Yes, looks incredibly old-hat and antiquated now.
The PEG system was a unique
BBC design that was essentially a mechanical 'sampler' to play sound effects instantly on
remote cue using mellotron-like mechanics to pull lengths of quarter-inch tape from a
special cassette over a replay head.
Moving fader systems were brand new then
too. I remember production teams being quite ecited about watching the faders move all
by themselves! Lovely old Neve analogue console, too. Hmmmmm...
No one would tolerate the waiting time these days for the Umatic video, two multitracks
and quarter-inch machines to wind back and then play and synchronise for each mix pass! I
remember having to abort countless drop-ins for continuing to building the mic because one
or other machine had failed to achieve stable timecode lock in time!
has faded now, but I remember timecode was always on the highest numbered track (8, 16 or
24), usually with the adjacent track left empty as a guard band to avoid crosstalk.
The 1" multitrack from VT had code on 8, a guide mix on 4 (I think), and simple
programmes were dubbed on the 1-inch 8-track directly, using channels 1,2,3,and 6 for
track-laying, with the final mix going back onto 5 ready for layback to VT. In other words
you had the original (usually live studio) mix plus four tracks for effects and music,
mixed back in mono to track 5 which was subsequently laid back to VT.
always a timecode offset, off course, between the source tracks and the final mix because
of the replay-record head gap, and that had to be taken into account by dialling in the
correct timecode offset to the synchroniser when syncing to the video for
track-laying/mixing, and reviewing or laying-back.
More complex programmes
would be track-laid on a 2-inch 16 track but mixed back on to the 1-inch 8-track for VT.
The video machine in that clip was a 2" quadruplex machine made by Ampex. Four heads on a
helical scanning drum, with a linear audio track running along one edge of the tape.
Hideous things to line up, and if you got it wrong (or if the line up driftted... which it
did a lot), you would see horizontal bars of a slightly different hue appearing across the
pictures! The VT line-up colour bars had a large patch or red across the bottom to help
reveal such alignment errors!
This tape-based Sypher dubbing technology
perservered right through from the 1970s to the late 1980s, by which time the AMS
Audiofile and DAR Soundstation started to take over, followed by all manner of other
generic computer-based DAWs and a few hardware audio editors like the Akai DD1500. Digital
consoles with full automation facilities started to become the norm then too.
The kids today don't know they're born!
Technical Editor, Sound On Sound