In pix 1 and 3, you can see a sort of shroud which butts up to the back of the gate aperture, I assume to avoid light spill; this is sprung, as the gate has to push it out of the way a bit as it turns. 4 and 5 show the front "cover" for the mech, which has to be oil-tight, in theory at least. 5 and 6 show the cam and claw set-up; 6 is not very clear, but the dark central section is a shaped gear. Then another pic I have not shown before which I think may be a better alternative to 6. The claw shuttle and cam seem to be just as in the Talkie/Natan 175, tho' the claw pins are attached at a different point. You can see from the window in 4 and 5 that there is supposed to be an oil puddle for lubrication - quite a bit of oil, actually. The problem with this is leakage; there has to be a good seal round the rim of this assembly. I have included a very dull pic of the back of the machine. It is dull because there is nothing there, ie no access to the mech. As I recall, it was very difficult to re-assemble, especially engaging the (double) cam with the shuttle frame, making achievement of a good seal at the front almost impossible as there is too much movement involved for the sealing gunk to stay in place. And of course the flow of leaking oil runs right by the film path. Finally, I have added a couple of pix I found that mite be of interest, found while I was searching for original pix to restore those on the site.

It doesn't seem to me at all obvious where this design came from or why it is so cramped. It would be fascinating to know who designed the machine, what the design brief was and what the design and its various elements was trying to achieve. It might have been a copy from another gauge? The very short loops - top, bottom and third - smack to me of 35mm type design rather than narrow gauge. I just can't imagine someone sitting down and designing eg that rear gate assembly - I mean, surely you would come up with something simpler? And the size of that base! You could easily get four Talkie amps (less tranny, of course) in there and still swing the odd cat.

When I got my second machine it came by carrier and was not, in my view, adequately packed/padded on the bottom (no amp casing, remember). As you know, it is my belief all carriers break stuff and this was no exception. The bit that went in this case was the tilt mechanism, rather a wimpy affair for a machine of this size and weight, especially when fully loaded with film. In fact, it's quite difficult to use without one hand on the motor casing to take some of the load. Go back to the very first pic on the first page of this section - the tilt knob is the large silver one on the front of the mech, just above the plug for the connections from the amp casing. There is another pic just below if you prefer.

This pic shows the parts of the tilt mech. The shaft has a spiral/worm gear, which engages with a track on the bottom of the mech. Next along is a collar, fixed to the shaft by a steel taper pin. Below you can see the original pin, snapped in two places by the force of the thump the projector must have had. Next is another collar; the screw thread goes into a socket on the projector. This second collar covers the first; it is impossible to reassemble the unit without first moving this second collar but, because it will not fit between the first collar and the main knob, I had to remove the main knob first. This was also held by a pin (the large pin in the pic). The end of the shaft is splined and very tight fitting, so I had to drill a hole in the front of the knob to put a punch through to knock the knob off.

This is one end of the Super Rural changeover amp found at Argenteuil 2009 - the pic of the other end for some reason will not load at present. Then we have the amp box as cleaned up and professionally re-painted.

Here is a pic showing a combination of my original  amplifier case, matched with the second Super Rural, which is pretty much in original condition. The final step, I suppose, will be to marry the changeover amp above with this second SR. 

The next two are from a Rural leaflet, The Pathe Cinema leaflet is about the Super Rural as it continued through and after the war in its 16mm guise, but with a separate amplifier, then known as the Type 45 (above right). The new power connection at the front, obviously necessary for the Type 45 which has lost the switch block as well as the big amp case, was apparently already in use before the amp was separated.