Comments on: Scully Model 100 Sixteen-Track Tape Machine of 1971

By: Pete Reynolds

Pete Reynolds — Tue, 14 Mar 2023 17:26:43 +0000

I had an orange Scully 100 2″ 16t and sold it to a studio in Clacton along with a Hill desk which I rebuilt the EQ’s. I bought the Scully from a studio in Forest Gate who said it was ex Pink Floyd. Curiously I also owned a Cadac desk which was from Morgan studio. I wonder if that’s where the story originated?
Pete R

By: Dean

Dean — Wed, 02 Dec 2020 02:45:18 +0000

https://www.youtube.com/watch?v=q8LEM450BVQ

By: Dean

Dean — Wed, 02 Dec 2020 02:44:48 +0000

In reply to Declan Campbell. @Declan - If you look in the video below at around 11 seconds you can clearly see the Scully 100. This was at Morgan Studios in 1971. I would guess that you have the console and tape machine that Echoes was partly recorded on. Pretty cool.

By: Declan Campbell

Declan Campbell — Tue, 03 Nov 2020 16:25:05 +0000

Hi all, greetings from Ireland,I know this is A relatively old thread now but I’ve just came across it ..
Last year I acquired an old scully 100 2″ 16track and its step down transformer along with a Malcom Hill custom built 20channel recording console with all lash up cables connections etc .. both units need an overall refurbishment but are in acceptably good condition … heres the interesting part ……
The seller informed me that this scully had once been in Morgan Studios London circa 1971 according to the previous owner and on the console, one of the channel strips is actually labeled as ‘fat dave gilmore’ I’m not banking too much on the authenticity tho ..but its interesting to say the least shall we say ….
The scullys cabinet had been painted red at one time by the looks of it as it is black now with red appearing through in parts .. but she’s all there entirely.. utc transformers ..the works… this combo came out of England in the mid 90s as the guy I bought it from regularly done business to and from there in recording gear etc ..
I have no interest in selling these as I’d like to get them refurbished, but a little info or clarity on the previous sellers claim would be greatly appreciated!!!!.
Thanks for reading guys .
Regards.
Declan

By: Vernon Mascall

Vernon Mascall — Sun, 07 Oct 2018 20:44:17 +0000

In reply to David Ollard.

I don’t suppose you are the same chap who worked at Cossor Electronics in the 80’s?
In the unlikely event that you are we were just listening to Scritti Politti’s Cupid &Psyche ’85 and it reminded me that you liked it.
Vern

By: Jamie Goldsmith

Jamie Goldsmith — Sat, 17 Dec 2016 23:29:32 +0000

In reply to Brent Averill. Brent Did you ever get your tapes transcribed? I just stumbled onto this while browsing. Looks like our replies are years apart.

By: kludge

kludge — Wed, 03 Jun 2015 18:51:12 +0000

I used to think this was absolutely the worst tape machine ever made. Azimuth setting by shims which sounds great until you try and line the machine up to a tape made anywhere else. The two-head arrangement was ingenious perhaps but turned record alignment from a ten-minute job into a long arduous process. Jamie is right, though, the transport logic was greatly improved over the 288 which would occasionally go berserk and shoot your master tape all across the room. I worked for a studio in Atlanta that had one for a couple years until it got traded in for an Ampex to the cheers and acclimation of the whole staff.

It turns out, though, that it isn’t exactly the worst multitrack machine ever made. That would be the Aces, but I didn’t find that out until the late seventies.

By: David Ollard

David Ollard — Wed, 18 Mar 2015 05:52:23 +0000

In reply to Brent Averill.

To Brent. If you aren’t able to borrow a 16T machine you could always send them to me to transfer for you. They’d be transferred on an all-roller Ampex MM-1200 fitted with a Flux Magnetics repro head.

David Ollard
Thin Brown Line

By: Brent Averill

Brent Averill — Thu, 29 Jan 2015 16:37:37 +0000

To Jamie Goldsmith. I have some 16 track tapes that were recorded on a Scully 100. Could I rent your machine to transfer these tapes to HD digital?

By: Jamie Goldsmith

Jamie Goldsmith — Sat, 15 Nov 2014 14:53:31 +0000

I question the assertion that the model 100 was fundamentally flawed from a mechanical perspective. The use of HTL chips to control transport functions was an improvement in reliability over the relays used in the previous 288 transport. From a sonic perspective, the record/play electronics (designed and manufactured by Spectra Sonics) were very clean and possibly ahead of their time. I have a model 100 that I use nearly every day for recording. I purchased it from another studio in 1982 and have logged hundreds of hours on it. Like any piece of equipment of this complexity, routine maintenance is an ongoing necessity: I have replaced chips, transistors and bearings as needed. Any machine that lasts nearly half a century and still functions well is a testament to the team that designed and built it. I would rank the Scully 100 right up there with Ampex and Studer in the mechanical reliability department. The only time I have had “tape handling problems” is when something failed (usually a gate) and maintenance was required. I owned a Scully 284 8-track prior to the purchase of the 100 and it was a wonderful sounding recorder with its own unique set of problems. I agree that the two head design of the 100 poses some alignment challenges, but to call the 100 “a dog” is unwarranted.