FORD’S Fiesta was the turning point. Before that, explained Ford’s handling God, Richard Parry-Jones, the blue oval had a schizophrenic approach to good handling.
‘We had good handling RS products, and no more than average handling on our everyday products.’
In his book, that was bad. ‘I felt very strongly that customer satisfaction and the image of the vehicles were very closely tied to the handling experience.’
Praise the Lord, for this protestation by Welshman RP-J, back in 1997. Indeed, as the Fiesta was already so good by 1996, so Parry-Jones wanted to take things a step further.
But not, alas, by recreating the XR2i and making it decent. No, back then, the hot hatch was dead. Murdered by thieves nicking ‘em and making the motors virtually uninsurable. Enter instead a hastily-conceived small coupe, designed entirely on computer in double-quick time. The Ford Puma.
70 percent of the parts were Fiesta. The biggest difference was the launch 1.7-litre Yamaha engine, with 125bhp and a delightfully high rev limit. An engine whose noise RP-J knew before it was even designed. See, he employed a musician, to record the exact sound he wanted for it…
Why? To pass the 50-metre test he invented. ‘It’s what customers notice straight away. They can’t explain it in engineering terms, but they know if a car feels right as soon as they get in it.’
This is why, he said, he corners slowly – probably no more than 25mph. ‘When you’re cornering hard, most cars can communicate a bit, but the most difficult time is at almost no speed.’
Forcing engineers, he says, to get rid of all the noise and vibration, while enhancing what signals ARE there.
What’s crucial here?
• Steering
• Throttle response
• Engine soundtrack
Hence his recruitment of a musician. Schizophrenic, RP-J? Not at all. It’s because of him that Fords no longer are, either. The man deserves a Knighthood.
How Ford put the boot into the Sierra
