Category:Mid High Fidelity (most Japanese recorders fall into this category)
Country of Manufacture:United Kingdom
Release dates: -
Speeds: 3 3/4, 7 1/2, 15
Max Reel Size("): 10.5"
Number of heads: 3
Dimension: 16¾ . x 17½ x 10)" (425 x 445 x 254mm)
Head Composition: Permalloy
Head Configuration: Stereo
# Motors: 3
Voltage(s): 110-120v, 220-240v
Frequency Response:15 ips: 25Hz - 20 kHz (2 dB) 7½ ips: 20Hz - 20 kHz 3¾ ips: 30Kz - 15 khZ
Wow and Flutter:0.06% at 15 ips. 0.12% at 7½ ips. 0.15% at 3¾ ips
Signal-to-Noise Ratio:57 dB at 15 ips. 56 dB at 7½ ips. 5 dB at 3¾ ips
Sound quality rating:7 / 10
Long-term reliability rating: 5 / 10
Noise Reduction: Dolby B
Weight: 49½ lbs (22.5 kg)
First released in late 1968, this recorder was sold in many variants well into 1974, with the D (Dolby) variant introduced in 1972. This version has the honour of being the first reel to reel recorder to incorporate the Dolby B noise reduction system but it was this series, the series seven that was to mark the beginning of the end for Ferrograph.
The late 1960s saw the introduction of more competition from the Continent and Japan. Akai, Teac, Sony and Revox spring to mind, their recorders having the advantage of up-to-date styling and features. Vertical operation became the buzz word. Ferrograph entered this new era by developing the Series 7, which on paper seemed to address all the shortcomings of earlier machines. Vertical operation, variable bias & rewind were just some of these, and of course the new models were all solid state devices.
But the reputation built up over 20 years was badly dented by the problems which beset this new addition. Reliability issues became a problem for the company for the first time in its history. Excessive head wear Was noticeable fairly immediately with customers returning their decks after three months. They also had faults with the auto-stop switch, and most importantly, the fact that the machine, far from being a brand new mechanical design, had been cobbled together in about six months in a desperate attempt to get it on the market on time.
Of course, Ferrograph quickly addressed all the reliability problems, but not before they had paid the cost.
All that being said, after all these years, the seven when restored is a very good sounding machine and often the pinch roller should be rebuilt and capacitor replacements are recommended as well.
By 1972 they had re-worked the Series 7, added Dolby B noise reduction and dubbed it “mk II”.
Crosstalk (‘0’ VU 1kHz): 47 dB at all speeds / Harmonic distortion: 2% at all speeds, 1kHz at ‘0’ VU / Fast wind speed: continuously variable in both directions, less than 1 min. for 1200ft / Amplifier output: 10 watts RMS per channel / Amplifier distortion: less than 0.25% up to 10 watts RMS / Inputs: microphone: 30µV – 15mV at 10 Kohms line: 50mV – 10V at 10 Kohms / Outputs: 600 ohm line: 2V at 600 ohm low level: 300mV into 10 Kohm or greater external speaker: up to 10 watts R.M.S. into 8 – 16 ohms / Speaker(s): two elliptical 7″ x 4″ (18 cm x 10 cm)