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Thanx for kind words. I can't take credit for the performance - obviously, my job was to direct the camera people, capture the event [live - no rehearsal] and afterward produce and edit the clip utilizing stock footage mingled with the live shots and remastering the audio. I can tell you Mr. Mote was incredible to work with. I raised the bar of production quality - then/there. My crew made the job look easy. -tim

Dear Stephen - would love to hear more about her career or anything you know - there is almost no biographic information on Caridad Garcia

Greetings Rob. The stylus(es) are specifically made to fit the SEEBURG 1000 tonearm. To my knowledge there are no after-market options. There may be certain styli that fit 'other' SEEBURG jukeboxes that MIGHT work, but the real issue is the SEEBURG 1000 has TWO styli, one that plays the underside of the record stack and the other that plays the topside. Also, the grooves are NOT standard width. Typically (with the exception of 'course-groove' 78 RPM records) record grooves are .7 mil regardless of stereo or monaural formats. SEEBURG BMS records have a .5 mil width. Standard styli will NOT exploit the 'information' from the grooves. A Shibata stylus regardless of its' capabilities will 'ride' too high on the 'lands' between the grooves, and possibly damage the records. When it came to recording my library of SEEBURG 1000 records, (over 300) I installed a Black Pearl on my TECHNICS SP-10. The stylus is .5 mil. The SP-10 wont play at 16-2/3, so I recorded the records at 33-1/3 into my Digital Audio Workstation and processed them with noise reduction, sweetening, dynamic restoration. . . . and speed conversion. The results are perfection! My recommendation is to do everything possible to maintain the original condition of the SEEBURG 1000 BMS. Especially the styli. I have quite a few sets of matching styli, NOS idlers, pretty much anything that could wear out - I have replacements for. This machine is museum-quality. If you noticed even the chrome ISN'T pitted. Yeah. . . I'm proud of this one. Thanx for your comments and questions. Let me know if I can be of further assistance. Be Well.

@@m4nyh4ts I know, that initially the 16 rpm format has "Pico grooves" to extend playing time, but beside Seeburg the 16 rpm was used with micro groove. I know the micrometer values 90µm for shellacs till mid 1940, 65 µm for later shellacs, 25µm for micro groove mono records till 1970 and 18 µm for stereo.

Found this about - forums.stevehoffman.tv/threads/mono-vinyl-styli-and-radii.300947/

@@robfriedrich2822 Ultimately, the best stylus for the job is one that matches the groove width such that the stylus engages the WALL of the groove. The wall is where the most/best modulation occurs. As records (groove walls) become worn however, there is a 'cheat'. Utilizing a slightly smaller stylus (.6mil - .5mil for a .7mil groove) will 'reach' deeper into the groove and 'miss' more of the "wear" that has occurred over the years. The trade off is that debris will accumulate in bottom of the groove. That is when you spend more time cleaning to remove the debris before preparing to play the record. Many of the SEEBURG 1000 records suffer from excessive wear since they were played non-stop for long periods of time. And that is why people selling the replacement collections that have little or no wear can demand such high prices. Having pristine records to play in the BMS is very rewarding. I keep pristine styli in the '1000' in order to avoid causing more damage to the grooves.

Unfortunately, the right stylus to use is the original red .5 mil one, and those are rarer than the machines themselves. I managed to find a pair of NOS ones a few weeks ago and am super happy with the quality. They are good for 1000 hours of playing, so I plan on using those hours carefully, recording my collection.

thank-you... with luck my good friend Wade and I will build a plinth (base) for it, probably cherry wood to complement the dark brown chassis. Then I'll add a custom made acrylic dust cover. We've built many plinths for my collection of turntable-record changers.

@@tazience-colvard3850 I have a similar Seeburg knife blade. FYI, watch that the records are appx. the same thickness, and not gapped with a warped record as well. Mine has a bad habit of cracking the records, if they are not perfectly flat.

thank-you... with luck my good friend Wade and I will build a plinth (base) for it, probably cherry wood to complement the dark brown chassis. Then I'll add a custom made acrylic dust cover. We've built many plinths for my collection of turntable-record changers.

1958 through the 1980's

Greetings Jack21Spades! It is quite possible you were hearing one of these. Back then there were many different means of producing and distributing "Background Music". Some like the Seeburg 1000 were leased to businesses such as office buildings, industry, restaurants, department stores and the like. Other means of delivering background music were the automated reel-to-reel systems, although those were typically more expensive. Some radio stations offered the background music service. FM radio stations could transmit the audio on a sub-carrier of their primary signal. People couldn't receive it without a special receiver. The BMS would be transmitted along with whatever their format was that listeners were tuned to. In my studios here at Neighborhood FM, I have numerous examples of those services. Reel-to-reel library's were typically played on PRESTO decks or SCULLY decks because the tape speeds were slower than the standard 7-1/2 or 15 inches-per-second. The slow tape speeds were chosen to provide for longer playing times between reel changes. Although the slower speeds affected the fidelity (frequency response) it was considered an acceptable trade off since the songs were meant for background listening and not foreground like FM broadcasts, records, tape etc. Seeburg launched the Background Music System (BMS) in 1958 with an ugly yet versatile record player for their 'Basic Library'. A year later they introduced the 'Seeburg 1000' Background Music System. The unit bacame known as "The Microwave" because of its resemblance to the early AMANA RADARANGE. The libraries were updated with new records every 3 months with a special library for the Christmas season. By the early-1960s Seeburg added the "MOOD" music and the "INDUSTRIAL" music libraries to appeal to disparate venues. In 1963 Seeburg created the "ENCORE" library. It was tailored to cocktail lounges and restaurants. I'm told that Nat King Cole had one of the ENCORE phonographs in his home for entertaining guests. The ENCORE library featured extended frequency response, a wider groove cut and was the first ever to be referred to as "Foreground Music". Also in 1963, Seeburg introduced the ENCORE phonograph. Sold to customers rather than leased at $695 ($5,636 - 2018). In 1979 the "Basic", "Mood", and "Industrial" libraries were renamed: "Lifestyle", "Penthouse", and "Upbeat" respectively. On December 26th, 1983 the last sets of replacement record sets were issued bearing the replacement record code: R-97. At some time during the late 60s or early 70s, Seeburg licensed ROWE/AMI (manufacturer of jukeboxes et al.) to produce records that would be playable on the Seeburg BMS. I know all of this because I have "accumulated" hundreds of these records. Complete libraries in fact. To that end I have developed internet radio channels of different musical and programming tastes: Neighborhood FM - 4, "1st GOLD Radio"; Neighborhood FM - 5, "GOLD Country"; and. . . Neighborhood FM - 7, "The Big EZ". The latter, "The Big EZ" format incorporates big band and easy-listening with vintage commercial content. The easy-listening libraries are compiled from ALL of the Seeburg, ROWE/AMI, libraries. I created a music rotation that showcases these libraries while avoiding the listener burnout factor. Also using forensic restoration software, I have restored these recordings to 'better-than-new' condition. You're welcome to check the streams. Links are available on the Neighborhood FM - FaceBook page.

@@tazience-colvard3850 Amazing to hear(read) all that knowledge :).

@@retroandrailways6373 Greetings, You're very kind and I'm grateful you put up with my protracted explanations. Happy holidays..!

Greetings Alessandro, this demo is using BASIC library records. I have a complete set of each library. I'm particularly fond of my INDUSTRIAL library since it includes some vocals and tracks with more upbeat selections. I'm preparing to launch an internet radio station that will include SEEBURG library selections along with 1000's of hours of Background Music tracks... MUZAK, Total Service Programming, Longines Symphonette Society, Alto-Fonic, and numerous other libraries from radio stations like: WHDH-FM, Boston. Many radio stations produced their own libraries for automated playback on reel-to-reel machines. Alot of those tapes were produced on 14 inch reels, not easily played on typical machines. I built a transport to play the 14 inch reels in order to ingest the tracks. Here's a video that demos the transport in operation: facebook.com/colvard.tim/videos/vb.100006024996308/344478465762984/?type=2 Thanx for the inquiry, Be Well!

I'm pretty sure it's BASIC.

I love the INDUSTRIAL series the best, too.

Was "I've Got No Strings" in industry library? Would be irony. First, when it is played with piano and strings ensemble and second to people possibly feel like slaves when doing boring jobs.

Well there seems to be a little 120Hz hum between tracks....