In Living Color

Black-anodized components, as I mentioned in yesterday’s post, have waxed and waned in popularity during (and before) the four decades I’ve been a cyclist. I hope I did not convey the impression that all components were black or silver.  At various times during my years on two wheels—and throughout the history of cycling—bike parts have been anodized in a spectrum of colors. 

Today, most of the parts available in a rainbow of hues are intended for fixed gear or single speed bikes.  While cranks, chainrings, pedals, cogs and even chains are available the Roy G. Biv range for bikes designed for the velodrome or urban hipsters.  But cranksets with more than one chainring, derailleurs, brakes and other parts made for road, touring or mountain bikes are usually made in either silver or black, with the latter shade becoming more dominant as carbon-fiber bikes gain popularity.  One of the few notable exceptions to the hegemony (or tyranny, depending on how you look at it) of silver and black in road and off-road bike parts is Velocity rims.

Weinmann Vainqueur 999 brakes.  Red and blue were offered only from 1961 to 1964.

However, in decades past, parts for road, touring and sport bikes have been finished in other colors, red and blue being the most common.  Weinmann and Mafac made their center-pull brakes in those colors for brief periods during the late 1950’s and early 1960’s.  Mafac, in their last years (the early 1980’s), also made their cantilever brakes in a variety of colors.

Modolo Professional brake, circa 1983.  And you thought white components were sooo 2009?

Ofmega Maglia Rosa rear derailleur.  You can't make this stuff up!

The component makers that became most noted for their color palettes were Italian and offered the greatest variety during from the late 1970’s until the mid 1980’s.  Perhaps the most prominent of them were Modolo and Ofmega.  The former finished their “Professional” brakes—found on otherwise all-Campagnolo bikes—in red, blue, green, gold and white, as well as the traditional black or silver.  The latter company finished their derailleurs, which were essentially Campagnolo Records rendered in plastic, in the rosa hue of the Giro d’Italia leader’s jersey as well as the jaune of its Tour de France counterpart, and just about every other color imaginable.

Colnago C60 with 24 karat gold-plated Campagnolo parts

Other companies did not offer such a wide range of tones but nonetheless parted, at least to one degree or another, from the silver/black binary.  I have ridden gold-anodized Mafac 2002 and Galli brakes; Zeus, Sugino and SunTour also made derailleurs, cranksets and other parts with gold anodizing.  Of course, if really wanted bling, you went for the gold-plated (24 karat) parts Campagnolo briefly made before the price of the precious metal skyrocketed around 1980.

Galli rear derailleur in "midnight blue"

In addition to gold, Galli offered one of the most distinctive finishes in the history of bicycle componentry:  “midnight blue”.  It was, of course, darker than most other blue parts but was more complex and richer than navy or black.  In addition to brakes, derailleurs, cranksets, hubs and other traditional “gruppo” parts, Galli offered rims (made for them by FIR) and retrofriction shift levers (manufactured by Simplex) in midnight blue.  Galli were even finishing 3TTT stems, bars and seatposts in their trademark finish.  Such an ensemble looked absolutely fabulous on a white Olmo of that period, but it also looked great on celeste Bianchis and just about any silver bike.

Kooka crank, circa 1992

Probably the last time components made for bikes with more than one gear or to be ridden by anyone besides Keirin racers or hipsters was the early- to mid-1990’s, when it seemed that every twenty-something in California whose father had a lathe in his garage was making parts, mainly for mountain bikes, that were lighter and more expensive than everything else on the market.  Kooka and Topline crankset, which I mentioned in an earlier post, are examples of that genre.  Interestingly, survivors of that time, like Paul Components and White Industries, are now making their (admittedly fine) stuff in silver and black.  Chris King may be the only exception:  His headsets, hubs and other parts are finished in even more colors than they were two decades ago.

These days, all of my bike components are black or silver.  Part of the reason is that most of the stuff I use is available only in those colors.  But another is that I don’t want parts that detract from the kinds of finishes I like on my frames.

The Best Kind Of "Retro": Simplex "Teardrop" Shifters

Yesterday I wrote about what may have been the most jewel-like bicycle component I ever rode:  the Huret Jubilee rear derailleur.

Today I'm going to write about the part that might be a close second in the beauty contest.  I mentioned them in yesterday's post:  Simplex "retrofriction" levers--in particular, the "teardrop"-shaped ones. 

Most retrofriction levers in that shape were made to fit brazed-on lever bosses. I rode with those levers on several of my bicycles, including the Colnago Arabesque and Miyata 912.  The levers were also available in other configurations, including a "coke spoon" version made for Gipiemme.  

Simplex also made the levers in other shapes and colors for Mavic, Galli and other component manufacturers.  And, of course, there was the original version, which was usually attached to a clamp but was also available to fit braze-ons:

Although they all functioned in the same way, the Gipiemmes might have offered the best hand-feel.  (I am only guessing, as I never tried them myself.)  But whatever their shape, they offered the smoothest action of any lever I've ever used.  That is because they had a spring-clutch mechanism on the inside that kept the lever from slipping (and, thus, the derailleur from shifting accidentally) but allowed a shift with a lighter touch than was needed for other levers.  

Campagnolo and other friction levers, on the other hand, relied on nylon bushings and D-shaped screws to hold them in place--which made them more balky to shift.   The ratcheted SunTour levers were like Simplex's retrofrictions in that they,too, stayed in place when they weren't shifted but were easy to shift.  However, they had a clunkier feel and it was a bit harder to fine-tune shifts on them in much the same way that a one-bolt seatpost with notches is more difficult to adjust to exactly the right seat angle than one without notches, or a two-bolt post.

So, SunTour's "power" shifters tended (at least in my experience) to work better with wide-range slant-pantogaph derailleurs on which only the lower pivot was sprung like the SunTour's VGT or Cyclone GT.  On the other hand, Simplex's more nuanced action seemed to work well with just about every derailleur, with narrow-range racing or wide-range touring gears.  But they seemed especially well-suited to derailleurs that required smaller amounts of cable travel, such as the SunTour Cyclone S and Superbe, Campagnolo Record--and, of course, the Simplex Super LJ.

And, oh, yes, the Huret Jubilee.  It and the retrofriction levers seemed to go together like croissants and coffee.  The original Jubilee levers were made with a large drum that pulled too much cable for the Jubilee, which caused it to overshift.  Later, Huret made a lever with a smaller drum that was intended for both the Jubilee and the titanium Success rear derailleur.  But Huret's lever operated on friction, so Simplex's shifter was smoother.

If I were going to set up a bike with friction shifting, I'd definitely want the retrofriction levers.  However, that would mean using no more than seven cogs in the rear:  what made them so pleasant to use with derailleurs like the Jubilee is the small drum, which cuts down on the amount of cable the levers can wrap up.   In other words, even pulling the lever all the way back probably won't get it to shift onto an 8th cog.  (At least, it didn't on my bikes.)

But, of course, if I wanted to choose components purely on aesthetics, I would choose the Simplex retrofriction levers--and Huret Jubilee rear derailleur.

Shifting

These days, shift levers are curved pieces of metal with cylinders at one end.  The shapes vary somewhat, and the ones attached to brake levers (e.g., Campagnolo Ergo and Shimano STI) are longer.  But, for the most part, they don't call attention to themselves. 

Probably the most elegant shifters ever made were the "teardrop" retrofriction levers Simplex made during the 1970's and '80's:

Next in my beauty contest are the Superbe Pro levers SunTour produced during the 1980's"

Some might say they look even better with the gum-rubber hoods SunTour offered for a time:

I'd probably want those hoods if I were going to install the levers on Vera, my British Racing Green Miss Mercian.

Campagnolo Record levers of that era also had a fairly understated design:

unless some bike maker decided to re-fashion them:

Now, some would argue that an Olmo of that era simply wouldn't be an Olmo without those shifters.  I wouldn't disagree, though I've never owned an Olmo.

I've never owned a Schwinn Sting-Ray, either.  That's probably a good thing, considering the shifter that came with it:

I can't help but to wonder whether it has something to do with the decline in birth rates.   Supposedly, the shifter "clicked" or "indexed".  It's hard to imagine how that was accomplished with the derailleur that came with the bike:  a Schwinn-branded ("Schwinn Approved") Huret Allvit.

In a way, though, I can understand why that shifter was used on Sting-Rays:  the bike's designer was invoking the spirit (or something) of "muscle cars" from that time.  I guess some kid could push or pull that lever and imagine himself on the track at Daytona or something.

But there's no such excuse for this lever, which was made for adult bikes:

If you think somebody cannibalized a Simplex "Prestige" derailleur and glued parts of it to the tops of these lever, you'd be right--sort of. After all, these levers were made by Simplex around the same time they were making all-plastic derailleurs.

And then there are these levers that dare not speak their name:

The "333" on the sticker means that Shimano made them, probably during the 1960's or early 1970's.  SunTour's components were sub-branded "888".  How these companies came up with those numerical designations, I don't know.

One way you can tell it's from that period is the red adjuster knobs and trim.  Both Shimano and SunTour--as well as a couple of other less well-known Japanese manufacturers--made derailleurs and other components with red trim or even small parts. That practice seems to have lasted only a few years, and no one seems to know what inspired it.  The "rising sun" of the Japanese flag, perhaps.

I wonder whether it will work with Campagnolo cassettes. ;-)





 

Shifting Reversals

When someone displays a flag upside-down, it's usually a sign of protest.

Other emblems and objects are posted with their downsides up, it can be a signal of distress or surrender--or a message to someone who's "part of the club", so to speak.

So, what does it mean when a bicycle part--a derailleur, specifically--is made with its logo turned on its head?:

This "Vic" derailleur was made in China for Sugino during the mid-1990's.  It was designed for use with six-speed index systems.  That alone could be a reason for the upside-down logo:  By the '90's, only the cheapest department-store bikes came with six cogs in the rear. Perhaps Sugino, which has made many high-quality cranksets over the years (I ride four!) didn't want people to know they were "slumming" it in the low-end market!

(Ironically, the only other Sugino-branded derailleur was a real gem:  a rebadged SunTour Superbe Pro with an even nicer finish than the original, which is saying a lot!)

In contrast, the reversed logo on this next derailleur can be seen as an example of the many lapses in workmanship or quality control to be found in products manufactured in Soviet-era factories:

 

 To be fair, according to Michael Sweatman (author of the Disraeligears website), this Tectoron KS-01 derailleur is well-made:  strong and tight spring and pivots, smooth-spinning pulleys and no steel or plastic anywhere in sight. It's also only about 15 grams (about half an ounce) heavier than a current Campagnolo Record or Shimano Dura-Ace rear derailleur.  Most important, I would expect it to work reasonably well for a derailleur of its time (1978):  After all, its design is based almost entirely on the Campagnolo Nuovo Record derailleur of the same vintage.  Its only real fault is that it seems to have been finished in a way only Stalin (or, perhaps, Hoxha) could love. 

The next, and last, derailleur I'm going to show lacks the nasty charm (Is that an oxymoron)--and almost every other virtue--of the Tectoron:

Triplex, based in the Spanish Basque city of Eibar (also home to the--justly--better-known Zeus), Triplex made derailleurs and other components that, from three or four meters away, looked like Campagnolo's offerings.  Unlike their crosstown rivals--and other manufacturers of Campy knock-offs--Triplex never made anything that even remotely approached the quality or durability of the venerated Italian innovator.   I can say this, having seen a few Triplex changers--as well as those from many other Campagnolo imitators during the '70's and '80's--when I worked in bike shops.

Hmm,,,Would mounting a Triplex with the logo right-side up have improved the performance or durability?