Philips N-1502 TV Recorder
The front page of the Philips N-1502 TV Recorder catalogue presents a man peering mournfully into a dark living room. A woman, most probably his wife, drags him reluctantly out for the evening. She wants to be social, distracted in human company.
The N-1502 tape machine is superimposed on this unfamiliar scene, an image of a Grand Slam tennis match arises from it, like a speech bubble, communicating the machine’s power to capture the fleeting live event. The man’s stare into the domestic environment constructs desire in a way that feels entirely new in 1976: a masculinity that appropriates the private space of the home, now transformed as a location where media events are transmitted and videotaped.
The man’s gaze is confrontational. It invites those looking to participate in a seductive, shared message: videotape-in the home-will change your life forever.
In the 1970s Philips were leading figures in the development of domestic video tape technology. Between 1972 and 1979, the company produced seven models of the N-1500 video ‘TV recorder’. It was the first time video tape entered the domestic environment, and the format offered a number of innovations such as timed, unattended recording (‘busy people needn’t miss important programmes’), an easy loading mechanism, a built in TV tuner, a digital electronic time switch and stop motion bar.
The N-1500 converged upon several emergent markets for video tape. While SONY’s hulking uMatic format almost exclusively targeted institutional and industrial markets, the N-1500 presented itself as a more nimble alternative: ‘Compact and beautifully designed it can be used in schools, advertising agencies, sale demonstrations and just about everywhere else.’
Used alongside the Philips Video Camera, the N-1500 could capture black and white video, offering ‘a flexible, economic and reliable’ alternative to EIAJ/ porta-pak open reel video. Marketing also imagined uses for sports professionals: practices or competitive games could be watched in order to analyse and improve performance.
Although N-1500 tape machines were very expensive (£649 / £4,868.38 ), the primary market for the product was overwhelmingly domestic. In 2016 we are fairly used to media technologies disrupting our intimate, every day lives. We are also told regularly that this or that gadget will make our lives easier.
Such needs are often deliberately and imaginatively invented. The mid-1970s was a time when video tape was novel, and its social applications experimental. How could video tape be used in the home? How would it fit into existing social relationships? The marketing brochure for the Philips N-1502 offer compelling evidence of how video tape technology was presented to consumers in its early days.
One aspect highlighted how the machine gave the individual greater control of their media environment: ‘Escape from the Dictatorship of TV Timetables’!
The VCR could also help liberate busy people from the disappointment of missing their favourite TV programmes, ‘if visitors call at the moment of truth don’t despair. Turn the TV off and the VCR on.’
In the mid 1970s domestic media consumption was inescapably communal, and the N-1500 machine could help sooth ‘typical’ rifts within the home. ‘You want to see a sports programme but your wife’s favourite serial is on the other channel. The solution? Simple. Just switch on your Philips VCR.’
Owning the N-1500 meant there would be ‘no more arguments about which channel to select – you watch one while VCR makes a parallel recording from another.’ Such an admission tells us a lot about the fragility of marriages in the 1970s, as well as the central place TV-watching occupied as a family activity. More than anything, the brochure presents videotape technology as a vital tool that could help people take control over their leisure time and negotiate the competing tastes of family members.
In a preservation context, however, these early machines are notoriously difficult to work with. Tapes heads are fragile and wear quickly because of a comparatively high running tape speed (11.26 ips). Interchange is often poor between machines, and the entry/ exit guides on the tape path often need to be adjusted to ensure the tapes track correctly.
Later models, the N-1700 onwards, used slant azimuth technology, a recording technique patented by Professor Shiro Okamura of the University of Electronic Communications, Tokyo in 1959. Slant azimuth was adopted by JVC, Philips and SONY in the mid-1970s, and this decision is heralded as a breakthrough moment in the evolution of domestic video tape technology. The technique offered several improvements to the initial N-1500 model, which used guard bands to prevent cross talk between tracks, and the Quadruplex technology developed by Ampex in the late 1950s. Slant azimuth meant more information could be recorded onto the tape without interference from adjacent tracks and, crucially, the tape could run at a slower speed, use less tape and record for longer.
In general, the design of the N-1500’s tape path and transport doesn’t lend itself to reliability.
As S P Bali explains:
‘One reason for the eventual failure of the Philips VCR formats was that the cassette used coaxial spools—in other words, spools stacked one on top of the other. This means that the tape had to run a skew path which made it much more difficult to control. The tape would jam, and even break, especially ageing cassettes.’ 
Such factors make the Philips N-1500 series an especially vulnerable video tape format. The carrier itself is prone to mechanical instability, and preservation worries are heightened by a lack of available spare parts that can be used to refurbish poorly functioning machines. If you have valuable material recorded on this format, be sure to earmark it as a preservation priority.
 S P Bali (2005) Consumer Electronics, Dehli: Pearson Education, 465.