CREDIT DOT

Mapping pinball trends for the casual enthusiast…


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REVIEW: Pinitech’s Retrofit Conversion LED Display Kit

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The games produced by Bally and Stern between the years of 1977 and 1984 were enormously popular with players when they first graced the arcades, and remain popular to this day. Given the sheer number of games originally produced during the 1977 to 1984 run by Bally and Stern, the survival rate is very high and there is a great demand for reproduction parts to keep these games running properly.  This is the second review in a continuing series where Credit Dot will examine some of the reproduction parts being manufactured, and how technological innovation is making Bally/Stern games look and play better than ever.

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If you are a collector of Bally /Stern games from the 80s, chances are you’ve encountered some displays with “bad glass”, wherein the digits or segments of the digits inside the glass tube no longer function properly. Perhaps a portion of the digit won’t fully light up. Perhaps it won’t light at all. Such issues could be attributed to bad components on the display’s circuit board, but if you are suffering from bad glass/out-gassing, you’ll know it. Short of finding replacement glass, it renders the entire display, including its accompanying circuit board, useless. More often than not, you’d need to track down a single working display, or just give in and replace the whole set with an LED aftermarket solution costing upwards of $200USD.

Collect enough Bally/Stern games and you’re bound to end up with a handful of non-functioning displays with burnt out glass. Now, thanks to Pinitech’s Retrofit Conversion LED Display Kit, you can use these out-gassed displays to manufacture a set of fully functioning, lower-voltage LED displays. The Retrofit kit contains a new display circuit board and LED digits to replace the glass tube, and a variety of electrical components that need to be substituted for components on the original Bally/Stern circuit board. This kit is a DIY solution, and does require some skill at soldering and de-soldering circuit board components.

If you haven’t already figured it out, this isn’t a solution for everyone. First, you need to have a set of out-gassed donor displays on hand.  A novice collector probably won’t have an entire set kicking around, so there would be the extra expense (and bother) of finding and buying a set of dead displays to use in conjunction with the Retrofit kit. And second, you’re going to need the time, skill and proper tools to perform the conversion. Those looking for a plug and play solution need to look elsewhere. There are plenty of aftermarket plug and play options available (both Rottendog and XPin have 6- and 7-digit display sets available). For those looking to recycle their electronic waste and don’t mind getting their hands dirty performing the conversion, the Retrofit results in a great looking display at a price that can’t be beat.

The Retrofit Conversion LED Display Kit was originally introduced about a year ago by Pinitech, LLC. The project was rolled out for beta testing in late-July 2016, followed by a general release a month or so later. Wayne Eggert is the proprietor of Pinitech, and the rise of his company as an aftermarket pinball solution brand is best described in his own words:

“Pinitech has been around since 2014. I started selling NVram using generic boards back in 2012, but began doing custom boards in 2013 for a more professional look. After learning the ropes some with PCB design, I moved on to creating some diagnostic tools I wanted for my own personal use. I funded the projects by selling extra boards that I had created. Through 2016, I’ve mostly just offered diagnostic tools and NVram, but I’m now branching out into other products like the Bally/Stern Retrofit Conversion Kits.”

Not only does Pinitech help the pinball community by offering products designed to keep our games running efficiently, Mr. Eggert is also a Pinside mainstay, posting as “acebathound”, and can frequently be found patrolling the tech help threads, offering solutions and suggestions to collectors with malfunctioning machines.

RETROFIT PRICING & OPTIONS

Pinitech offers three base display colours in both 6- and 7-digit Retrofit kits—blue, white and amber. The latter closely resembles the original colour of the Bally/Stern displays, while the white can be used in conjunction with about a dozen colour filter options to customize the display to your tastes. The pricing for one kit, for a standard game with four score displays and one credit display, as of July 2017, is as follows:

  • 6-Digit Displays in BLUE – $89.95USD/set
  • 7-Digit Displays in BLUE – $94.95USD/set
  • 6-Digit Displays in AMBER – $84.95USD/set
  • 7-Digit Displays in AMBER – $89.95USD/set
  • 6-Digit Displays in WHITE (includes 1 colour filter) – $94.95USD/set
  • 7-Digit Displays in WHITE (includes 1 colour filter) – $99.95USD/set
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The contents of a 7-Digit Retrofit LED Display Kit

For those games with an odd-number of displays, like Six Million Dollar Man with six score displays or Elektra with an extra bonus units display, Pinitech will sell individual display kits to supplement the above complete packages. As you can see from the pricing structure, using the existing display PCB from an out-gassed display, and building the kit on your own results in quite the savings compared to other options on the market.

Other display options check in at about twice the price. Rottendog offers 6- and 7-digit amber display sets, which come fully assembled and are plug and play, and are $199USD, while XPin’s sells their amber displays individually, also plug and play, and are $54.95USD each (that’s $274.75USD for an entire set). Wolffpac Technologies offers a similar DIY display kit, requiring no donor display, and will set you back $144.95USD for a 6-digit amber set that you will have to assemble yourself.

If you have a set of dead displays lying around, the Retrofit solution is a no-brainer. Not only is it the most affordable option on the market, you can customize the colour of the displays to suit your game without breaking the bank. A colour upgrade isn’t available for the Rottendog set.  You’ll pay $20USD more per display (or, $100 more per set) to get the XPin colour option, which ships with red, green and blue gels to add colour to the base white display.

BUILDING THE RETROFIT DISPLAY

The displays come with a set of detailed instructions–and it is my opinion, that even the most novice of PCB tinkerers won’t have a problem making the conversion. The first thing I did when setting into the conversion process is to remove pin #1 on the header pins of each individual displays. This step is so important, it is mentioned about a dozen times throughout the written instructions. Pin #1 sends high voltage to the display, which is no longer needed with the low voltage LED conversion. I didn’t chance cutting the pin off, I de-soldered the pin and pulled it out completely on the entire set of displays before I even began.

You have a couple of ways of replacing some of the PCB components for the conversion: removing them completely and installing the new component, or installing them in parallel, which will basically piggyback the new component onto the old component on the solder side of the board.  I would recommend the former of the two options, as it gives the project a much cleaner look overall and allows less margin for error.  I used a Hakko 808 desoldering tool (now being sold as the Hakko FR-300 Desoldering Tool) to completely remove old components from the board, and then soldered in the new with a temperature controlled soldering iron.  The de-soldering tool isn’t a must, but it nearly guarantees a clean pull of all the old solder, freeing up the old components and preventing the chance of pulling or breaking traces.  You’ll be removing more than sixty points of solder for just one display, so having a de-soldering tool in your toolbox is a sound $200USD investment if you don’t have one already.  In total, for each board, you are replacing 7 or 8 transistors, and four sets of 6, 7 or 8 resistors, depending on if the display is six- or seven-digits.  I was methodical in my approach, and removed one set of resistors from my board, and installed the new components before moving onto another set.  Otherwise, I thought it would get pretty confusing keeping track of a bunch of empty resistor holes and following the Pinitech cheat sheet of what goes where.  The placement of the resistors on the board is somewhat logical, but in some cases, like in any PCB board design, the component is placed where it fits to minimize space, and not where it should logically be placed.

To make things even more interesting, Bally and Stern had many revisions of the display board throughout the ten year run of their classic games, so depending on which version of display you have, the parts that need to be replaced will be in different positions on the board.  The community has accounted for this, and the Pinside thread dedicated to the Retrofit displays has identified the majority of the different board revisions, giving the DIY-er a visual cheat sheet to identify which components need to be replaced.

The points of contact for the old glass need to be removed from the component board completely, or need to be cut close to the old glass so the old metal tab connectors can be affixed to the new upright display board. To the new upright display board that will replace the glass, you’ll need to attach the LED digits, which have eight contact points per digit that need to be soldered.

Once the two boards are affixed together using the provided brackets, you can solder the metal tab connectors to the display board or use the new angle connectors provided if your original tabs were manged or missing.  The angle connectors provide a cleaner look overall, but it requires a bit more effort to install. To finish up, you’ll need to choose a way to jumper the 5V line to the high voltage line. Again there are a number of ways to do this, but each involves a jumper wire from one point of contact to another on the solder side of the display PCB. This step is the only time in the whole process that the conversion would appear to be “hackish”.  None of the points of contact are near each other, so the user will just have to pick one that they think looks the least invasive.

The instructions outline how to test the display on the bench using a 5V power supply, or, if you are feeling brave, and have triple checked your work, you can install it into your machine and watch the cool lights of the LED display its segmented numbers.  If for some reason segments don’t light, the guide will help you troubleshoot the problem.  I had two digits that refused to light on one display, which ended up being a couple of bad digit drivers.  Luckily, Pinitech has accounted for these bad components (they are ones that are not replaced in the conversion) and includes a small number of extra 2N5401 transistors as backup.

AN INTERVIEW WITH PINITECH

I was one of the beta testers for the Retrofit kit when it was first introduced, and since that time, I’ve known Mr. Eggert from Pinitech to be helpful and very personable when it came to his products and the hobby in general.  I thought I would give him a forum here to explain the nuances of the project in his own words.  The questions I posed to him appear in bold below:

Credit Dot: When did you first discover that the Retrofit kit would be something that could be successful in the market?

Wayne Eggert: “I created a Pinside thread to judge interest on the idea and decided that I’d use the thread to seal the fate of the project.  There was a reasonable amount of interest right off the bat, especially considering it was such a niche project.  The excitement in that thread was indication that at least a dozen or two of the conversion kits would sell.”

CD: How long did the research and development portion of the Retrofit project take?

WE: “R&D was most of the first quarter of 2016 and then another couple of months later in the year.  A couple of weeks alone were dedicated to figuring out how to do load testing and to get a baseline for what to expect for current usage with and without LED displays on Classic Bally/Stern machines.  A prototype was cooked up and the next major step was figuring out if there was a way to create an efficient conversion design. If that couldn’t happen, there was no reason to pursue the project further.”

CD: The circuit boards attached to the display glass on the original Bally/Stern displays came to market with many different designs over the years.  Was there difficulty accounting for all of the different configurations of boards out there?

WE: “Definitely.  Working within the parameters of the old boards made it a huge challenge–and part of that was due to quite a few different display revisions over the years.  Whatever I came up with had to work with all the revisions.  Not only that, but it had to allow people to mix-and-match displays of various revisions without any noticeable differences in brightness or functionality.  Many hours were spent gathering schematics and actual display boards for each revision, and many more looking at everything as a whole and creating a conversion circuit that would work for all of them.”

CD: What unique elements of the original Bally/Stern design allowed the conversion to be possible?

WE: “Since the old display driver circuits used many resistors and transistors, it made it easy to swap those components out for different values.  For instance, if I couldn’t swap transistors for mosfets, the 4543 would have been over-driven on its outputs.  Had the drivers been dedicated ICs unique to plasma displays, the conversion may not have been possible at all.

There were quite a few things along the way that could have derailed the project completely.  I could easily list over a dozen snags I hit in the design, but somehow for every one of those snags I was able to find a solution.  Even just the screw hole locations for the plasma glass display bracket on the component board couldn’t have worked out any better.  The new LED display panel had to sit at pretty much an exact location and I lucked out and found a right angle 90 degree threaded bracket that worked.  Too far forward and it would have caused the digits to hit the backglass, too far back and there would have been clearance issues with the digit drivers on 7-digit Bally displays.  It amazed me that the entire project went this way.  There was lots of nail-biting and thoughts of canceling the project, but in the end, a solution for everything materialized.  Maybe that happens when you REALLY want a solution, and you find a way get there!”

CD: The converted displays tap into the 5V power supply, bypassing the high voltage needed to power the original displays.  Do the converted Retrofit displays tax the 5V line in any manner significant enough to impede the machine’s performance?

WE: “I definitely didn’t want to create something that would cause a lot of extra load to be added to the 5v regulator.  If I couldn’t get the conversion displays to match the efficiency of a normal aftermarket LED display set, there was no sense in doing them.  I’m proud to say the conversion displays match or beat efficiency of most of the other LED displays on the market.  Not bad for old-school technology!”

CD: What advantages does the Retrofit kit offer over the other aftermarket display systems available on the market?

WE: “The single largest draw is price-point.  But I think the idea of using existing boards is also a major advantage.  Lots of people had old boards sitting around “for parts” that were collecting dust.  This is a way to turn them into something useful again, gain space, save money and create some great looking LED displays!  At the time, these conversion kits were also the only budget way of getting WHITE LED displays that could be used with color filters for unlimited color choices–at about one-third the cost of the other option on the market.

There are other advantages that people see once they assemble a set.  The displays look professional.  Everything lines up nicely and everything from the instructions, to the PCB design, to the circuits themselves, were looked at in detail and has professional polish.  I’ve been told by several people that the aesthetics are better than anything else on the market.  It’s cool hearing that, considering people are comparing these conversion kits to plug-and-play aftermarket displays.”

Many of the products on your site are available in DIY form, where the end user assembles the product themselves. Have you seen an increase in hobbyists wanting DIY kits?  As the hobby grows, are you seeing the skill set of the common hobbyist mature?

“I think the interest is growing in DIY kits.  It’ll never be on-par with plug-and-play, but having kits available like this with clear instructions that allow someone to assemble without frustration the first time helps grow the demand for DIY options.  When things are frustrating or unclear it becomes a major deterrent. These conversion kits are definitely on the more difficult end of DIY, but even so, I tried to make them as user-friendly as possible.

Pinball these days is an expensive hobby and DIY is a way to save a few bucks.  Pair that with the accomplishment you feel successfully building something.  It’s built into us, especially guys, I think–we like to build.  But the advantages are far greater: the skills learned in a Pinitech DIY project are transferable to other aspects of the hobby.  Improved soldering techniques, desoldering techniques, troubleshooting–it all helps create confidence and knowledge that could come in handy down the road.”

Your main pinball interest seems to lie in the early solid-state games of Bally and Stern.  The majority of your products at Pinitech cater to that era.  Does your interest in pinball span all eras of machines?  What are some of your favorite Bally/Stern titles?

“Funny you say that.  I often think about how anyone that is checking out products I sell, at least up until this point, is definitely going to think I’m only into Classic Bally/Stern machines.  I actually enjoy most games from the early 80’s to present day releases.  Anything with better sound and more complicated rule sets, than the very early solid state games, I enjoy.  I’m definitely a big fan of Data East, Williams System 11 & WPC.  I’ve done more with diagnostic tools for Bally/Stern because I started out with those machines early-on in the hobby.  They’ve always been more affordable, and there’s a lot of neat titles and artwork in that era of games.  They’re very approachable from an electronics standpoint, too.

Two of my current favorites for Bally titles are Xenon and Mr. & Mrs. Pac-Man.  I think it’s mostly nostalgia that does it for me on Mr. & Mrs. Pac-Man, but it helps it’s also a later Bally with more going on and better sound.  I’m itching to get LED displays installed in that machine.  It’s been sitting folded up for five years and I think it’ll look really cool with blue, red or yellow displays.  Or maybe a mix of all three colors!”

THE RETROFIT BOTTOM LINE

I’ve performed the conversion on two sets of displays with dead glass–a six-digit conversion for a Stern Stars and a seven-digit conversion for a Stern Star Gazer. If focused, and I kept to the task, I could have one display converted in about thirty minutes.  Overall, I am very happy with how the displays look in the games.  The numbers are nice and robust, and are crisp and bright without being blinding and looking out of place.  I went with blue displays for both Stars and Star Gazer–they were the most affordable, and fit the overall colour scheme of both titles.  The Stars came with four dead displays out of the five, while the Star Gazer came with no displays at all, but I was able to find someone to sell me a set of dead 7-digit displays for $20.  Would I convert a set of displays for the sake of converting to low-voltage LED if the displays worked properly?  Absolutely not, but it is a nice option to have when a set of displays with bad glass presents itself. The final product is robust and professional looking, especially considering it is a DIY project that uses original parts from the 1980s. This project is extremely affordable, compared to the other options on the market, and further, it feels good to take something that would otherwise be junk and put it back into service.

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FURTHER READING

Pinitech – Classic Bally/Stern Conversion LED Display Kit
Pinitech – Retrofit Photo Gallery
Pinside – RETROFIT Classic Bally/Stern DIY Plasma-to-LED Conversion Display Kits


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REVIEW: Pinball Electronics’ Bally/Stern LED Lamp Driver Board

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The games produced by Bally and Stern between the years of 1977 and 1984 were enormously popular with players when they first graced the arcades, and remain popular to this day.  Soaring prices of New-In-Box games and classic 90’s era Williams titles have driven collectors, who may not have enjoyed these games when they were first on route in arcades, to discover and enjoy them in their own game rooms.  Perhaps collectors are finding that the Value:Fun ratio is more balanced in a Bally/Stern game than it is in more contemporary offerings.  The continued popularity of the Bally/Stern subset of games also points towards the acceptance of a more “no frills”-type of pinball: no deep rule sets, no complicated mechanisms or toys, no ramps or multi-level playfields.  The games offer the player a wild dash to the finish, rather than the long exhausting marathon sometimes offered by the more modern pinball machine.  Given the sheer number of games originally produced during the 1977 to 1984 run, the survival rate is very high and there is a great demand for reproduction parts to keep these games running properly.  This is a first review in a continuing series where Credit Dot will examine some of the reproduction parts being manufactured and how technological innovation is making Bally/Stern games look and play better than ever.

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I’ll state at the outset that I’m not a huge fan of LEDs in games made prior to 1986.  It’s an arbitrary date I’ve set for myself that coincides with Williams offering its first game powered by the System 11 operating system (High Speed in January of 1986).  For all Electromechanical and early Solid State games, I’m a firm believer that the warm glow of incandescent bulbs is the only way to go.  There’s no accounting for taste, however, and modifying a game in your collection to your personal tastes is half the fun of ownership.  As you may or may not know, Bally and Stern games between 1977 and 1984 cannot properly accommodate LED bulbs: the controlled inserts will offer a seizure inducing flicker if LEDs are added to a game without first making suitable modifications.  The LED bulbs draw so little current that the controlled lamps (any lamp that is turned on and off by the MPU) fail to “latch on”, resulting in the game attempting to turn on the lamp every fraction of a second until the signal is turned off.  Resistance must be added to the game in order for the LEDs to function properly, and allow the lamps to latch on.  There’s a few ways to go about doing this.

The first option is to solder a resistor to each MPU-controlled bulb socket.  It’s the cheapest way to go about the process, as a single resistor will only cost you $0.05, however, there’s a lot of soldering involved and it’s a pretty invasive process–having to permanently solder a 470 ohm resistor to each socket.  Another option is to buy an adapter kit from Siegecraft Electronics to add to your game.  The kit retails for $45.00USD, and can be found at the Siegecraft webstore or Pinball Life (both sites are out of stock at time of writing).  Essentially, the kit gives you three small circuit boards with resistors mounted on them that plug into your original lamp driver board in the backbox.  Instead of the resistors being mounted to the sockets themselves (as in our first example), multiple resistors are mounted onto the three daughter boards.

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The contents of a Siegecraft LED Adapter Kit.

The final option is to obtain an entirely new lamp driver board with the resistors incorporated in the design of the board itself.  Alltek Systems, makers of fine reproduction circuit board solutions for Bally/Stern games, have incorporated an “LED Flicker Free” feature into their lamp boards that will eliminate the LED flicker completely.  The Alltek board will set you back around $119.00USD.

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Alltek’s Ultimate LED/Lamp Driver Board

However, buying the entire board would be overkill for most people.   The original Bally/Stern lamp board is perhaps the easiest board in all of pinball to troubleshoot and repair.  The layout is straightforward and easy to follow from input signal to output signal, and there aren’t many wild card components to confuse those new to pinball repair.  Most times, it’s going to be a bad transistor component or connector issue that prevents a lamp from working properly.

I had a situation where I had acquired a classic Stern game that was completely missing the lamp board, so I was in the market for a board, whether or not I was going to put LEDs into it.  There are plenty of refurbished boards available for sale on Pinside, for around $50USD, from reputable sellers.  I was going to go this route, however, I found that Pinball Electronics (also known as NVram.weebly.com), a webstore maintained by Pinside user “barakandl”, had made available for purchase his own design of a Bally/Stern lamp driver board.  His board retails for $90USD (including shipping) and includes all the LED capabilities of the Alltek board for $30USD less than the more established brand.  Further to this, Pinball Electronics will sell the bare printed circuit board, with no components soldered to it, for a mere $15USD, and allow you to do the soldering work yourself.

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Pinball Electronics’ $90USD fully assembled LED Lamp Driver Board

I had the opportunity to speak to Andrew from Pinball Electronics about the newly offered lamp board and the reasons behind offering it as a DIY kit.  Andrew’s love of pinball is deeply rooted in Bally and Stern pinball games.  He explains:

“I learned electronics by fixing early Bally and Sterns. I think they are perfect game for a new person looking for their first pinball restoration project. There are lots of reproduction parts available and plenty of online documentation to reference.” 

If you are a Bally/Stern owner experiencing a problem with your game, and ask the pinball community for help on Pinside, there’s a good chance that Andrew’s online alter ego, “barakandl”, will be one of the first to respond, offering troubleshooting techniques or possible solutions.  When asked about the reasons for offering a DIY board as well as a completely assembled board, Andrew responded:

“I think the average skillset of pinball collectors is decreasing with more and more people getting into the hobby. Kits like these help people get their feet wet doing PCB repair. Collectors also love modding their games. Kits like these can be considered a ‘mod’, a project someone can assemble and install themselves, and feel good when the job is done.” 

With an influx of collectors and players entering the pinball hobby, perhaps there are a greater number of people diving into PCB repair feet first, without knowing the basics (or having a practical understanding of what they are doing).  Being able to assemble a relatively simple PCB from scratch not only helps beginners learn the basics of soldering, but it will help build confidence and comfort in working with PCBs when the next repair is needed.  For those with a more advanced skill set, it appears that building the board from scratch, and doing the tedious soldering yourself, will offer a lamp board solution that will be very friendly to your pocketbook.

The board design itself isn’t anything groundbreaking, but it does offer a couple of improvements over the original Bally and Stern designs.  Andrew explains:

“I placed the resistor footprints in a way that the end user has component options. Isolated resistors are in banks of eight, so you can use a DIP-16 resistor array, a Bourns 4116R, or standard discrete resistors. Also, resistors with a common bussed pin can employ a 9-pin bussed resistor network or, again, use discrete resistors.” 

Further, the footprints for the four 4514 chips have been designed to accommodate both the original DIP-24 4514 chips (marked as obsolete but still available), or the more readily available, and cheaper, SO-24 (small outline) 4514 chips.

I ordered the bare lamp board with a few other items from Pinball Electronics, so shipping ended up being free.  The rest of the materials I sourced from Great Plains Electronics.  I could have shopped around at Mouser or Digikey, but I find their sites a bit overwhelming, and further, GPE is a great friend to the pinball hobby so I throw my business their way whenever I can.  The following is my bill of materials for the lamp board:

GRAND TOTAL: $59.44

ALTERNATE COMPONENTS

The SO-24 4514 chips can replace the DIP-24 4514 chips and are available from Digikey for $1.16ea. https://www.digikey.com/products/en?keywords=1727-6338-1-ND%20

The 4116R resistor array can replace the 2K resistors and are available from GPE for $0.35ea. https://www.greatplainselectronics.com/proddetail.asp?prod=4116R-2-222

As you can tell from my bottom line total above, there is value in building the board yourself.  It checks in at nearly half the price of an Alltek lamp board, and is just a few dollars more than the kit offered by Siegecraft, while offering the same functionality and LED support as both options.  If you are willing to shop around for the alternate parts, you may be able to shave a few dollars more from my total above.  I opted to use discrete, individual resistors in my build, rather than using the resistor array packages. No difference in function in the end, just a few more points to solder.

Assembling the board is as straightforward as can be.  Pinball Electronics offers a bare bones data sheet as to where each component needs to be soldered. For those who are not adept at DIY board population, a temperature controlled solder station, like the Hakko FX888, with a fine tip isn’t completely necessary to complete the job here, but it will ensure a clean looking and fully functioning end product.  I had my board fully assembled and installed in my machine in about an hour and fifteen minutes.  The board worked “right out of the box”, as it were, as I had re-pinned all of my connectors as a preventative measure while restoring the game (I implore beginners, please take the time to learn how to use a Molex crimping tool and re-pin your connectors before trying to locate bad components on your boards–I don’t know how many times I’ve read “It ended up being a connector issue” in Bally/Stern repair threads).

To finish the installation, the board needs to be attached to the switched illumination bus (found at one of the controlled lamps sockets on the swing-out wooden back board).  All of the aftermarket replacement solutions discussed above need this modification for proper operation.  The Siegecraft kit needs each of the mini-boards to be connected to the bus, resulting in a three wire menagerie running to the backboard.  The Alltek and the Pinball Electronics boards have built-in terminals ready for the user to tap into.  In the case of the Pinball Electronics board I built, a four-terminal Molex plug can be used to attach the wire to the board, as four 0.1 male pins, in parallel, have been integrated into the design of the board.  This provides an overall cleaner look using parts correct to the period, and appearing less “hack”-like.

Some collectors like the having original boards in their machines for the purposes of keeping it “all original”.  I’m not one of those people.  With the number of reproduction parts available for the Bally/Stern games these days, keeping your game looking flawless AND “all original” is nearly impossible.  If the reproduction works, I’ll use it.  In eighteen short months, Pinball Electronics has offered a handful of reproduction boards such as a universal Bally/Stern MPU, the (n)ever-popular Bally/Stern rectifier board and, of course, this lamp driver.  It seems that Andrew is just getting started, as I asked what new projects were on the horizon:

“Ongoing current projects include the Bally -50 sound board and a Stern High Voltage DMD Power Supply.  And I have just begun working on a reproduction Stern SB-300 sound board. I plan on tackling anything that will make sense to assemble, and has a demand for aftermarket replacements in the community.”

The Pinball Electronics lamp board is a quality product at a fantastic price point given the other options available on the market.  If you want to add LEDs to your Bally/Stern game, the board offers a sleek look with the LED option built right in at a price point that can’t be beat.  If you don’t mind a little manual soldering labour and assemble it yourself, it offers a value that can’t be matched.

FURTHER READING:

Pinball Electronics
http://nvram.weebly.com/

Pinside – New Repro Bally/Stern Lamp Driver Board with LED Support
https://pinside.com/pinball/forum/topic/new-repro-bally-stern-lamp-driver-board-with-led-support

Vid’s Review – Classic Bally/Stern LED Adapter Kit
https://pinside.com/pinball/forum/topic/classic-ballystern-led-adapter-kit-review


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FEATURED GAME(S): Gottlieb’s Target Alpha & Solar City

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Travel with me, if you will, to a far off place in time (and space) where ninety-degree angles do not exist. To a place where jaunty headgear (with optional eye protection) is all the rage. To a place where flying machines pull strings of targets to be shot at. With lasers. For sport. To a place where only men do the shooting, and women do the…um, pointing at the things being shot. If this idyllic future is too much for your senses, how about a trip to the future past? There’ll be castles. And bow n’ arrows. And loin cloths. There is target shooting here too, but this time, women ARE invited to participate.

Welcome, friends, to the wonderful world of Gottlieb’s Target Alpha and Solar City, two of the most popular, and most beautiful, multi-player games the company produced in the 1970s. If the layout looks familiar, it should. It was a popular one–filled with an impressive fifteen drop targets. So popular with pinball players, the layout was recycled many times under different names. I’ve narrowed this article to discuss Target Alpha and Solar City, the 4-player and 2-player version of the layout, however, no discussion would be complete without referencing their counterpart games with similar shot maps. Target Alpha and Solar City saw release just as the electromechanical era was petering out and giving way to solid state games, but the relative success of the two games may have influenced Gottlieb not to give up the goat, as it were, on electromechanical technology.

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I’ve discussed (at length) Gottlieb’s graceless belly flop into the solid state era in the article Stumbling Into Solid State and the feature on their first foray into computer-driven machines, Cleopatra. Gottlieb was clinging onto electromechanical technology for just over two years after it was completely abandoned in flipper games by competitors Williams and Bally. It may have been a selling hook for Gottlieb, though. Perhaps there were still a few operators who resisted the change from relays to PCB-mounted transistors–these may have been the operators Gottlieb wanted to cater to. However, such dedication to the almighty score reel may have put them behind the 8-Ball, literally. Bally’s success with Eight Ball (20,230 units), Evel Knievel (14,000 units) and Bobby Orr’s Power Play (13,750 units) in late-1977 proved that solid state technology in pinball machines wasn’t just a fad, it was a massive draw for players and was the inevitable future of pinball. It is no surprise that Gottlieb’s electromechanical production slowed to a crawl as these Bally games hit the market. However, take a look at how good things were just one year before the EM wall tumbled down. In 1976 and early-1977, Gottlieb did great business with their two- and four-player EM games–like Spirit of 76/Pioneer (13,925 units combined), Royal Flush/Card Whiz (15,500 units combined), Bronco/Mustang (11,385 units combined) and our focus here, Target Alpha/Solar City (9,810 units combined). The single-player wedgehead games were still being produced in this era, but not in the numbers they once were. Gottlieb’s highest production wedgeheads of 1976, Sure Shot and Buccaneer, were a drop in the hat compared to the giant numbers listed above. While not as popular with collectors today, it is pretty evident that the multi-player games were Gottlieb’s bread and butter in the late-EM era.

Making the historical link between wedgeheads and multi-player games comes full circle when discussing Target Alpha and Solar City, as Gottlieb presents the player with the same layout as a wedgehead game die-hards arcade goers would have been familiar with: El Dorado. The basic layout of the game remains the same: the iconic ten drop target bank across the top of the playfield, two off-set pop bumpers and the lower five bank of drop targets. Key differences arise in the rule-set, though. Missing from Target Alpha and Solar City is the “Moving Spot” on El Dorado. El Dorado offered a lit spot that moved from drop target to drop target with each hit of the lower stand-up target or middle rollover. The spot is important to El Dorado’s gameplay as it increases the value of each target from 500 points to 5000 points. Also, once all targets are completed on El Dorado, the targets reset, another important feature missing from the multi-player games with the same design.

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Gottlieb’s single player El Dorado (Image borrowed from J. Weiss at https://users.cs.fiu.edu)

The layout specific layout was reincarnated a whopping seven times. El Dorado, the single-player replay game led the way; followed by the add-a-ball Gold Strike and add-a-ball export version Lucky Strike later in 1975. Target Alpha and Solar City, the multi-players, rolled out in late 1976. Concurrent with the 1976 production, Gottlieb used the design again with new art to create Canada Dry, a four-player clone of Target Alpha, which was exported to promote Canada Dry soft drinks in Europe. The final incarnation was released in the solid state era as El Dorado: City of Gold in 1984 with a few new rule hooks and a slick sound package, but with an identical shot map.

I think Target Alpha and Solar City are the most interesting of the bunch, even if they are not the most sought after. I, like most EM enthusiasts, prefer the added strategy that El Dorado provides. However, the two multi-player games attempt to convey a sense of futurism and mysticism in the art package that simply isn’t there in the inner workings of the game—an attempt to cover up the fact that Gottlieb wasn’t actively pursuing solid state avenues for their machines. Instead of going toe-to-toe with Bally’s first solid state offerings in 1977, they recycled an earlier popular design and masked it with colourful futurist artwork and two ultramodern names to project the feeling that they had an eye on the future of pinball gaming. (Aside: another example of this which is infinitely more pitiful is the seven-segment numbers used on the score reels of Hit the Deck/Neptune, released in 1978). The hint of irony should not be lost: Gottlieb chose an old layout based on olde tyme gold rush cowboys to “modernize” with catchy new futuristic graphics, while still relying on olde tyme pinball technology. The flyers for the games are not shy about the art being one of the few “new” selling features of the game, and turn it into its major selling point to operators. Both the Target Alpha and Solar City flyers trumpet, in italicized capitals: “NEWER THAN TOMORROW PLAYBOARD AND ARTWORK THEME WILL CATCH EVERY EYE!” This feature is placed in larger font above all of the other actual gameplay features. With a historical eye, it looks to be smoke and mirrors, as if to say, “Yeah, it’s the same old game we sold you three years ago, AND no, it doesn’t have any of those fancy new computers inside it, but the game looks like it came from the future, doesn’t it?” The next two multi-player games, Jet Spin and Super Spin, subscribe to this same “blind them with science” mentality in the artwork (at least they went ahead and designed a completely new layout those games). No amount of flying machines or helmeted men shooting lasers can cover up the fact that Gottlieb was playing catch-up to Bally and Williams in the race to the future of pinball.

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Gottlieb Solar City flyer.  Check out that eye-catching “artwork theme”!

As the Target Alphas and Solar Citys were rolling out of the factory in early-1977, Bally was churning out their first solid state best-seller, the big-rig themed Night Rider, which meant that they had already perfected their solid state operating system for general release. It wasn’t until much later in the year that Gottlieb presented Cleopatra, their first solid state machine. There is some indication that Gottlieb was only beginning to test their solid state operating system in early-1977, as information points to a prototype Solar City that was created with solid state mechanics. Not much information exists about this test machine, or if its solid state internals would come to be Gottlieb’s (n)ever-popular System 1 operating system.

Moving onto the layout and rules of the two games, I’ve mentioned that the truncated features and rules work to hobble the game in comparison to its El Dorado cousin, but that doesn’t mean it isn’t a blast to play. I mean, who doesn’t love drop targets? It’s a sharpshooter’s dream. It gets a bronze medal for total number of drop targets with fifteen, behind only Gottlieb’s 2001/Dimension with twenty and Gottlieb’s High Hand/Capt. Card with sixteen. The five target bank that sit above the right flipper allow you to work the angles off of the left flipper, while the seemingly never-ending bank of ten targets that work their way across the top of the playfield challenge the player to long-range accuracy from both flippers. Barring long-range accuracy, the game provides two mini-flippers at the top of the playfield for the player to bash away at the targets. I own a Solar City, and I have my game at such a steep pitch, that I find myself using the bottom flippers to lob balls up to the top flippers for a better chance at knocking down targets. The top flippers encourage blindly flailing at any ball that comes near them as you cannot cradle the ball for an aimed shot. However, a timed drop-catch or quick flip can deaden an arcing ball for an aimed flip at a needed target. The last target in that upper bank row actually holds a record: it is the longest shot in all of pinball. Since the layout has no top arch, it allows the targets to run into the normally unused space occupied by the top metal arch. The distance from the left flipper to the target is an amazing 32.5 inches! The upper flippers are not very useful in collecting this target, thus the game encourages a timed shot from the lower left flipper (and it feels fantastic when you make it).

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Solar City’s ten-target bank.

One of Target Alpha and Solar City’s main features, as advertised on the flyer, is that the gameplay is “convertible” to add-a-ball play. This is just a fancy way of saying that the player can get an extra ball during play rather than a replay/special. With true add-a-ball games, you can keep collecting up to ten extra balls during gameplay, whereas these multi-player games give the player the chance to earn just one extra ball for every ball in play. Knocking down either bank of targets will light the extra ball: if the entire top bank is dropped, extra ball is lit at the right rollover, while dropping the right five-bank will light extra ball at the left rollover. This is a key feature for collectors looking to put the game in their home collection. Specials mean little when every game is free, and provides little to play for other than a satisfying knock. A good sharpshooter can play for hours earning extra ball after extra ball.

Sadly, a good sharpshooter may get bored with the game: once all fifteen drop targets are collected and the bonus is maxed out, there really isn’t that much more to shoot for to build up your point total. The real strategy of the game is to knock down all the available targets, collect the extra ball, let the current ball drain thus resetting the targets, and then starting the process all over again.

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All of the points in the game lie in the drop targets. Target values vary depending on whether the game is set on three-ball or five-ball operation, and a selectable score adjustment for the bottom bank of targets. For example, my Solar City is set on three-ball, thus the top bank of targets have the inflated value of 2,000 points each, while each bottom bank target scores 500 points each (this value can be adjusted to 1,000 points each each via a Jones plug under the playfield if the owner wishes). Five-ball play would decrease the top bank value to 1,000 points for each target. Replacing El Dorado’s “Moving Spot” bonus, is the multi-players’ end-of-ball bonus. The player is awarded an extra 1,000 points for each downed target. It’s pretty satisfying to feel the bonus stepper chunking away under the playfield and the 1,000 point chime ringing out when all fifteen targets are downed. To add an extra dimension to the bonus countdown, Target Alpha and Solar City will award double bonus on the last ball (be it ball three or five, depending on operator settings), giving you 2,000 points for each target at the end-of-ball. Obtaining an extra ball during on your last ball is lucrative, as it gives you another chance at the double bonus scoring. During the last ball, I like to work on the lower bank of five targets first in an attempt to light and collect the extra ball quickly before working on the upper targets.

If Target Alpha and Solar City bring up the rear to El Dorado in the gameplay race, they surge ahead in terms of the art package. Like nearly every other game of the 1970s, Gordon Morison took care of artistic duties. Target Alpha’s backglass makes great use of its space, especially with the male target shooter in the foreground shooting “behind” the first player’s score reels to hit his target in the top corner of the game. Like many of Mr. Morison’s backglasses, perceived depth is executed wonderfully. He presents us with a futuristic game of target shooting, complete with spectator areas, layered on top of a purple and pink background. The same colour scheme is used on the playfield, and works to tie the whole package together. The chaotic flow of the playfield art fills up the empty space nicely. Where Target Alpha has a sci-fi lean, Solar City takes the fantasy route. The word “Solar” certainly conveys a futuristic feel—it has also been used in Gottlieb’s Solar 00-alpcity12Ride and Williams’ Solar Fire to lend sci-fi flavour to the mechanized themes. Target Alpha’s lasers have been replaced here with the bow and arrow, the flying machines with winged humanoids, and the futuristic jumpsuits with an interesting selection of tribal wear. The pink and purple hues that dominate Target Alpha are abandoned in favour of reds and blues. I’m particularly troubled by the bearded, sleepy old man in the bottom corner of the backglass. Why is he there? Why is he so weary? It just seems out of place. A tribal figure is doubled on the playfield, which more or less reproduces the designs laid out on the Target Alpha package.

Mr. Morison created two very different visions in the art for these games. However, in a curious move, Gottlieb decided to only run one package of artwork for the plastics. The Target Alpha plastics, featuring characters that look to belong to the Target Alpha world, are used on Solar City as well–the only difference is that the Solar City plastics adopt a blue hue, instead of purple, in an attempt to make them blend in with the game’s overall colour scheme. Without seeing the games side-by-side, I guess it does not pose that big of a problem, but it is a bit of a gripe for Solar City owners may feel a bit cheated. It is an issue that doesn’t arise in any of the other two- and four-player sister games because the art packages tend to be identical save for the number of score reel windows on the backglass. Using the same art on both sets of plastics was probably a cost-cutting measure, but in the grand scheme of things, they really could have cut costs by adopting a single vision and colour scheme for both games, just as they had in the past.

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Target Alpha plastics with purple accents, bottom, reproduced for Solar City with blue accents, top.  Character art remains unchanged.

As an aside, I guess it could be asked why Gottlieb made two-player versions and four-player versions of the same game in the first place. In every case, the four-player game outsold the two-player game (and nearly always, outsold it by a large margin). In every case except Target Alpha and Solar City, the same playfield and backglass artwork was used to keep production costs low. The real difference came in the internal hardware: the four-player game had twice the number of score reels, extra switch stacks and extra relays that the two-player version wouldn’t need to operate. I asked pinball maven Clay Harrell why he thought two- and four-player versions were made:

“It was cost savings and maybe regional preference, but it was mostly about money. It costs less to make a two-player. Not a ton less, but from a manufacturing point of view, two-players used eight less score reels, no coin stepper unit and a number of other relays were not needed. It’s actually pretty dramatic how much more ‘stuff’ is needed to make a 4-player versus a 2-player. This was reflected in the cost of the game. The extent of the differences can be seen in the backbox sizes. Four-player backboxes are about four inches taller to accommodate all the additional stuff.”

If Mr. Harrell’s well-reasoned analysis is to be believed, Gottlieb produced the less popular two-player games to appease cost-conscious operators–those who wanted to operate games, but wanted to be penny-wise with their initial investment. In a time when all other companies were producing nothing but four-player games, Gottlieb had again cornered the market on skinflint operators that wanted to save a few bucks or knew exactly what their clients wanted. (As a curious aside, Stern Electronics’ early solid state games, Stingray and Stars, offered operators the chance to buy two-player versions of their games, as well. They were shipped with a special backglass with only two score windows, included two less digital score displays and were switched to two-player operation via MPU dip switches. There was obviously a niche market, or regional markets, for two player games in the late-70s.)

Despite El Dorado being the more coveted game, Target Alpha and Solar City still have fans in the collector market. It is a game that has a proven layout and some unique artwork. The games’ price on the secondary market also has something to do with it, I’d imagine. Currently, you can pick up a Target Alpha or Solar City for about half the price of an El Dorado. Restoring the game has been made possible as many unique materials are available to make the games look pretty. Classic Playfield Reproductions, whose products normally skew to solid state projects, reproduced both backglasses for collectors some years back with the art expertly reproduced by CPR team artists Matt Farmer (Solar City) and Ray Lockhart (Target Alpha). Both glasses remain in stock at time of writing. There is a promise from Pinball Rescue Australia that reproduction plastics for Solar City will be available in late-2016, while the Target Alpha plastics are readily available from Steve Young at Pinball Resource (part number GTB-C15565B: because you know Steve Young is going to want it when you place your order). Jeff Miller, of Pinball Pimp Stencil Kits, is currently working on a licencing agreement for Gottlieb cabinet stencil production, and it’s almost a given that Target Alpha will be one of the first in the series to be produced.

The main complaint with the games, as discussed above, is that once all targets are down, there is nothing left to shoot for. The same problem exists in another popular drop target

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French collector kangourou’s Royal Flush bottom board with an added relay for drop target reset.

multi-player game, the four-player Royal Flush and the two-player Card Whiz. One resourceful collector from France, who goes by the Pinside handle kangourou, took it upon himself to wire a work-around so that once all targets had been knocked down in his Royal Flush, they would reset again, opening up a whole new dimension to gameplay and scoring. The process involves adding a relay of switches to the bottom board, an extra switch to the target bank and a whole mess of new wires.  The walk-thru, in French, can be found here, and a discussion about the modification, in English, can be found on Pinside, here. Those resourceful enough to attempt such a modification to their game would need to translate the French instructions to English, and the Royal Flush schematic references to Target Alpha or Solar City. The process does look complex, however I’m surprised more people have not pursued this modification to add a new dimension to their game.

 

Before wrapping up, I’d like to share a tech tip unique to Target Alpha and Solar City that was added to the Pinball Ninja repair database by Clay Harrell, and involves the correct adjustment of the scan unit to properly count end-of-ball bonus scoring. My Solar City was incorrectly adjusted when it arrived for restoration, so I’m assuming it is a very common problem. (The video below is taken from the Pinball Ninja Webzine, which is a pay-per-view site and is used with permission. To get access to the entire catalogue of over 800 Pinball Ninja repair tips, please email cfh@provide.net)

I think the Solar City in my collection has a permanent home. The game needed lots of love. The playfield was touched up and cleared, as it had areas of paint worn right to the wood, and the ever-popular oversized screws that a previous owner had popped through the top of the playfield from beneath. I ended up cutting my own stencils and repainting the cabinet as there were large areas exposed wood. I invested in a reproduction backglass from Classic Playfield Reproductions, too, which was probably overkill, but it completed the package. It is, currently, the most played game in my modest electromechanical lineup. I much prefer the art on Target Alpha, but you take what you can get, and Solar City was available. Having less moving internal parts to troubleshoot and clean was a blessing in the long run, compared to the extra internals included on the four-player Target Alpha.

As I try to sum up my feelings about Target Alpha and Solar City, I keep thinking of that old man that appears in the bottom right corner of the Solar City backglass. The more I think about it, the more that man comes to represent D. Gottlieb & Co., the company itself. The old man was obviously a once dominant warrior, given his headdress that resembles those of his younger counterparts in the background. Time has now passed him by, and he stands, idle, as the younger, more virile warriors out-perform him on the same hallowed grounds where he once reigned supreme. He is part of a bygone generation: old, weary, tired, worn-out, out-dated and obsolete. He is an electromechanical warrior battling on a solid state battlefield.


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PEOPLE: Jeff Miller, the Pinball Pimp

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Jeff Miller appears to be living the pinball enthusiast’s dream. The Tampa-based graphic designer-by-day took a life-long passion for pinball and turned it into his own burgeoning restoration business. The self-proclaimed “Pinball Pimp” began turning tricks in 2005, by restoring his own Bally Captain Fantastic and the Brown Dirt Cowboy and hasn’t looked back—situating himself as one of the go-to pinball restoration artists in the south-east United States. Further, Mr. Miller has recently expanded his Pimping business (as it were): he now supplies the pinball community with high end cabinet stencils for hobbyists to complete their own restoration work in the comfort of their own workshops. The Pinball Pimp stencil store currently offers twenty complete sets of stencils across two different pinball manufacturers, with the promise of many more to come. Judging by the reception from the community, these stencils are of the highest quality, the easiest to use and the most complete versions available on the market. I had the opportunity to conduct an interview with Mr. Miller concerning the manufacture of his line of stencils, the restoration business and what the future holds for the Pinball Pimp brand.

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Credit Dot: How long have you been a pinball enthusiast?

00-pimp06Jeff Miller: I have been playing pinball since I was 8 years old, dating back to 1974. I used to play the machines in front of the Danners 5 & 10 Store on Saturday mornings as a kid. I started all this as a hobby back in 2005 when I restored my first pin which was a Bally Captain Fantastic.

CD: What lead to you offering decal sets for other enthusiasts to use in their restoration projects?

JM: I have been designing vector art for over 25 years and stencils for the past 10 years. I knew for a fact that the other pinball stencils available to the public just did not have the quality of artwork and the exacting standards that I designed for my own use. I then decided to start designing my own stencils each time I restored a game and ended up with a nice collection over 10 years. After hearing the constant frustration people were having with the other stencil vendors and all the rave comments I received on my restored machines, I decided to start offering my own stencils to collectors and fellow restorers.

CD: What are some of the deciding factors when selecting a game to make stencils for? Do you take requests?

JM: I usually only put my design time into game titles that are considered more “A” list, or classic, titles people want to restore. It also depends on whether or not CPR or someone else has made a reproduction playfield for the game. I do take request and do custom stencils/work for people as long as they pay me for the design time.

CD: Can you walk us through the process of creating a new stencil set?

JM: The first step is to start with a cabinet which has nice artwork that you can get a good scan from. Taking off the stainless steel side rails and removing the entire coin door and shooter are even better so you can get scans all the way to the edges of the wood. The next step is to scan the actual cabinet, using a flatbed scanner. I scan the cabinet in sections, with some overlap on each scan, so I can weld it all back together in Photoshop as one full-size image. Once in Photoshop I may spend several hours just cleaning up edges of the artwork so I can get it good enough to make separation. The artwork is then converted from raster JPEG image to VECTOR line art which a plotter can cut. Once it’s converted to vector art, the fun begins! This is when I go into my vector program and spend between 8 to 20 hours cleaning up all the artwork based on the full-size JPEG image of the original art… smoothing curves, straightening lines, etc. Once I’m satisfied with the art and have made every tweak, I consider it a master stencil ready for cutting.

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The cleaned up colour separation of Bally Playboy side cabinet art on the left, the final pained product using the Pinball Pimp stencil on the right.

CD: How is a stencil set “cut”?

JM: Stencils are cut on an industry standard, low-tack vinyl paint mask using Roland plotters. The master line art file is sent from a computer to the plotter which then cuts the paint mask with a carbide tipped blade. Artwork is then “weeded” or peeled along with a pre-mask material applied on top so all art stays perfectly intact when applying to the cabinet.

CD: How do the Pinball Pimp stencils differ from those of the competitors?

JM: My stencils are designed from actual scans of the actual cabinet with zero distortion, rather than using photographs which can cause perspective issues, lost detail and sizing to be skewed or wrong. My artwork goes through an entire cleanup process to make the artwork for every single title nearly perfect. I also use a unique registration system which guarantees your 2 color stencils lineup perfectly every time.

CD: Your stencils are all approved under license. What is the approval process like?

JM: You have to have a quality product to begin with, otherwise it will have a tough time getting licensed. I had to go through Planetary Pinball to get my stencils licensed by them. To comply with the conditions of the license, I have to purchase holographic decals and each set has its own unique serial number. The serial number and holographic decal are affixed to a Certificate of Authenticity and sent out with every set of stencils I sell. The serial numbers are also recorded and archived.

CD: For those who have never used a stencil kit before, how difficult is the re-stenciling process? Any helpful hints?

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Detail of the side cabinet art of a Bally 6 Million Dollar Man, restored using a Pinball Pimp stencil set.

JM: The stenciling process is actually not that hard at all. I tried to make it as user-friendly as possible for anyone to use. It’s basically just like applying a large decal. With the instructions and the squeegee provided it should be a fairly simple task. It’s sort of like using lettering stencils and spray paint.

[Ed. Note: Each set contains multiple stencil sheets, representing the different colours used on the side cabinet, coin door area and the head. The backside of each stencil holds a mild adhesive, making the stencil sheets good for one-time use only. If for some reason, an enthusiast encounters a problem when using the stencils due to their own “user error”, Mr. Miller is able to cut a partial stencil set and sell only the necessary pieces of the kit rather than forcing the stencilor re-purchase the entire set. This just another perk of buying from the Pinball Pimp, and should bring comfort to novice pinball restorers and old hands alike. Everyone encounters an “oops” sometimes…!]

CD: What type of paint do you recommend using?

JM: The best EASY paint to use would be Rustoleum or Krylon out of the spray cans. You could also use a water-based paint but I would suggest putting a clear coat on after that for durability. I do not suggest using lacquer paint as it tends to soften the adhesive on the paint mask and may leave residue.

CD: What are some of your pro tips for a smooth cabinet in preparation for re-stenciling?

JM: The best way to get a beautifully smooth cabinet is to strip the entire cabinet down. The more you can take off the cabinet, the easier it will be once you get started sanding and filling. I either sand or chemically remove all we old paint from the cabinet down to the bare wood. I usually fill all of my nicks and scratches with Bondo and then sand smooth. I may repeat this process 2 to 3 times in order to get a cabinet baby smooth. Once this is done, I spray the base coat color on the cabinet, which may require 2 to 3 coats, which should result in a very smooth paint job. The smoother the surface the better the stencils will work.

[The following gallery is a selection of cabinet art restored using Pinball Pimp stencils.  An extensive gallery can be viewed by following this link.]

CD: For a typical cabinet, how long will cabinet re-stenciling take, giving curing time for the separate colors?

JM: Once your base coat is dry and you are ready to use your stencils it only takes a few minutes to apply the stencil. It actually takes longer to tape the cabinet up to avoid any over-spray. Depending on which paint you use, and dry times, I usually let the first color dry for a day or 2 before spraying the second color.

CD: Is the sky the limit for Pinball Pimp stencils? Do you foresee an exhaustive line of stencils across all pinball manufacturers?

JM: As long as there are guys out there who want to restore these old classic machines, I will keep trying to design as many classic titles as possible. I’m in the process now of getting the license from Gottlieb to start selling stencils for all of their classic titles as well. I would love to be the curator of all pinball stencils.

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An example of a serial number stamped directly onto the left side of a Bally cabinet. This one from a Nitro Ground Shaker, which resides at the Vintage Flipper World in Brighton, MI.

CD: An ethical question, of sorts. Late-1970s and early-1980s Bally games have the serial numbers stamped directly into the side of the wooden cabinet. Should a restorer fill and sand these numbers when preparing the cabinet for a re-stencil, effectively erasing the unique identification numbers, or should one leave the indentations as they came from the factory?

JM: I think this depends on the individual. When I do high-end restorations, nearly half of the parts are new reproductions anyway, so I usually fill in the stamped numbers. When the final machine is done, everything is beautifully smooth. I also add a pinball pimp certificate inside the machine with a serial number of 00001, since I basically rebuilt the entire machine from scratch. The way I look at it, it is basically born again.

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A Pinball Pimp “Restoration Certificate”, included on the inside of the cabinet of each game that is made whole again by Mr. Miller.

CD: Stencils are just one part of your “Pimp” business. What kind of restoration work do you undertake?

JM: I restore machines from the mid-70s all the way up to complete decal jobs of the newer WPC games. This all includes playfield swaps, playfield touch-ups, powder coating, chrome and nickel plating parts–the COMPLETE start to finish restore process!

CD: What are some of the most memorable, or most difficult, restorations you have ever tackled?

JM: The most memorable was the full restoration of my 1976 Bally Capt. Fantastic machine. This being an EM machine, I disassembled every hardware mechanism in the lower cabinet, rust dipped and polished, and installed all onto new wood which was painted to match the cabinet color. A very daunting task if you know how many parts are in a 4-player Bally EM. Mind boggling!

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Detail of a stunning Gottlieb Target Alpha, after receiving a full Pinball Pimp makeover.

CD: Do you rely on restoration projects brought to you by customers, or are you surfing Craigslist for broken-down restoration candidates to fix and flip?

JM: Back when I first started in 2005 used Craigslist to find all of my pinball machines to restore. Since the pinball “resurgence” has taken over, it becomes harder and harder to find decent machines and deals on Craigslist. At this point I have enough customers across the country to where most people just send me their machines to be restored.

CD: For solid state games, do you perform your own board work as well?

JM: I do some of my own solid-state work if it’s simple, but more difficult tasks I leave to a friend who is an electronics master. Some clients have me replace they are restored machine with all new boards if they are available.

CD: You also maintain a close relationship with Classic Playfield Reproductions. What work have you done for them over the years?

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Detail from Mr. Miller’s work on CPR’s Fireball backglass repro, available now.

JM: I’m not currently working on any projects for CPR at the moment since I have my hands full with my own businesses. I have designed four artwork packages for CPR in the past: the plastic sets for Williams Comet and Bally Bobby Orr’s Power Play, the speaker panel for Bally Creature from the Black Lagoon and the Bally Fireball backglass which is one of CPR’s latest releases.

CD: Is this a full time job for you, or just a part-time hobby? Moreover, do you describe yourself as a businessman or an enthusiast?

JM: What started out as a hobby 10 years ago has basically turned into a full time, second business. I’m still a top level, graphic designer/artist and do freelance work for Samsung and other large companies, but still love the pinball business end of it most.

CD: You are based in Florida—how would you describe the present pinball collector scene in the Sunshine State?

JM: I am based in Tampa, Florida and have been here for 25 years. I’m originally from Columbus, Indiana. I think the collector scene in Florida is probably as good as it is in any other state. Although, I don’t think as many older classic games migrated to Florida—most are still up in the Midwest, in the Pennsylvania and Chicago areas. The migration of games to the California market hasn’t been replicated on this coast, for the most part.

CD: How did you come about the moniker “The Pinball Pimp”?

JM: Around the time I started restoring pinball machines, I remember watching the TV show “Pimp My Ride”. Being in design and marketing my entire life, I thought it was a catchy and easy name to remember. Since my restorations always involved being a little over-the-top with custom accents and exacting detail, I considered my restored machines as being “PIMPED”–hence the name: Pinball Pimp.

CD: What games are currently in the Pinball Pimp collection?

JM: My collection has changed a little over the last 10 years, working towards my ultimate lineup of games—including some buying and selling along the way, obviously. My modern collection contains a Williams Funhouse, Williams Fish Tales, Williams White Water, Bally Creature from the Black Lagoon, Williams No Fear, Williams Tales of the Arabian Nights and Stern AC/DC Luci. My classic collection includes a Bally Capt. Fantastic, Bally Eight Ball, Bally 6 Million Dollar Man, Bally Playboy, Bally Eight Ball Deluxe, Bally KISS and Bally Fathom.

CD: Any closing comments to enthusiasts who may not have the nerve to tackle a re-stenciling project?

JM: Re-stenciling a pinball cabinet is not that hard when using my stencils if the instructions are followed properly. It’s not a weekend warrior project that you’re going to get done in a few hours. The more time you put into the project the better the result. More importantly, it’s about having a passion wanting to restore your cabinet back to its full glory! I guarantee if you take your time and do it right your end result will be a beautiful cabinet that you will be proud of.

Further Reading:

Pinball Pimp Restoration, Sales & Service – Homepage
Pinball Pimp Cabinet Stencils – Homepage
Pinball Pimp – Pinblog
Classic Playfield Reproductions – Creature from the Black Lagoon Backbox Speaker Panel
Pinside – PINBALL PIMP – Bally STRIKES and SPARES – Museum Restoration
Pinside – For sale: PINBALL PIMP CABINET STENCILS – AVAILABLE NOW!
Pinside – Twisted Pins Stencils are Garbage
Tampa Bay Times – In Tampa, Two Pinball Wizards Work to Restore their Hobby, January 7, 2010


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Featured Game: Gottlieb’s CHARLIE’S ANGELS

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It can be said that nearly all of the early Gottlieb solid state machines were an exercise in form over function. We’ve spoken a lot about the perils of Gottlieb’s System 1 boardset here on Credit Dot–I dedicated an entire article to Gottlieb’s fall from atop the pinball mountain once solid state technology became the industry norm. I don’t know why, but I have a soft spot for these rudimentary, simplistic, one-dimensional games that Gottlieb put out between 1977 and 1980. Where the gameplay is lacking, the art package more than makes up for it. Charlie’s Angels is a curious case: the art package is up there with the best of the period and it tried to do adopt some pretty elaborate rules (bucking the simplistic limitations of the hardware), but is generally regarded as a ho-hum forgettable Gottlieb offering.

00-charl04By 1977, Columbia Pictures had taken over Gottlieb lock, stock and barrel. The studio giant wanted to diversify its global brand into other forms of entertainment–they already had their hands in music and television, so the arcade was the next logical place to claim dominance. On paper it was a slam dunk: they absorbed a company that was at the very top of its game, nearly unrivalled for pinball supremacy in the early-1970s. Who knew that Gottlieb’s industry supremacy would grind to a halt once the solid state era was ushered in. You can play the blame game here all you want–Columbia mismanagement, uninspired game design, unreliable parts–but I think it was a perfect storm of many factors at Gottlieb paired with the performance of their pinball contemporaries.

One of the early game-changers actually pre-dates the solid state era. Wizard! and Capt. Fantastic and the Brown Dirt Cowboy by Bally, in 1975 and 1976 respectively, introduced the idea of the licenced theme to pinball. No longer would a company have to rely on a card game or billiards to sell a machine to an audience, they used celebrities and well known film and television series.  Comfort for the pinball player now came from familiar faces, not familiar rules of popular past-times. Bally was quick to strike over the next few years as solid state technology hit its stride, licencing the images of the Six Million Dollar Man, Bobby Orr, Kiss, Dolly Parton, the Rolling Stones, Evel Knievel, Star Trek, and Hugh Hefner just to name a few. During this same period, Gottlieb licenced just five of their System 1 titles, despite being intimately connected to the film, music and television industry through their parent Columbia Pictures. For better or worse, I don’t know how Gottlieb resisted slapping an image of a Columbia property on each and every one of their games to make up for design and ruleset deficiencies.  [Ed. Note- Those five licenced System 1 games were: Sinbad, Close Encounters of the Third Kind, Charlie’s Angels, Buck Rogers and the Incredible Hulk]

Charlie’s Angels did have an image slapped on it, almost literally.  The show had a connection to Columbia’s television arm, and was probably an easy acquisition on the licencing front.  I know the licences during this era seem pretty arbitrary to gameplay–one licence could be interchanged with the next with little to no alteration of the game itself. This was a time when fancy toys, like, say, Dr. Who’s Time Expander or Demolition Man’s Cryo-Claw, were not designed specifically for the licence. The Charlie’s Angels licence seems especially disconnected from the gameplay, and there may be a reason for that. In an interview with PA Pinball, game designer Allen Edwall had this to say about Charlie’s Angels:

“[Charlie’s Angels] evolved from a test design that helped verify the solid-state electronics, then to trying out all kinds of features, like dumping final scores to a teletype machine, allowing players in a multi-player game to tilt out or subtract score from other players, as well as many other innovations, most of which did not make it to the final commercial games because of the fact that customers paid to play. Tilting out another player probably would not have worked for the paying public.”

Reading between the lines, we see the reason for the disconnect on Charlie’s Angels: it was a test design for System 1 games to see how the solid state operating system would perform. Charlie’s Angels was released in November of 1978, a month before Gottlieb released both Dragon and Close Encounters of the Third Kind. If I had to guess, I’d say that the licence for Charlie’s Angels crossed someone’s desk, and it was quickly paired up with Edwall’s test design to get it out onto the street as soon as possible. If, say, the art package for Dragon was paired with the test design, perhaps it may not have fared as well. However, pair it with the images of everyone’s favourite female crime fighting trio and the cumbersome layout stood a fighting chance at holding the customer’s attention.

They made an absolute ton of these games, nearly 8,000 units, which sounds impressive, but puts it at the middle of the pack numbers-wise of all System 1 games.  Despite the high production run, Charlie’s Angels isn’t a game that is seen all that often in private collections or retro arcades: one can guess that many of these games found their way to the junkyard after their arcade runs, due to their operating system unreliability (one can draw the same conclusion for the low survival rate of many of the Gottlieb System 1 titles).  An electromechanical version of the game was also release in far fewer numbers, 350 units, to appease operators weary of changing over to solid state technology (many of these skeptical ops were European buyers).

Good morning, Angels...

Good morning, Angels…

The game would have first hit arcades during the Angels’ third season. The backglass features Kate Jackson, Jaclyn Smith and Cheryl Ladd, who were the Angels du jour at the time of production. The most iconic angel, Farrah Fawcett, had left the show after the first season to pursue other ventures (resulting in a messy contract dispute), which explains her absence.  Any casual consumer of popular culture would surely name Ms. Fawcett if asked to name an actress on the show, despite her appearance in only about one-fifth of the total Angels episodes produced.  Fawcett did return to the show during this third season for guest spots in a handful of episodes which bolstered ratings slightly, but overall, it was the season that marked the end of the show’s cultural relevance. Time slots changes and a revolving door of actresses in “Angel” lead roles didn’t help matters. The property was red hot in its first season with Fawcett on the payroll, and perhaps Fawcett’s absence from the pinball machine’s art package is why this machine isn’t more sought after in the collecting community.

The oranges, purples and yellows on this machine just pop and will make it stand out in any lineup of games. It is kind of disappointing that artist Gordon Morison wasn’t given more leeway with the licence—the actresses that portray the Angels appear only once on the mirrored backglass, and then just once more on the playfield, depicting the very same pose that appears on the glass. There were some disconnected choices for the playfield art: a dancing red-headed girl, a cartoon policeman and a blonde in a purple leotard flinging a man by his arm into the upper pop bumper. None of these people bear any striking resemblance to characters in the show, unless that cop is supposed to be an undercover Bosley. The playfield is busy with colour (that’s a good thing) with pinks, oranges and blues on a yellow background. Arrows point in nearly every direction indicating rule and scoring changes, but Mr. Morison  does his best to organize it in such a way that it doesn’t seem cluttered. I am a fan of the curl of smoke that arcs under the Angels as a 70s muscle car peels away behind the five-bank of drop targets. Gordon Morison is at the top of his game here, using flash, dazzle and colour to draw attention away from the fact that there is little to tie the licence to the game other than a heavy reliance on the iconic Angel outline.

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And then there’s gameplay. The game has a quirky set of rules that may have been deep for the time, but overall, end up bogging the game down. Whereas System 1 cousins Cleopatra and Totem have a clear objective to achieve (lighting all five coloured pairs in the former, and lighting the drop targets via the rollovers in the latter), Charlie’s Angels really doesn’t have a readily apparent objective past bashing drop targets. Like many other games in the System 1 family, points boil down to the bonus and its multipliers. If there is a chase in the ruleset, it comes from tracking down the multipliers, and it takes a pretty good memory to do so. The multiplier will advance by completing the 5-target bank or completing the C-H-I-C rollovers (the C’s are connected, roll one C and you get both). Further, if 2X is lit, you can collect a multiplier at the stand-up bulls-eye on the lower right. If 3X is lit, you can collect a multiplier at the first target in the 5-target bank. If 4X is lit, you can collect a multiplier at the first target in the 3-target bank on the right. Got all that? Good.  See if you can follow me on how the rollovers work. Further to advancing bonus, the letters H and I will reset the 3-target bank and increase their value to 5,000 points each. If you can roll over H when your bonus ladder is full, it’ll light the 3-target bank for an extra ball (yeah, you gotta knock them all down to collect).  As you can see, this right bank of targets is pretty important. Star rollover buttons down the side of the game are connected to the downed targets in the 5-target bank, lighting each for 1,000, which is a decent payday for a rollover button. I said above, artist Morison organizes the writing on the playfield in a way that it doesn’t seem visually cluttered, however, the sheer amount of ruleset verbiage on the playfield is confusing. What isn’t written on the playfield spills over onto the apron card with more “If-Then” rules.

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The dead space alleyway between the upper rail and the 5-target bank. Balls funnel out from rollovers, but cannot be shot back up thru them.

The game has a kicker arm on the bottom right by the dancing ginger bikini girl, and another up top just to the left of the Angels. This upper left kicker is a spot of trouble with indirect hits and dribbling balls, as it likes to send the ball careening toward the right outlane. The slow dribbler happens often in this area as there is a channel between the 5-target bank and the upper rail which is fed by the C and H rollovers. This channel has always concerned me, as seems out of place as a dead zone. I was troubled that I could never get the ball up into the area with enough force and accuracy to get it up and into the rollovers from the bottom right flipper. In all honesty, I thought I had re-assembled my game wrong after tearing it down. I have come to the realization that it is more of a one way ball exit from the rollovers, and it takes a lucky shot to get it up through a rollover lane from the bottom: I’ve only done it once. It is a bit of a wasted space, but at least it randomizes the ball movement after exits the CHIC lanes: pop bumpers normally do that, but Charlie’s Angels has just one pop under the lanes. The other pop resides lower down on the playfield, dangerously close to the flippers. This pop, like the upper kicker, likes to send the ball over to that troublesome right outlane.

If nothing else, the game can be commended for its asymmetrical layout, which is a nice contrast to the symmetrical layouts of other Gottlieb games of the era like Cleopatra and Pinball Pool.  Angels game designer Allen Edwall is an odd figure in pinball history.  He designed Centigrade 37, which, for many, represents the high water mark of late electromechanical game design, but if you look at his resume, he was mostly in charge of Gottlieb’s solid state hardware design and software development.  That explains his less than prolific run as a designer: he had plenty of other duties in his job description.  Centigrade 37 was his first game, and I think we can agree, looking at the other games he designed, he wouldn’t have a hand in designing another game that matched the timeless popularity of his first.  Charlie’s Angels downfall may be that a “computer guy” was in charge of the design.  The game suffers, in spite of trying for a cumbersome and esoteric set of “If-Then” rules that tested the bounds of the early solid state system. In this day and age, folks call a cumbersome set of rules on a game “deep”. However, on early games like this one, that have to rely on the written word to explain what’s going on, it just gets really confusing. Compare the amount of playfield text on Charlie’s Angels to that of Joker Poker. Joker Poker has far less explaining to do, due to a more straightforward set of rules. Joker Poker is seen as the superior game because it uses its layout to keep the player engrossed, not a jumbled set of “If-Then” rules. Perhaps Charlie’s Angels was supposed to be a showcase of what the System 1 hardware and software was capable of through an intricate set of “When Lit” inserts, but I think it kind of backfired, making for a game that devolved into ignoring all the rules and simply hammering on the drop targets.

As I mentioned, I have one of these games in my collection (for the moment). It arrived at my home in quite a frightful state, having been neglected in a barn or other type of out-building for many years. The boards were dead on arrival: corrosion and burnt transistors had taken their toll. With some tender loving care, a playfield touch-up and clear coat, backglass preservation, connector re-pinning, replacement parts from the Pinball Resource and a PI1x4 board from Pascal Janin, the game now looks and plays great (well, it looks better than it plays, given the discussion above). The Pascal PI1X4 board, which replaces all three System 1 backbox PCBs and the rudimentary cabinet sound board, is a superbly-designed compact board.  In retrospect, it was a pricy addition to a game that doesn’t command that much money on the pinball market, but it certainly brought new life to a game that needed it and I picked up the game for quite a steal. The Pascal board adds extra rules to some of games in the System 1 family, but the additions to Charlie’s Angels are negligible: a roll-over skill shot and an extra ball re-light. Given the often questionable constancy of the System 1 boards, it is nice to have the extra assurance of stability that the PI1x4 provides. A refresh of the side cabinet art was also needed on the game, as the purple Angels had faded to a pathetic grey. I cut my own stencil, accounted for the trademark “Gottlieb overspray”, found a suitable colour match in a rattle can and brought the art back to life. I also went ahead and bypassed the PI1x4 sound components, which accurately mimic the early System 1 “bloops” and “bleeps”, opting to install a set of authentic Gottlieb chimes. The process was extremely simple, and the sound of those chimes really works to make the gameplay more appealing.

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From the FLIPPP! website: the amazing PI1x4 board that replaces all three backbox boards and the cabinet sound board. Less interconnect wires mean better stability. Better stability means less headaches!

I’m unsure whether Charlie’s Angels will have legs in my collection. I think sheer pride in the fact that I brought the game back to life is keeping it around for the time being. If I had unlimited funds and space, which at the current time I have neither, I’d like to obtain a Bally Six Million Dollar Man machine to install beside the Angels and create the ultimate pinball shrine to 1970s hour-long, action drama television (there’s a bit of history there too, missing pinball Angel Farrah Fawcett was once married to Lee Majors, the Bionic Man himself). You can’t expect the world from a System 1 game as, admittedly, it was a transition period in the business.  The cumbersome rules gave a bit more, but perhaps a bit more simplicity would have been in order.  In essence, I’m asking for more and less all at the same time.  Certainly the rules betrayed the game, and the layout did nothing to make up for its confusing faults. If Joker Poker represents the high water mark of System 1 games, Charlie’s Angels may very well bring up the rear.

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Many thanks to my beautiful wife for talking pictures of the Angels machine. You would have got some dumpy cell phone pictures otherwise. Also, I highly recommend reading PA Pinball’s interview with Charlie’s Angels designer Allen Edwall (I quoted from this interview in the article).  It provides a lot of insight as to what was going on at Gottlieb during the System 1 days from Edwall’s perspective.  It is a designer’s perspective that hasn’t been canonized in pinball history, and therefore, a valuable one.

Further Reading:

PA Pinball – An Interview with Allen Edwall
FLIPPP! Pinball (Pascal Janin) – PI1x4 All In One Board for Gottlieb System 1 Pinballs
IPDB.org – Charlie’s Angels
Pinside – Charlie’s Angels
Pinrepair.com – Gottlieb System 1 Pinball Repair


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HARDWARE: The Elusive “Bally Side Rail”

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Quite a lot of Bally System 11 games have dented side rails.  It’s almost an epidemic.  Read any For Sale description of an Elvira and the Party Monsters, and more often than not, you’ll get a mention of damaged side rails from an errant backbox drop.  They seem be dented and left unfixed in high numbers due of the lack of new (or NOS) replacement rails available in the marketplace.  The rails are an oddball size and only appeared on a handful of games, so parts manufacturers have neglected making them.  Drop the backbox and dent the rails on your WPC machine and it’s a $50 mistake that is easily remedied with an order through Pinball Life.  Dent the rails on your Mousin’ Around? You’re pretty much screwed.  The dents will be a constant reminder of your stupidity.  Might as well get out the hammer and try to bang out the damage, because these rails are pretty hard to source.

The games bearing these rare rails are Truck Stop, Atlantis, Transporter: The Rescue, Elvira and the Party Monsters and Mousin’ Around, and the reference number for the elusive part is A-12359-1 (the parts catalogue mentions that Bally Game Show may also use these rails, however, I cannot find definitive photographic evidence of this–Game Show was the first Bally game to employ the external rounded hinge, which leads me to believe a different shorter rail was used.  If you have leads, or photos, please let me know.)  All of the above mentioned games were manufactured under the “Midway” banner (despite bearing the “Bally” name on the backbox) during a time when Williams had just absorbed the struggling Bally/Midway brand.  The rail length for these games, from end to end, for a System 11 Bally Rail runs 51.5 inches, making it nearly 5 inches longer than the identical looking in every other way WPC side rail (A-12359-3).

Blackwater 100, the first appearance of the thin "Bally Rail"

Blackwater 100, the first appearance of the thin “Bally Rail”

The reason for the extra length is that the backbox on these five Bally games sits on a built-up pedestal of sorts, and the side rails run underneath the backbox to the backside of the cabinet.  The hinges on the backboxes are not external, but rather contained within the backbox pedestal, allowing the rail to run undisturbed to the rear of the cabinet.  Bally games that followed Mousin’ Around had their backboxes sit flush with the cabinet and employ a set of external rounded hinges (similar to other late model Williams System 11 games), thus the side rails had to terminate at the backbox.  (It is interesting to note that Bally Midway’s  March ’88 release Blackwater 100, pre-Williams takeover, appears to be the first “modern game” with the thinner and longer 51.5 inch rail incorporated into the design, however, this version of the rail is affixed to the cabinet with a series of nails running its  length, whereas the later version of the rail we are speaking about here is affixed to the cabinet with double-sided tape, a Torx screw on the back end and a bolt on the front near the flipper button.)  To complicate matters more, rails on the games from the same era bearing the Williams logo, such as Fire!, Earthshaker, Jokerz! and Black Knight 2000 to name a few, were wider in height and incorporated the flipper button right into the rail itself.  You could almost cut two thin Bally rails out of the metal used on one of the Williams games.  Less metal meant cost savings: thus, it should come as no surprise that Williams adopted the thinner Bally-style rail when a standard design for all pinball machines was adopted for the WPC platform in the 1990s.

A quick search shows that Bay Area Amusements has the A-12359-1 rail advertised on their page for purchase; however, like many other desperately needed niche parts listed on their site, they are currently out of stock.  I have checked the page for the last five months, and I have never been lucky enough to find the item available for immediate purchase (if in stock, retail price would be $59.00USD+shipping).  The Ministry of Pinball, the Netherlands-based pin retailer, also lists the rails for purchase (retail price: 29.95 Euro), which remains an option for our Euro friends, but those stateside would pay dearly for shipping due to the awkward size of the parts (you’d have to add another 35.00 Euro for shipping to the US or Canada…it gets cost ineffective pretty quick).

In some rare instances, the rails do pop up for sale.  Not two months ago, a set was offered, and quickly purchased, on Pinside for $125USD (shipping included).  A search of the rec.games.pinball newsgroup shows that a few sets have sold over the years with the asking price ranging between $150USD-$200USD.  RGP also mentions the existence of a user named “Timathie” who manufactured the rails for the RGP community years ago.  As per a post from 2011, it appears that the user is no longer making them.

KONICA MINOLTA DIGITAL CAMERAI bought an Elvira and the Party Monsters game late last summer, and wouldn’t you know it, it had dented side rails from an errant backbox drop.  It was disclosed to me in the original description and photos of the game, so I knew I would be (possibly) snookered if I ever wanted to replace them.  The ingenuity of the pinball collector took over.  I was able to locate a set of new, uninstalled Williams System 11 side rails within the community marketplace at a very reasonable price (the wide ones that incorporated the flipper buttons, which turned out to be a set of these: Pinball Life’s Williams Stainless Steel Side Rail Set – Circa 1989-90, pictured right).  I bought them hoping that they could be precision cut to fit my needs.  Unlike the other Williams System 11 wide rails, this 1989-90 version has no extra nail or screw holes that would be left behind once the excess was trimmed off, and they met the length requirements of 51.5 inches.  I contacted a nearby metal fabrication outfit (CIM Metals Inc. , of Burlington, Ontario, Canada) and for $45CDN they were able to cut both rails, using laser technology to replicate the look of a thin Bally rail for my game.  I pulled off an original dented rail for them to use as a template (they only needed one, each Bally rail is interchangeable with no characteristics or markings that require specific left or right side installation).  They were able to match the original tapering and square screw holes faithfully, which made installation a breeze.   For about $85CDN, all told, I had a new set of undented rails on my EATPM, which was a bit cheaper than finding a NOS set, and a bit less frustrating than waiting around for a North American company to stock them.  I had to jump through a few hoops to get it done, but I’m happy with the results.  I’m not one for total perfection on my games but when an opportunity presents itself, I can’t pass it up.  Here’s hoping someone takes the lead on this and starts producing the Bally rails for the community, in sustainable quantities, as they are sorely needed.  Until then, keep those backbox bolts nice and tight…

Further Reading:

Pinside – For Sale: 51-1/2″ side rails (EatPM, Atlantis, Mousin’) – SOLD
Pinside – WTB- set of Side Rails for Eatpm
Bay Area Amusements – Metal Side Rails (pair) – System 11, etc
Ministry of Pinball – Elvira and the Party Monster Side Rails
rec.games.pinball – EATPM side rails