chartz wrote:

About the platter's height on my BG4000, I came to the conclusion that respecting the 13mm height cannot make the platter flush with the big panel. And since the latter is not machined, only stamped through, it looks kind of awful...

The SM makes it clear that both conditions should be respected, which is impossible.

So I decided on the flush platter, at the expense of cartridge height, which is now set at 12 mm.

On my 4002 type 5523, the platter height was the most time consuming. Especially the latter part of getting the turntable platter level with the deck (big panel).

Another thing about the platter to arm height adjustment...
I think the more important thing is the platter surface to arm height. That is because that affects the tonearm (and stylus) touching a vinyl record.
The platter surface to the turntable deck is for cosmetic reasons and doesn't really affect the turntable performance.  However, I also would not be happy with the adjustment results if the platter wasn't level with the deck. 

No John, the rest is ok. Your thread is so interesting but got a little confused about both typenumbers. Lots of things learned. Keep up the good work!

sonavor wrote:

Interesting about the 13mm height setting on the Beogram 4000.  The service manual shows that measurement from the platter surface to the bottom of the detector arm.  When the 4002 (and later) came out, that service manual procedure was changed to make the adjustment where the distance is 23mm ....but from the platter surface to the top of the detector arm

Indeed. I have settled to 22 mm to have the platter flush. The detector arm is 10 mm high!

The Beogram 4000 service manual says to use Everyman Oil (3984211) for the spindle.
The Beogram 4002, type 5501-5503 service manual says to use Rocol MTS 1000 diluted to oily viscosity with ESSO Nuto H 44.
The Beogram 4002, type 5513 service manual says pretty much the same thing as the 5501-5503 service manual.

Lately I have been using a light oil called Tri-Flow Superior Lubricant but there are a lot of good, light, synthetic oils available. I have also used

I have a question regarding replacemnet of capacitors.

Would any capacitor with the right capacitance, voltage rates and heat rates be good enough? Are there other factors i have to consider? 

I'm studying electro/electrical engineering and am really eager to learn about music/sound production (4th semester). 

RasmusOe wrote:

I have a question regarding replacemnet of capacitors.

Would any capacitor with the right capacitance, voltage rates and heat rates be good enough? Are there other factors i have to consider? 

About voltage and polarity - You can't go down in voltage rating but you can go up. I generally try to match the existing voltage rating if I can.  The tantalums and most of the electrolytic capacitors are polarized so you have to mount those in the correct direction. Be careful though, a few electrolytic caps in the circuit might be non-polar type so the replacement must also be non-polar.

Other factors about the electrolytic replacement capacitors are the characteristics of the type. Manufacturers sell special, audio rated caps as well as caps for other characteristics. In the Beogram 4002 turntable, none of the caps are in the audio signal path.  The turntable audio signal goes from the cartridge and out of the turntable through a muting relay.  No other circuitry is involved unless you have a Beogram 6000 with the on-board RIAA amplifier.  For my 4002 restorations I didn't use any audio quality electrolytic caps (unless they were a good fit physically).  I used some Nichicon (BT, PW, etc) and Panasonic FM types looking for high reliability and low impedance.

Another factor in the restoration is the physical size of the replacement component.

Thank you, that's very helpful! I was wondoring if I wanted to do a full repair my 6500 system (i bought a kit for the beogram cd), but maybe i'll give it a shot. 

It is about 30 years old (though working) but i guess it wouldn't hurt to fix it with new components for stability. Well if i get the time i guess i will take it to the Lab. 😁

There is also an old saying: "If it ain't broke, don't fix it"
For a component that is working well, I don't mess with it until something does start acting up. When there is a maintenance reason to go into it, then I usually decide to replace old parts.  Another case is when you acquire an audio component from someone that has been in storage for a while. That could be a good reason to open it up and do some maintenance (and restoration).

I have a Sansui AU9500 integrated amplifier that I acquired from the original owner a couple of years ago.  It was still working fine so I left it alone.  Last year it finally started failing so that is when I opened it up and replaced all of the capacitors. Now it is working like new again.
Currently, I have a Beomaster 4400 that is all original. It still works beautifully. I am prepared to restore it but I am not going to mess with it until I have to.

My Beogram 4000 finally arrived. The packing was just good enough to allow it to arrive without any shipping damage. A little surprising when looking at the box.