid that can be used to fill the chosen container. The smallest amount that enables the parts to be submerged to be plated. In this case a plastic take-away container with a lid was used. A lid is good to have, to be able to close the electro-plating bath for storage.

Using the kitchen scale, find out how much volume (weight) this was. For every milliliter of vinegar, add a tenth of that in salt and in sugar. So e.g. 200 ml (or 200 gram) of vinegar, add 20 grams of salt and 20 grams of sugar. (Use powdered sugar for easy dissolving.)

It helps to have heated the vinegar a bit to around 50 degree C, the salt and sugar dissolves easier then.

Regular vinegar, without any 'taste' elements if possible. You only want the acidity and no complex molecules or organic stuff in there to complicate the reactions in the mixture. The salt helps making it conductive to electricity, plain kitchen salt (NaCl).

But then the sugar. Why add sugar. Did some head-scratching with a chemistry colleague about why sugar would be good to include, but it probably makes sense. The sugar does not electrolyze, does not take part in the reactions. The sugar does however go into solution, so adds to the saturation of the electrolyte. This means that less of the nickel-salts need to be put into the solution before the plating at the cathode starts. It makes the plating channel more efficient.

So far, the mixture is still safe; it probably tastes very bad, but is not unhealthy as such. Note that as soon as you start plating with the electrodes in the mixture, you are creating chemical waste. This will contain metal salts and will need to be disposed of safely through the chemical waste disposal route of the local municipality. This is another reason to use the smallest amount of electrolyte that will do the job.

For the electricity, used a battery. A voltage of between 3 and 5 volts should be fine on this scale. Also tried a 9V battery, but that was too much. Too high a current (battery overheats due to internal resistance) and too rough a plating (porous).

Using alligator clips, the coin is attached to the '+' of the battery and a to-be-plated part to the '-' of the battery. For the nickel-supplying electrode an old coin was used. Actual nickel coins are not as common as they were, but this old 'gulden' is actually made almost completely of nickel. Of course the coin (or other nickel metal part you use) will partly dissolve and not survive.

It's a good idea to do this in a well ventilated area. Not only because of the chemical waste being created in the electro-plating bath (unhealthy stuff), also because hydrogen and oxygen will be created at the electrodes.

As soon as the electric circuit is closed, bubbles appear at the electrodes and soon a green haze will form around the positive electrode. That is the nickel salts in the solution. First the electrolyte mixture needs to be sufficiently filled with nickel salts for these to reach the negative electrode, but then the nickel is deposited on the to be plated parts. With a saturated mixture, it now takes between 10 seconds and a minute to properly nickel-plate a small part. Move around or stir (wooden spoon) a bit to get all surfaces treated. Being able to put a lid on it, the whole electro-lating setup can be put away for a couple of days in between use. Having it all on a tray made sense, as well as some tissue to dry and clean the parts as they come out of the bath.


Probably obvious to the experts in this field, but brass or copper parts are really best for plating. The parts do need to be completely clean. That means that also new, brass screws need to be polished to remove 'patina' and any remaining oil or grease from the manufacturing process. Brasso and a soft cloth. Brass rings, the left two already nickel-plated.


One of the newly nickel plated rings mounted in the new, replacement record storage tray in the lid.


Having now seen the difference between plain steel and copper (brass) for plating, perhaps a first step of copper plating a part makes sense. For the next project perhaps.

Some screws will probably get a second treatment, but this carrying handle will stay put for a while and will just have to do. (Taking that off requires pretty much a complete disassembly of the whole machine.)


It does look the part though, very flashy deluxe late twenties machine :)

Album

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Treated myself to an album.


From our national online classifieds site, got it for a fair offer and it arrived well packed in the mail. Even though the records are protected by the cardboard sleeves of the album, with an older worn album they can get caught in the spine and easily bent and have bits broken out. The cover is a bit faded, but everything is fine and the 5 large 12" records really look like they are new.

One of those unexpected questions that happen was the title. This is Antonín Dvořák's Opus 95, 'From The New World' in E Minor. The label on the album clearly states this as Symphony No. 5, but a quick search on the internet makes this Symphony No. 9.

Odd.

Some more reading on the shelves of the vast and varied internet yielded the answer, there has been renumbering going on. The composer himself was 'flexible' on his Opus numbering to start with, but in Symphony numbering this was his No. 5. Then after the composer's death four more symphonies have come to light, later leading to successive renumbering to order of writing. The Symphony No. 5 was first renumbered No. 8 and from the fifties on now known as No. 9.

This album is of a performance by the Philharmonia Orchestra from the late forties. The tax code in the run-out makes it '46, the Columbia D.X. series numbering suggests '47 and the tax stamp on some of the records make it '48 - we'll make it 'late forties'.

Being a relatively late shellac recording, it has quite a bit of volume when played on an acoustic gramophone. But then, this is music that really should be played loud :-)


Listening to a longer classical piece on 78's is more active than e.g. playing a CD or an MP3. About every 6 minutes or so the record has to be changed and the gramophone re-wound. Another thing is that you can see from the grooves very clearly when a loud section is coming up.

A treat.  :)

(Oh, and remarkable how the term for an 'album' has stuck around.)

Billy Compatibility

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Online there are many and very varied examples of how to keep a machine or two on display (or more than two). Some hard to do, some less hard.

Just realized that the Billy Compatibility of a typewriter is an important factor for easy display. Having a depth that is less than about 30 cm makes it much more practical to keep it on display for a while. This would I guess be a factor for collectors in most countries that have large furniture stores from Sweden with often a whole aisle dedicated just to Billy.


For any next machines, the Billy Compatibility will be an added requirement. That keeps the Corona Four (I think) on the list and of course an Underwood 3-bank.

(More machines would be Expedit Compatible, have however no shelf-space of that type... :)

But why?

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Right, so it can withstand being rained on...

How often does it rain in the office? How many reporters travel about in the rain lugging along a full-size standard?

How is this a major selling point? One that differentiates it from the competition in a meaningful and relevant way?

A mystery...

(Then again it would have been a fun display to make. That's as good a reason as any!)

Greasing the No 59 motor mainspring

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One of the things recommended for the type of portable gramophone I'm working on is to re-grease the motor. The Gramophone Company used a graphite grease that over the decades turns stiff and hard. Clogged with this hard grease, the mainspring will be held back and the motor will have reduced power. My particular HMV 101 was only capable of playing a few 'soft' records without slowing down to a sorry warble. This may be that the spring is just worn and lost its spring or that the hardened grease is holding it back.

This 1928 / 1929 HMV 101 portable gramophone has the No 59 motor. By then the company had been building talking machines for 30 years or so and had arrived at a simple and effective design for such single-spring motors. Most of these windup motors are similar in construction, also those of other makers.


To at least deal with the grease, I read up on mainspring removal. This sounded a bit daunting, being an inch wide and about 14 feet long length of spring steel that comes out of a small drum. It also needs to go back in this little drum.

There are several online resources describing how to do this (and not get hurt), an excellent guide is on the pages of John Sleep. Using that description as guidance, I got started. To share another resource online, I took some pictures of the steps to re-grease the mainspring.

To remove the motor board, first remove the turntable; slide off the circlip, put the brake to off and lift off the turntable. (Some other makes don't use a clip, but a conical spindle. These may need a light tap with a hammer on the spindle whilst pulling up the turntable to make it come off.) Remove the four screws at the corners of the motor board and lift out the motor board. First lift at front and slide motor from under the rear board.


It is not necessary to take the motor off the motor board, but this can be done by loosening the three large screws (the obvious ones). I did remove the motor for easy handling, kept the screws and the spring and washer in the motor board and set it aside.


Removing the three small screws on the rim allows the cover to be lifted off the motor. (This cover is actually a nice feature of this type of motor, as the governor will not spread its oil all round the innards of the gramophone but keep it inside its own 'tin'.)


Removing the three screws on the bottom baseplate allows the baseplate to be taken off the three pillars. At this step take care not to lose the ball bearing that supports the turntable spindle (red arrow). Also take care not to lose the bearing washer that supports the mainspring winding cog (blue arrows, can be stuck to either spot). Best use a dollop of grease to fix these to the plate and set aside.


The intermediate gear can be taken off and the spring drum can be pulled off its spindle. (Base plate wiped clean - well it's cleaner that it was. Also now grease in ball bearing and on washer to keep them in place.)


Turning over the spring drum, the winding cog can be pulled out of the drum. This cog is driven by the winding handle worm gear and the groove on the shaft is for catching a notch of the spring. There is felt between the gear and washer. As with all parts, wipe clean a bit and apply some new grease.


Taking the drum, this should be kept firmly in place during the rest of the proceedings. A portable workbench worked reasonably well in gripping the gear at the bottom of the drum without damaging anything. The lid is kept on by a round retaining spring. Using a sharp screwdriver this can be lifted out of its seat (one end already lifted out in photo, at bottom of image). Sometimes a bit of force (tap screwdriver with small hammer) is needed I've read, but this one came out easily.


With the retaining spring removed, the lid lifts off. If it is stuck or glued tight with old grease, tap lightly from other side through the centre hole. Then the mainspring is revealed with its old graphite grease. This had indeed turned solid, more a coating of solid coal than graphite grease. 


Hard to describe taking out the spring, there is a very clear video posted on Youtube that helped with this. Pull out at the centre and then pull out winding by winding until it starts to come free and then unhook it from the stud in the side of the drum. It's recommended to use long sleeved clothes and gloves. Do not let go of the spring. It is an inch-wide length of spring steel that wants to be a lot bigger than it is and may do so very quickly when let go of. Sharp edges would fly about. An extra cloth or towel to cover the work can be a good idea as a further precaution.


The spring drum can then be cleaned and a generous amount of new grease put in. Also the spring can be given a layer of new grease all over. Degreasing solutions didn't really work on the old grease and it literally needed chiseling away in places. Removing the solid black lumps from the spring takes some work, carefully chiseling off without damaging or scratching the spring. For new grease I've used regular (car) grease. For heavy loads a graphite grease would be the better product, but regular grease will do for a while I'm sure. 


With reverse process, put the spring back into the drum. (Take care of the correct winding direction.) Hook the eye at the end of the spring onto the rivet in the side of the drum. To properly hook the eye of the spring onto this rivet is not so easy and may take some time and several attempts to get it hooked on firmly. With the end of the spring firm on this stud or rivet, push it back into the drum a winding at a time until the centre just pulls itself in. Make sure it is seated well onto the bottom of the drum.

Put the lid back on and lock it into place with the retaining spring. Make sure the groove in the drum is completely clean and the retaining spring seated well into this groove or the ends will not meet and the spring will not fit. Again a screwdriver helps to push everything in place.


Then the reverse of the earlier steps to push back in the winding cog, place the whole drum on its spindle. Add intermediate gear and fix the base-plate again. Make sure the bearing washer under the spring drum is in place. (And the gears greased.) Close the motor with the cover. Then the motor can be mounted to the motor board again (if taken off it) and the motor board back into the machine. 


If everything went well and the spring has properly caught the stud and the winding cog, the motor can be wound up again. After greasing the gears and mainspring, the motor could be a bit stronger and the speed will need to be adjusted. With a strobe disc and a suitable light source that flickers at mains frequency (incandescent) the speed is adjusted to run at 78 rpm with the speed lever in the centre. From what I've read it is best to do the checking of the speed playing a record, to set the speed with a playing needle load on the motor.


Now with new grease, this HMV 101 gramophone again plays a full side keeping proper speed. Probably not as strong as it was when new, but does work again. Can always fit a completely new spring later if it still proves too weak.

(Blue with wooden deck is not the original scheme, by the way. Only the black machines had a wooden deck. On the deluxe models this was also covered with Rexine, but couldn't resist sanding and varnishing the boards to have a wooden deck. Did keep the horn blue so may still cover deck with blue Rexine later.)



En easy guide for operating the Remington Portable Typewriter

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Part of the preparations for tackling the Remington Portable #2 with the fancy paintwork was seeking out a manual. When getting/restoring a typewriter, I do like to have it complete with a correct user manual.

Oddly, for such a popular and reasonably common machine there was little available online to be able to print out a good quality facsimile. Amazingly there was available for sale online a copy of the manual of the right period. A bit of an outlay (nearly as much as the machine itself), but as we're probably sticking to one machine per year just went ahead and got it.


In stark contrast to the current project machine itself, the instruction booklet is in fine condition. It is missing the page 13 where the user is requested to cut out the keyboard diagram, but it did come with another two loose card keyboard diagrams. The booklet suggests a printing date of 1927. The inserted keyboard diagram cards are from November 1929 and May 23rd 1931 respectively.

The booklet I've now scanned and cleaned up a bit and made as a PDF for easy reference and downloading. The actual booklet is 6" by 8 1/4" with a thin, greenish-grey card cover and the usual thin, smooth paper pages.

The easy guide for operating the Remington Portable Typewriter is available here in high resolution (~18MB) or in rather low resolution (~788kB). Also uploaded to the Internet Archive here.

(Please do download and keep a copy and/or put up another copy on the internet. Things vanish on this internet without a trace when least expected...)

Creative re-use or mere vandalism?

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Like the key-chopper for typewriters, there is the label-cutter for shellacs.


Now that I've been looking at 78 rpm shellac records for a while, I discovered that there are some products being offered for sale that have used an old record. I mean used as in used up; destroyed. Of course the record may have been already broken and unusable, but the 'product' feel of the coasters make me think they are using stacks of old records and cutting them up.

There were of course millions of shellac records made and there probably still are millions floating around. Then again, they're not being made anymore. They are part of the cultural documentation for the first half of the 20th century, even if the content of a particular record is currently not fashionable or in demand. (That Ariel Grand looks like an early twentieth century record. Or rather that's what it was...)

Are there so many records that it doesn't matter really?

Somehow it seems a bit 'off', to destroy an historic object for such an ephemeral and trivial use. Like key-chopping.

And the backspace doesn't erase!


Columbia C B 16

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Just a record. Lucky find :)

When playing it for the first time it stood out, sounded better than most. Having scouted about on the web a bit to find out more about who the Charleston Chasers were, that may make sense. The Charleston Chasers (these ones active during the late 1920-ies, not the UK orchestra of the same name that is active now) was the name of a studio band for Columbia. The band members list over time reads like a who's who of major American bandleaders of the thirties and forties.

Columbia catalogue number C B 16, from ~1929.


Tool of 1001 Uses

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Quite widely advertised at the time, the versatile hobby-tool of its day, the Handee.


Haven't sent for the catalog, but somebody did do so a while back and it somehow ended up on my bookshelf. This is what the little catalog booklet looks like.


It's got a copyright date of 1940 inside the front cover (and 1938 on the backpage, weird), the first couple of pages extoll the virtues and many uses of this handy Handee tool.




And on the top of page 9, it is found as a useful tool in servicing office equipment; in this case taking a Handee to a typewriter.


Taking a Handee (or a 'Dremel') to a typewriter was not my first thought when it comes to typewriter repair, but it will have its uses. A polishing disk should really make those typebars shine, hoping it isn't a grinding wheel he's using on the keys. The potential for disaster might be greater than the benefits from using such a type of powertool.


The rest (most) of the booklet is an extensive catalog listing of all the types of Handee tool and attachments that are available from the Chicago Wheel and Mfg. Co. of West Monroe Street including project books and a book of plans...


Relic

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Spotted as a decoration piece in the lounge / dining-room of a hostel. The small flowers are plastic, lending it all a solemn yet sadly cheap air.


Despite the artificial floral surroundings, the machine still looks solid and reassuringly metal. Some faded keys had paper labels with the letter written on them by hand, suggesting some use when already worn and faded. Did not dare touch or tamper with it, but its current state with keys all a jumble suggests misuse rather than use. The paint looked a bit 'cloudy', as if it's been chemically attacked by something. Two metal Olivetti spools.


Relic.

Corona care

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Actually an easy and relaxing little task to do. Most time is taken by locating the part from the diagram on the machine itself. Did have a positive impact on the smoothness of the carriage.

(The manual for this model of the Corona 3 folding typewriter is online on the Archive.)

Graphoplex No 612

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Prompted by the posting about a book on sliderules over at Munk.org, made a scan of the leaflet that came with a pocket sliderule I got recently.


It is a regular 'Rietz', but rather small with a 12.5 cm scale. This one looks and feels absolutely new and unused, the leather sleeve is pristine as well. The only marking on the back indicates it was intended for Heemaf, either for use by the company or perhaps more likely meant as a promotional gift. The overall look and feel makes me guess this could be as recent as the seventies, but hard to tell really.


In the small leather sleeve with the small sliderule comes one sheet of instructions folded up equally small. A very condensed course in using this system 'Rietz' sliderule (in Dutch).



Disassembly

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Have started on the Remington Portable 2 - first step of taking it apart. Well, at least as far apart as is necessary to replace the feed rollers, touch-up the housing shells, replace felt, deep clean etc. Putting a rubber tube on the platen would also be good.

Taking off the shells was fairly straightforward (taking pictures every step of the way, bagging every screw and part).


How to get at the feed rollers has me stumped for now though. Removing the paper table should ideally be possible without taking the carriage off the rails. As far as I can see the paper table assembly is screwed to the carriage base with a screw that is underneath the paper table itself.


It was the putting together again that I was initially worried about, but just taking it apart is puzzling already :-)

Any hints or suggestions most welcome. It's an intriguing puzzle...

A couple of screws too far

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And it all came unhinged :)

Well, not quite that bad, but there were a few parts that could have been left on. The two screws at the back of the carriage hold the bracket of the paper release lever. Removing those screws yields the paper release lever and rod.


Didn't have to come off, but will be able to give it a good clean now.

Having looked at the way it seems to be put together, started off by trying to loosen the carriage bearings to see if that would allow it to come off. The rear bearing rail is held by the four screws circled in the picture. Just loosening these a turn, the carriage bearing can be adjusted. These were very solid, took oil and a few taps with a small hammer to loosen them.


This does give the carriage play, but does not allow it to come off. If the carriage goes sluggish or blocks somewhere along its travel, adjusting such a rail may help. Maybe not necessary to loosen this when sliding off the carriage, but will make it easier to slide off and on again.

Spending some more time to look at where the carriage is held revealed a painfully obvious stop-screw in plain sight. On both ends of the carriage base that is fixed to the machine there is a small stop-screw. These screws stop a small stud in the centre bottom of the moving carriage base.


A bit embarrassed, removed that screw and the carriage slides off easily revealing the two sets of bearings. The front and rear bearings are held nicely in a cage with a sprocket that ensures they stay in situ.


With the carriage off, it becomes more practical to finally get at the feed rollers. Looking more closely again at the paper-tray, this is impossible to remove by unscrewing the brackets. The paper tray is right on top of the screws that hold the brackets to the carriage base. As far as I can tell the only way this can have been assembled is by holding it all down in a jig and then insert the rod in the hinge. (Moments to wish a typewriter repair shop was nearby. Or even not-nearby for that matter :-)

Oh, the two screws underneath the centre of the carriage base hold a small cast block that holds the spring wires that provide the clamping force for the feed rollers. (These also did not have to be loosened...  Oh well, discoveries.)

With better access, it is however possible to carefully bend open a little the folded lips that hold the feed roller axles. With the eyelet lips bent open just a bit it becomes possible to use pliers to pull out the rods and get at the rollers.


To keep them in, one end of the rods is knurled. This knurled end is press-fitted into its lip during assembly to keep it in place firm. The front feed-roller rods were applied from the outsides, so can be pulled outward. The rear feed-roller rods (in the bogies) are identical sub assemblies that were probably fitted to the carriage already assembled. So the left rear rod should have been pulled to the right and not left through the rollers...

Got them all out now to be made round again. Most rusted parts of the carriage are now also accessible to give them a good clean and shine.

Progress :-)

Rubber rollers and carriage re-assembly

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Having gotten all the rollers off the carriage (amongst several other items...), on to fixing all the rubber.

The rubber on the front-rollers had gone soft and tar-like, so cleaned the front-feed rollers down to the bare brass cores. Seems odd, but Remington must have used different rubber for the front rollers, rear rollers and platen as they all have deteriorated in their own particular way. Perhaps different suppliers.

Anyhow this meant the front feed rollers needed to be re-made. With their small diameter only two layers of small diameter heat-shrink tubing was enough to make decent rollers again. Small sleeves of about the right width were cut off and a hairdryer at the max has just about enough heat to shrink the tubing nicely around the brass cores. (Pliers to hold roller on rod in front of heat.)


The rear-rollers had flat sides, but otherwise still fine. Before cutting it all off and making new from heat-shrink tubing, first wanted to try to make the original rubber round again. Letting the rollers soak for a minute or so in hot water (around 80 degrees C - water just off the boil) and then rolling them between two wooden surfaces worked reasonably. Note that the old rubber will give off black, best use cast-off bits of wood. Fixed with cold water, then sanded off what remained of the ridges and make smooth with fine-grade waterproof sandpaper. Not perfect, but round enough to roll. (Oddly the brass core in the rear-rollers is not always concentric to the hole, so when building up with heat-shrink can give slightly eccentric rollers.)

The platen was rock-hard and brittle. First tried to find a suitable length of radiator tube (and failed - right size but not smooth on outside), then settled on trying the inner-tube treatment (inspired by a.o. Scott's recent post on this).


A nice, soft, used inner-tube for a bicycle of 28" x 1 5/8" x 1 3/8" was found. From a reputable make (Vredestein) and fairly large in diameter for the size it has a wall thickness of about 0.9 mm. The platen is such a tight fit in the carriage and paper-tray, that the platen needs to be reduced to less than 28mm in diameter for the covered platen to still fit. This is a black and messy job. Best done outside. Not near any laundry. Wear a boiler suit :-)


Using emery cloth and the platen firmly clamped in the workbench got it to size finally (and still cylindrical). Using the hairdryer to make the length of tubing warm (around 50 to 60 degrees C) and supple, it slides on fairly easily using talcum powder on the platen. (A good thing too; after the first full carriage re-assembly had to take it all off again to sand down further to about 27.5mm diameter.)

The hard part of the carriage was the complex left side bracket assembly. The line-feed clasp is fairly easy to place, but the spring to return the carriage return lever was not all that obvious. This is held in place by its own small bracket that is held under a nut that goes on one of the screws that hold the left carriage bracket (red arrow). After bolting it down, the loop of the spring can be hooked over the rod of the carriage return lever that sticks through to the inside (blue arrow). This rod also goes into the fork of the line-feed clamp that pulls the platen linespace ratchet wheel.


When mounting the margin bar, take care that the small spring rod goes on top of the bar in the left edge (green arrow).

By the way, the paper release lever goes back in quite easily. Fixing the cast 'anvil' block with its two screws under the carriage baseplate will hold the lever in place during assembly. Pushing the anvil block to the rear a bit and then fix, gives the paper release lever enough leverage to lift the rollers. When the margin bar is fitted again to the right side bracket, the paper release lever is fully locked in place.

(Proper way to remove the platen is probably not to remove the right-side carriage bracket as I did, but remove the knob and pull out the rod or some such. The carriage knob screw however is rusted solid. Did not dare to force it and risk breaking the knob. Right-side bracket was less puzzling but also a pain to screw back. Can be done with magnetized screwdriver to place the nut back over the screw. If you ever get there yourself, you'll see what I mean :-)


The carriage now fully assembled again. The carriage linefeed feeds paper. The return lever springs back forward. The paper release actually makes it let go of paper. Linefeed release works. Most parts cleaner, return lever polished and even shiny again. Ready for mounting on the machine.

Progress!

This will all probably make a professional typewriter repairman cringe, but it's getting there and really is an enjoyable journey of discovery :-)

Reference material

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Getting the carriage back together of the red RP2 typewriter showed up the limits of the pictures I took during disassembly. Just not enough detail. The mounting of the raising mechanism likewise could have done with some better photographs.

For the Remington Portable (#2) there is as far as I could find out no service manual available. Coupled with the fact that these really are charming little machines, I went for the totally decadent option of getting another machine as reference material. (Imagine doing that back in the twenties when these cost $60.)


I've read mixed stories about Ebay for typewriter buying, but took a chance on the British version of the site and bid for this machine that looked interesting and had very reasonable shipping cost from Britain to the continent. With an interesting bidding experience, won it and got it shipped very promptly with decent packaging.


Looks its age of course, but importantly it is complete. Now also have the sizes and pattern for all the grommets and the leather carrying handle.


The machine inside with some rust in spots, but otherwise decent. Nice green lining inside, no warranty label in lid. The decals are in the old, #1 style on the top of the machine. No decal on the paper-tray. The machine in the pictures is already cleaned with nickel polished a bit. The spools were badly rusted, so these have already been re-painted. Other than that, it is as received.


The Remington Portable above, ready for putting paper in and typing. The rubber of the carriage is in good condition. The platen is hard as expected (looks like slate), but all rollers are fine. Some sticky keys, yet everything seems to work and most importantly; the machine is complete (and assembled :)




The machine was (first) assembled in November 1927 - serial number NZ700077. Or perhaps it is 70007-7. The last digit seems to be added in a slightly different typeface and alignment to the main. Still wondering what the 6-digit serial numbers are for these machines, most machines have a 5 digit serial. Was the main number added in the factory by a numerator (would make sense) and the last digit manually for some machines? Was the last digit added only in the British assembly plant? The world of Remington serial numbering :)


The machine's keyboard is a bit wobbly, all the keytops are slightly out of alignment. The keyboard is one of the things that made me notice the listing; it has the + and = signs and even some Greek characters. These keys are clearly a later modification to the machine, the British fraction keys having been replaced together with all keytops. The typeface of the keytops looks too modern for the twenties, more mid to late thirties. Also the keytop-rings are I think of a different type than those of the standard Portable keyboard. The Greek character keys have engraved disk as keytops instead of the paper disks as on the other keys. Suspect the standard sheets of cut-out keytops did not have the Greek.


Now am wondering what profession would need a keyboard with alpha, beta, gamma and mu...

New felt, type lined up

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On the Remington Portable typewriter the typebars rest on the felt strip that edges the lifting table. Over time the typebars make a dent in the felt. Uneven wear over time per typebar leads to the row of type to be out of alignment.


To fix this, new felt was mounted on the lifting table edge. The black felt strip is rounded on the top and clamped by a metal strip on the bottom of the lifting table. To make it nicely rounded on top, the felt is bent double. Because the felt controls the position of the typebars in the raised position and needs to be out of the way in lowered position, the size of the felt matters. It's about 5 by 8 mm when clamped. (The original was folded double, the new felt that was at hand was thinner and folded over twice to get the thickness.)


The felt strip is clamped under the metal strip that is screwed underneath the lifting table. Some small  unevenness can be corrected by tugging and tucking the felt under the clamp. The old, original felt in the picture shows the dents made by the typebars.


With the new felt mounted and the lifting table back in, the typebars in the lower position lie flat resting on the felt and/or table. Also already mounted in the picture are the housing top and the outer frame. For mounting the lifting table, the housing top should really be removed for access to screws that clamp the lifting table to the lifting arms. (It's tricky enough even then.)


In the raised position, the typebars make an even curve that is approximately horizontal to the machine. (The paint on the lifting table is badly damaged, had a bit of a disaster there as well. So much tension in the paint layer that it just flakes off at the slightest breeze. Now fixed down at the edges, but messy.)



Now with the second attempt at a new felt strip, the typbars are good enough in both positions and can still take some 'settling in'. The left and right-most typebars are hardest to get right and to align nicely with the protecting hooks.

It's getting there. Adjustments next.

Waxed string drawband

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The drawband of the Remington Portable typewriter was broken. With the carriage back on the rails, a new drawstring now needed to be attached.

By the look of it, the drawstring was made of waxed hemp rope. The hemp rope that was in the local shop was much too thick (24 lbs) and online sources are happy to sell you 5 miles of the stuff but not 50 cm. As a substitute to stay close to the original, simple packing string was used. A bit thicker than the original, but still fits the pulley.

The snippet on waxing string gave some practical advice on how to do this.


Ergo some wax, string and a spoon. Turned out that the easy way is not all that easy really. Perhaps the wax I used was not soft enough, but the method advertised is not helpful at all. End result of the attempt may not be the ideal waxed string, but at least a somewhat waxed string...


One end of the string is attached to the eyelet opening on the drum and the string routed around towards the pulley underneath the carriage (orange). From there the string can be led to the other end of the carriage fairly easily. By lifting the carriage release, the string drops in neatly into its path next to the indexing ratchet bar. At the far (right, left in image :) the string is clamped in the hook-plate that is held by a screw on the carriage. The hook-plate can be pried open with a sharp screwdriver and clinched over the new rope.

With the carriage all the way to the right (left in view from underneath...) is all the length that is needed. Some more won't do any harm, but too much rope takes up space on the drum and too much rope can make a winding jump off the drum. (Discovered that one, hard to unjam that rope from the drum axle.)


By turning the tensioning screw (blue) on the drum, the spring is wound and pull placed on the carriage. Make very sure the carriage is running freely when testing for the least tension needed that will index the carriage at every position.

The lever (green) next to the drum will release the spring tension. By rocking this lever, the spring is unwound a fraction of a turn at every click.

The fancy lava red Remington is getting there: placing a new drawstring was much less fiddly than expected. (Ensuring the carriage runs freely with adjusting the bearing rails and line guide was much more fiddly though :-)


Adjustments, adjustments, adjustments

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It's back.


With some tweaking and adjusting the machine, it now types again! Several surprises in the adjusting (and it's not done yet). The hardest part to get right so far, was the line gauge. The new rubber platen is very grippy. So much so that the slightest touching of the line gauge to the platen blocks the carriage advancing.


Bending the line gauge away from the platen however immediately interferes with the ribbon vibrator. Turns out there is a very narrow margin of adjusting the line gauge to be free of both the platen and not trip up and catch the ribbon vibrator (especially writing caps in red).

Another adjustment to be done was the carriage bearing rail. Worried about the sprocket leaving its track and any play, I'd initially over-tensioned the carriage. Given the four screws that hold the rail a turn to loosen and gently letting the rail move out a bit. That way a close fit without putting any pressure on the bearings was found. Another thing is that this is really best done without the outer frame fitted.

This outer frame blocks easy access to some screws. Best put on as a last step. Another tricky one is the crossbar that holds the rear bottom screws of the outer frame. This crossbar must be put in place before sliding the outer frame in place - there is no way to get it in afterwards. The tensioning nut on one end of the crossbar can be used to wedge it in place. Getting the tension on this nut wrong will block the shift, by the way. If the inner frame is pinched or pried open there, the shift levers are pinched and it won't settle back to lower case.


Next to the reference machine, the patents on the Remington Portable typewriter are also a neat source of information. These show the construction itself as well as some of the reasons-why behind the construction.

The actual tension on the carriage motor spring is a bit less critical. Just enough tension to accelerate the mass of the carriage at the very end of the line. With the adjustments removing all the little snags and frictions on the carriage, the spring can be released until the least tension that still works is found.

As a last step, the spacebar limiter bracket (part 76 with pads 77 in the figure) was fitted again. After fitting this little bracket, nothing worked anymore.

That was a bit surprising actually. When typing the carriage no longer moved, piling all letters on top of each other. Poking and prying around a bit, the cause was found in that the bracket kept the spacebar down a bit too low. When the spacebar is not let back up far enough, the lever that releases the escapement is not fully releasing the escapement mechanism. Then the escapement is stuck 'half-way' and nothing indexes anymore. Some careful bending and/or new pads (part 77) fixes that.


Still to be tweaked is the position of lowercase and uppercase against the platen, but it does now type again.

The new soft platen is a mixed result so far. On the plus side the grip on paper is solid and the sound a bit less harsh than a hard platen. On the down side the rubber is so soft that the imprint of the characters gets a bit smudged when striking a bit too hard. Overall it makes the machine very sensitive to the typing itself in quality of printing.

Maybe to take off again and replace with something more firm (and reduce the diameter of the right hand side a bit more).

Starting to look better (and type better :)
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