Thanks!
I was barely able to get any video at first and almost did not notice that I even had any. Once I got it to synch I was briefly very excited, but it was so weak that it was difficult to tell what I was at on low contrast images. This and the unstable synch (the signal was so weak that I could barely even get a picture of the synch bar when the vertical rolled) quickly made my inner technician take over and start trying to improve the signal using any tricks at my disposal. Once I succeeded at getting the video back to a reasonable level I went right back to excitedly celebrating this significant mile stone, and proceeded to watch, for an hour, a level of picture quality that I would not bother to watch on any other set I own. I will admit that I enjoyed watching it more than any of my other, presently much better preforming, restorations.
Now that I have time to type more I have three questions for those whom have used these sets with the newer roundy tubes.
First is it a good idea to keep using the field neutralizing magnets on the front of the CRT with a 21FJP?
Second those knurled metal things on the outside ends of the convergence yoke that point towards the back of the set, are they the static convergence adjusters?
Third is how do I preform safety glass removal on a CTC4?
This set is nearly a decade older than any color set that I've worked on before so it is a real learning experience of how they designed them in the early days, and a good chance to sharpen my trouble shooting skills and put those skills to the test.