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Kyoto S600 8-Track Player

La Pavoni Espresso Machine

Le Parfait Picture Frame Radio

Macarthys Surgical AM Radio

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Mohawk Chief Tape Recorder

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MPMan MP-F20 MP3 Player

Music Man Talking Radio

Mystery Microphone



Widget Of The Week

Philips N1500 VCR Home Video Recorder, 1972

Innovative, historic, revolutionary, pioneering: all words that accurately describe the Philips N1500 video cassette recorder. But to that list we can also add things like forgotton, ignored, idiosyncratic and downright scary; the latter comes from my personal experiences, having been on the wrong side on several of them over the years. But let’s focus on this very special machine’s place in the brief history of modern technology. It was, quite simply, the very first home video recorder. It introduced the world to the delights of watching one TV channel whilst recording another, automated time-shifting, ad-skipping, the acronym VCR and as far as I’m aware, it was the first and only home video recorder to be partially made of wood. It’s also has the distinction of being the heaviest item featured, so far, in dustygizmos.


So where to begin? Well, it’s important to put the date of its arrival in  to context. It was in 1972, just three years after the first moon landing and the year of such notable events as the miner’s strike and the Watergate scandal. We bopped and grooved to ABBA and Led Zeppelin, watched The Godfather and Diamonds are Forever, lusted after digital watches and were amazed by video arcade games like Pong. In other words to most people under 30, with good memories, who think video cassette recorders came and went with VHS, it was a very long time ago.


In the UK and most other countries there were just a small handful of broadcast TV channels, so the facility to record programmes really wasn’t a big deal, but that wasn’t what drove Philips to take the monumental risk of developing a consumer video recorder. They could see the future and were well aware that the Japanese were busily working on the technology; the race to create a format that could be adopted around the world was on. The Japanese had a head start and Sony was leading the pack with its cassette-based U-Matic system. This was first seen in prototype form in 1969 and it went into production in 1970. Although U-Matic was a bulky professional video recording format, it didn’t take much imagination to see that a more compact consumer-friendly version wasn’t far off.


However, Philips beat them all and there is no getting away from it, the N1500 was a remarkable achievement but now, with the benefit of hindsight, it does feel under developed and rushed into production. In fact it was only around for a year or so before newer, more refined versions appeared, to fix the multitude of glitches and flaws that sadly plagued the first generation of VCRs. But all that was still to come. The N1500 was the first and it triggered the home video recorder revolution with a range of features that became a standard for almost all VCRs for more than a decade. They included a front panel clock with an ‘event’ timer, which you can see on the right of the front panel. And yes, it looks like the type of mechanical clock/timer that used to be fitted to cookers, because that’s precisely what it is. It’s also fairly crude in the way it works because it only turns the power on and off at pre-set times so the machine has to be left in the record mode for it to work. It has a 6-channel tuner, piano key controls, a tape counter, top-loading cassette holder, RF modulator with aerial bypass, audio and video outputs, tracking control and so on, all of which would become familiar to future home video recorder owners.


One thing didn’t make the cut, though, and that was the idiosyncratic tape cassette. Philips abandoned the traditional side-by-side or ‘tandem’ reel layout, which they successfully pioneered with the audio Compact Cassette a decade earlier. Instead they went for stacked or ‘co-axial’ reels, one on top of the other. There is a slim technical argument for this arrangement. Video signals contain a lot of information, compared with audio recordings and there are only two ways to squeeze them onto magnetic tape. The first is to run the tape past a stationary recording head at ridiculously high speed, which would require a vast amount of tape on mammoth reels. The second method is to run the tape slowly but make the head move quickly by mounting it on a spinning drum. This means recordings will be laid down on the tape as a series of short slanted tracks and the co-axial layout means the deck mechanism can be made small enough to fit into a living-room friendly sized box. However, this was more than offset by the increased complexity of the transport mechanism and the stresses and strains it puts on the tape, which resulted in very serious wear, reliability and quality problems.


Ultimately the design of the cassette contributed to the demise of the Philips VCR format but that was only one of a number of reasons this machine didn’t hang around very long. In order to get it onto the market as quickly as possible Philips resorted to some rather bizarre solutions to the problem of extracting the tape from the cassette and wrapping it around the head drum. This involved a Heath Robinson style ‘string and pulley’ mechanism, and gears that had a nasty habit of cracking under the strain. The recording heads also proved to be fragile and prone to clogging. Problems with the design of the cassette were also made worse by the simple practical and commercial needs to have running times longer that the meagre 30 minutes of first generation cassettes. The use of a thinner (and more fragile) tape and on later models an LP recording mode extended it to 60 and eventually 180 minutes but it didn’t help. And then there was the price. At launch it sold for a whopping £499, equivalent to around £6500 in today’s money, and well beyond the pocket of most consumers, then and now!  


For all of its faults it remains a remarkable piece of engineering and as you may be able to see from the photographs the case is packed to the gunwales with complex mechanical and electronic assemblies. The deck mechanism alone takes up a good 50 percent of the available space but it’s the densely packed circuit boards and thick wiring looms that really impress. The printed circuit boards are effectively most of the innards of a colour television, and it is worth pointing out that regular colour TV broadcasting in the UK had only begun a couple of years before the introduction of the N1500. There is also a fair amount of circuitry devoted to video recording and replay plus all of the control systems, needed to take care of all the moving parts. This was several years before specialised microchips were developed to carry out these tricky operations so you can imagine the problems faulty machines posed to engineers, most of who had never encountered such complex contraptions before. Indeed, expert help was also needed to get them working. Philips routinely sent out engineers to install new machines and show owners how to use them.


Faults were very common but that had little or nothing to do with build quality. It’s a masterpiece of engineering with a sturdy metal chassis; the main circuit boards are mounted on hinged frames to make them easy to get at and most parts can be quickly exchanged, which is just as well. Even the case was finished to an unusually high degree with a veneered wooden (well, chipboard) sub-frame. This is semi-structural too; responsible for adding rigidity to the case and probably quite helpful in damping down noise from the many moving parts. All that metal, wood and plastic had a big impact on the weight, a little over 16.5 kilograms or around 4 or 5 times as much as an early 80s VHS VCR. In short it’s a wonder so many of them were sold and to mangle one of Samuel Johnson’s best quotes:  it’s a lot like a dog that walks on its hind legs. It’s not so much that it can do it, but that it does it so well…


This is the third NV1500 to have passed through my hands. One and two were basket cases, given to me in the late 70s and early 80s after they became uneconomical to repair. Prices quoted at the time were quite a bit less than a brand new mid-range VHS video recorder, and in those days repairs came without any sort of guarantee. I had a go at fixing them but it quickly became obvious that there were multiple faults, and I wasn’t the first. Replacement parts would have cost a small fortune so their scavenged remains ended up in the dump. I wish now I had kept them as some parts were salvageable and might have helped get this one back on its feet.


I found it at a Brighton flea market around 10 years ago. It only cost £10.00 but I decided it was worth it because it was in good condition, appeared untouched and hopefully potentially repairable. As it turned out it was completely dead though a few bits and pieces seemed to be working, which gave me some hope. After several wasted hours I gave up when the loading mechanism threw a strop and chewed up a tape, followed by the transport mechanism’s string and drive belts. I dug it out of the garage recently, to have another look. It’s still in fair to good cosmetic condition but things hadn’t improved inside the box. Quite the reverse; it was still pretty much lifeless and what remained of the drive belts had turned into an evil, gooey mush. It took more than half a day to remove the worst of it using over 50 cotton buds, half a litre of Isopropyl alcohol, at least 10 pairs of disposable rubber gloves. I also managed to ruin a perfectly good pair of trousers in the process and hefting it around gave me backache. I have tracked down a relatively cheap source of replacements belts, and a video on YouTube shows how to re-string the loading mechanism, but it’s not a job I’m looking forward to any time soon. I’m even less inclined to waste much more time or money on it as it is clear that even if by some miracle I did manage to get it working picture quality is going to be awful and it would be unlikely to last very long before something else failed. 


What Happened To It?

The high price, the design of the cassette and reliability issues all contributed to the N1500 and the VCR format’s eventual demise. It never really took off in the crucial US market due to unresolveable technical difficulties that resulted in even shorter tape running times. However, what finally killed it off was the arrival the Beta and VHS formats in 1975 and 76 respectively. At launch both Japanese systems were more or less fully formed. They had none of the wrinkles and quirks that plagued the VCR format – I would like to think the Japanese learned from Philips experiences – nor did they suffer from to the same extent from high prices and lack of reliability. VHS quickly became the dominant format, mainly due to JVC’s strategy of licencing the technology to other manufacturers. Its success was also accelerated by the fact that cheaper, more widely available VHS machines spawned a fast growing market in pirate and pornographic videos.


To their credit Philips didn’t throw in the towel straight away and resisted the temptation abandon their small slice of the market. Production of VCR machines finally came to an end in 1979 but at the same time Philips launched an entirely new home grown format called Video 2000. This was another highly innovative system, using an almost conventional cassette, only a little larger than a VHS tape, but it could be flipped over, effectively doubling running times. It had other (at the time) novel features, like rock-steady freeze frame and picture search but it was also beset with reliability issues. Only Philips’ long-term partner Grundig grudgingly adopted the format (and got it to work properly) but it was just too late and VHS was too well entrenched for it to have any real impact. 


It was the end of an era and Philips started marketing badge engineered VHS recorders in 1982 and manufacturing them, under licence from JVC in 1985.


Working N1500s are by now extremely rare and if you can find one it will probably set you back the thick end of £1000, with no assurances that if it is actually used it will last longer than than a few months. Basket cases like this one are still sought after, though, as a source of spares and static display, providing they are cosmetically in good shape. Prices vary widely but you are very unlikely to see a complete one, with a slim chance of restoration, for less than £100. Second and third generation VCR machines tend to be more reasonably priced. N1700 models, from 1977 onwards, are a much better bet. The deck mechanism and electronics are much more reliable and easier to fix. Repairables start at under £100 and working examples occasionally turn up on ebay for under £200. They are not a bad investment either; they should only increase in value and may even earn their keep, transcribing and recovering old VCR tapes to more recent formats or digital media.  

First seen:                        1972

Original Price:                 £499 (approx £6,700 in 2018)

Value Today:                   £100 - 1000 (0318)

Features:                         Co-axial tape cassette (running times 30 – 60 minutes at standard speed of 14.29cm/sec), slant-azimuth video recording system, top-loading deck mechanism, built-in 6-channel varicap UHF tuner, clock with single event mechanical unattended recording timer, UHF modulator with RF bypass. Tracking control, Colour Killer mode (for black and white recording), moving coil audio level meter. Audio and video inputs and output (DIN sockets)                           

Power req.                                 110 - 245 volts AC

Dimensions:                                560 x 335 x 160mm

Weight:                                      16.5kg

Made (assembled) in:                  Austria

Hen's Teeth (10 rarest)                7



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