Betamax
Betamax (also known as Beta, as in its logo) is a consumer-level analog recording and cassette format of magnetic tape for video, commonly known as a video cassette recorder. It was developed by Sony and was released in Japan on May 10, 1975,[1] followed by the US in November of the same year.
For the Philippine street food, see Filipino cuisine § Pulutan.Media type
Up to 5 hours
Helical scan
15.6 × 9.6 × 2.5 cm
(61⁄7 × 33⁄4 × 1 inch)
May 10, 1975
Recorders discontinued August 2002; Blank cassettes discontinued March 2016
Betamax is widely considered to be obsolete, having lost the videotape format war[2] which saw its closest rival, VHS, dominate most markets.[3] Though Betamax tapes had higher quality image, the longer VHS tape ultimately became the standard.
Despite this, Betamax recorders continued to be manufactured and sold until August 2002, when Sony announced that they were discontinuing production of all remaining Betamax models. Sony continued to sell Betamax cassettes until March 2016.[4][5]
Later developments and offshoots[edit]
HiFi audio upgrade[edit]
In June 1983, Sony introduced high fidelity audio to videotape as Beta Hi-Fi. For NTSC, Beta HiFi worked by placing a pair of FM carriers between the chroma (C) and luminance (Y) carriers, a process known as frequency multiplexing. Each head had a specific pair of carriers; in total, four individual channels were employed. Head A recorded its hi-fi carriers at 1.38(L) and 1.68(R) MHz, and the B head employed 1.53 and 1.83 MHz. The result was audio with an 80 dB dynamic range, with less than 0.005% wow and flutter.[14]
Prior to the introduction of Beta Hi-Fi, Sony shifted the Y carrier up by 400 kHz to make room for the four FM carriers that would be needed for Beta Hi-Fi. All Beta machines incorporated this change, plus the ability to hunt for a lower frequency pre-AFM Y carrier. Sony incorporated an "antihunt" circuit, to stop the machine hunting for a Y carrier that was not there.[15]
Some Sony NTSC models were marketed as "Hi-Fi Ready" (with an SL-HFR prefix to the model's number instead of the usual SL or SL-HF). These Betamax decks looked like a regular Betamax model, except for a special 28-pin connector on the rear. If the user desired a Beta Hi-Fi model but lacked the funds at the time, he could purchase an "SL-HFRxx" and at a later date purchase the separate Hi-Fi Processor. Sony offered two outboard Beta Hi-Fi processors, the HFP-100 and HFP-200. They were identical except that the HFP-200 was capable of multi-channel TV sound, with the word "stereocast" printed after the Beta Hi-Fi logo. This was possible because unlike a VHS Hi-Fi deck, an NTSC Betamax did not need an extra pair of heads. The HFP-x00 would generate the needed carriers which would be recorded by the attached deck, and during playback, the AFM carriers would be passed to the HFP-x00. They also had a small "fine tracking" control on the rear panel for difficult tapes.
For PAL, however, the bandwidth between the chroma and luminance carriers was not sufficient to allow additional FM carriers, so depth multiplexing was employed, wherein the audio track would be recorded in the same way that the video track was. The lower-frequency audio track was written first by a dedicated head, and the video track recorded on top by the video head. The head disk had an extra pair of audio-only heads with a different azimuth, positioned slightly ahead of the regular video heads, for this purpose.[16]
Sony was confident that VHS could not achieve the same audio performance feat as Beta Hi-Fi. However, to the chagrin of Sony, JVC did develop a VHS hi-fi system on the principle of depth multiplexing approximately a year after the first Beta Hi-Fi VCR, the SL-5200 was introduced by Sony. Despite initial praise as providing "CD sound quality", both Beta Hi-Fi and VHS HiFi suffered from "carrier buzz", where high-frequency information bled into the audio carriers, creating momentary "buzzing" and other audio flaws. Both systems also used companding noise-reduction systems, which could create "pumping" artifacts under some conditions. Both formats also suffered from interchange problems, where tapes made on one machine did not always play back well on other machines. When this happened and if the artifacts became too distracting, users were forced to revert to the old linear soundtrack.
SuperBetamax / Hi-Band [edit]
In early 1985, Sony would introduce a new feature, Hi-Band or SuperBeta, by again shifting the Y carrier—this time by 800 kHz. This improved the bandwidth available to the Y sideband and increased the horizontal resolution from 240 to 290 lines on a regular-grade Betamax cassette. Since over-the-antenna and cable signals were only 300–330 lines resolution, SuperBeta could make a nearly identical copy of live television. However, the chroma resolution still remained relatively poor, limited to just under 0.4 MHz or approximately 30 lines resolution, whereas live broadcast chrominance resolution was over 100 lines. The heads were also narrowed to 29 μm to reduce crosstalk, with a narrower head gap to play back the higher carrier frequency at 5.6 MHz. Later, some models would feature further improvement, in the form of Beta-Is, a high band version of the Beta-I recording mode. There were some incompatibilities between the older Beta decks and SuperBeta, but most could play back a high band tape without major problems. SuperBeta decks had a switch to disable the SuperBeta mode for compatibility purposes. (SuperBeta was only marginally supported outside of Sony, as many licensees had already discontinued their Betamax line.)[17][18]
ED-Beta (Extended Definition Betamax) [edit]
In 1988, Sony would again push the envelope with ED-Beta, or "Extended Definition" Betamax, capable of up to 500 lines of luma resolution, comparable to then-future DVD quality. In order to store the ~6.5 MHz-wide luma signal, with the peak frequency at 9.3 MHz, Sony used a metal formulation tape borrowed from the Betacam SP format (branded "ED-Metal") and incorporated some improvements to the transport to reduce mechanically induced aberrations in the picture. ED-Beta also featured a luminance carrier deviation of 2.5 MHz, as opposed to the 1.2 MHz used in SuperBeta, improving contrast with reduced luminance noise.[19] Chroma resolution remained unchanged, which made artifacts like color fringing more pronounced. To cancel chroma signal crosstalk, the chroma portion of the signal was delayed by one or two scan lines during playback, smearing the color even more.[20] The chroma delay could be disabled on higher end VCRs by turning on EDIT mode to "reduce editing faults" when dubbing a tape.[21]
Sony introduced two ED decks and a camcorder in the late 1980s. The top end EDV-9500 (EDV-9300 in Canada) deck was a very capable editing deck, rivaling much more expensive U-Matic set-ups for its accuracy and features, but did not have commercial success due to lack of timecode and other pro features. Sony did market ED-Beta to "semiprofessional" users, or "prosumers". As for the EDC-55 "ED CAM" camcorder, the major complaint concerned its low light sensitivity due to the use of two CCDs instead of the typical single-CCD imaging device. ED-Beta machines only recorded in βII and βIII modes, with the ability to play back βI and βIs.[22]
Discontinuation and legacy[edit]
End of production[edit]
On November 10, 2015, Sony announced that it would no longer be producing Betamax video cassettes.[4][5] Production and sales ended March 2016 after almost 41 years of continuous production. Third-party manufacturers continue to make new cassettes. While these cassettes are designed for use with the Betacam format, the cassettes are interchangeable with traditional Betamax systems.
Despite the sharp decline in sales of Betamax recorders in the late 1980s and subsequent halt in production of new recorders by Sony in 2002, Betamax, SuperBetamax and ED-Beta are still being used by a small number of people. Even though Sony stopped making new cassettes in 2016, new old stocks of Betamax cassettes are still available for purchase at online shops and used recorders (as well as cassettes) are often found at flea markets, thrift stores or on Internet auction sites. Early format Betacam cassettes—which are physically based on the Betamax cassette—continue to be available for use in the professional media. It is still used by few broadcasters, as it was succeeded by Betacam SP, its digital modifications and more recently by tapeless recording.
In popular culture[edit]
In the 1983 David Cronenberg film Videodrome, the character of Max Renn grows an opening in his stomach that accepts Betamax videocassettes. The Betamax format was chosen because the cassettes were slightly smaller than VHS cassettes, and thus made the prosthetics easier to construct.[34]
In the 2006 episode of Doctor Who entitled The Idiot’s Lantern, the Tenth Doctor beats the episode’s main enemy and entraps her for all eternity in a videotape he created thirty years too early as the episode is set in 1953. He shrugs off the effect it will have on the timelines as he calls it “just Betamax”.
In the Cowboy Bebop episode "Speak Like a Child", Jet and Spike receive a Beta tape in the mail intended for Faye. Jet and Spike visit a shop in hopes of finding a Betamax player, which they do, but it is subsequently damaged beyond repair by Spike’s impatience with the old device.[35]
The Tagalog song "Betamax" by the Filipino band Sandwich from their fifth studio album in 2008 entitled <S> Marks the Spot talks about an era in the Philippines before the advent of the Internet, MP3s, and DVDs, and the only widespread video format was Betamax.[36] Also in the Philippines, Betamax refers to the popular cubed street food made of chicken or pork's blood served in skewers which bear a crude resemblance to Betamax cartridges.[37]