ED (Extended Definition) Beta was introduced in 1988 and was the last variation of the Betamax format that Sony created for the consumer market (the Betacam family of formats for professional use went on to have much greater success). It was announced shortly after JVC ‘s rival S-VHS format.
ED Beta offered 500 lines of resolution (compared to S-VHS and LaserDisc‘s 420 lines) by using special metal formulation tape and some tape transport improvements. Because of its special formulation, ED-Metal tape was expensive, as were the machines.
Two ED Beta decks and a camcorder were produced for the US market, but Betamax had already lost the format war to VHS and ED Beta was discontinued in the US market after just a couple of years. It’s not clear when it was discontinued in Japan, where Betamax machines were still produced until 2002.
S-VHS-C (Super VHS Compact) was the compact version of S-VHS tape for use in analogue consumer camcorders.
It was introduced by JVC in 1987, and offered a horizontal resolution of about 400 lines over VHS-C‘s 240 lines, on tapes that could hold 30 or 45 minutes at standard speed.
The tapes could be placed in an adaptor and played back in an S-VHS deck, but it needed to be an S-VHS adaptor as the adaptor for VHS-C cassettes was differently notched to identify the tape as S-VHS. S-VHS-C tapes cannot be played back in a normal VHS machine even with an adaptor.
S-VHS-C competed with Hi8, which offered a comparable level of quality, but few S-VHS-C camcorder models were available.
No digital version was introduced (unlike full-size VHS with its D-VHS variant, and Hi8 with Digital8) and it was made obsolete by smaller digital formats like MiniDV, and eventually hard-drive recorders.
SuperBeta (sometimes called High Band) was a development of the consumer Betamax video cassette format, and was introduced by Sony in 1985. A few other manufacturers also made SuperBeta machines, including NEC, Sanyo and Radio Shack.
SuperBeta increased the horizonal resolution from 240 to 290 lines (a big improvement, but still lower resolution than LaserDisc). In addition, some machines could record at a faster tape speed known as Beta-Is (4cm per second), the same speed as the original Beta-I mode on the first Betamax machines, for even higher quality.
Any Betamax tape could be used on a SuperBeta machine, but high quality tapes such as Sony’s PRO-X tapes were available to take full advantage of the SuperBeta’s higher quality in Super Beta Pro mode. Tapes recorded on a SuperBeta machine could be played without any problems in Beta Hi-Fi machines, but earlier Betamax VCRs showed some highlight streaking. No SuperBeta pre-recorded cassettes appear to have been released.
Shortly afterwards, JVC countered with the introduction of VHS HQ with a small increase in video quality, and in 1987 introduced the even higher-quality S-VHS.
By 1986, the market share of Betamax was down to 7.5% in the UK, and only one SuperBeta machine was marketed in the UK (the SL-HF950, which had the ‘linear skate’ cassette loading system). By 1988 Sony recognised the video format war was over and began producing VHS video recorders, marking the end of Betamax in the UK and Europe. However, Betamax still had it supporters and Sony continued to produce Betamax recorders in the US until 1993, and in Japan until 2002. In 2016, Sony ceased production of Betamax tapes.
The EMI Voice Letter was a 3-inch reel of ¼-inch magnetic recording tape that could be recorded and played back on a standard open reel tape recorder. Once recorded, the reel would be placed back in its packaging which had space on it to write an address and to attach postage stamps to send it to someone. The tape could record 10 minutes when run at 3¾-inches per second.
Similar reels marketed for keeping in touch by posting voice recordings were available around the same time, such as the Mastertape Voice Letter and the Scotch One Five Special. The Smith Corona Mail Call Letterpack of the late 1960s was a similar concept. Postage overseas was much cheaper than making an international telephone call at the time.
The EMI Voice Letter does not seem to have become very popular, and would probably have been superseded by smaller and more convenient products like the Compact Cassette.
Magnetic tape was first used for data logging and instrumentation recording in 1949, when Jack Mullins installed modified Ampex Model 300s at Point Mugu Naval Air Station and at Edwards Air Force Base, both in southern California.
Tape has been heavily used since then for military, industrial, government and research applications. The Inter-Range Instrumentation Group (IRIG) set the standards for instrumentation tape recorders.
Instrumentation recorders were built to much more stringent standards than other tape recorders, and recorders that used direct, FM and PCM recording have been available.
On ¼-inch wide tape, there are typically 4 tracks, whereas on ½-inch tape there were 7, or sometimes even 14, tracks. On 1-inch tape, there were 14 or 28 tracks. Tape is usually wound on the reel with the recording surface facing towards the hub (the opposite of audio tape). Metal NAB reels were often used, for reels between 10.5 and 16-inches, but 7-inch plastic reels with cine spindle hubs have also been used.
Instrumentation recorders also used tape in cassette form, including systems that recorded onto S-VHS tape, and the Digital Instrumentation Recorder from Sony that used the SD1 cassette.
Instrumentation and data logging systems now use hard disks or flash memory for storage.
Sony introduced the DASH (Digital Audio Stationary Head) in 1982 for use in professional recording studios. The DASH system could record two-channel audio on ¼-inch tape, or 24 or 48 tracks onto ½-inch tape, and DASH recorders were produced by Sony, Studer and TASCAM.
The tape itself looked identical to standard NAB open reel analogue tape, but tape for use in DASH and the competing (and incompatible) ProDigi format systems used metal-particle tape which was not suitable for use in analogue systems due to the faster wear on the heads. Several companies produced open reel metal-particle tape for digital audio systems, and some examples included 3M Scotch 275, Ampex 467, EMTEC 931 and Sony own-brand tape. Metal-particle tape was even more expensive than oxide-based tape for analogue systems.
Unlike some other digital audio recording systems using tape such as DAT or U-Matic which used helical scanning, the DASH and ProDigi systems used a stationary recording head.
The audio was encoded as PCM, and included error correction, and all DASH recorders were capable of using 16-bit resolution with a 44.1 or 48 kHz sampling rate, with a couple of models capable of 24-bit 48 kHz operation.
DASH and ProDigi were the two main open-reel digital audio recording systems in use from the early-1980s to the mid-1990s, but eventually the falling price of hard-disk space, as well as more compact systems such as ADAT, made them less viable.
Although DASH was a digital system, it still had the disadvantage of having to wind through the tape to find a particular point, and wear could still be a problem. Poorly maintained machines or tape, dust, or fingerprints could render tapes unusable despite the error correction system.
EIAJ-2 was a video tape format developed by the Electronic Industries Association of Japan and sold by Matsushita under the National or Panasonic brands, and also by Hitachi. The format is also referred to as Omnivision. It was introduced around 1972, as Billboard magazine refers to it being under development in August 1972, and in February 1973, Panasonic re-emphasised its commitment to the format.
It was a development of the open reel EIAJ-1 standard and used the same ½-inch tape and recording specifications. However, the tape was enclosed in a cartridge to do away with the need for manually threading it, but unlike later video cassette formats the take-up reel is enclosed within the video recorder so the cartridge needed to be rewound before the cartridge could be removed from the machine.
EIAJ-2 offered colour recording on 30 minute cartridges (a 60 minute cartridge came later, and appears to be rare) and was used in the industrial, educational and consumer markets.
Betacam SP (Superior Performance) was an analogue broadcast video cassette format, introduced in 1986 as a improvement on the original Betacam.
It used metal-formulated tape and offered increased horizontal resolution of 340 lines. Betacam SP became the industry standard for most TV stations and high-end production houses until the late 1990s.
Betacam SP came in two sizes, with the S-size based on the original Betacam shell and intended for use in camcorders, and the new L-size intended for video editing machines. Whereas Betacam was limited to 30 minutes recording time on the S-size cassettes, the L-size Betacam SP cassette allowed for up to 90 minutes.
A digital version, Digital Betacam was launched in 1993, and subsequently, Betacam SX was launched in 1996 as a cheaper digital alternative.
MII (pronounced as M 2) was an analogue videocassette format introduced by Panasonic in 1986 for professional use, to compete with Sony’s Betacam SP format.
MII was a development of the M format, which was originally derived from VHS, and it used ½ inch wide metal-formulated tape and component video recording.
Two sizes of MII cassette were available. The larger one was similar to a VHS cassette in size and had either a 60 or 90 minute recording time, and the smaller version provided 20 minutes.
MII had more success in the marketplace than its predecessor M, but MII suffered from poor marketing and customer support, and the machines gained a reputation for being less robust than those for Betacam SP.
It was used by a few UK television companies until the early 1990s, including Thames Television and TV-am. It was also used by NBC and PBS in the US, but NBC dropped it in the early 1990s in favour of the digital Sony D2 format.
The tape used in MII cassettes is very thin, and if stored badly can become mouldy and hence prone to tearing.