I’m probably not the right chap to be doing a review of the Elmo GS1200 Stereo projector as others will have much greater technical experience than I of its inner workings, but I do have long practical use of these machines regularly out and about projecting film and also for a number of years using the Xenon version when projecting at film festival so here goes.
The first thing that strikes you about Elmo’s GS1200 is the weight when lifting it and believe me it is one hell of a lump at 31lb even without its case and mains lead, but it is made from real metal! You’ll gather I have lifted a GS around for some time, up and down stairs and in and out of cars in all weathers so perhaps this review can be from a more practical standpoint than anything else. When this machine was introduced you needed a sturdy bank account to buy one as the price fairly quickly went up from the initial launch price of £800. Bearing in mind other top brands of machines were selling well bellow that it set the Elmo GS1200 apart from the rest and very much so as we had never seen a machine of this build quality before or since. This was more of a mini Cinema projector with a good quality f/1.1 12.5-25mm as standard, 200w lighting and 1200ft spool capacity which was enough to satisfy just about all. Inside the machine a number of DC motors provided drive for the spool arms and internal mechanism with variable projection speeds above and under 18 & 24fps which leant itself to cine transfers perhaps. The sound amplification was generated by no less than 8 integrated circuits, 9 transistors and packed a punch with its 15 watts music power stereo output along with Magnetic play/record and Optical sound playback. Lavish features were in abundance on this model not least a built in synchroniser for the Elmo ESS or ETS system enabling you to link up the Elmo cassette recorder and more. Twin VU meters enabled you to see what the sound was up to in both playback and record and you could also use a fully featured list of recording facilities such as track to track transfer. Audio levels could be recorded manually or automatically which gave the user flexibility. The film transport mechanism was supplied by one 24 tooth sprocket and the upper 18 tooth sprocket. This is a good design for recently printed films but if you project vintage acetate film which has dramatically shrunken you may well hear the lower sprocket picking at the films sprocket holes due to the 24 teeth tugging away at your film. The projectors claw was a sensible 2 pin type for increased image steadiness and even with shrunken acetate films the GS1200 did project a steady picture, certainly here at any rate. There is a basic understanding that no less than three basic versions of the GS1200 were available and commonly known as MK1, 2 & 3 although I have come across a number of variables to this. It is a simple job to spot a MK3 model as the film loop under the gate moves backwards in use, whereas the older Mk1&2 it moves forwards. In my opinion as a user of these machines the MK3 is the most desirable and the one to look out for if you fancy owning what was back in the day called ‘a dream machine’ and it is when working well.
In use you simply plug in the mains lead, flick up the main projector power button and you will hear the machine go into a power ready state. Inside the machine the sound drum flywheel is already turning just below regular sound projec speed to assist prompt and accurate sound penetrating from the two internal speakers. Threading a film is a breeze as you simply press down the green top loop former and you will hear a click as the mechanics fires in the film threading mechanism for you and what could be simpler. Everything you need to play back and project a sound film faces you on the front panel including a very professional looking collection of audio knobs, framer and main touch sensitive electronic switches to control the mechanical mechanism side of things. Yes this machine has just about every feature you could hope for and it would take me some time to explain the delights of all the recording features at the rear of the machine, but the GS1200 has never liked cement type splices which if projected will generate audio wow and usually break at the first opportunity. Forget 50ft spools and even 400ft sizes as this baby will accept spools as listed in its specification to a huge size of 1200ft which is more than enough to go at. If you like the sound of your own voice it is also equipped with a public address facility, spot stereo recording which is a valuable tool for budding film makers needing accurate audio dubs. Once your show is over you simply offer up the end of your film to the now empty spool and flick the rewind lever whereupon yet another motor engages to rewind your movie back to its own reel.
Move forward oh around 30 years and the position is slightly different with regards to the longevity of this complex machine. In its day it was most certainly the most desirable projector out there offering it all, but this may not be the case today as we have the spare parts issue to face or more to the point very limited spare parts. Taking the back off the machine you are greeted with a full house of electronics ranging from amplifier modules to a number of DC motors most of which if any will be available in very small numbers and probably in the hands of private collectors now. If something important in the machine goes pop you could wind up with something of a hunt to locate specific parts that were produced for this baby so be prepared is the motto. I’m not taking anything away from what was a superb machine, but years on and with no ready supply of major spares it is an issue owning a GS1200 today.
Having now put a downer on the GS1200 lets look back at the positives. It is without question a professional style machine offering a host of features which fingers crossed keep working. The 200 watt lamp, great lens, very high quality sound and 1200 spool capacity are all superb things to have at your finger tips, but concerns over parts have taken a toll on the second hand asking price of these super machines with a standard GS1200 often available between £400 to £500. The MK3 in good shape will still fetch £700 to £800 and if any less it probably has a fault or two so best avoided would be my advice.
Elmo also produced a high power Xenon version of the GS and this was the model I used at the film festivals. A superb performer until we had a Xenon lamp explode in the projector mid show and with the cooling fan going flat out a tirade of glass blew up in the air and showered the audience around the Elmo. A very serious issue for me on the GS1200 Xenon and certainly some years later one the designers would most certainly have to look afresh at.
Plus points
A professional machine built to a high standard with stacks of features to please all.
Negative points
Does not like cement splices and lack of parts today is a serious issue from prospective users. Weighs 31IB and quite a lump to lift if you go out and about giving shows. Excessive light spill from lamp house top.
Main Specification
Super 8/Single 8 Stereo sound. (Twin Track)
Optical sound option
24volt 200watt Lamp
Len f/1.1 fitted as standard (upgrade option for 1.0)
18/24fps variable speeds
Still frame feature which I’ve never used yet!
4 Motors (oh dear)
15 watts music power output
Twin VU meters
Lots of socketry for audio dubbing
Separate tone treble and bass control
You could buy a number of accessories for this machine including a remote control for £14.
Elmo today.
Yes they are still around but have nothing to do with cine equipment as we know it. They produce education equipment in Japan, USA and Europe.
The GS1200’s future.
As already mentioned these are a very fine machine, solidly built and will project your films to the highest standards. The projected image and audio quality is superb on a fully working machine using good film materials. Hopefully one day some entrepreneur will produce the correct new motors, sound heads and other vital spares but until that happens owning the GS1200 will be a risky business.