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Jaguar World – Volume 11 No. 5 June 1999 SOMETHING OLD IN SOMETHING NEW by Ian Kuah
However
much more publicity was given to the D-Type, which won the world's
toughest endurance race in '55, '56 and '57. Demand for Lynx replicas of these has always been very high, with over
50 cars built. However, the tide seems to be turning, and now that interest is
growing in the C-Type again, Lynx have re-launched their version - of which only
four had been commissioned since 1976. Originality
is a sore point with some car enthusiasts. But the fact is that most old cars
simply do not mingle too well with modern traffic conditions. They overheat,
fluff their carburetors and even break down. That is, at best frustrating. At
worst, it can be downright dangerous. The
alternative is to build an old car with as many modern bits as you need to make
it sensible on today's roads, while preserving the overall character that came
as standard in the original. If you think about it logically, you would then
have a car which the factory could eventually have made anyway had
it stayed in production long enough. FAST FORWARD With
the benefit of hindsight and experience, there are now much better ways of doing
things than existed 40 years ago, and the case for describing Lynx cars as
'evolution' versions of the originals is one that can be very convincingly
argued. This car is dimensionally identical to the factory classic in wheelbase
and body, with a tubular steel chassis and hand-wheeled aluminium body. But it's in the details where improvements have been sought.
Jaguar
never achieved such power figures in the '50s, and indeed, even the later
E-Types never came close, except the special competition versions. The reason is
once again the march of technology. Contemporary cylinder-head and manifold
gas-flow knowledge, piston and ring design advances, lightening and balancing of
other internal components like the connecting rods and so on have given a
classic engine rebuilt today a huge performance edge. Further gains come from the latest generation of Weber 45DCOE carburettors
which are streets ahead of the originals and much easier to tune and maintain. The
clutch is a more modern hydraulic unit; the original was not too clever and was
troublesome in service. Of the original parts, you can count the radiator,
dynamo, inlet and exhaust manifolds, voltage regulator, Smiths instruments and
even the horn. The
disc brakes are slightly thicker than the originals which they need to be to
cope with the enhanced performance. They're clamped by larger calipers, and the
combination improves both the crispness and fade resistance of the brakes. "The
D-Type was designed for top speed down the Mulsanne Straight at Le Mans which is
a flat piece of road," John explained. "Our D- Type and XK-SS owners
wish to drive their cars on public roads as well as on the track, so we elected
to use the E-Type rear with other adjustments and it has ended up substantially
better in ride and handling than the original. "However,
we didn't have to do this for the C-Type as it was more a case of a road car converted to race
trim. So the ride is better to start with and little has to be done
to make it perfectly acceptable for road use today. In fact, the suspension is
largely original, and we only improve things where we need to" The
Lynx car uses wire wheels half an inch wider than the originals, 5.5 x 16-inch.
These have 60 rather than 54 spokes for better stability. They're shod with 6.00 x 16 Dunlop racing tyres.
Over the years, Lynx, arguably the world's finest repairers and replicators of classic Jaguar sports cars, have bought up all the C-Type and D-Type spares they could find, and now have the most comprehensive stock of original parts for these cars in the world. Apart from being used to repair original cars, these parts are incorporated into new Lynx creations to give as much authenticity as possible to cars which are more than just replicas. The parts supply is not endless however, and so these valuable components are kept for special projects like this C-Type, where details matter. Other makers of C-Type replicas do not have access to such parts and have to use something else. It's as simple as that. "For
those who worry about one of our cars being passed off as an original by some
unscrupulous seller, we have our own build number on the rear bulkhead,"
says John, "as well as on the chassis and in a couple of discreet places
buried deep within the cars' structure. This way we can easily authenticate a
car if there's any dispute over its pedigree. We don't make fake Jaguars. This
is a Lynx C-Type, nothing more, nothing less, and the Lynx name speaks for
itself. We try to recreate the feel of a 1950s sports car but with a few
improvements in the areas of performance and safety." DRIVING FORCE Because
the C-type stemmed from a road car design, it feels civilised on the road and
the engine tune complements this, making it is very docile and tractable at low speeds.
The light alloy body and
torquey long stroke engine makes for a car that's easy to drive in touring
mode. The
power band is 2,000 to 6,000 rpm through the four- speed synchromesh gearbox (the original had a Moss box with no
synchro on first gear. But you do not need to explore that
power band or use the gearbox frequently unless you want to go very quickly.
Driven in anger, this replica C-Type is almost, but not quite, modern supercar
quick, with times
of 0-60 mph in 6.0 sec, 0-100 mph in 14.1 sec, and over 140 mph flat out which
is pretty respectable, even today! Tractability
is certainly the car's strong suit and it easily passed the William Lyons’ test of being able to pull away smoothly from
10mph in top gear. While
the Lynx C-Type's suspension is largely to original pattern, most people find it amazing to
learn that suspension geometry was a black art, scarcely acknowledged in the
C-Type's heyday. The
front and rear suspension of the Lynx is to the original factory specification. "We repair original C-Types
here," John explained, "so we have the drawings, patterns and other
tooling. The suspension is fully adjustable for castor, camber and toe-in
which means it can be set up very precisely." Modern
knowledge of setting-up suspension has turned an already sweet performer into
a ballerina. If
Jaguar had been able to set up their C-Types to this level, their already
convincing wins at Le Mans in 1951 and again in 1953 would have been a total
rout. But in those days there was little time for such niceties as the one
small in-house works race team did everything, Testing was mainly by
Norman Dewis at MIRA. Today, at a comparable level, separate teams look after engine, chassis, aerodynamics and electronics and expensive
track test time is de riguer. Indeed, in those days, the driver was
expected to get on and drive without commenting too much on technicalities! The
C-Type is light but its aerodynamics and chassis give it good directional
stability. It's neutral, balanced and very
adjustable in corners. Another plus is that the taut and controlled ride is matched by a
surprising amount of comfort for road use. In fact, the ride/handling compromise
is so good that nothing has to be adjusted for the track. Most cars are designed
purely for the road, but on a track, their handling quickly falls apart.
BALLERINA The steering is light and precise, and with two and a quarter turns lock-to-lock, it's also very direct. You do need to be slightly on the move to lighten the steering load when parking, something that most people have forgotten because of power-steering. Another
thing about cars from this period is that NVH had not been invented and you get the full, adulterated
raw sensation of driving. This means that you you do not have to be doing flies-in-your-teeth speeds for your drive to be satisfying. In a modern Porsche
or Ferrari which has been 'sanitised' by drive-by noise regulations and the
demands of people who want to use them everyday, you have to be driving three
figure speeds before the car begins to entertain. No so with the C-Type. Even at
40 or 50mph, the car is takling to you throught its steering and chassis.
It is alive! It
also has different personalities. At moderate speeds, the rack and pinion
steering wriggles slightly
in your hands, describing the road surface beneath. In fact, the whole chassis is
communicative. This is real 'seat-of-the-pants' motoring. Go faster and
the decibels rise, the bumps begin to smooth out and the car becomes an even
more fluid mover. Given
its head on a race track, it is pure magic. The old-style cross-ply race tyres
allow progressive slides at speeds which any modern shopping hatch will beat.
But, the level of feedback, the sheer ability of the chassis to delicately tell
you how many degrees of oversteer you can achieve with a given amount of
throttle and counter- steering, is alien to drivers of modem cars. Such
have been the advances in suspension design with countless isolating rubber
bushes, that the
fine adjustments you can make and feel being made in the C-Type have become
coarser and more reliant upon sheer g-force in modern sports cars. Drifting and
sliding to order, this car is an education in classic front-engined, rear drive
handling. Another bonus is that the steering doesn't load up as you work the
car in a corner, unlike many later (but not the latest) mid-engined marvels
whose unassisted steering loads up so much you that have to grip the wheel hard
to hang on. High steering loads are bad because they lessen your ability to be
smooth with the wheel and make it hard to dial in precise doses of opposite lock
when it all goes green. The
C-Type is also ergonomically sound. The steering wheel and gearlever fall
easily to hand. The cockpit has a period feel but is not edge of the seat like
the D-Type, which feels like a WW2 fighter by comparison. Overall, the
C-Type is the more practical of the two if your ambition is to drive on road and
track, with more of the former than the latter.
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