Just reading Gwyn's problem with his Fumeo, among others,
I was watching the Blackpool DVD last night as a silent tribute of my own to Mr Guest. In it, many of you will be familiar with the item where, during a short part of an interview, he talks about the future of the cine hobby. He points out, (as he did on here a year or so ago), that while films are more or less still easily available, it will be the shortage of decent quality working projectors that will call the faster demise of the hobby. It's pointless having hundreds or thousands of films if you've got nothing to show them on.
He was obviously lucky to have an extensive number of projectors and spares. In this case you will generally have something to see you out even if it means cannibalising two machines to make one good one, but one thing i have noticed now since the retirement of a well known repair professional is just how many people on all the forums have come on asking where they can get there GS1200's repaired here in the UK.
It will be interesting to see how this pans out over the next,say, five years.
I myself am looking out for another machine to use so we can spread out the work between the projectors.
Hopefully forums will share more technical stuff but with past members who were very good on this now no longer here or on the other channel, this knowledge also becomes harder to get.
Obviously there is Van Ek in Europe, but sending any machine over there and back from the UK would be a very costly exercise, especially if it had to go back again like my T610 did, John White in the UK i understand is also very good but specialises in Eumigs, and, unless i'm mistaken thats more or less it here, and for 16mm users there is Kevin Brown.
In the states they have one or two.
The future for expertise is very bleak indeed. Obviously, the collector will 100% need to learn more about there own projectors and "have a go". Many of us do, and indeed it is easy to get the proper workshop manuals, but refining the adjustments properly and making the machine work as it should is a hell of a lot easier said than done.

Hi Tom,

I'm not an expert on fixing or servicing my projectors - I call on experts such as Bill Parsons and John White. But it would be an excellent idea to have step by step guides for all manner of repairs. Maybe a link could be set up with problems/issues with our machines and other collectors who have had similar problems and sorted them themselves could possibly put up step by step instructions as to resolve these issues/problems ?

Just a suggestion.

Maybe also providing contacts as to where to get spare parts ?

I use two Eumig S938s, both of which have good audio still, plus I have a spare set of sound heads. I've pretty much settled with the Eumigs, partly because I get a nice bright 6ft scope image (with Schneider and Kowa lenses), but also, from a practical point of view, John White still has many parts for the brand and the repair knowledge.

John does repair the GS-1200, but only the mechanics. He tends to send over Elmo units with electronic issues to Bill and sometimes vice-versa. John can also do a number of other manufacturers' PJs and if he doesn't have specific parts, he often finds home-made mechanical solutions to problems.

There's a very helpful chap down here in Bognor Regis who specialises in Elf/Eiki machines. Allen Taylor. Message me for contact details.
S

I would need support and advice on my Bell and Howell TQ1 16mm and then my Elmo 1200 d and HD, both Eumig 824 Sonomatics, an Agfa Sonector LS2, a Elmo ST 180, a Tacnon 606 and my Fumeo 9119.

Any advice and support would be greatly appreciated - as Mr Guest used to say - we have to keep those reels turning.

We all need to learn a bit when it comes to projector maintenance. I have picked up loads of advice over the years, mainly from Bill, but I'm never scared to have a go at something, I have one or two projects to do, time is the key.

The answer to a lot of this is have enough projectors so you can share the load, I have 4 x super 8mm projectors and 2 x 16mm projectors and I always like to share the load with them, they all get an airing and keep them clean, that is the most important thing with maintenance, keep the film paths clean at all times, I usually brush down after every film.

Sadly I am all thumbs and clumsy. I can change belts on ST-1200, that is about it. Would love to be able to service my machines myself, but I probably break them

I am of the opinion that if you don't use them you loose them, just like an old car. The electronics on each machine is different and can be difficult to diagnose even with a repair manual like the gs 1200 one, I liked to think they written in plain terms "English" but some things get lost in translation and can lead you up the garden path. I have a little knowledge but I know my limitations, and would like to think I stick to them. I am currently sorting a huertier stereo, after some bonehead damaged the sound heads that were previously perfect and unused. I've had to take off a lot of bits a pieces just to get to it, but its worth doing if only to rescue the machine back to working condition. I get to point where I will just walk away if I get stuck, more often that not a light comes on somewhere in my head for a solution, standing back really works I have found. I would not knowingly take a projector apart if there was nothing wrong, the expertise is knowing what to fine tune if its just off the boil, these are delicate machines, and one adjustment too many may ruin your priceless films forever. There is though nothing more satisfying that fixing it yourself, and being able to help someone else if asked..........

I have watched this post with interest as my request for help with my Fumeo seems to have started Toms thread.Regarding that original post that is still on going but I hope to resolve the problem in the next few months.
On a personal note I have to agree with all that has been said so far regarding the fixing of machines yourself as long as you have time and are happy to take six steps back with one forward.It is becoming more and more difficult to find anyone to fix machines but I don’t think we have reached a point where machines are in short supply,it’s just that the cost of everything,films ,projectors and ancillary equipment is going up.The hobby is not cheap and if you want good films and projectors it is going to cost.
Yes there are bargains to be had but not as much as there was.
As to the future,as has has been said before I think it’s again down to money .You have your collection but what do you do with it?Although my family show interest when I’m showing a film that really is about it.My grandchildren like the novelty of it all at the moment but a 16mm projector does not stand a chance against a Xbox or PlayStation,and don’t mention Netflix etc.
For me it’s my hobby,my films my projectors and as long as I get satisfaction from “playing “ with it,and can afford to do so I will.
I think it would be nice if there was a list of repairers but again I guess it would be the few we all know of..
The future?...for me it’s a hobby and in my opinion digital is here to stay so perhaps we have play side by side.

Gwyn, thats a very good statement of fact.
I was going to come on here tonight with a new thread to ask if people may think that the peak of prices may have been reached. The only reason for this is two fold, first, exactly what we are saying, the projectors will become harder to buy and more expensive to keep up to scratch, (pardon the pun), so only a very limited number of new people will join. (I personally cant see it taking off like the cassettes and Vinyl has). Looking on ebay, while admittedly, many films are still fetching ridiculous sums, i do see many titles i would expect to go mad only receiving an average price.

Where projectors are concerned, Paul said earlier, its those finicky adjustments that make the difference between a projector working, and a projector working correctly and not damaging films.
I am currently enjoying 16mm much more than i thought possible. Every print has pin sharp bright images and the optical sound is almost always guaranteed to be 1st class, especially via my old stereo amp. No sub woofers needed for decent bass with cine films. Gwyn is right about this bigger gauge, you can almost forget any youngsters being interested in getting into it, but they do like it when they see it working for that brief moment in time.

Next Wednesday i have two workmates coming over for a show of super 8 and 16mm. I will let you all know what reaction i get from them.One bloke is my age, the other is 24 so im looking forward to seeing what they think.
And like Gwyn, this is my hobby so i'm not at all bothered what other people outside think, however, we are going to continue to downsize in order to get get cash back before the inevitable price crash, but mainly because i wish to invest in a higher end machine, (no not a GS1200 either). Like all "stuff", films wont keep on going up all the time. We never bought films in order to invest, but as some have fade setting in, now is the time to weed out the crap and ensure what we do have left has decent colours. One thing you cant do with this hobby is show it off if you have a projector playing up and/or films with crappy colour. That would make us a laughing stock in my view. Especially if your audience has a digital home cinema. Like Gwyn, i like the old along side the new. But i do love my films and will work on trimming the collection in order to have quality or quantity and hopefully, enough decent projectors to be able to show it all off.

I have tried to share a few items of repair on here, i am always careful to try not to come over as a person who thinks he knows it all, (and i dont give a toss if anyone thinks that), i am no expert what so ever, but i like to tinker and like Paul said, when it does work it gives a great feeling of satisfaction. In fact, i owe the greatest of thanks to our own Bill Parsons for all of my knowledge with my Elmos as in the past he has been very generous in sharing a few trade tips, there isn't many repair chaps that are willing to do that

Have to agree with all you have said Tom.
I see on fleebay tonight a silent laurel and hardy with an asking price of £500 and a buy it now £2000 for ten minutes of film!
Not much more to be said in my view the worlds gone daft.
Still it could be a lost film 🎞 ????
🤪

Oh dear. Well.theres also a 400ft scope cut down of dracula prince of darkness for 600.these clowns do nothing for the hobby but if anyone wants my scope 400ft version of this film its theres for 500 and its not fading either.

It's funny on ebay these days, I also see these ridiculous prices, but as soon as I do I start to sing a well known song.......everybody........with me.........

It's time to play the music
It's time to light the lights
It's time to meet the Muppets on the Muppet Show tonight

Wenn Sie hier auf Links zu eBay klicken und einen Kauf tätigen, kann dies dazu führen, dass diese Website eine Provision erhält.

Here's the expensive "lost" Laurel & Hardy. Seems about 100ft of 8mm. Just look at the seller's name. This just about sums it all up.
Werbung: https://www.ebay.co.uk/itm/Laurel-and-Ha...cPOd4:rk:8:pf:0
https://www.imdb.com/title/tt0018970/?ref_=fn_tt_tt_1

Equipment repair and cost of new film acquisitions is what has put a halt to my collecting. I don't grab and grab, but instead thoroughly ponder each item I think I want. I haven't bought a film since the fall.

One thing that gets me laughing are trailers. I, personally, am not a collector of them although I do have about 4. Two are RARE (if any other copies are even out there!), but I am not one that has reels and reels of them. Seeing sellers having them up for obscene opening bids is questionable. Yes, there may be collectors for them, but at those prices you may as well keep them for yourself!

I am always on the lookout for films that my wife has always wanted: The Mummy (1959) and Charro. But spending has really ceased.

I would definitely choose the Buy It Now option on the L&H short, just in case the auction spirals out of control.

Let's all click Watch to make him think he's onto something.

Some very valid points here, I have quite a few machines that I do use to keep them all running,cleaned and lubed,I recently stripped an ST1200 HD to fix another HD model,my GS1200's on the other hand I wouldn't know where to start,the basics yes but that's it,wouldn't be without my rerecording machine though so would like to find someone too.

The films are in demand still and I can't see the prices dropping for now,eBay has driven up the prices for decent prints and way out of reach for most, the prices paid for some films would make you scared to play them in the first place on any machine.


Martin,if your ever over this way I have two Eumig 938s if you want them,will keep you going for spares at least,having a major clear out all things cine at the moment. They both run but need looking at,yours if you can collect them or they are going to the tip,Mark.

Yes, please, Mark. That would be fantastic, thank you!

Where are you based?

Martin,
PM sent,Mark

Thanks to all for the replies to this thread,
Mark, would you mind me asking what the item was you fixed on your HD?
Regarding your GS's, (and any other GS owners for that matter), how long have you had one and on a scale of 1-10, how would you rate it for reliability and trouble free service?

The only reason for my asking is simply this, yes i want to invest in a nice high end machine, but until today i considered the GS a bit too complex for me, i would not use it for re-recording due to just not being my thing. We were looking toward the beaulieu 708. Now having spoken to other long tern collectors among other chappies, i,m not too sure which way to go. I think these days it's probably quite important to have two of any projector you own in order to cannibalise one for spares.

Tom,
Ask away ,I changed the whole rear rubber wheel assembly after the bearing went,I have 7 ST1200 models so breaking one isn't a problem.

As for the GS1200, I bought it off a well known dealer about 8 or 9 years ago and to be honest it should never had been sold in such a state, meant to be fully serviced etc but wasn't touched ,I was very lucky to take it to a fellow collector who was superb at fixing them and did a fantastic job at fixing the many problems the machine had,mine is a very late machine(1989) and is one of the best rerecording machines I know,this was my third GS1200 and I also have a fourth too.

Now my advice to you Tom would be to find yourself another ST1200 HD not a GS or 708 and my reason behind this is this,you say your not interested in rerecording films(although I think once you did it on some of your films you wouldn't look back) so it would just be used for film watching,the 708 which again is a nice machine with a big reel capacity but still 150w lamp output,now you have owned your ST for 40 years or there abouts,you haven't changed in all that time because of recording,brighter lamp,bigger capacity etc,you know the ST1200 better than most and they are superb machines for many reasons so why change? Mark

Ps Tom,
I'm probably going to jinx the GS1200 now but for reliability it's been 100% since all the work,all four I've owned have been good,my second machine was sold but is still in use today without any problems, Mark

Tom, a Beaulieu 708 el is for sale in the new Reel Market Place on Facebook for 400 Euro. Large capacity reels on those I think. I love my GS-1200, but it has been repaired once by Mr. Parsons. I rate it at least a 9 on reliability, much better than my smaller Eumig, which I personally not like, due to the slipping disc syndrome (both mine has it)

Thanks Mark and Vidar,
Mark, you do make a very valid point there about the HDs.
I do have another one which hopefully will be every bit as good as the one i have had for many years. As you say, 40 years now, they are robust and very reliable.
I was very tempted at the sankyo 800 on the other channel recently but there limited to the 800ft size. I know people have modified them to take 12000 but that wouldn't be what i'd want to do to it. I shall have to ponder some more.
Thank you.