Ampex VPR80

The VPR-80 - Video Production Recorder for the 1980's - was a 'low cost' third generation C
Format machine. (It is shown here with a pair of TBC-6's with remote contol panel, a pair of
Dolby 361's, mounted in a rather nice Knur half rack trolly.)

While highly successful, the 1-inch C Format had in fact started rather modestly with the 'tuning
up' of the old industrial Ampex 'A' Format layout. But like most things, subsequent generations of
broadcast helical video recorders were getting increasingly complex and expensive. Previously
to the arrival of the VPR-80, Ampex had introduced one of the most elaborate and sophisticated
video recorders ever; the VPR-3. That machine strongly drew on their experience with high
speed computer tape transports, and had a very advanced transport of unrivalled tape handling
abilities. It was though a large and very expensive machine and actually approached the cost and
complexity of a quadruplex recorder. However, despite the availbility of new 'bells and wistles'
many studios had been quite happy to just stick with the comparatively agricultural and basic
first generation machines such as the VPR-2. They just wanted (needed) simple and cost
effective 'workhorse' replacements. This was to be the VPR-80's market, though at around
Ł20,000 a copy (1980's Ł's), everything is relative.

Lacking the air bearings, confidence replay and the various bells and whistles of the VPR-3, the
VPR-80 did though have some advances of its own. Though to keep cost down it only had a
single video record / replay head. This meant no instant off-tape replay to check if there were
any recording problems. But in the post production environment with known good tapes this was
not a too serious problem, and It did though have most of the slow and stop motion ability of the
previous machines (using the Ampex A.S.T. system). The main advances with the VPR-80 was
the use of microprocessors in the control and servo systems, advanced for the time (unique?)
inbuilt diagnostics, and the use of rugged power MOSFETS in the various DC motor drive
amplifiers.

Digitizing many of this recorder's systems was apparently actually part of a cost saving strategy
which also brought other advantages. Certainly the machine was appreciably different in feel and
reaction time to the older more mechanical machines. Much quicker and 'certain' in its action,
with a clever diagnostic 'brain' that would warn the user of any non-standard conditions or
internal problems. (Does your video / DVD warn you if the mains are a bit high, or that it has an
internal fault, or that it is not getting proper input signals? Does your video self-optimize its
playback characteristics frame by frame? This thing does.) It did though require maintenance
engineers that understood digital 'noughts and ones', so Ampex went to some lengths to help
service engineers not used to delving about with microprocessors, by including a clever self-
diagnostic system that by means of an attached probe and use of the front panel display, could
track down things such as individual faulty chips. Quite impressive, but because the electronics
of these machines was so very complicated in the first place, many people actually preferred the
earlier more simple recorders! So these late C Format recorders became well liked by the
maintenance engineers, as they kept them in their jobs! Sony machines were by contrast not well
known at all by the engineers, because of course they never had to touch them...

Complex 'new fangled' and rather inclined to throw tantrums in old age, these later Ampex
machines were never as well liked as the 'good old' basic VPR-2, which could be fixed with a
scope, soldering iron and probably a crowbar. My own VPR-80 has had some tantrums of its
own, though these days it seems happy and docile enough. I am though fortunate in having many
spare parts for it, but more importantly, I don't have to rely on it for a living. Actually this
machine only gets powered up for a few minutes once a month, but even that at times can prove
'interesting'...