The aim of these new models was to bolster a flagging market and regain the sales lost to the likes of Revox, Akai, Teac & Sony to name but a few.
The first need was to enable vertical operation, something that seemed to attract enthusiasts who aspired towards professional standards.
To find out if they succeeded read on.
With the Series 7, Ferrograph introduced quarter track models, the only quarter track recorder before that had been the 634, although the 424 had quarter track playback only.. Although in the 50's & 60's they were adamant that they would not do this, which just shows what market competition will bring about.
The unrivalled reputation enjoyed throughout the world today by Ferrograph is the direct result of this wise and logical policy.
We have no intention of introducing features into the Ferrograph for the purpose of competing with the gramophone. We believe that such developments as ultra-slow tape speeds, very narrow tracks and suchlike are "gimmicks" that could, at the present state of the art, lead to a general lowering of performance standards in tape recording.
We at Ferrograph refuse to make any such compromise with quality as would be inevitable.
Those who choose the Ferrograph do so because their quest is for High Fidelity-not longer playing time. We aim to give it to them without sacrificing any of the proved features that Ferrograph engineers have developed over the years - without recourse to extreme pre-emphasis, hum-bucking, short-life narrow head gap heads or similar artifacts.
Malcolm Hill, designer of the electronics for the Series 7 explains some of the excellent features he had incorporated into the machine.
Including:
- Variable Bias
- Variable wind / rewind
- Sound on Sound recording
- Echo facilities
- Ability to match input / output levels for correct monitoring of the recording.
The new range had models to suit most needs.
Mono- Full, Half Track
Stereo- Half & Quarter Track.
Low Speed / High Speed
Tape Deck, or Portable Recorder
With and without power stages.
With or without Dolby Noise Reduction.
This optimism was misplaced, the first version of the new range proved to be a disaster, and virtually overnight the hard earned company reputation was in tatters.
Apart from being unreliable it had several design faults.
Early models were lacking basic sensible features and were unreliable, unknown in previous models:-
- Meters not illuminated
- No Record Safety Lock switch
- No indication of which channel was selected for record
- Auto-stop, ineffective.
- Tape Counter, could jam and cause the take-up reel to jam, auto-stop failed to stop the machine in these circumstances
- Ferrograph changed the counter drive from cable to belt drive to help overcome the above problem
- On fast wind and rewind the tape rubbed on the edge of the head cover assembly, causing oxide shedding, which contributed to the fact that the heads seemed to be clogged with tape oxide very quickly.
In addition, heads, particularly quarter track models had a very short lifetime, with some owners complaining of severe head wear being apparent after only 4 months of normal use. Contrast this with the longevity of heads on the original models some of which were going strong 50 years on.
The head cover problem, Record Safety Lock and illuminated meter problems were finally sorted in late 1971.
Of course a further problem which was not known at that time was the short lifetime of the neoprene material used for pinch-wheel and idlers.
A problem that plagues current owners of these models including Super 75 & Logic 7, and makes buying secondhand a problem. See the Neoprene Problem
The new main control, lighter in operation and less noisy.
Although the Series 7
was launched has a new machine, this was only really true of the electronics section.
Mechanically, although updated operationally, much of the drive mechanism design were taken from the older Wearite deck design, e.g. The capstan drive system and idlers. Although the heavy steel deck plate was replaced by a die-cast chassis, and the flywheel though still massive wasn't the same diameter, but was stepped down in actual size from top to bottom..
Variable Speed Wind / Rewind.
One of the most useful of the Series 7's new features was the ability to control the wind time. It was particularly useful if editing. Also shown the new Auto-stop lever, this initially proved very troublesome. But was sorted fairly quickly.
Above: Other Useful Features.
For each channel there were separate tape / source switches, bass & treble controls, the tone controls also affected the low level outputs and was useful for modifying the tone of a recording e.g. bass cut, when dubbing from one machine to another..
The "A" was screw adjustment that allowed the user to match up the record and play levels so that monitoring off the tape would be accurate. See Hints & Tips Series 7
Also shown in this illustration the MPX (Multiplex) filter switch. This applied to Dolby machines and was to filter out the 19 kHz pilot tone signal from stereo tuners, so that it would not be mistaken as a wanted signal by the Dolby circuits.
It was also incorporated into some machines to stop the 19 kHz pilot tone from beating with the bias oscillator circuit, causing an unwanted recording of the difference tone being superimposed on the wanted recording.
One feature not welcomed by Ferrograph enthusiasts was the retention of the pressure pads.
Pressure Pads.
It was felt that this new design should have done away with the need for these, especially since many of Ferrographs competitors didn't use them.
VU Meters.
Another disappointment was the introduction of the VU meter, with true VU characteristics. This was a retrograde step and was certainly one of the features that Series 2-6 owners complained about.
Compared to the older metering system it was a disaster. Matching record levels between separate sessions was a nightmare, with many users not being aware of their inability to indicate peaks.
Ferrograph always renowned for longevity and reliability took a serious blow to their hard earned reputation when after only a few months use, heads were in need of replacement. Never been known before.
Tape Head Wear & Tear.
The main problem was centered around the quarter track machines, and may have been because up to this model Ferrograph had never before made a quarter track recorder. Had always said that they would not do so.
Although the problem was solved fairly quickly, the damage had been done. Many enthusiasts went over to the competition, Brenell, Revox, Teac & Akai.
Model
Mono/
Stereo
Output
R.M.S
Tape Speeds
I.P.S.