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Betamax - Wikipedia

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The internal top shell contains the spring-loaded self-closing tape cover lid. There is also a springy piece of metal which pushes down on both reels to seat them onto the mechanism. Here, you can see the cut-out in the centre hole which allows for the light to pass through the leader to the sensing hole on the side of the cassette to sense the end of tape condition. This is the edge view of one of the reels.

Here you can see the clear leader, and the plastic clip used to secure it to the hub. The circumference of the rear plastic is covered with slots which enable the reel lock mechanism to work correctly.

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The reel lock mechanism is pretty self-explanatory by now. The spring loaded plastic part in white slots into a slot in the outer rim of the reel back, thus holding the reel in place. The tip of this plastic part is specially shaped to allow one way movement, such that the reels can tighten the tension on the tape, but not release it without being deactivated.

The reel lock is deactivated when an object goes into the reel lock hole, which turns the black plastic piece in the foreground, applying pressure to both spring loaded parts such that the tips retract away from the reels, thus freeing them for motion. Here is the take-up roller mechanism — a rotating polished metal cylinder and a nylon roller. The supply reel mechanism is a little different with a black piece of plastic touching a metal roller.

There is also one hollow metal cylinder roller. Now you know pretty much what all the parts in a VHS cassette are! This is considered a fairly modern VHS deck, built in the cheap way, with no modules, and as little metal as possible.

A clue to its modern status, aside from the date 25th Januaryis the Super Speed Rewind function. Rewinding cassettes used to take a long time, until Jet-Rewind mechanisms became common, enabled by microprocessor control and detection of differences in rotation rate between the two reels.

It can be considered a little harsh on some cassettes, but time is precious! Lets take a look at the mechanics inside the VCR.

Intro – Inside the VHS Cassette & VCR | Gough's Tech Zone

I struggled to lift those early ones, and they were warm and jam packed full of stuff. Underneath the transport itself is the rest of the logic that runs the VCR.

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The transport itself is the centre sections — the reel drives are in black. The eject motor is on the right side corner. The black rubber pinch roller and capstan make up the rest. It looks pretty simple! Lets take a look at each component in turn. The component in black is the linear erase head. The tape runs by this head first, which erases the tape in a vertical band across the tape.

This is necessary when re-recording over existing footage. There is also a hole in the metal plate where the end of tape sensor is. The left guide can just be seen in the foreground, which has the vertical roller keeping the tape tensioned across the erase head, and the angled pin which wraps the tape at an angle across the drum.

This is the drum assembly. These heads protrude very slightly from the surface of the drum and scan the tape. The drum itself is driven by a direct drive motor above, which is very similar to what floppy drives use.

The second guide roller is seen, and the reverse happens in this roller — the slanted tape is pulled back to vertical to pass the control and linear audio head.

There is the control and linear audio head with the blue connector above. The tape then passes the guide pin and has its speed controlled further by the capstan and pinch roller before being wound back onto the take-up reel.

This is the infrared LED which protrudes up from the base into the cassette for the end of tape detection.

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This appears to be a special LED with one emitter but a lens on both sides so that infrared emanates both toward the left and right. The tape path is clearly visible with the cassette loaded.

Here you can see how the tape wraps around the drum. The grooves in the spinning section of the drum help to control the air bearing that keeps the tape flying just above it. The Heads Up Close While I have my camera out, lets take this opportunity to get a close look at the heads. This appears to be an audio head because it appears to be a single head.

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Remember, you cannot see the gap visually as it is so small, but you can see the head chip itself, and the coils which sense and record. This is a pair of video heads, by the looks of it. Notice how it looks like the above structure, just narrower, with two side by side? There is a gap between the two heads … you can see some oxide collecting. The other pair of video heads looks like this … Again, the wear is apparent, as is the oxide.

This is why you have to clean your heads … the oxide buildup can clog the head gap or alter its magnetic sensitivity. Rather unexpectedly, as a technology, it lived a long life and was a consumer revolution, and it bought me many hours of entertainment as well as a few things to do rewind tapes, clean heads, etc.

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I actually enjoyed reading the manual to the VCRs — that might have been just one of the reasons I ended up as a tech-person. Luckily, there are quite a few good resources online that still cover these aspects — the next wordy post will look at some of the technical aspects. Sony would also sell a BetaPak, a small deck designed to be used with a camera.

Betamovie used the standard-size cassette, but with a modified transport. For playback, the tape would be inserted into a Beta-format deck. Due to the different geometry and writing techniques employed, playback within the camcorder was not feasible.

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SuperBeta and industrial Betamovie camcorders would also be sold by Sony. Each head had a specific pair of carriers; in total, four individual channels were employed.

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Head A recorded its hi-fi carriers at 1. 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 wasn't there. These Betamax decks looked like a regular Betamax model, except for a special pin connector on the rear.

They also had a small "fine tracking" control on the rear panel for difficult tapes. For PALhowever, 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.

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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. Since over-the-antenna and cable signals were only — 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. 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.

Beta ED also featured a luminance carrier deviation of 2. The top end EDV EDV 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.