Dating early machines:

Apart from an early serial number, one way of dating Series 7's is that the very early versions didn't have illuminated VU meters, this oversight was only remedied in 1971.

Matching the source and tape volume levels:

When the first Series 7's went on sale, a common complaint from users was that the signal off the tape always seemed different when  compared to the source.  Unfortunately, they had not read the manual carefully enough.

All  Series 7's and subsequent models had three heads, allowing  monitoring off tape.  

Unlike the previous range, were only the 420, 632 & 633 had this feature.  So many Ferrograph enthusiasts upgrading from an earlier range, would be unaware of this feature, or its implications.

So why do we need to match levels?

Well apart from the obvious nuisance of the levels fluctuating whenever we switch from source to tape, and the dash to turn down the volume.  It is impossible to make value judgments about the quality of your recordings.

How could this affect you?

Take a situation were, on switching from source to tape, the levels suddenly increase in volume.

• If you are listening on headphones at the time, it could damage your hearing.

• It may result in you turning down the recording level rather than the output, which may cause you to under 

• record, thereby increasing hiss and reducing the level of modulation on the tape.

• It would not allow accurate comparison between source and tape, because the tape would always sound louder, brighter and have more bass response.

On the other hand if on switching from source to tape the signal was much lower.

• It could result in you trying to compensate by increasing the recording level, causing overload and distortion.

• Overloading the tape can also increase the incidence of cross-talk between tracks, and make it difficult to erase the tape when you want to record over it. 

• It also increases the likelihood of "Print through" which results in a pre-echo effect being superimposed on the recordings from adjacent tape layers whilst the tape is being stored.

• The results from tape, would sound dull and lacking any high frequencies, making it impossible to determine the quality of the recordings. 

Where do we adjust these levels?

Under the front flap, on the Series 7, there are some small recessed screwdriver operated pre-sets marked as "A" and "B".  These are for adjusting the relative output levels of the signal when coming from either source (input) or tape (output).

The only way of monitoring a recording is to have the signals you are comparing matched in loudness.  Otherwise the results are misleading.

Setting Up:  To set up the recorder for accurate monitoring off tape.

Feed a signal into the recorder and switch to "Record" put the monitoring switch to source and adjust the recording level controls to achieve a good level of signal.

Start the tape recording and then switch to the "Off tape" position, if the level seems less increase it by turning the "A" pre-set for each track until when switching between source and tape the level seems the same. Alternatively, if the level off tape is too loud in comparison reduce it by turning the "A" pre-set anticlockwise.  Watch the meters when making adjustments as the meters reflect the levels in each switch position.

Adjust the "A" controls until the meters and /or your ears, indicate the same relative levels.

If your machine has Dolby noise reduction then accurate recording levels are even more necessary.

One other tip, the pre-set "A" also controls the output level of the "Low Level" outputs on the rear panel. So if you are using these outputs to feed another recorder for dubbing, or trying to match into an amplifier then these are useful.  However, be sure to readjust them as described above to maintain an accurate monitoring level.

Punch In / Out.

Unlike previous Ferrograph, the electronic design was far advanced.  One thing that could be achieved with the Series 7, Super 75 and Logic 7 was that of dropping into record "On the Fly".

This is the ability to go directly into record from play mode without stopping the tape, useful for replacing a faulty section of recording by re-recording it.  This is achieved by the design of the Record Ready Switch just behind the head cover.

With the track you want re record on selected and levels set, place the tape into record mode on the track switches, and then playback the tape up to the point that the new recording needs to start and at that point press "RECORD". 

The machine will go into record and the old material replaced by the new.  When the appropriate piece has been recorded switch off "RECORD" without stopping the tape. This technique takes a bit of practice but can be done without a gap being left at the entry and exit positions.

Adjusting Tape Height.

The previous valve recorders had adjustable bobbin guides to allow the tape height to be adjusted to ensure that the tape runs true between the flanges of the tape reels.  On the Series 7 these guides have been replaced by the option to adjust the actual physical height of the reel turntables. This is adjusted by the use of a small screwdriver turning the height screw, which is below the reels on the gray sub-plate.

The reason we want to adjust the tape height is to avoid the tape catching on the reel flanges causing noise and ultimately causing oxide to flake of the edge of the tape resulting in a greater incidence of drop-out. 

NOTE: If you find it impossible to adjust the tape height without it catching on the flanges, it probably means that the reel in question is warped too much.  In the case of plastic reels, throw it away, it's only damaging your valuable tapes.  If it is a Ferrograph Metal Hub-lock, take it apart and straighten it out.  See Hub-lock reels

The other reason is to ensure that the tape is wound onto the take-up reel smoothly and firmly, so that the tape already wound onto the reel is smooth and not feathered.  Again this ensures longer tape life, reduction in "dropout" problems and less damage to the tape .

To be continued……