Elac Miracord Benjamin Stereo 1046 Audiophile Collector Turntable Receiver RARE. Vtg ELAC MIRACORD 50 H Automatic FACTORY MANUAL TurnTable Record Changer NICE.
ELAC Miracord 50 Turntable, Glossy Black with Silver Base (MRC501-GB). Audio-Technica AT-LP7 Fully Manual Belt-Drive Turntable. 13.46 x 16.30 x 4.13 inches.

It is a low end table but there are worse ones out there. It could be a good start to get into vinyl. The problem with the low end tables is that they have loose bearings and don't retrieve the information as well as they should and the cartridge isn't held in the perfect relationship to the groove like it should be. This results in mistracking and heavier wear to the records. If you wish to continue in vinyl, then you should upgrade ASAP in order to save your record collection from the high frequency 'lathing' that occurs with the low end turntable systems. At the level of the Miracord, it is questionable whether it will sound any better than CD.IMHO.

THE DECLINE AND FALL OF THE RECORD CHANGER

The Miracord 90 Anniversary is an aesthetic masterpiece that complements contemporary interiors and pays homage to the classic turntable design of ELAC’s original Miracord. It is available in three combinations: black base with gloss white plinth, silver base with gloss black plinth, and black base with oiled walnut plinth.

Purists shunned the record changer because of (now mostly unfounded) fears that record changers would still damage their records. So, many manufacturers turned to making automatics that also played records singly with a short spindle. The size-sensing devices that worked so well up to this point failed to set the stylus correctly on a single record on the turntable. Only Dual's 1006 and 1008, the Philips with the drop feeler and repeat-size control, and some of the shelf-type changers could get the size right for single play. So most changer manufacturers abandoned intermix indexing in favor of automatic single play. They also chose designs that left the turntable without devices for automatic play getting in the way of playing the single record, and shortened their spindles, from holding 10 or 12 records in a stack, to holding only 5 or 6:

ELAC Miracord was the first to go, in 1960, with the PW-10 and PW-50. These units were made with an umbrella spindle, and four pushbuttons, for 7' START, 10' START, 12' START, and STOP (STOP returned the arm and shut the changer off without dropping a record). One nasty habit this changer had was snatching the arm out of your hand as you picked it up from the restpost, and throwing it toward the center of the record. ELAC never got rid of this problem. One question I have is: Why didn't they include the automatic size selection found in their PW-161? It would have added to the functionality without adding to the price. The pushbuttons would be START, 10' SINGLE, 12' SINGLE, and STOP. Dual was next. In 1961, Dual produced the 1007, an umbrella changer with a size switch with 4 sizes on it - 7', 8', 10', and 12'. But it still produced the 1006 at the same time. In 1964, Dual made the 1009, abandoning 1006 (with an index that could already do automatic single play) for a changer with a 7' 10' 12' size switch. But Dual kept the other features of the 1006, except the repeat button, and added a fully balanced arm. After 1966, Dual put size switches on all of its changers. Garrard, on the other hand, added single play spindles, but otherwise left their A series and their AT series alone, in 1964. The AT changers could be persuaded to set down automatically on the correct size if you knew where to position the overarm during the change cycle. But you then had to lower the overarm while the record was playing, or part of the record would repeat. Garrard also changed their overarm 45 spindles from a spindle slicer to a pusher spindle with one slicer blade instead of a latch.
Garrard introduced the Lab-80 in 1964. This was their only changer with an umbrella spindle. But even this still used the pusher principle, because there was only one wedge in the spindle, and it pushed all of the records except the bottom one to one side before it wedged them to the spindle. This allowed a weaker wedge to be used, one gentler on the records. Lab-80 was the first record changer with a cue control. But Lab-80 played at only 33 and 45, and it used a record-size switch. It also had no safety drive, and the arm could not be placed on the restpost by hand after it was automatically positioned on a record. The A-70, an upgrade of the A MkII, also had this problem. In 1964, BSR shortened their spindles so they held only 6 records, but they retained the drop feeler intermix index. They also introduced those crummy flat large-hole spindles at this time. By 1965, Webcor, Luxor, Philco, and many other changer manufacturers had disappeared from the market. V-M, GE, Silvertone, and RCA were the only US manufacturers of record changers left. GE bought Glaser-Steers in 1965.	Garrard Lab-80
In 1965, Silvertone switched from a Collaro-type drop feeler to a semaphore, and shortened its spindle to hold only 6 records. Singer started selling compacts containing the Silvertone changer. They also started using flat large-hole spindles then. GE continued to produce the Glaser-Steers basic design for a few years, but without the Speedminder. In 1966, Collaro (now in its guise as Magnavox) modified its arm-scan index so it became a 3-size changer instead of a changer able to index odd sizes. Amazingly, it continued to produce this basic changer design until it stopped making record changers in 1993. The only major changes in later years were the addition of the cue control in 1970, and making the spindle removable and supplying a short spindle in 1972. They even kept the 10-record capacity throughout.
In 1966, Dual and Miracord added cue controls to their record changers. Although the Dual 1019 (1967, pictured at right) had a record-size switch, it also had one of the best arms ever made on a record changer. Both companies stopped making their intermix changers at the same time. The next to fall was BSR (in 1967). They replaced the drop feeler with a size switch in all but the mini-changer, which used V-M Tri-O-Matic-style feelers. All BSR changers at this point used overarms. In 1967, Garrard replaced their top of the line changers with the SL-95 and SL-75, a rather appalling pair of units with rather limited record changing ability. A speed-size switch selected 12', 10', or 7' 33-RPM records, 7' 45-RPM records, or 12' 78-RPM records. Notice that the 10' 78 was omitted, even though there are more 10' 78s than 12' 78s. The movable pusher shelf was replaced with a fixed shelf, which could work only with 12' records, and the record pusher was moved to the spindle. That meant that these changers could change only 12' 33s and 12' 78s, plus 7' 45s if you bought the large-hole spindle. These could hold only 6 records. A later version of this fixed-shelf-type changer, the SL-72 is shown below to the right. The record pusher moved backwards against the record hole, to check for record presence for automatic shutoff purposes. Garrard left the AT-series alone, at this time, except for a change to a synchronous motor, the addition of cue controls, and renaming the AT-50 to SL-55 and the AT-60 to SL-65. No Garrard ever made could hold more than 8 records, so they didn't shorten their spindles at this time.	Dual 1019 BSR 800
In 1967, although they kept the Tri-O-Matic design, V-M shortened their spindles to hold only 6 records, and introduced flat large-hole spindles. In 1968, RCA and GE abandoned their intermix indexes and switched to making record changers with size switches. They also shortened the spindles so they could hold only 6 records. But neither made their spindles removable. Both started using offset flat large-hole spindles with no moving parts in them at this time. In 1969, Garrard removed the semaphores from their overarm changers, and changed to a speed-size switch, dropping the 16-RPM speed. The new versions could play only 12', or 7' 33-RPM, 7' 45-RPM, or 10' 78-RPM records. This time, they left out the 12' 78 and 10' 33. They also came up with a goofy way of moving the overarm to the rear for single play. But their shelf-type changers still provided the earlier combination of speeds and sizes. Maybe you were supposed to buy the shelf-type if you were into classical music or '50s popular music, or the overarm-type if you were into popular music of the '40s or '60s. The fixed-shelf-type SL-72B is shown at right.
In 1969, most compact stereo makers had switched from the V-M Tri-O-M

Elac Miracord 46 Manual Muscle