FERROGRAPH TAPE RECORDER ACCESSORIES.

So you've bought a new tape recorder? 

Well that's the least of your problems.

Now you'll need

  • Microphone/s

  • Recording Tape

  • Tape Editor

  • Connecting leads

  • Head De-fluxer / Cleaners.

  • Microphone/line Mixer.

Most manufacturers encouraged owners to add to their enjoyment, skill and attainment levels by purchasing those must have accessories. Now it would be called "ADDED VALUE SALE".  Then it was the must have.  Some companies Ferrograph amongst them manufactured or sourced a range of accessories designed to compliment their machines, so you know they will be compatible, and improve performance.  

Here are some of them.

The first requirement for your new recorder, something to record on.  Ferrograph had tape manufactured to their own specification, and each machine was correctly biased to ensure correct frequency response and modulation levels. Spare reels are a must, particularly if you take up tape editing.  These hub-lock do has their name implies lock onto the reel carrier. Being metal they were impervious to heat, and unlike cheaper plastic reels would not warp.

Early tape packaging.

Available in 3 3/4" - 5" - 7" 

& 8 1/4" diameter

On Anodised Hub-lock reels

In Gold or Black.
In 1964, Ferrograph switched to Scotch Low Noise tape. These high output low noise tape types really came into their own with the advent of the Series 7 in 1968 onwards.

Introducing the "PAUSE CONTROL"

The pause control, was introduced with the Series 4. However if you had bought an early model of Ferrograph, Series 3 or below, the replacement front head cover incorporating a pause control would be essential. 

These were designed to operate by either pushing the button on the head cover, or by attaching a Leica type camera remote lead.

 

Above: View under the head cover, shows the steel pin that pushed against the pinch roller lever to operate the pause function

 

Tape Counter Kit

Wearite tape decks,  Series 2 and before, weren't designed to have a tape counter fitted.  

 

 

 A change to the tape deck saw a mounting hole punched into the rear of the deck between the spools.

 

A D.I.Y kit was made available for the keen enthusiast to fit to decks that had been pre-punched ready to accept this add-on device.

  

 

Above: The Counter kit, fitted into a previously punched out deck.
 

Right: The factory fitted model looked much better.

 

 Standard factory fitted counter.
If you wanted to do any live recording a microphone was required.  Ferrograph recommended the Reslo Ribbon Mic, a fine quality Mic, but required a low/high impedance transformer to enable it to match the Ferrograph 

The standard Reslo impedance was 30/50 ohm, the standard Ferrograph Microphone input impedance required 50Kohms.

An advantage of this was that long cables could be used with problems of hum pickup.

 

One answer to the lack of mixing facilities on early Ferrographs

Manufactured by Nusound, a main London Hi Fi Dealer, this simple device provided a passive mixer in an handy portable form.

 

Old and new styles. 

 

 

 

 

 

More modern shape from the 1970's.

 

 

 

 

A De-fluxer was essential to maintain the quality of those tapes and to stop the build up of hiss and noise on your tapes.   

 
If you play tapes more than using your machine to make recordings. The action of the tape passing over the surface of the head will magnetise it. Obviously, this will only be a small amount at each pass, but constant use will cause a build up of magnetism that manifests itself as hiss, and loss of high frequencies. I have come across machines whose magnetised heads have created so much noise it was impossible to hear the sound from the tape. Obviously, this damages your pressure tape library. So use a De-Fluxer.
Ferrograph tape decks were pre-drilled to take the Bib tape splicer.  

This was a handy device to have but totally inadequate when it came to real editing. Mainly used to repair broken tapes or add a leader tape. 

The only real splicer was the EMI EDITALL 

Editing Block.

 

 The EMI editing block was the tool to use if you were at all serious about professional tape editing. The design was the work of Canadian broadcaster Joel Tall, hence the name. Simple no clamps, just perfect results every time.

 

EMI EDITALL SPLICING BLOCK.

Voice Operated Switch.

Mainly aimed at industrial scientific users.

 

 

Above: A voice operated switch could be attached to the Ferrograph. This allowed the machine to start recording when sounds above a certain threshold level were detected. 

It plugged into the AUX socket, on early machines this socket was on the front panel, removing the right hand control knob reveals this, on later machines this socket was located on the rear mains panel.

Endless Loop Cassette.

The Endless Loop Cassette. Was used to provide continuous playback of messages.

Up to 4 min @ 7 1/2 inches/ sec.

Again, mainly aimed at business users.

Moving abroad, this replacement pulley converted the capstan motor to work on 60 Hz supplies. 

It still needed a mains transformer to provide 110V.

 

Some "YD" series machines incorporated a dual diameter motor pulley, and for 60 Hz operation the pulley was moved to align the idlers with the correct section of the pulley.

 

 

This is a Type "B" balanced GPO connector. 

Tip, Ring  & Sleeve.

Type "B" plugs had smaller tip sizes and were designed to match GPO exchange boards.

Used with the YD machines for their 600 ohm inputs / outputs.

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