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All I have done so far is vacuum some dust bunnies out from underneath it, and clean the ink off of the platen with some isopropyl alcohol and a soft cloth. It's in nice shape and I haven't found any issues with it. Once I get the feet, I will be using it quite a bit.
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Uwe wrote:
Fleetwing wrote:
Nope, no serial number that I can see. Maybe it's blocked behind the shell, but as noted above, that wouldn't make sense.
Given your experience, if you can't find one it's possible that there isn't one. I've read reports from a number of collectors who couldn't find a serial number on their Studio 46 either. I'm sure there's an explanation for this. Could it be that Olivetti used serial number stickers like can be found on some Japanese machines for some of the Studio 46 production run? Could those stickers - if that was the case - have been removed or fallen off over the years? Could the fact it was made in Spain have any bearing on all of this?
You may be spot on here -- I believe there's a rectangular indentation in the middle of the bottom plate that's about the right aspect ratio for a serial number sticker. Might have fallen off; there's no residue of an adhesive, though.
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Guess what -- I found the serial number. It was stamped underneath the carriage, on the right side of the machine, on the outside of a frame piece that attaches to the rear frame. Slide the carriage to the left and hold the right side of the machine close to a good light source, and you should see it in a cutout of the body shell, right behind the carriage track. 2561684 -- no idea what year that would be, though I'm guessing later 1970s.
Finally got to type with it some, and it has a surprising and welcome refinement to it -- there is a tabulator brake mechanism. Very smooth, and something I'm used to finding only on Olympia portables. It has power spacing too, which is a "nice to have" also. Seems like a quality typewriter -- heavier duty than an SMC Classic or Galaxie, or Royal Safari, to name two roughly contemporaneous machines.
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I'll bet all of those who couldn't find a number weren't as persistent as you. Good information, and it makes far more sense than my sticker theory...
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My most recent acquisition looks a lot like a couple from the previous page here: it's a '65 Olympia SM-9 De Luxe in really nice shape, with an 11 CPI Senatorial font. Everything functions perfectly; it is, of course, a very smooth machine. The case is a little dirty on the outside but everything inside is fine.
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Nobody wanted to buy this Erika 5, so the owner offered it for free. The typewriter looked not used for decades and the drawband was loose.
I am not familair with this old Erika models, but since it was free it looked like an interesting project to me. After I picked up the typewriter I soon discovered it was working quite well, apart from the loose drawband and one key with a bent lever and a missing spring.
While fixing the drawband-issue I broke the bolt that keeps the spring motor attached to the typewriter. It was nothing short of a blunder. I was so dissapointed, I almost gave up. Before quitting, I tested the machine one more time, 'hand powered', by pulling the carriage. It had so much life in it, the touch was amazingly good. So I deceided to continue.
I cleaned the machine, repaired the not working key and installed a Traveller spring motor as temporary solution.
I have not used the machine extensively, but my first impression is good. For such an old, abondoned typewriter, I find it amazing how well it types.
It is a true portable, it has roughly the same size as a Rocket, except for the height. I think the Model S is the basic version of the Model M. Interestingly it does have a ribbon selector, but no dead keys. For making accents you have to use the backspace. The provision for dead keys is present in the escapement, but the required levers and axles are omitted.
The carriage is very smooth, and the platen has still a tiny bit of life in it. The keyboard is rather unusual, probably custom built and afterwards modified for Dutch.
This is my first 'old' typewriter with black finish and glass key tops. I did not know these machines are so beautiful. I think it's hard to catch this typewriters grace on pictures. The paint is not really black, it is extremely dark red-brown. You only see this in bright sunlight.
What a refreshing, inspiring find.
Lau
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I am so happy with my new Triumph Gabriele E. This is my 4th Triumph/Adler portable, and I really start to wonder why the Olympia SM range is so popular. Does it have to do with availability?
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Laurenz van Gaalen wrote:
... I really start to wonder why the Olympia SM range is so popular. Does it have to do with availability?
I can only comment on the North American market, but Olympia was definitely far better represented here than all of the other European brands. Olympia had for a period of time an assembly plant in Toronto - no doubt to circumvent import costs. I'm willing to bet that Olympia also had the strongest global presence of all the European companies.
Of course none of that would have been the case if it didn't manufacture high-quality typewriters. I really love my Triumph/Adler models too, but would I consider them better than their Olympia counterparts? Probably not. Equal, perhaps, depending on the model.
Now that you have a Gabriele, you absolutely have to get a Matura too.
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Thanks, I did not know all these facts about Olympia.
Maybe I start a new tread about Olympia vs Triumph/Adler. I have a strong opinion about it, but others too I think.
Matura's are pretty common here, I will keep your advice in mind.
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Just got a Smith-Corona Silent Super with all green keys. It's on the way right now. Last week I found an Underwood-Olivetti Lettera 22 for a couple bucks. It may be a parts machine but everything works. Just one part of the metal case is broken where it attaches to the chassis. I may be able to JB Weld it and keep the typewriter as a user.
Phil Forrest