Betamax was a video format released by Sony in 1975 based off of their previous format, U-Matic. Though it came out two years before VHS, Betamax did not end up anywhere near as popular. The video format wars ended with VHS being the victor, but why? Betamax had a head start, slightly higher video quality, and was backed by the Sony brand. What could go so very wrong? Betamax ended up crumbling due to a variety of seemingly small issues that became a major deterrent when combined. As I stated in the last article of this series, Sony kept the Betamax technology to itself while VHS was licensed off to seemingly any company that wanted it. While Beta was a superior format, consumers didn’t want the expensive product controlled by Sony, but something affordable from one of countless VHS manufacturers. Going off of their U-Matic design, Sony originally made the recording time of tapes a short 60 minutes. VHS initially came out with 120 minute recording time, giving more time for your blank tape and meaning you didn’t have to buy as many. While Sony would later market players with a slower recording speed (B-II) allowing 120 minutes per tape, this reduced picture quality and soon after VHS offered an HQ mode allowing for even higher quality at the same recording speed.

As years went by, Sony tried to regain their footing by enhancing the Beta format. In 1983, Hi-Fi units hit the shelves, offering high fidelity audio recording to consumers and professionals alike. In 1985 SuperBeta was released, offering higher resolution video and increased quality. Though both of these technological innovations predate their counterparts in VHS units, VHS already had the market share needed to succeed. It was too little too late. Sony would eventually make a move admitting defeat in 1988 when they started manufacturing VHS VCRs. Though they still claimed to be backing Betamax, marketing their competitor’s format was a mixed message to some and a final nail in the coffin to others.

Betamax continued to be manufactured well through the 1990′s, and the last Betamax player made by Sony was produced in 2002. New blank tapes are still being produced, and the format continues to be used by small circles of hobbyists and professionals. While Betamax might not have been the smash hit it could have been, it wasn’t all for naught. Betamax became subject to a lawsuit in 1984 regarding the legality of home videotaping, and this case was later cited in 2005 in a peer-to-peer software suit which ultimately agreed with the the decades earlier ruling of non-infringing uses of technology. Sony also learned from their mistakes from the Beta years when creating and marketing their Blu-ray format, which is now an industry standard. Without Betamax, many of the technological advancements of today may never have been fathomed. Even though Betamax can be equated to nothing more than a jogged memory, it had an interesting lifetime that should be rewound and re-watched.

VHS tapes first rolled out in the 1970′s by JVC, and were a major pillar in the video format wars of the time. The concept of movies you could watch in your home was a relatively new idea, and VHS caught on as a standard format that would go relatively unrivaled for decades. But why did VHS take off while so many other choices were available? From a technological standpoint, a VHS tape was actually pretty low on the totem pole when compared to other formats: the video quality was sub-par. However, the recording aspects of VHS were where the format took on a large following. VHS tapes were able to record video, which is a big step compared to other formats which only let you watch prepackaged films. On top of that, VHS has a standard play recording speed of two hours, allowing you to record two hours worth of anything to single tape which was a step up from other formats of the era. Why would this make a difference? Considering the high price of blank tapes, it’s easy to understand that getting more out of a tape means more bang for your buck. When you also consider that movies are played on television over two hour blocks, this only makes VHS more preferable.

The success of VHS can also be owed to how the technology was licensed. While Sony kept their Betamax technology to themselves, JVC offered VHS licensing to nearly every company that requested it. This helped the consumers who had developed a brand loyalty, and also created a more competitive marketplace which kept prices for both tapes and players going down. VHS continued to thrive for decades and was even improved upon with longer recording modes and high fidelity audio. Later, VHS would be adapted to other formats such as VHS-C (compact) for camcorders, D-VHS (digital) for high definition recordings, and S-VHS (super) used for higher resolution picture and professional use.

While VHS is now considered a forgotten technology, being surpassed by DVD and Blu-Ray, blank tapes are still being produced to this day, along with a handful of independent films. If you don’t have a VCR anymore, get one before it’s too late. Sure, it’s nice having crystal-clear video and sound, but there is something about VHS that gives you a warm feeling… and fuzzy picture.

So where am I going with this? If you have ever rented tapes, you might remember the occasional dud. Flickering picture, lines of static, and a ripped image come to mind. Back inn 1985, Vidicraft released the Video Guard Stabilizer. They were most likely not the first company to produce a video stabilizer, but they are one of the better-known of all those that have faded away over the years. The Video Guard Stabilizer sits between your VCR and television (or another VCR if you happen to be making a duplicate) and cleans up the video signal you see on the screen. Your tape may be mangled all sorts of ways, but the stabilizer strips down the video signal from the VCR and reassembles it clearly.

So the Stabilizer does in fact stabilize the video, but what is this guard nonsense? Back before it was called “copy protection,” many people would refer to their videos as being “guarded” when attempting to duplicate commercial tapes. Analog copy protection came around in 1984, and though not every commercial release from then on was copy protected, many of the more popular ones were. Now, if you have ever attempted to duplicate a copy protected tape, you might notice that it makes the picture brightness flash and change violently. This is because of a hidden signal stored on the tape in the same area closed captions are. When the signal is recorded, it causes the duplicating VCR to freak out because it changes the brightness of the picture randomly, and the VCR tries to compensate (which it can’t). Televisions don’t have this circuitry, which is why copy protected tapes play fine on them. Video stabilizers have a nice little side effect of blanking the fields that subtitles reside in when reworking the signal, which means the copy protection is also blanked out and eliminated.

Not only did you get a handy gizmo to make your worst tapes play like new but you also got something to make copies of any tape, protected or not. These days, you might think that video stabilizers are a thing of the past, but they do have useful applications. Want to make a DVD recording of a VHS tape that never made it to DVD commercially? A stabilizer will help you out. Maybe you have some family films you want to back up on to your computer? Some capture cards think that home tapes are copy protected because of their sometimes messy signal. A video stabilizer can be just what you need to complete the captures. I picked up mine a few months ago for $15, and it has been a great device for stubborn tapes that need transferring. If you have a stack of tapes kicking around your house that need to be brought into the 21st century, it’s well worth the investment.

Of all the monitors for all the early home computers, the Commodore 1702 is arguably the most popular; even compared to others outside of the Commodore family. But what makes these monitors so good? Why are they still so sought after by collectors and videophiles alike? It all comes down to quality. Many say that the picture produced from a 1702 is on par with professional video monitors. The 1702 has even found a home in video production outfits as well as television stations because of the high quality display (at a lower price than pro gear).

The 1702 featured composite video and mono audio inputs on the front, and Y/C video and mono audio inputs on the back. There is a switch to flip back and forth between the two. If Y/C sounds a bit odd to you, it is just another way of saying video inputs for chroma (color) and luma (light) video. If that still sounds a bit off to you, have you ever heard of S-Video? JVC popularized S-Video in the early 90′s as a higher quality video standard when compared to composite. However, Commodore included this on its monitors years before it became mainstream (using two RCA ports as opposed to the standard S-Video port) and you can even wire up a simple cable that will allow you to use your S-Video devices on your 1702.

Something else I have to mention is build quality. Not only do these monitors look sleek, but they are also almost indestructible. I’ve seen some in pretty bad shape, picked them up in all kinds of condition, and they still function perfectly. The lifespan is also something to brag about. Most of these monitors are over 25 years old, and still keep firing up same as always.

Why would you want a 1702 these days anyway? Aside from the computer collector market, many others still enjoy the 1702 monitor. Many retro gamers flock to it because of the picture quality as well as the rounded tube which makes it light-gun friendly when compared to today’s flat screens. Those who use high-end video equipment also look to the 1702 as a monitor with proven display quality and compatibility. Others may just like the look of it (you have to admit it has a nice vibe) or keep it around as a spare display for a VCR or something to throw on the work bench in the basement.

As I mentioned before, I own a Commodore 1702. In fact, as of this writing, I own four of them and don’t plan on departing with them anytime soon. They have served me well in a variety of ways. They make great monitors for video cameras, good gaming displays, and I hope to deploy them again in a video production rig. I’ve found mine all over the place: yard sales, flea markets, on the roadside, you name it. Most people are just trying to get rid of them and price them out for a dollar or two or end up dumping them at a thrift store. If you are lucky enough to stumble upon one, give it a chance. You might be surprised by what you end up getting.