Maybe later when some of the lucky auction goers get home and settled they can answer my question, which is:

I watched the youtube video of the auction and the CT-100 with poor CRT sold for $500 and the one with the good for 4K. Were there reasons other than the CRT's why the one sold so much higher? Im just trying to get a grip on the value of these. Thanks!

The bad one went first. Everyone one was trying to save all their money for the good one and let it slip through the cracks in to my hands. :D :banana::banana::banana:

If the order had been reversed the bad one would have gone much higher as a consolation prize to second or third runner up to the good one.

Unrestored examples with down to air CRTs have gone for twice what I just paid for a restored set that has a dead green gun, but good red and blue guns.... Every one there was telling me that I stole it/got the best deal of the auction.:thmbsp:

A happy camper I be today.:banana:

Congratulations! :thmbsp:

Out of curiosity, how dead is the green gun? Possible rejuvenation? :scratch2:

jr

I didn't put a tester on it and took their word and demonstration of the working chassis driving the tube with purity misadjusted as proof their test was as described.

I'm en route home so will not have chance to confirm the test on my tester till tomorrow at earliest.

Thanks! Congrats! I thought it went cheap too but I know little about them. Were the cabinets and chassis comparable condition wise? Amazing the price difference between the two. The video was at quite a distance so hard to tell much about them.

I hope that all these dead CT-100 CRT's everywhere can be rebuilt at some point.

I would call that well-bought! For that price I think I could get use to the color being a little off.

Thanks! Congrats! I thought it went cheap too but I know little about them. Were the cabinets and chassis comparable condition wise? Amazing the price difference between the two. The video was at quite a distance so hard to tell much about them.

I hope that all these dead CT-100 CRT's everywhere can be rebuilt at some point.

I didn't attend but looking at the pictures online, IMO the one with the bad CRT has the better cabinet.

http://www.earlytelevision.org/convention_auction_tv.html

I didn't attend but looking at the pictures online, IMO the one with the bad CRT has the better cabinet.

http://www.earlytelevision.org/convention_auction_tv.html

Exactly, and by a good margin. The top of mine looks to have been refinished, and the only noticeable finish issue is the front feet. Mine also has the restored chassis* the other set had an unrestored chassis.

*They put it into both sets to prove both CRTs would show a raster. They also either never had or never reinstalled the chassis bolts...I got it into the Burban face down then noticed that...When I lifted the back to try to get the holes to line up with some improvised chassis bolts the chassis slid back and nearly brained the CRT...Scarred me real bad.

:) Tom , SUPER congratulations on getting that TV ! I don't know if it's your first CT100 or not , but I couldn't think of a more deserving collector of old TV's to get it than you . I look forward to your photos of it when you get it home and get into it .

:) Tom , SUPER congratulations on getting that TV ! I don't know if it's your first CT100 or not , but I couldn't think of a more deserving collector of old TV's to get it than you . I look forward to your photos of it when you get it home and get into it .

Thanks. It is the first CT-100 I've owned, but not my first CTC-2 based set. It will go well with its cousin, my 21CT55 (CTC-2B).

I've been home since late last night...Unloading is going to be 'fun'. I've gotten all but the 2 sets (CT-100 and top secret project 'M') that weigh at least as much as I do out. The CT-100 required 4 people to get it in my truck, I don't think I'll have 4 people to help me get it out... Project 'M' at least is designed, and positioned such that it can be easily disassembled to make it lighter, but the CT-100 is laying face down on styrofoam so the roof of my suburban will prevent removing the chassis with it in the truck...

Congratulations.

(Wayne, will you be posting the convention photos?)

T.... Every one there was telling me that I stole it/got the best deal of the auction.:thmbsp:

A happy camper I be today.:banana:

The best deal of the auction by far was the Baird! I, the buyer, Steve McVoy and several other owners of similar sets agree. Absolutely unbelievable deal.

Steve must have been crying into the paving fund.

Congratulations.

(Wayne, will you be posting the convention photos?)

I'm doing some editing now, will be posting later this week when I get back home.

(snip)... the CT-100 with poor CRT sold for $500 and the one with the good for 4K. (snip)

Who says the world's not ready for 4K TV?

First one of these I'd been to -- nice to see the rare sets in-person.

I would call that well-bought! For that price I think I could get use to the color being a little off.

RCA CTC7-12's lost their red first, it was the red phosphor's inefficiency. The failure of a color in the 15GPs and 21AX's probably a cathode issue.

Congratulations Tom, does the HV work OK?

HV was always my fear of these early color beasts.

The best deal of the auction by far was the Baird! I, the buyer, Steve McVoy and several other owners of similar sets agree. Absolutely unbelievable deal.

Steve must have been crying into the paving fund.

Agreed. John damn near stole that set. It was definitely a buyer's market this year, though part of that was the ETF's fault.

The order of the lots in the auction was moronic and helped depress prices. Most of the rare and valuable stuff was wedged in the middle, depressing prices in the first half as some collectors saved their budget for the middle of the auction. The set I was really after, the Rembrandt, was in the last quarter of the sets. I was comfortable spending $2000 or so, yet only spent $500 or $600 because I was expecting a much bigger fight for the Rembrandt in the last quarter of the auction. I wish now I had bid higher on the Motorola; I probably would have taken it home.

Were the cabinets and chassis comparable condition wise? Everything (excepting the CRT) was better in the $500 set. Tom got a great deal. $500 set is on the right.

http://www.videokarma.org/attachment.php?attachmentid=197038&stc=1&d=1525712611

Photo credit to Keith Gehring's FB post: https://www.facebook.com/groups/295773603871364/permalink/1627896350659076/

.

Stating the obvious, if it has a raster, there is hope. Nice looking set.

The one thing I noticed was that the auction prices were downright brutal on anyone selling a black-and-white. I thought the Melody-Tone was cute in its unadorned cabinet, but I really have enough B&W sets already.

I was seriously considering making a good bid on the black steel CTC-16, but with no description whatever on the condition of the set, it was truly a pig in a poke.

At last, I finally have a CRT tester/rejuvenator, which I've wanted for decades.

That clear pic of them side by side really shows how much nicer looking the one on the right is. The cabinet and cloth look pretty good and are in much better shape than the other one, looks wise.

If it had been me that forked over 4 grand for the set with the good CRT, I would have attempted to buy both and assemble one good presentable unit from the two. The leftover set would be useful as a parts donor to keep the better example running, and for practice purposes for things like setup and alignment procedures. That said, I am happy such an interesting set went to a member here so that we all get to read about it. If they're still doing these conventions in a few years I might finally be able to go in 2022 or 2023..

If it had been me that forked over 4 grand for the set with the good CRT, I would have attempted to buy both and assemble one good presentable unit from the two. The leftover set would be useful as a parts donor to keep the better example running, and for practice purposes for things like setup and alignment procedures. That said, I am happy such an interesting set went to a member here so that we all get to read about it. If they're still doing these conventions in a few years I might finally be able to go in 2022 or 2023..

Mine with the bad CRT was auctioned first. Whoever got the one with the good CRT would have had to find me after the auction and offer me enough to resell it... That also probably would not have been seen as a likely deal by anyone since I bid several other early color sets up to the 1-2k range before loosing....I could have also won the Admiral or Motorola if I had the guts to blow my whole TV budget.....Sad part was I was sure I had won the Admiral and the (apparently blind) auctioneer was looking at the guy behind me and ignoring me... I'm hoping for a smarter auctioneer next year.

I agree with several of the above posted comments, I wasn't able to attend this year, but I thought the museaum did a horrible job presenting these sets, as I watched the streaming feed online. What was even more aggravating for me was that I had emailed Steve McVoy 3 times confirming my absentee bid on the 21 inch Zenith color console with the horizontal line. Then I watched them sell the set for 50 bucks, completely ignoring my bid that was substantially higher. Steve did send me an email several minutes later apologizing for their incompetence, but refused to re run the item. Larry my substitute bidder was apparently "out to lunch" for that sale so as a result the seller and I both lost out. Whatever, I really believe there needs to be some changes in leadership if anything beneficial to the hobby is to come out of there in my lifetime.

How much did the 17" metal cabinet Predicta go for?

Also how much the early 50s RCA metal cabinet B&W?

I would personally like to find a 50s Admiral color roundie, but so would many others as that one at auction got bid to over $1,000!!

The auction results are posted on the ETF site.

http://www.earlytelevision.org/2018_auction_results.html

Mine with the bad CRT was auctioned first. Whoever got the one with the good CRT would have had to find me after the auction and offer me enough to resell it... That also probably would not have been seen as a likely deal by anyone since I bid several other early color sets up to the 1-2k range before loosing....I could have also won the Admiral or Motorola if I had the guts to blow my whole TV budget.....Sad part was I was sure I had won the Admiral and the (apparently blind) auctioneer was looking at the guy behind me and ignoring me... I'm hoping for a smarter auctioneer next year.

Dave Abramson did an excellent job as the auctioneer IMO. He, Darryl, Steve K, and David Roper were dealing the best they could with the new auction format, and folks crowding around them while they were down on the left and right sides, while trying to keep things on schedule. I think they did a fine job. If Dave missed seeing you bid, as well as Darryl, and David who were also looking, I would blame the layout and the people squeezed in too close.

Well, let me give you *my* take on things......

First, the fact that there was no silent auction didn't have any affect on the prices but drive them up from where they would have been had most of the stuff been in the silent auction. The problem was that there were too many sets of the same type, and many of the "heavy hitters" that would have bid on the premium stuff weren't there to do so.

Anyone who took a bath on a set could've set a reserve. I'm in that category, I lost my ass on two that I had in the auction. But I made up for that in what I bought.

We had so many sets come in at the last minute that things got really stupid, and Darryl, Steve, and I did our best to keep up with everything piling in.

After the auction, I heard there was some sort of rumor circulating that the CT-100 with the restored chassis was a real hack job, and that it was basically a train wreck with a raster....which probably dropped the bidders out and pushed the other set high. Don't know, I would have had the seller address the comments if I heard it before the gavel.

Dave A did a great job as the auctioneer. Honestly? The problem was that there were not enough people and people with big vans in the parking lot to handle all of the stuff coming up for bid.

Everyone including myself watched everything that went up on the block live go for top dollar last year, so everyone took that opportunity to bring stuff in.

The only way things would have gone for normal prices or above is if people would've brought less to sell. As memory serves, there were something like 160 lots and maybe 60 guys watching the auction. Pure mathematics drove the price down, not the procedure.

I've been to a number of MAARC radio meets & have both bought & sold at the auctions. (It's been quite long time since I actually attended the auction, though). Typically, the room is stuffed to overflowing with sets & more being brought in right up to the last minute. The last time I went I think there were enough things being sold that everyone in attendance could have taken at least 3-4 things home, maybe a lot more. Who was the audience in those chairs? 1) Sellers. 2) Bystanders with nothing else to do that afternoon but watch. 3) Folks who haven't bought a set in a decade because they already have more than they want, but they might just bid on the right "quality" piece if it strikes them just right. 4) Bargain hunters. 5) Serious bidders, ready to spend thousands. Re-read what Tim wrote: "The problem was that there were not enough people and people with big vans in the parking lot to handle all of the stuff coming up for bid."

Now, on the radio side there is a very serious glut, and it's sad to watch. It's a lot better on the TV side but, still, there are only so many folks bidding. I'd really like to do another ETF convention (I think the one I did was '04) but 2 full days on the road is a bit of a commitment. If I still had my big old van I really think I'd have done it this year. Thing is, that van would have brought still more to sell, with the intention of bringing back very little. I would say, with my 20/20 hindsight, that I'd have driven up the price of that CTC-100 by at least a couple hundred dollars!

First visit to ETF, and first auction of old TVs. I was there to get an education on pricing, some repair techniques, etc. So, newbie opinions will abound in the following wall of text:

During the auction, I did see a few bidders go un-noticed, and the bidding on a few items was re-started when overlooked bidders spoke up. But the thing I noticed about a few of those bidders was that they would hold up their hand just shoulder high, with a crowd of people around them, and there was also a crowd around the auctioneer. Pretty much no chance of being seen. Auctions etiquette and strategy aside, if your bid is not being recognized, speak up, man! Or raise your arm higher. Or do the number paddle thing to improve visibility. I know that sometimes one wants to hide their enthusiasm and 'front' a little bit, but it's to no avail if you're both unseen and unheard. This extends even to an auction assistant who apparently was using hand signals to register his bid with the auctioneer, except the assistant was directly behind the auctioneer -- so of course he wasn't noticed. (He also eventually spoke up, so all was good.) I guess the lesson is, if you want to buy it, speak up.

My opinions on pricing are pretty much as an outsider, and pretty limited in their scope. I thought the Predictas were pretty good deals -- apparently nicer sets (cosmetically) at less-than-Craigslist prices. Saw some younger-than-expected folks spending more-than-expected money. No issue with that at all, just a little surprised. Obviously good for the hobby down the road, too.

Can't tell if there's enough 'bandwidth' at the auction event to curate the equipment a bit more... or adjust the order of presentation. I know stuff comes in with descriptions of condition and performance, and some is listed either as 'parts' or condition unknown. Should those items auctioned in separate streams (not simultaneously) instead of either random, or first-in/first-out? (Looked for the auction list and couldn't find it.) Don't know what previous years' silent auction scenario was like. Don't know if there was a hard cutoff time for auction items or not. Also didn't notice how online bids were integrated. I think there's an opportunity to have the internet stream show more detail on the items up for bid, and less of the sea of humanity around them, which would expand the pool of remote viewers. (That video also should be shown by projector there in the room so everyone doesn't need to huddle around the auction item to see detail.) But again, don't know how many online/absentee bidders there were, aside from those who have registered their dissatisfaction -- which they are completely within their rights to do. Like I said, newbie observations.

I do have some ideas about organization of the equipment in that room, but I don't have the time, money and manpower to back it up, so I'll keep my trap shut on that. I have some areas of my own that are in equal disarray; I know how that gets.

Personally, I thought the auctioneer did a fine job. And having someone who actually knows the sets is far, far better than someone who is a typical fast-talkin' auctioneer with no real product knowledge.

Lastly, Steve needs to wear his badge so newbies can tell who he is (I saw it in the bin at the front desk, but not on him). And badges should have a VK nickname listed (or other sites) if the attendee wants to. (I know some people wrote this in themselves.)

I did learn about a few things, and met a few people. And I'll probably make it back next year, too, as schedules permit. And if I've got things wrong, do say so. Comments are welcome.

On edit: There's another 'assumption' that I had about the auction... I had assumed that running sets would be shown in operation, either in auction preview or at time of bid. Electrical logistics and fire code may stand in the way of that, and sellers may prefer not to show that. But I would think, "Set is working, and here you see it working" would be good for some of the higher-end sets. May have been done on the auction preview part of the site -- work didn't allow lots of time to spend on prep for this event.

A lot of antique auctions I go to the auctioneers do not move around. They stay in one spot and just have flatscreens showing what item is being sold. No crowding around the auctioneer or bidders trying to see what is for sale over peoples heads that way. Items have to be numbered and sold in order. whether that would work here I have no idea.

I enjoyed watching the video and thought everyone did as good as they could. I had to really pay attention as I often couldnt see what was being sold but they announced it. I just kept a browser window open with the pics of the tv's being sold so I could look at them if I wanted too, the higher priced ones.

Matt, I don't appreciate your comments about incompetence at the auction. We allow absentee bidding as a favor to those who can't attend. We are not a professional auction house, we are a group of volunteers who spend many hours organizing and running the convention. If you want to make sure that you get something in the auction, ask a friend to bid for you next time.

...Pure mathematics drove the price down, not the procedure...

I know more than a few mathematicians that would disagree with you. The procedure can and does materially alter realized prices.

There is an anomaly in auction result prices, that has been observed time and time again, in that when substantially similar items are auctioned in sequence, the first will realize the highest price, and the last will realize the lowest. This was in play on Saturday morning. I bought the first RCA 630TS for more than the second.

Also look at the Elli Buk auction, the first Clifton realized the highest price, the final was a relative bargain.

It has also been observed, at least in auction houses like Bonhams and Christies, that prices tend to decline as the day wears on. There is a small but vocal minority that seems to discount this effect, but a substantial amount of research does seem to support this idea. If this is the case, which it appears to be, then auctioning the items of most value first would help maximize realized prices, and thus maximize the amount of profit enjoyed by the museum.

I personally don't care one way or another, and in fact I suspect I was able to do so well on that Remington because the auction was nearing the end. The last private sale I know for a Remington-Rembrandt set was closer to the $1K mark.

In any case, my comment wasn't intended to offend. It just struck me as extremely odd, as someone who attends plenty of classic car auctions, antique auctions, and just about every major Northern Soul and Motown auction, that the highest valued items were auctioned right in the middle. The almost universal practice is to open with the big ticket stuff, in descending order of estimated value.

If a simple tweak has the ability to realize even slightly higher prices, why wouldn't it be implemented? I think the auction went very well, and I liked the elimination of the silent auction. I also think I speak for everyone when I say I appreciate the efforts of you Tim, Darryl, David, Dave A. and Steve K. But like anything else in life, it isn't perfect and there are very small changes that could be made to tangibly improve it.

The Rembrant was is relatively poor condition. I think the $300 sale price was just about right. Many of the other sets did go for below market prices. I'm not sure that changing the order of how they were auctioned would have made any difference.

The Rembrant was is relatively poor condition. I think the $300 sale price was just about right. Many of the other sets did go for below market prices. I'm not sure that changing the order of how they were auctioned would have made any difference.

I wouldn't be so quick to simply dismiss the effect of the order as it is impossible to know one way or another after the fact what effect it may have had.

I'm not just making this up as I go. See these papers that examine empirical evidence to draw the exact same conclusions I've drawn based solely on intuition:

http://onlinelibrary.wiley.com/doi/10.1111/1756-2171.12081/pdf&ved=2ahUKEwi8g_zRhPbaAhVrzoMKHTb3BHIQFjAFegQIAxAB&usg=AOvVaw20oHcqcjsaBhlIqw_eNiMR

http://ageconsearch.umn.edu/bitstream/143272/2/8-Zhiyong%2520Tu.pdf&ved=2ahUKEwi8g_zRhPbaAhVrzoMKHTb3BHIQFjADegQICRAB&usg=AOvVaw15M33LxziNZhvdRyCSlttX

http://citeseerx.ist.psu.edu/viewdoc/download%3Fdoi%3D10.1.1.62.4497%26rep%3Drep1%26typ e%3Dpdf&ved=2ahUKEwi8g_zRhPbaAhVrzoMKHTb3BHIQFjAHegQIAhAB&usg=AOvVaw3OswZV68vae5ciFbuUQkCn

In particular, the third link is most applicable to the situation at the ETF. The public value of the set is unknown, and more than likely indeterminate, and the private value predominates.

Take it or leave it; it doesn't bother me, not my show to run. I still think that it is a simple change that could benefit the museum, however.

I somehow get the feeling that some are probably a lot more worried that auction prices are going to de-value their *own* collections and set the mark of the value of sets that they already own and may want to sell.....

I don't recall any buyers complaining....and for a lot of sellers it's just about clearing out the back room, so to speak.

Ben, if you've got a better idea you might want to volunteer for next year's event. I'm not meaning that as a dig, far from it.....there are a group of us that do set restoration en masse that are discussing a major repair effort for sets at the Museum at some time this year.

I second that. We could use your help, Ben.

I think everyone needs to realize what goes into putting this show on. Everyone working the show volunteers to do this and spends days helping out before the show. While a "simple" change may or may not have an impact on the outcome, there are few changes that would be simple.

In the weeks leading up to the auction, Larry spends days starting to get the ETF's sets out and stacked into rows. This year when we arrived a few days before the auction, we spent an entire day taking pallets out of the semi-trailer and putting ETF stuff that was in the auction area back into the trailer. The next day was spent shuffling things around a bit but mostly getting the bid sheets in order and handling new stuff as it arrived. That lasted until 10PM Friday night. This is only partially what goes on to get ready.

The two main comments I've seen here are people not getting recognized by Dave and set ordering.

To the first one, each one of us on auction day has a job to do, and we try to help Dave out by spotting bidders. There was a comment about how other auction houses handle this, and I also have been to many top tier auctions. In them they have bidders assistants spread out through the crowd to latch on to bidders and make sure the auctioneer gets their bids, usually by literally screaming. We don't have this and never will. It is the bidders job to make Dave aware of their bid. Moving your hand slowly to shoulder height in a sea of people isn't going to do it. Loudly calling out your bid and making sure you get acknowledged is your job as a bidder. If you didn't get recognized, you didn't do your job.

On set ordering, perhaps some of the people who thought the order was inappropriate could volunteer to come down on Thursday next year and give us a hand moving literally thousands of pounds of tv's. We can use the help!

There are certainly things we can change after our first year with this new format and welcome positive discussion. We have already discussed having a projector at the front and carrying a camera around as the auction progresses so no one has to leave their seat. (in theory) Keeping everyone seated would go a long way to making sure bidders are recognized, that is if EVERYONE follows this and doesn't stand up. In the end, we need more willing bodies to do lots of grunt work if we are to make any major changes.

Dave Abramson did an excellent job as the auctioneer IMO. He, Darryl, Steve K, and David Roper were dealing the best they could with the new auction format, and folks crowding around them while they were down on the left and right sides, while trying to keep things on schedule. I think they did a fine job. If Dave missed seeing you bid, as well as Darryl, and David who were also looking, I would blame the layout and the people squeezed in too close.

If you are not heard, blame yourself! I once was not heard ... so I stood up,
and started screaming. The ETF made a bundle on the resulting bidding battle.

This year, standing up would have made less difference, but a stentorion voice always will. "I bid 4 thousand six hundred dollars"

I suggest a rule that people keep at least 8 feet from the auctioneer, and don't block his view,
well enforced.

I was prepared for a bidding war on a really good 15GP22 ... but did not want another cabinet to take up space I don't have.

On set ordering, perhaps some of the people who thought the order was inappropriate could volunteer to come down on Thursday next year and give us a hand moving literally thousands of pounds of tv's. We can use the help!


I sent an email regarding my willingness to volunteer well in advance of the convention. I don't recall seeing a response to it, though I will admit it is possible that one was sent and I missed it. I have to weed through ~100 to 150 emails a day; things get overlooked.

If my comment offended anyone I sincerely apologize. It wasn't my intent to be glib, and I certainly could have worded it better. Calling the order "moronic" was harsh. I have a tendency to say stupid shit without thinking. I seem to succeed in life in spite of it, certainly not because of it.

As it is, I did help unload Bob Dobush's truck when he brought in all of Jim Cozart's stuff, so I can appreciate the effort involved in moving everything. Especially the projection sets and DuMonts. I would jump at the chance to come down early next year and move stuff.

Regarding the simplicity of auctioning the expensive items first, I don't see how it would have been any harder than having Dave start up front, but if there is more to it than that then again, I apologize. The big ticket stuff was already more or less grouped together up front, thus my confusion regarding the order.

I don't want to pick on Bob Dobush, I've considered him a friend for many years, and he is very valuable to Steve, the museum, and our hobby.

But we sure could use the space he uses for storage in the auction room so that there would be room for everyone to sit down and stay out of the way. We all know the room is too small, perhaps now we'll finally all realize that it's time to do something about it.

.

I don't want to pick on Bob Dobush, I've considered him a friend for many years, and he is very valuable to Steve, the museum, and our hobby.

But we sure could use the space he uses for storage in the auction room so that there would be room for everyone to sit down and stay out of the way. We all know the room is too small, perhaps now we'll finally all realize that it's time to do something about it.

.

Back before there was a CRT rebuilding room indoors there was enough space (at least for the amount of stuff auctioned back then*) for the auction and Bob's stuff, but since that was built I have to agree with Jim that there is too much stuff that is not part of the auction crowding the auction...If the back room keeps filling in like this the number of items being auctioned is going to have to be limited, or the entire thing will need to move outdoors (perhaps under a big tent)... 2-3 more rows of TVs in that auction would have meant removing the chairs.

I've actually been thinking along the lines of Jim for a few years I just kept my trap shut because I'm not fond of rocking the boat.

*Heck I remember years where a part of the swapmeet occupied the current indoor auction space and there was still seemingly enough room.

Well, I wouldn't want to piss anyone off or get flamed, but I really feel a need to defend Steve, Dave Abramson and the other volunteers.

INCOMPETENCE / MISTAKES:
I've been to every Early Television Convention since they started. It's always a whirlwind. No matter how much you prepare ahead of time the pace on Saturday is so fast, and the schedule so tight, that it often becomes impossible for well-intentioned volunteers to make sure that everything goes perfectly. Part of the problem is often that many people don't get to see what goes on "behind the curtain." I could NEVER criticize Steve, Bob Dobush, Dave A., Darryl or any of the other volunteers who put in long hours of often hard physical labor to support the Convention, without compensation or anything other than an occasional pat on the back. Dave, in particular, stepped in to serve as our auctioneer after previous volunteers weren't able to do it. I think he did a great (if perhaps not perfect) job and as with all of our other volunteers he did a heck of a lot better than "none of the above."

LEADERSHIP:
There has been a significant influx of "new leadership" over the past few years (a fully-filled formal Board of Directors, up from pretty much 'just Steve' until not too long ago.) These are people who care about the Foundation and put in time and effort (and occasionally money) to support it. New blood is always welcome, and usually in short supply. Some folks show up and the first thing out of their mouths is "how can I help?" Gotta love those people. (You know who you are!) My own philosophy is that constructive criticism is always eagerly sought and deeply appreciated. But UNconstructive criticism could mean that YOU are now in charge of whatever it is you were complaining about!

PRICES:
Regarding prices, virtually everything was a "good deal" this year if you were a buyer, or a young collector just starting out. And a "bad deal" if you were selling. In my neck of the woods, radios and TVs are selling for literally a few cents on the dollar of what longtime collectors paid for them years ago and think that they are worth. FYI a CT-100 in similar condition sold here last year for two or three hundred dollars. It's depressing, but there have been several occasions here lately where they literally have not been able to give radios and TVs away for free at auctions and estate sales. And I missed out on a couple of great buys myself because my bid was a millisecond too late. My bad.

One of my favorite quotes is "A thing is worth what you can get for it." For the record, I put a set in the auction this year for the first time ever. When the dust settled, Steve sent me a note that my net proceeds would be a dollar and sixty cents. I told him to keep it.

IMPROVEMENT:
We learn from our mistakes. The comments about the order of items in the auction are interesting, and my own observations are that is true. We are planning to do "iMag" (projecting the item being auctioned on a screen) next year, but that also adds another layer of complexity and more equipment and manpower demands on our already stretched-thin-to-the-breaking-point crew.

This year (as always :-) was "the best Early Television Convention ever." And next year probably will be too.

I don't want to pick on Bob Dobush, I've considered him a friend for many years, and he is very valuable to Steve, the museum, and our hobby.

But we sure could use the space he uses for storage in the auction room so that there would be room for everyone to sit down and stay out of the way. We all know the room is too small, perhaps now we'll finally all realize that it's time to do something about it.

.

Four basic things would improve the warehouse situation. They cost money, and time, but probably beneficial overall:

1. Industrial style pallet racks. Abundant, but not free, on CL. As a 501c3, attracting corporate donations is possible. Locating around the perimeter would probably clear almost all the floorspace.

2. Clean pallets for organization of equipment by type, owner, long-term, item-for-auction, etc. Free is possible, but time is still needed. Not as space-efficient as existing dense-packing, but with four levels of storage where there currently is one, plus categorical organization, it's still a big plus.

3. Organization database that logs what is where (by clearly-marked pallet number), who owns it, etc. Basically free, minimal time once established.

4. Small forklift or pallet stacker/picker. Several options here. Donation possible but a longshot. Maintenance/charging expense. Insurance/training requirements possible. Abundant on CL, but have to be poised to move quickly when available.

I'm local, and regularly run across stuff like this on CL. Can advise of availability, coordinate/execute purchase and delivery, but not finance.
Not in the position to seek out donations of goods, however; but I can recognize them if I learn of them.

I do think changing up the storage system would greatly improve free space, but the ever-present danger is having that space collect more stuff. The discipline is deciding what should be collected.

The fenced-in area out back would also be prime for shipping container storage if zoning allows. Plus the museum could rent out capacity to space-challenged collectors, and possibly, as a value-add, accept shipments and store for absentee collectors. This would be for money, not for free. (Insurance would be on the collector, not ETF.)

Caveat: These are probably not new ideas. I have not brought them up to Steve or anyone. They are probably also pipe dreams and can't be implemented for a wide variety of reasons. But a man can dream, can't he?

On edit, just to keep it all in one place...

On rackmount gear, best is to store it in racks. I actually have a few I can donate for this. (They're presentable enough for display, too.) Plus, it's the kind of thing I often run across people trying to get rid of, free. But I usually need to answer quickly, so 'pre-approval' would be good.

Can advise of availability, coordinate/execute purchase and delivery, but not finance.

That's the problem.....unless some benefactors come in and dump a load of cash, that sort of thing can't happen. It's difficult enough raising funds to pave the parking lot.

I don't want to pick on Bob Dobush, I've considered him a friend for many years, and he is very valuable to Steve, the museum, and our hobby.

But we sure could use the space he uses for storage in the auction room so that there would be room for everyone to sit down and stay out of the way. We all know the room is too small, perhaps now we'll finally all realize that it's time to do something about it.

.

Every year I usually pick through Bob's stuff and usually end up handing him a couple hundred bucks and walking away with some really nice goodies.

This year, I couldn't find more than a couple things that weren't there last year and everything was packed so tight that I couldn't get a good look at much. I probably would have hit him up on a Philco projection set that he had there, but it would've taken a good half hour to dig it out.

As it is, I did help unload Bob Dobush's truck when he brought in all of Jim Cozart's stuff, so I can appreciate the effort involved in moving everything. Especially the projection sets and DuMonts. I would jump at the chance to come down early next year and move stuff.

I think I moved every set in the whole museum *but* those. I think I was running around doing something with the media for the presentations when those were being offloaded.

Funny thing....when I was loading my own stuff everyone seemed to scatter. Not on purpose I'm sure. The only person who came over and offered a hand was Julian Burke. Spent quite a bit of time with him at the convention and I'm glad I did......he's a hell of a nice guy :)

I think I moved every set in the whole museum *but* those. I think I was running around doing something with the media for the presentations when those were being offloaded.

Funny thing....when I was loading my own stuff everyone seemed to scatter. Not on purpose I'm sure. The only person who came over and offered a hand was Julian Burke. Spent quite a bit of time with him at the convention and I'm glad I did......he's a hell of a nice guy :)

Tim, those were unloaded about a month ago when Nick picked up the rebuilding equipment he had purchased. It was Bob, Nick, my father, and I that unloaded that truck.

Anyway, I regret even mentioning anything. It was just a relatively simple suggestion, with absolutely no cost to implement, that could hypothetically net more for the museum, and worst case cause no harm. I believe I've presented ample evidence to that effect.

In the future I'll keep my mouth shut.

Photos are up. https://www.flickr.com/photos/jsw68138/sets/72157666687171147

Tim, those were unloaded about a month ago when Nick picked up the rebuilding equipment he had purchased. It was Bob, Nick, my father, and I that unloaded that truck.

Ahhh...I thought you meant the Dave May stuff. My bad.

That's the problem.....unless some benefactors come in and dump a load of cash, that sort of thing can't happen. It's difficult enough raising funds to pave the parking lot.

Understood. I've worked with a couple organizations with small budgets.
What could help is 'renting' space (by the pallet?) for storage of individual's goodies (that are in the scope of ETF). Granted, not everyone lives close enough for that to be worthwhile, but it may also spur more visits to the museum.

I learned about the ETF through my friend Jerome in 2010. I’m in the Phoenix area and getting up there in age. I get severe pains in my chest from being doubled up in the cramped airline seats, so I don’t go to the convention. I’ve watched the stream every year and have a few suggestions about the auction.

1. Get a wi-fi extender to improve the signal. They are cheap. Lots of buffering and drop outs.

2. Definitely agree that everyone should be seated once the auction starts. It seems that most folks have ample time to inspect the sets they are interested in prior to auction start. Standing up and following the auctioneer blocks the view for everybody.

3. The camera operator should be able to pan, scan and zoom without obstruction.

Reading the “behind the scenes” preparation on this thread was informative and sounds like controlled chaos. I saw the auctioneer was rushed to maintain the timeline of the Saturday schedule with so many items to be auctioned off.

I think everyone did a great job this year as always. Remember it’s all volunteer work.

I’m so sorry I can’t be there, maybe one year I will. I do what I can in my own way to help the museum and our hobby.

Good news and more towards the original topic. The green gun was FAR from dead, but WAS deep asleep and tested very weak initially. The green gun has woken up to be the strongest so far centered in the good range. Red is close to green. Blue is at the lower end of good. Edit: Blue woke up more.

This is shaping up to be a good 15GP22 CRT!:banana::banana::banana:

https://farm1.staticflickr.com/981/40177027680_79a8445441_n.jpg (https://flic.kr/p/24diLzN) https://farm1.staticflickr.com/903/40177029840_bd9c0e9dcc_n.jpg (https://flic.kr/p/24diMe3) https://farm1.staticflickr.com/824/41939037872_13974079f3_n.jpg (https://flic.kr/p/26U1wPS)

Your deal sounds even sweeter!:banana: Lets hope it stays alive.:thmbsp:

https://farm1.staticflickr.com/953/27098646437_c82a99e354_n.jpg (https://flic.kr/p/HhBDu2)
Here are my buys L-R T-B : Motorola mask+knobs (better ones than on my set), Silvertone roundy, Alignment sweep gen, Duo-view projector NIB, Zenith porthole, 23" Zenith table set, 21FBP22, CT-100, Dumont color monitor, and the corner of Project 'M' (which will remain secret till the time is right).

The CT-100 has sound and video, but the video is weird. Luminance if present appears negative, contrast can extinguish the raster but not affect it much otherwise, if the color is turned to minimum raster extinguishes...Based on that I think the luminance stages are not operating. Cabinet and screen pictures are from before I woke the sleeping CRT.
I built a working video injection amplifier for my 21CT55; if time allows I hope to connect it to the CT-100 tonight to better diagnose the video stages. With luck, I'll be "off to see the wizard". :D

https://farm1.staticflickr.com/943/41067985715_2d125dd894_n.jpg (https://flic.kr/p/25z3ane) https://farm1.staticflickr.com/945/41067955145_31ae7bde13_n.jpg (https://flic.kr/p/25z31ha) https://farm1.staticflickr.com/831/41067990825_2573f1be3c_n.jpg (https://flic.kr/p/25z3bTk) https://farm1.staticflickr.com/972/40160445540_a8c4a90b5d_n.jpg (https://flic.kr/p/24bQMhQ) https://farm1.staticflickr.com/903/41967310571_23efd9d204_n.jpg (https://flic.kr/p/26Wvrjc) https://farm1.staticflickr.com/971/41067967045_a802df588a_n.jpg (https://flic.kr/p/25z34Pk) https://farm1.staticflickr.com/947/41067935935_85ee775477_n.jpg (https://flic.kr/p/25z2UyX) https://farm1.staticflickr.com/952/28096324328_1c7ca3bc1b_n.jpg (https://flic.kr/p/JNM1mY) https://farm1.staticflickr.com/976/27098632497_74594b1cff_n.jpg (https://flic.kr/p/HhBzkF) https://farm1.staticflickr.com/948/28096312328_1366df2a7c_n.jpg (https://flic.kr/p/JNLWN5)

Good news and more towards the original topic. The green gun was FAR from dead, but WAS deep asleep and tested very weak initially. The green gun has woken up to be the strongest so far centered in the good range. Red is close to green. Blue is at the lower end of good. Edit: Blue woke up more.

This is shaping up to be a good 15GP22 CRT!:banana::banana::banana:

Such luck!

Go buy Powerball tickets...

.

What a great score. I'm sure you'll do a thorough & careful job of restoring that CT-100.

I'm curious about that DuMont monitor, too. Perhaps you can post some photos & details when you get around to that project.

Have fun!

Phil Nelson
Phil's Old Radios
https://antiqueradio.org/index.html

What we all want to see, or at least I want to see, before I start crying
in my coffee for not bidding, is a raster only, two guns cut off, that has
good purity. I have a theory that might make it possible.

50's Admiral color ($1000) very desirable, rare.
Wonder why blonde ctc-5 went for less than blonde 12" GE B&W?
- Got excited, thought I had one, but it was a blonde Hallicrafters 12" (pic)
Good to see 50's limed oak item prices on the rise!

The blonde 5 had an FJP conversion....I'm still kicking myself in the ass for not going on it :(

The blonde 5 had an FJP conversion.... :(

That would be a sweet TV.

I'll have to settle for adding the Hallicrafters 12 to my mid-50's blonde room, where 'time-stands-still' (pic)

Two questions:

Do you invite people to see your Rembrandt? :D


What is the lighted object on the wall to the left of the clock?

Two questions:

Do you invite people to see your Rembrandt? :D


What is the lighted object on the wall to the left of the clock?


Wow, you spotted the Rembrandt!

Object next to clock can be identified here
(https://www.youtube.com/watch?v=KCPmHR1VMgQ)

It's not really beer unless it ends with a "Z". ;)

What we all want to see, or at least I want to see, before I start crying
in my coffee for not bidding, is a raster only, two guns cut off, that has
good purity. I have a theory that might make it possible.

Ask and ye shall eventually sort of receive...Video is still wacky which makes getting a bright plain raster tricky, and getting a pattern to attempt static convergence a downright pain in the but. It would seem the initial recap left several of those lousy chalk peaking coils, and sloppily j-hooked in many of the new caps...I'm glad it is pre-recapped, but some of the workmanship, to put it kindly, is not how I would have done it. Soon I hope to bench it and go over the video circuits. Purity and convergence pics shown below represent my first attempt on a 15GP22 based set. It is a completely different process from every CRT type that followed. Most of the time I felt like I had been dropped in Brittan and asked to drive one of their backward cars on one of their backward roads. Static convergence was off by a mile when I did the purity so if it is anything like a later set then that will affect the purity, and I'm probably going to have to go back and forth between static convergence and purity a few times before it is right (only did purity once followed by one round of convergence). Static convergence is REALLY weird on this set there is the side knob (which gave me a choice of how wrong I wanted it at first) then the static magnets are similar but different from later CRTs...Specifically, there is only blue lateral action from the magnet and the DC convergence knob on the HV cage needs to be used in conjunction (and it affects all three guns)...In summary purity and convergence are sort of decent, but not perfect.

https://farm1.staticflickr.com/954/41331453684_2395ced811_m.jpg (https://flic.kr/p/25Yjvdq) https://farm1.staticflickr.com/967/41331465244_8ce165b29c_m.jpg (https://flic.kr/p/25YjyDJ) https://farm1.staticflickr.com/959/41331460714_71d66f3f5c_m.jpg (https://flic.kr/p/25YjxiC) https://farm1.staticflickr.com/967/41331457984_39e91848e7_m.jpg (https://flic.kr/p/25Yjwuy) https://farm1.staticflickr.com/911/28178662298_2c16eeba03_m.jpg (https://flic.kr/p/JW41z9)

I'll probably be able to improve it more in the future.

For now, I plan to focus on the video circuits...The lumina channel will pass very weak video with the chroma off, but not nearly as much as it should, with chroma up it will get VERY bright but it seems like the color demod is not working correctly...Looking at the clock I should probably sleep and worry about it tomorrow.

Experienced techs would have been skeptical of the description of this auction item as "two good guns + one no emission" doesn't add up as typical failure/aging. So definitely worth gambling on this item.

As far as vacuum goes, this is another miracle survivor of RCA's ridiculous glass-tin-glass picture tube.

Note to RCA: If Lawrence & CBS can make all-glass color tubes, so should you with your unlimited budgets.

Hi Tom,
Great to see all three guns working on your CT-100.:yes:
Ed

Wow, next time I want to shake your hand to see if any of this luck rubs off! Congrats on making past the big "if" of a good tube!

Ask and ye shall eventually sort of receive...Video is still wacky which makes getting a bright plain raster tricky, and getting a pattern to attempt static convergence a downright pain in the but. It would seem the initial recap left several of those lousy chalk peaking coils, and sloppily j-hooked in many of the new caps...I'm glad it is pre-recapped, but some of the workmanship, to put it kindly, is not how I would have done it. Soon I hope to bench it and go over the video circuits. Purity and convergence pics shown below represent my first attempt on a 15GP22 based set. It is a completely different process from every CRT type that followed. Most of the time I felt like I had been dropped in Brittan and asked to drive one of their backward cars on one of their backward roads. Static convergence was off by a mile when I did the purity so if it is anything like a later set then that will affect the purity, and I'm probably going to have to go back and forth between static convergence and purity a few times before it is right (only did purity once followed by one round of convergence). Static convergence is REALLY weird on this set there is the side knob (which gave me a choice of how wrong I wanted it at first) then the static magnets are similar but different from later CRTs...Specifically, there is only blue lateral action from the magnet and the DC convergence knob on the HV cage needs to be used in conjunction (and it affects all three guns)...In summary purity and convergence are sort of decent, but not perfect.

https://farm1.staticflickr.com/954/41331453684_2395ced811_m.jpg (https://flic.kr/p/25Yjvdq) https://farm1.staticflickr.com/967/41331465244_8ce165b29c_m.jpg (https://flic.kr/p/25YjyDJ) https://farm1.staticflickr.com/959/41331460714_71d66f3f5c_m.jpg (https://flic.kr/p/25YjxiC) https://farm1.staticflickr.com/967/41331457984_39e91848e7_m.jpg (https://flic.kr/p/25Yjwuy) https://farm1.staticflickr.com/911/28178662298_2c16eeba03_m.jpg (https://flic.kr/p/JW41z9)

I'll probably be able to improve it more in the future.

For now, I plan to focus on the video circuits...The lumina channel will pass very weak video with the chroma off, but not nearly as much as it should, with chroma up it will get VERY bright but it seems like the color demod is not working correctly...Looking at the clock I should probably sleep and worry about it tomorrow.

Tom,

That's my old CT-100, well, kind of. The CRT in it is a different one but the chassis and cabinet are the same.

The chassis was sold to me as having been restored and my reaction to the work on the chassis was the same as yours. It was making inadequate HV when I bought it, and was frankly, a complete trainwreck. If I had known how poor the previous "restoration" was, I'd have run screaming in the opposite direction. In addition, every single IF transformer and adjustable coil in that set had been screwed with. I focused on alignment and let the caps go for the time being. I got it to the point where I could get some semblance of a signal through the IF strip and finally got frustrated, shoved the chassis back in the cabinet, and eventually sold it to John. I never did any of the recapping. Given my experience with recapping from this individual in my 630TCS, every single capacitor will need to be checked to ensure it was installed correctly. IIRC, there were also some originals tucked up in there somewhere...

I'm not sure if John did any work with it or not. I'm inclined to believe the chassis is exactly as it was left when I had it. I was able to get good strong audio and decent looking luma through it around the time I gave up on it; I watched an entire episode of the Honeymooners on it and it OK looking. Marginal, but watchable. It will need another check of the alignment. I can guarantee it is still fairly far from usable. As far as I know, the chroma sections on that set never worked post-"restoration".

Best of luck, as you'll need it.

-Ben

Thanks, everyone. Ben thank you for giving me some backstory on it. It seems the HV is around 19KV according to my backup HV meter (I still have not gotten to replacing my main meter since it broke). I built a good video injection amp for the CTC-2 family a few months ago so I plan to ignore the IF system completely until the video and chroma are working properly...Even then I probably will need to learn alignment on something else first. The look I had under the chassis was a 2min low light search for peaking coils and rough sizing up of the work on it. I'm sure the pending full exam is going to be interesting.

This is the second time in 12 months that I know of that a 15GP22 has been falsely accused of being a dud. This is why anything I'm interested in gets tested with my modified Beltron. Always test a tube with a tester you're comfortable with and trust, to do otherwise could be an extremely expensive mistake.

This is the second time in 12 months that I know of that a 15GP22 has been falsely accused of being a dud. This is why anything I'm interested in gets tested with my modified Beltron. Always test a tube with a tester you're comfortable with and trust, to do otherwise could be an extremely expensive mistake.

That, in a nutshell, is why I did not bid either of the 21" sets to my limit. I brought all the equipment I needed to vet all CRTs in the sets there, and the ~1-2 hours I had before the auction got eaten by swapmeet so I never had the chance to see for myself if the claims of good and bad CRTs were accurate. I've seen enough bad tubes called good and enough good tubes pronounced dead that I don't like to take others' word on things unless I'm letting go of a small enough sum, or getting enough out of the rest of the set to not care if the CRT is good. I've had several people get but hurt over my not taking their word on CRT condition, but if I'm shelling out a C-note or more and the rest of the set is not worth far enough over the purchase price to make up for a dead CRT then I feel it is only fair to allow the buyer to check the CRT for themselves first...And I'd encourage any buyers of my sets to do so if they feel the need.

The luminance deficiency was the most obvious culprit. The original white peaking coil on the contrast control above chassis had opened...I took the longest, but the most educational approach to finding it: comparing video at various points between my CT-100 and 21CT55 on a scope...I could have saved myself a half hour by following my hunch and putting a DMM on it, but the scope was more fun. :D

That got me a monochrome picture with all the contrast and brightness I could ask for...Turning up the color got me horizontal chroma stripes. Best yet color was actually synching periodically. :banana::banana::banana:
https://farm1.staticflickr.com/981/28199682848_663cce9d4d_m.jpg (https://flic.kr/p/JXUKfq)

This is the only pic I got. I had it making a great picture on a different source when it would occasionally sync. Then I tried to adjust L43 (RCA part 78891) the reactance coil to make the sync permanent. It was sticky but came loose...Unfortunately, it was not the slug that came loose but the coil form and with it the wires that connected it to the terminals. leaving me with the osc. way off sync but still working. Once I realized what happened I removed the coil and tried to free the slug. Sadly the cardboard form was too brittle, and also ~1/8" of the very long slug chipped off...I managed to grab a similar form and rewind the wire, but it will not oscillate with my repair...I'm kind of up a creek presently.

Only thing I can think of is a CT-100 parts chassis....Or there is a very slim chance that coil may have been used in a 15" Dumont color monitor carcass I acquired recently. The Dumont is missing CRT/deflection hardware, flyback, and other things, but it seems to be CT-100 based. The Dumont's HV cage (what is left of it) appears to be exactly the same as that in a CT-100 as do the purity and field neutralizer coil connectors...If I'm lucky it uses the same reactance coil too...But then again I would like to make the Dumont work again someday and hacking it up for parts does not sit well with me.

After brief success, I'm back to monochrome again.

Well, I'm now crying! That price for a good 15GP22!

You'll eventually get the oscillator to oscillate again. Coils at 3.58 MHz
can be rewound, you;ll eventually succeed. There are parts chassis around.

That color bar picture looks exactly like the one I first got on my set. Good
luck getting the red and magenta balancing well with the other colors.
Beware of AGC setting and color level on the modulator.

Hi Tom,
I was thinking of any easy way for you to fix or replace your broken L43 coil. You could use an old 4.5mc sound coil. You would have to add some more capacitance in the tank circuit. Increase the 5pf to get a center frequency of 3.58Mhz. If you have an inductance meter, maybe you can measure your broken coil if it is still intact.
Ed

Using a coil that resonates with a different size cap may work, but it's not the best idea because it will change the strength of the effect of the AFC circuit and therefore affect the stability of the pull-in as temperature changes, etc.

Better to get the right inductance and capacitance.

This is the only pic I got. I had it making a great picture on a different source when it would occasionally sync. Then I tried to adjust L43 (RCA part 78891) the reactance coil to make the sync permanent. It was sticky but came loose...Unfortunately, it was not the slug that came loose but the coil form and with it the wires that connected it to the terminals. leaving me with the osc. way off sync but still working. Once I realized what happened I removed the coil and tried to free the slug. Sadly the cardboard form was too brittle, and also ~1/8" of the very long slug chipped off...I managed to grab a similar form and rewind the wire, but it will not oscillate with my repair...I'm kind of up a creek presently.

After brief success, I'm back to monochrome again.

Check L42 for continuity. An open L42 is often the cause of 'loose' chroma sync in a CTC2 chassis.

Pete

FYI, RCA 78891=Meissner 17-6015. I did notice, while checking some Photofacts, that the 19CK1 uses the same part, and I suspect others do as well.

L42 was changed sometime in the previous owners' restoration(s).

L43 mesiner 17-6015 (thanks Bgadow for the cross-reference!) turns out to also be used in the Dumont monitor carcass I got at the ETF...Can't say I feel good about taking parts off of it, but others have done that enough in it's history that I'll need a parts chassis to get it working anyway...In picture form I pulled this coil from this chassis to fix the CT-100.
https://farm1.staticflickr.com/903/41195840055_e94abe2f28_n.jpg (https://flic.kr/p/25Lks1p) https://farm1.staticflickr.com/826/27226360767_2b6a3048bb_n.jpg (https://flic.kr/p/HtUdve)

Color synch held for 30 min and only wavered on a VERY saturated scene.
https://farm1.staticflickr.com/946/42051278532_3b8ef98f60_n.jpg (https://flic.kr/p/274VN4E) https://farm1.staticflickr.com/906/41195832715_1e3c5c9d8d_n.jpg (https://flic.kr/p/25LkpPR) https://farm1.staticflickr.com/964/40289234050_9abf2f93de_n.jpg (https://flic.kr/p/24odRCo) https://farm1.staticflickr.com/943/42051292672_4e868a8351_n.jpg (https://flic.kr/p/274VSgs)

So as an aside, what is your picture source? As digital, then ATSC came onto the scene, the definition (or common practice) of 'legal' colors and black levels has changed a bit. And if you're converting from HDMI, HDR will really tax things. If you're using 'old' recordings (VHS/Beta) or a proc amp in conjunction with your modulator, or if it has one incorporated within, it may not be an issue.

I haf many sigi-nal sauces. :D
https://farm1.staticflickr.com/944/42063553592_157926c8b6_n.jpg (https://flic.kr/p/2761H1C)
That is the main rack in my room. Bottom-up there is U-matic, LaserDisc, HDDVD, Bluray, DVD-recorder/VHS, DVR/DVD-recorder, 2 S-VHS-ET decks, CED/selectavision video disc player, SuperBetaHiFi, AV switchers, PC with S-video out, ATSC box, Blonder Tounge agile modulators configured to transmit, and hidden to the side a pair of mini cable boxes and a Roku. Before the ETF I tore apart and rebuilt/reconfigured all but the agile modulators on top to fix the flying spaghetti monster that it had devolved into through 3-5 years of not really properly reconfiguring it when needed but instead hacking on to the front accommodations for the switch to digital cable, the addition of HDMI for my HD-CRT Sony, and a bunch of other stuff.

Basement rack is a Blonder Tongue, VHS, Beta, CED, Cable box and a fairly literal bunch of video game consoles (also have LD and other crap waiting to be added to it when I get around to rearranging that cluster)...

Colorbar path consists of upstairs DVD transmitted, then tuned in by the VCR in the downstairs rack and retransmitted (the upstairs rack is hard to tune in the basement so this is the easiest workaround), then tuned in again by the VCR that feeds this video injection box https://antiqueradio.org/VideoAdapterForRCACT-100Television.htm

The TV program path was much simpler cable RF out from cable box (it only has RF for analog output) to the tuner on basement rack and onwards like the other path.

The CT-100 shall live in the basement close to my workbench until I am satisfied enough with its performance to make it a spot in one of my upstairs display rooms.

So with the covid lockdown keeping me in the basement I've been going after partially done early color projects....

Where to begin on this? Shortly after my last post Benman offered to trade his CBS 205 for my 21CT55... looking carefully I came to the conclusion that I'd be trading for the same chassis in a bigger less attractive cabinet with a smaller CRT and I'd be trading a set that needed an alignment and refinish for an unrestored chassis that might also need an alignment and decided to fix my 21CT55 (which has been working and looking excellent for a year and a half now and I should post that saga eventually).....one interesting thing on the 21CT55 was it didn't need an alignment...All it needed was the off tolerance IF resistors changed and the channel osc slugs retuned.

That led to me to pull nearly all the decent 6AN8s out of the CT-100 to replace all the weak shorted specimens in my 21CT55....the CT-100 sat dark since then with the tubes missing (and eventually a bag of swapmeet 6AN8s sitting on top)....
Late last week another slug cracked on my Moto 21CT2B so while I wait on another chroma bandpass coil from eBay for it I bounced over to the CT-100. After getting a fresh crop of 6AN8s in it replacing the 6DE6 somebody placed in the 2ND IF with the correct 6DC6, changing off tolerance resistors in the 2ND and 3RD IF, and changing the paper cap in the tone circuit the hack that recaped it left I was easily able to get it to pass decent chroma through the IF... there's some chroma/sound crosstalk in the lumina channel I need to fix yet (If resistor replacement in the IF I've since done hasn't fixed it) but it is now watchable. :banana: :banana: :banana:

I'm almost done going through the IF resistors. I also plan to replace the 1-2 remaining original leaking coils in it and the other peaking coils with the same ones I used in my 21CT55 (the ones miniman82 recommends from digikey). Whoever put in the somewhat random assortment of peaking coils in this set also did a lot of sloppy J-hooks (sometimes a J to another J to finally the cap lead) sloppy soldering and other baloney that makes me question their competence to select correct peaking coils. I plan to go through and change all off tolerance resistors in the color and video stages as well as the HV and to change the doorknob capacitors out before they can fail...
If progress holds I'll have this set done soon.

Good work, Tom.

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Nice!

Very nice. You should turn off the lights and fill the VF with the image(s).

Well I'm close to calling it done. I've gone through every resistor in the set (except for a few in the sync separator and sound because those stages are doing fine), changed most of the peaking coils except for 3 50s butterscotch colored ones on the video amp boards that aren't the lousy chalk ones and in the process I have fixed 70% of the lousy J-hook connections whoever did the original recap haphazardly moused in. I also changed the HV doorknob and the large convergence doorknob capacitors to newly manufactured ones I bought off mouser and digikey a couple years ago. I discovered someone else changed the vertical convergence transformer over to the more safe/reliable reproduction (the 15KV leads with silicone insulation definitely weren't around in the 50s).
The chroma osc has drifted a few times on me during long opperation and required tweaking to dial in... I'm almost done with a 1.5 hour shake down run and so far chroma sync has been solid so I guess that problem has been licked. I got the convergence good over all but the vertical convergence especially the top just doesn't want to be perfect. Also annoying is despite it supporting a nice bright picture commercials and scenes where there is a static image that is more than 80% bright white the HV says and the focus goes out into left field till image content averages darker (but IIRC that is normal behavior for these sets).
Picture is excellent.

When I went to install the channel knob I was surprised to discover my CH13 modulator came in on CH10!...I was gearing up to align the modulator when I came upon 3 pleasant surprises... First the set was actually set to the CH13 strip and the channel plate knob wasn't indicating correct. Second the set came with UHF strips for CH15, 33 and 35, third a spare monochrome set version of the tuner that was sold to me as a 21CT55 tuner had a CH22 and 36 strip in it...I pulled the both and put the 22 strip into the blank spot in the CT100. I figured out the channel indicator knob was put together wrong and reassembled it properly. There are no UHF channel tabs on my knob and I'm debating trying to create some....I have at least 2 more channel indicator knobs (one has UHF numbers for the wrong channels)...I need to see if I happen to have anymore with the right UHF numbers.

I'm wondering if I should do more with the horizontal system...the cathode current is around 115mA (I can't find a spec to know if that's good or bad....the grid waveform has its top clipped...that issue gets better with the drive cranked up to max but I have to dial the drive down some to prevent getting a drive line. The flyback settles at about 90f on the HV winding, and 130f close to the core on the center winding after prolonged opperation...What do you think?

I also was able to touch up the missing toner lacquer on the feet... because it was patchy I used Howard's and steel wool and lot of elbow grease to remove the lacquer remnants from the feet in a clean line then I resprayed the feet with fresh toner...it isn't perfect, but I don't want to do a full refinish and it looks a heck of a lot better than it did before.

I don't know if I should fix it more or call it done and haul it up to my display room..

More pictures.

I'm thinking about adding a 12V computer fan run off rectified 6V heater line (I did this in my 21CT55) to blow on the flyback and cool it...

Another thing I'm on the fence about is dismantling the CRT shroud and cleaning the ultor ring insulator. For the first 2-10 min on it makes a rain storm of small HV crackles around the insulator then goes silent upon warm up....I prefer to handle something as delicate and rare as a 15GP22 as little as humanly possible but I'm hesitant to leave things in this state...

Take it apart and clean the crt. I have found that a build up of film on the inside of the plastic insulator at the front of the tube and on the glass can cause that static crackle and in turn interference in the video. Removing the crt on a CT100 is a piece of cake. Go for it.

Nice work Tom. I am in your camp about "J" hook repairs. Removing the leads from the terminal lugs is so easy if you have a pump driven de-soldering machine and you know how to wiggle and create a cold solder joint.