Although, it was often said that Ferrographs hardly changed in style.

Vortexions changed even less.

Early mono models were simply known as  WVA normal 2 head machine or  WVB with separate replay head allowing direct monitoring from tape whilst recording.

CBL.-Stereo which was basically a WVB with an additional amp module added to create a stereo version . 

WVA &  WVB had the Ferrograph deck type number added to the letters to denote the model. e.g. WVA & WVB 2-6 and CBL 5-7

A mark one Vortexion tape recorder appeared for sale in 1951

Vortexion models were often bought 

as a second machine by Ferrograph owners, as they felt at ease due to the use of the familiar tape deck mechanism.

But also for the extra features like variable bias and low impedance balanced microphone inputs.  

An engineer at their Melton Mowbray laboratories is shown taping the noise of a high speed routing machine on to a Vortexion recorder

Although these machines were advertised as above, they were never recommended for vertical operation. 

Vortexion WVB4

Similar features to the WVA models, but with the addition of a third head for off tape monitoring.  

The design of the record/play amplifier, made small control knobs necessary, and as a result the amp panel on WVB models looked cramped.  

However, this was a small price to pay for the added versatility of this machine.

Vortexion CBL6

Rated has one of the finest stereo tape recorders made. 

Its modular construction consisted of the Wearite deck and two independent record/play amplifiers.

Their machines provided excellent facilities for the creative recording enthusiast.  

Including variable bias and erase. 

Low impedance balanced microphone inputs (30 ohm) which allowed long microphone leads without hum or loss of high frequencies.

The meter could be used to set the bias level, but had too fast a rise time to accurately judge the recording level. Which made it more difficult to achieve matching levels between tapes

The width of the machine made watching stereo levels a little awkward.

Due to download time for download, this image as been reduced in size, but still shows the machine is in excellent condition. 

Picture: 

Courtesy of Bob Marriott.

A rare sight. This is the first sighting of this model for many enthusiasts, few if any were thought to have been produced.

This model was rescued off Ebay in November 2007,by Tape Recording Enthusiast Bob Marriott. Although in rather poor condition, after refurbishment to full working order.  

Details of this model are given by Bob Marriott as follows.

Manufactured 1968
Speeds: 1&7/8. 3&3/4. 7.5 i.p.s
Amp. 10 Watts 8-16 ohms @ 0.1 % Distortion. frequency response. 7.5 i.p.s. 30-20,000Hz +/- 3dB.
Full Monitoring
Provision for remote control
The deck spec. is same as Ferrograph.

Looks much better than the CBL7, none of which seem to have come to light yet, although at least one must have been produced in order to advertise it. 

Vortexion CBL7 utilising the original Ferrograph Series 7 tape deck. 

Very few, if any sold, .

Although, if you have one do let me know.

PICTURE COURTESY 

MIKE CROSS

VORTEXION FADE ERASER.

This simple unit was a boon to the creative recording enthusiast.

It consisted of a Rheostat 25W rating, housed in a small metal case with just a on indicator light and a large control knob, of the type used on mixers of that time.

The unit connects to the Bias / Erase link on the Vortexion / Ferrograph valve recorders, and allows over-dubbing another recording onto an existing program.

It worked by controlling the amount of erase bias to the erase head, the original tape would be recorded and then loaded up again, and the Fade Eraser into the Erase bias socket on the rear panel of the Ferrograph, the side panel on the Vortexion. With the control fully anti-clockwise the recorder can then be put into the record mode and the tape run, usually better with 3 head machines then the actual effect can be monitored and controlled.

I used this type of unit to produce a documentary tape in the late 1960's, and won the Radio Merseyside tape contest. Judges comments praised the mixing qualities of the tape.

No mixer was in fact used. Shows what a good job this device could do.

The large knurled control knob, gave excellent control of the function.

Right:  A small passive mixer for use with Vortexion and Ferrograph recorders. Typical superb Vortexion build quality.

PICTURES COURTESY 

MIKE CROSS

 Side View showing inputs

  a single output

socket is on the other end panel.

Left: 

Vortexion Record / Equaliser.

Another neat little device that allowed both volume control and treble lift & cut, this was really needed when this was first produced, since the majority of records in those days were 78 rpm shellac.

Picture courtesy of Mike Cross.

4 Way electronic microphone mixer, balanced inputs, mains powered. Used for location recording as well as public address duties.

A 2+2 stereo microphone mixer, with master volume control. Balanced inputs.

Mono 3 input microphone mixer, with PPM metering. Excellent quality.

Vortexion Public Address amplifier, found in many clubs and pubs, theatres etc. Very reliable.

This Vortexion Record / Play amplifier was very illusive, and it was rarely advertised.

It allowed enthusiasts to add their own choice of tape deck in order to make their own customised machine.

Although the only one's I have ever seen in print, have always included a Wearite deck.