In Brief:

On this site you will find pictures and information about some of the electronic, electrical, electrotechnical and mecanichal technology relics that the Frank Sharp Private museum has accumulated over the years .
There are lots of vintage electrical and electronic items that have not survived well or even completely disappeared and forgotten.

Or are not being collected nowadays in proportion to their significance or prevalence in their heyday, this is bad and the main part of the death land. The heavy, ugly sarcophagus; models with few endearing qualities, devices that have some over-riding disadvantage to ownership such as heavy weight,toxicity or inflated value when dismantled, tend to be under-represented by all but the most comprehensive collections and museums. They get relegated to the bottom of the wants list, derided as 'more trouble than they are worth', or just forgotten entirely. As a result, I started to notice gaps in the current representation of the history of electronic and electrical technology to the interested member of the public.


Following this idea around a bit, convinced me that a collection of the peculiar alone could not hope to survive on its own merits, but a museum that gave equal display space to the popular and the unpopular, would bring things to the attention of the average person that he has previously passed by or been shielded from. It's a matter of culture. From this, the Tele Video Rama Web Museum concept developed and all my other things too. It's an open platform for all electrical Electronic TV technology to have its few, but NOT last, moments of fame in a working, hand-on environment. We'll never own Colossus or Faraday's first transformer, but I can show things that you can't see at the Science Museum, and let you play with things that the Smithsonian can't allow people to touch, because my remit is different.

There was a society once that was the polar opposite of our disposable, junk society. A whole nation was built on the idea of placing quality before quantity in all things. The goal was not “more and newer,” but “better and higher" .This attitude was reflected not only in the manufacturing of material goods, but also in the realms of art and architecture, as well as in the social fabric of everyday life. The goal was for each new cohort of children to stand on a higher level than the preceding cohort: they were to be healthier, stronger, more intelligent, and more vibrant in every way.

The society that prioritized human, social and material quality is a Winner. Truly, it is the high point of all Western civilization. Consequently, its defeat meant the defeat of civilization itself.
Today, the West is headed for the abyss. For the ultimate fate of our disposable society is for that society itself to be disposed of. And this will happen sooner, rather than later.
OLD, but ORIGINAL, Well made, Funny, Not remotely controlled............. and not Made in CHINA.

HOW TO USE THIS SITE:
- If you landed here via any Search Engine, you will get what you searched for and you can search more using the search this blog feature provided by Google. You can visit more posts scrolling the right blog archive of all posts of the month/year,
or you can click on the main photo-page to start from the main page. It starts from the most recent post to the older post simple clicking on the Older Post button on the bottom of each page after reading , post after post.

You can even visit all posts, time to time, reaching the bottom end of each page then click on the Older Post button.


- If you come here at the main page from a bookmark you can visit all the site scrolling the right blog archive of all posts of the month/year pointing were you want , or more simple You can even visit all blog posts, from newer to older, clicking at the end of each bottom page on the Older Post button.
So you can see all the blog/site content surfing all pages in it.


- The search this blog feature provided by Google is a real search engine. If you're pointing particular things it will search IT for you; or you can place a brand name in the search query at your choice and visit all results page by page. It's useful since the content of the site is very large.

Note that if you don't find what you searched for, try it after a period of time; the site is a never ending job !

Don't forget the past, the end of the world is upon us! Pretty soon it will all turn to dust!

Have big FUN ! !


©2010, 2011, 2012, 2013, 2014 Frank Sharp - You do not have permission to copy photos and words from this blog, and any content may be never used it for auctions or commercial purposes, however feel free to post anything you see here with a courtesy link back, btw a link to the original post here , is mandatory.
All sets and apparates appearing here are property of
Engineer Frank Sharp. NOTHING HERE IS FOR SALE !

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Thursday, September 29, 2011

SONY BETAMAX SL-T30ME COLOR 3+1 SYSTEM YEAR 1984.



 





























































Sony was the creator of Betamax VCR (VTR). Sony during the 1970s and 80s used the term 'VTR' (Video Tape Recorder) while all other brands Beta and VHS manufacturers used the term 'VCR' (Video Cassette Recorder). The 1970s and prior, real to real tape recorders for studios etc. were called VTRS. It wasn't until JVC invented VHS the term VCR came along. Betamax was the first format to start the home video recording craze. Since 1975 technology has gone a long way. Since then the format is now pretty much forgotten.

The VHS format's defeat of the Betamax format became a classic marketing case study. Sony's attempt to dictate an industry standard backfired when JVC made the tactical decision to forgo Sony's offer of Betamax in favor of developing their own technology. JVC felt that accepting Sony's offer would yield results similar to the U-Matic deal, with Sony dominating.

The SONY BETAMAX SL-T30ME COLOR 3+1 SYSTEM  was intended for the middle eastern market but many found there way in to the UK because this video made the ideal multi-standard Betamax machine.

The VCR could play and record in PAL, NTSC (4.43 only) and SECAM 1/2. It was a very slim unit. With illuminated functions switches it could have a very bright appearance! On the NTSC side, only speeds Beta II and III were available. The high speed Beta I mode was not included.

It came with a full multi-standard tuner enabling reception of both the VHF and UHF bands with all sound carriers. It also had an "auto volt" power supply to cater for different voltages.

 The Betamax system developed by Sony in the 1970's uses a U-loading similar to that employed by the professional U-matic format. In early models such as the SL-8000 the loading direction is anticlockwise, which is the opposite to the U-matic system.

The tape path is as follows, the tape leaves the supply ( left hand ) spool via internal guide posts and travels around the tension regulator. In most models the back tension is regulated by mechanical feedback but in a few advanced models notably the SL-C9 a sophisticated electronic system is used.

After the tension arm the tape travels past a few more guides and enters the video drum assembly after passing the full tack erase head. The guides serve to 'bias' the tape ribbon onto the drum cylinder ruler edge.

Tape travels around the drum on a 186 degree wrap and leaves the drum assembly to the audio and control track heads which incorporate ceramic plates to guide the tape. Next the tape passes between the capstan drive spindle and the pinch roller, which performs the tape drive. After this the tape passes through peripheral guides before re-entering the cassette shell. The take up spool is lightly driven to provide take up tension and ensure there is no slack.

 The tape is 1/2 inch thick and has the audio track at the top and the control track at the bottom edge. The original Betamax specification defined a single audio track 1.05mm wide. When the format was later revised to allow for a stereo sound track it was necessary to squeeze both tracks into the original space which gave disappointing results.

Unlike the rival format, Betamax records an additional pilot colour burst onto tape which results in more accurate colour reproduction.

Unique to the Betamax format are two small springs which tension plastic tips to bias the tape as it travels around the drum. The video head tip contacts the video head at the bottom edge and leaves it at the upper edge. The video head rotates in the same direction as the tape moves.

 To improve the sound quality of the format Sony developed Beta Hi-fi. This recorded Hi-fi quality sound as FM audio tracks by means of separate audio heads mounted on the video drum.

The audio signals are modulated on to two carriers, one at 1.44MHz and the other at 2.10MHz. The deviation is 500KHz in contrast to 150kHz for the rival VHS format. The tracks are laid down so as to straddle the gaps in between the video tracks. The azimuth off-set is 30 degrees.

 There was no room for a guard band between video track because this would have resulted in too small a recording time for the given tape lengths. This meant that azimuth slant techniques were needed to minimise cross-talk between adjacent video tracks. The slant angle is +/- 7 degrees which meant that with a track angle of 5 degrees 58 seconds and a track width of 32 microns it was not possible to achieve a noise free picture in freeze frame mode unless a special effect head was employed.

Tape end sensors in the Beta format operate on an inductive system, with each sensor being a coil forming part of an oscillator tuned circuit. Betamax leader tape consists of metallic material that, when they come into the proximity of the sensor, cause it to saturate and the oscillator to stop.

One other major consequence of the Betamax technology's introduction to the U.S. was the lawsuit Sony Corp. v. Universal City Studios (1984, the "Betamax case"), with the U.S. Supreme Court determining home videotaping to be legal in the United States, wherein home videotape cassette recorders were a legal technology since they had substantial noninfringing uses. This precedent was later invoked in MGM v. Grokster (2005), where the high court agreed that the same "substantial noninfringing uses" standard applies to authors and vendors of peer-to-peer file sharing software (notably excepting those who "actively induce" copyright infringement through "purposeful, culpable expression and conduct")

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