In the last few installments in this series, California was in the spotlight, with discussions of Ampex and their ATR-100 series of tape machines (see Issue 135, Issue 136 and Issue 137). This time, we will move to the other side of the USA and visit Florida. During the 1950s, in Fort Lauderdale, Mr. Jeep Harned was starting out in what was to develop into a long and prosperous career in audio. It started with custom recording consoles, took off with the development of aftermarket solid-state electronics for the Ampex 350 tape machine, and soon thereafter escalated into a full-blown manufacturing operation, mass-producing entire tape machines and mixing consoles.

In 1975, MCI (Music Center Incorporated) introduced the JH-110, which was to become one of their most successful products. It was available in several versions that catered to different tape formats and applications. It remained in production up until 1984, when the entire series was discontinued by Sony management, following the acquisition of MCI by Sony in 1982.

The JH-110 was followed by the JH-110B and the JH-110C, with the later models being as fully-featured as things could get in the 1970s. They could run at any of three speeds, 7.5 ips, 15 ips and 30 ips, with a low-speed transport also on offer, which would start at 3.75 ips (with 15 ips as the top speed). Head blocks were available both in the NAB stereo configuration (with 2 mm track separation, popular in the USA), as well as the DIN stereo configuration (0.75 mm track separation, common in Europe), and in monophonic versions, with combinations of mono and stereo heads, with a 1/4- or 1/2- inch tape width, and in one-track (mono), two track, four track, record/playback or playback-only versions.

An MCI JH-110, in the variable-profile cabinet. Photo courtesy of Sabik Chaparro.

The electronics featured switchable equalization to cover both the NAB and IEC standards. The transport was available in two reel-size capacities, 10 1/2 or 14-inch. The machines could be purchased in two different cabinet versions: The tiltable “variable profile” cabinet, with the electronics located under the transport, and the “high profile” overhead bridge cabinet, with the electronics placed above the transport. The MCI RTZ III, a transport control system offering a “return to zero” function along with location memories to fast-wind to, came as standard on all JH-110 machines.

The JH-110 was one of the very few tape decks offered in a “preview” configuration, for use with disk mastering systems (where the signal from the tape to the record cutting lathe needed to be previewed by the lathe control electronics prior to it reaching the cutter head). The preview version was known as the JH-110M and had a few key differences compared to the rest of the JH-110 range. The head block was configured with two playback heads, without a record or an erase head. This was typical of preview head tape machines, but the head block also offered a not so common feature. The head azimuth adjustment was accomplished by means of levers, requiring no tools.

This was a smart idea, found in few other tape machines. In a professional disk mastering setting, especially back in the 1970s, recordings would arrive on tape, recorded on all manners of tape machines, not necessarily maintained to the same standards, or even maintained at all! It was common to have to adjust the azimuth of the tape machine to each tape coming in (which is probably why many mastering engineers were happy to adopt digital formats as soon as these became commercially available, to not have to deal with the hassle of inconsistent tapes, day in, day out), so having to reach for a screwdriver or Allen key and adjust a tiny screw five or six times a day was simply too much of a waste of time on a busy day, which meant that this step was sometimes (read “almost always”) skipped, unless a lever was provided for this purpose.

“Hands-on”! MCI JH-110. Photo courtesy of Sabik Chaparro.

In addition, the equalization calibration controls came as knobs on the front panel of the electronics drawer, instead of trim pots that required a screwdriver for adjustment. The rationale for providing these knobs was the same as for the inclusion of the lever: incoming tapes were also all over the map with respect to their equalization, so if a convenient means of adjustment was not provided, it would be too tempting to settle for “well, it sounds about right I guess” at the end of a long day. This feature of providing knobs to adjust the EQ was even rarer than the azimuth adjustment levers on the head block, and not adopted by the competition.

While it is questionable if the levers and knobs had any effect on the workflow in most mastering facilities, they certainly saved time for those who did care enough to use these features. Well at least MCI tried. Jeep Harned could at least rest in peace knowing that he had done the right thing. And he earned the best tombstone I’ve ever seen for his efforts!