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FEATURE
WHY BUY SUPER-VHS?
COPY
It all began on Thursday
the 12th of May 1988, that was the fateful day JVC launched the Super VHS
system in Europe to an enthusiastic and largely optimistic consumer electronics
press; it's been downhill ever since. In the UK sales of Super VHS video
recorders have never risen much above 1% of total, and currently they're
hovering around 0.8%. Two years ago there were over twenty Super VHS VCRs on
the market, this year there's just six; a cynic might say there's a trend
emerging...
So what has gone wrong? It
wasn't necessarily the fault of the technology, you only have to compare the
picture quality of recordings replayed on a Super VHS VCR and standard VHS
video recorder to see the difference. The S-VHS image is clearer and sharper
with substantially more detail; colours are brighter with more graduations of
shade and hue, and overall there's less noise in the picture. Nevertheless the
odds were stacked against the system, from the beginning. The relatively high
price of hardware put an immediate dampener on sales. Super VHS VCRs have
always cost between two and three times as much as normal VHS video recorders,
though the price has been slowly drifting downwards they will always cost more
to produce, and today the cheapest model still sells for just under £800. In
addition to extra processing circuitry, controls and connectors, S-VHS decks
depend on precision deck mechanisms and finer recording heads, moreover, they
are produced in relatively small numbers so there's limited benefits from the
economies of scale that normally occur with mass-market products.
The other cost-related
problem, in the early days at least, was that to get the full benefit from an
S-VHS machine you needed a TV fitted with a S-Video input facility, which, for
most people would mean buying a new TV. It's become less of a hurdle as older
TVs are replaced, and many new sets now have them, though manufacturers are
still reluctant to fit them on their cheaper model ranges.
Secondly there's been a
complete lack of pre-recorded software since day-one, barring a handful of
promotional titles. Video is and always has been a software-led medium, so if
there's not enough popular movies, widely and cheaply available from the start,
a new video format can never achieve the all-important hardware critical mass
needed to ensure its success. Thirdly there's the somewhat hazy concept of
quality, at least as far as the British public are concerned, who have
demonstrated time and time again a stubborn unwillingness to pay a premium for
performance. The long list of format failures -- in all areas of consumer
electronics -- bears witness to that.
Super VHS has another more
fundamental problem, though. Recordings of off-air TV programmes made on S-VHS
decks do not look significantly better than those made on ordinary VHS VCRs,
which already record and reproduce most of the information contained within the
TV signal. S-VHS machines can manage a little more detail, and slightly less
noise in the picture, but the eye tends not to notice these relatively small
improvements.
With so much going against
it, it's a wonder the system even managed one percent market penetration.
Nevertheless, Super-VHS has made quite a few friends in the past six years.
It's also worth pointing out that all S-VHS VCRs and camcorders are backwards
compatible, and can record and replay standard VHS material, moreover they all
make competent home cinema components, as stereo hi-fi sound and NICAM are
standard features. One area where improved picture quality has made a
difference is home video movie-making. S-VHS camcorders are capable of
impressive on-screen results, indeed they're used in a wide range of
semi-professional and even broadcast applications. There's an excellent case
for S-VHS-C camcorder owners having a Super VHS VCR as well. The quality losses
that occur when camcorder recordings are copied or edited, from one tape to
another, can be minimised using an S-VHS deck, and successive third-generation
copies, to standard VHS will still look as good, if not better than
first-generation VHS originals.
What of the future? The
decline in the number of S-VHS VCRs over the past few years represents a
reduction in badge-engineered clones, rather than actual manufacturers, but the
lack of choice can only depress sales still further. The long-term prospects
for the S-VHS and S-VHS-C camcorder market look a little more cheerful, though
the VHS family share of the market continues to take a battering from the rival
8mm format. However, it seems highly unlikely that Super VHS will actually
disappear in the medium to long term, it is being sustained by video movie makers and it has been
moderately successful in other, less price-conscious markets. Ultimately the
Super VHS system's fate is tied in with standard VHS and the other analogue video
recording formats. The future of video recording is digital, it has already
been mapped out, by the end of the decade the Super VHS format will probably be
remembered as the best video recording system we never had...
TECHNO GHETTO
Super VHS is technically a
sub-format of VHS, rather than an entirely new recording system and there are
relatively few differences between S-VHS and standard VHS hardware. Part of the
JVC specification insists that all S-VHS equipment is backwards compatible and
can record and replay in the standard VHS mode. The principle difference is the
way in which the video signal is processed. It depends on the use of a higher
frequency FM sub-carrier for the vision signal, which allows more picture
information to be recorded on the tape, by recording heads with extra-small
gaps. Normal VHS tape cannot handle the extra signal capacity, so
higher-performance tape with finer magnetic particles has to be used. S-VHS and
S-VHS-C cassettes have special 'ident' holes, to enable machines to recognise
which type of tape is being used, and adjust their recording and replay
circuits accordingly. Lastly, the colour (chrominance) and brightness
(luminance) components in the video signal are kept separate throughout the
recording and replay process. This prevents them interacting with each other,
avoiding cross-colour and patterning effects that are inherent on standard VHS
recordings. Special 'S-Video' connecting leads have to be used, to link VCRs
and camcorders to TVs or monitors, to ensure optimum picture quality
JVC HR-S5900
One of only two new Super
VHS VCRs to be launched so far this year, it's a fairly conservative design, by
current standards, though it doesn't miss out on any of the most up to date
features. They include a fast centre-mounted deck mechanism, Video Plus+ and program delivery control
(PDC) which self-corrects timer programming errors caused by overruns or late
schedule changes. (Only possible on C4 programmes at the moment, the BBC and
other ITV channels have yet to adopt the system). JVC have skimped a little on
the convenience features though; for example, there's no manual recording level
control, no jog/shuttle control on the remote handset, no headphone socket and
no on-screen display (OSD), which would have helped made timer programming a
little easier. It has a reasonably good selection of editing features, though
it could do with a proper editing socket, as opposed to the syncro-start
facility which only works properly with JVC camcorders. Styling is clean and
uncluttered and it's very easy machine to use, in spite of not having an OSD. The multi-brand remote
control is a bonus as it will operate a wide range of TVs from other
manufacturers.
On-screen performance is excellent, a
full 400-lines resolution and very little noise. Trick-play facilities are
particularly good with virtually no jitter between still, slomo and fast play,
making it a useful machine for analysing detail or movement, one for sports
fans perhaps? The audio system is very clean too, and it's transparent to Dolby
Surround information which comes through unscathed.
VERDICT
Better suited to home cinema applications but owners of
suitable JVC camcorders should still keep it on their list.
Picture quality ****
Sound quality ****
Feature/facility ***
Ease of use ***
Value for money ***
SPECS BOX JVC HR-S5900 £900
Features: jog/shuttle, multi-speed replay, Video Plus+, PDC,
auto head cleaner, multi-brand remote, insert edit, audio dub,
Sockets: front AV terminal, edit terminal, microphone, twin SCART,
syncro edit, S-Video input and output
Dimensions (mm): 459 x 109 x 387
JVC UK LTD, JVC House, 6-8 Priestley Way, Eldonwall Trading
Estate,
Staples Corner, London NW2 7AS. Telephone 081-450 3282
JVC HR-S6800
The S6800 has got something to
interest almost everyone. The headline feature, though, is random assemble edit
or RAE, a facility that should appeal to well-equipped video movie-makers.
Basically it means the S6800 can be programmed to replay up to eight designated
sequences, in any order, and at the same time it controls the record/pause
function of a second VCR, so you can cut out all the crappy bits from your
original recordings. The only problem is you need that second VCR, as well as
the camcorder, to shoot the movie in the first place, so you've got to be
pretty serious, not to say quite well off to make full use of it. The S6800 has
plenty of other tricks up it's sleeves, though, including an audio processor.
It's not in the same league as Dolby Surround or Pro Logic but it certainly
gives dull mono and stereo soundtracks an added punch. Uncontroversial styling,
and unthreatening appearance, until you lower the front-panel drawbridge, or
open the flap on the handset, button freaks heaven...
Picture quality is approaching the
limits of the system with over 400-lines resolution and pin-sharp colour
accuracy. Very stable still and slomo, and having a jog/shuttle on the remote
makes it a whole lot easier for armchair referees to do their own action
replays. Stereo hi-fi sound and NICAM
are both clean and the processor provides some added interest, but it's no
substitute for a pukka Dolby decoder.
VERDICT
Another home-cinema oriented machine, this time with a few more
movie-making facilities than its stablemate, but at a price, and it is
beginning to look just a little long in the tooth as it dates back to a time
before Video Plus+ and PDC.
Picture quality ****
Sound quality *****
Feature/facility ***
Ease of use ****
Value for money **
SPECS BOX JVC HR-S6800 £1000
Features: jog/shuttle,
multi-speed replay, on-screen display, auto head cleaner, random
assemble editing system, audio processor, manual recording level control,
insert edit, audio dub,
Sockets: front AV terminal, edit terminal, microphone, headphones,
twin SCART, syncro edit, S-Video input and output
Dimensions (mm) 435
x 108 x 390
JVC UK LTD, JVC House, 6-8 Priestley Way, Eldonwall Trading
Estate,
Staples Corner, London NW2 7AS. Telephone 081-450 3282
MITSUBISHI HS-M1000
The M1000 has an interesting history, it's actually
an uprated version of one of their top-end stereo VHS machines, the HS-59. Any
time now it will become the very first Super VHS video recorder to be
manufactured in the UK, as Mitsubishi transfer production from Japan to their
Scottish plant. The silver livery is another unusual feature, at the very least
it makes it stand out on the shelves of anonymous-looking black boxes. It's a
solid design, straightforward cosmetics and control layout and Mitsubishi have endowed it with a fair
selection of convenience features, though it's showing its age just a little by
missing out on Video Plus+ and PDC. It's exceptionally easy to use with a
helpful on-screen display system but surprisingly the timer is a bit of an
awkward customer and it's a good idea to keep the instruction book handy.
There's a fairly average assortment of editing facilities, unless you happen to
have a second Mitsubishi VCR, in which case you can make use of the edit
terminal which links the control functions of the two machines and enables fast
and accurate single-scene edits.
Resolution tips the scales at just over 400-lines,
another fine on-screen performer with very low levels of picture noise and
natural-looking colours. Trick-play stability is good, and the handset jog/shuttle
gives precise control over replay speed and direction. The NICAM and stereo
sound systems have a broad dynamic range, little or no coloration and below
average levels of background hiss.
VERDICT
Equally viable as a home cinema component or edit deck but
it's the price and colour that set's this one apart from the crowd.
Picture quality ****
Sound quality ****
Feature/facility ***
Ease of use ****
Value for money ****
SPECS BOX Mitsubishi
HS-M1000, £800
Features: jog/shuttle, multi-speed replay, on-screen display,
NTSC replay, auto head cleaner, manual recording level control, insert edit, audio dub, blank search
Sockets: front AV terminal, edit terminal, (see text), microphone,
headphones, twin SCART, syncro edit, S-Video input and output
Dimensions (mm) 425 x 100 x
354
MITSUBISHI ELECTRIC UK LTD., Travellers Lane, Hatfield, Herts, AL10
8XB. Telephone (07072) 76100
PANASONIC NV-FS88
The FS88 is rapidly
becoming an antique as it approaches its second birthday, and the word is that
it's due to be replaced later this year, so look out for special deals; you
never know, you might even find one selling for it's original 1992 price of
£700! It really shows its age when it comes to timer programming, though, as it
uses the now obsolete barcode system, ignored for years by the rest of the
industry and finally abandoned by
Panasonic in favour of Video Plus+. Panasonic have been one of the
leading lights in video editing but again the FS88 is behind the times, and it
looses a few more brownie points by not having
front-mounted AV sockets, or even a composite video socket on the back,
and there's no jog/shuttle control on the remote handset, so overall it's not a
lot of fun to play with, especially if you've got a camcorder. However, it's
not found wanting as a home cinema machine and the unusually effective noise
filters give it one of the cleanest pictures in the business, moreover, the
5-pin edit terminal allows it to interface directly with a wide range of
advanced edit controllers.
Horizontal resolution on
samples we've tested have consistently been on or around the 400-line mark,
which has become something of a benchmark for S-VHS equipment, but the lower
than average noise levels really makes the picture stand out. Colours too are
bright and vibrant, even on standard VHS recordings. The audio system is no
slouch either and it's well suited to life as a home cinema component.
VERDICT
Once a real contender though now sadly the price, and its
advancing years count very heavily against it.
Picture quality ****
Sound quality ****
Feature/facility **
Ease of use ****
Value for money ***
SPECS BOX Panasonic NV-FS88,
£900
Features: jog/shuttle, insert edit, audio dub, sound on
search, multi-speed replay, NTSC replay, auto head cleaner, manual level
control
Sockets: edit terminal, microphone, headphone, twin SCART, S-Video
input and output
Dimensions (mm) 430 x 109 x
403
PANASONIC UK LTD., Panasonic House, Willoughby Road,
Bracknell,
Berkshire RG12 4PF. Telephone (0344) 862444
PANASONIC NV-FS200
In spite of its age -- it's over two
years old now -- and the price, the FS200 just keeps on going, even though in
VCR terms it's well past its sell-by date. That's because it's one of, if not
the best Super VHS edit decks and it continues to be very popular with video
movie makers, enthusiasts and semi-pro users alike. The key feature is a
timebase corrector, this ensures
absolute stability on copies, made from this machine, even if the source
material is a bit ragged around the edges. It works by regenerating the
synchronisation pulses on the original recording, even if they're weak or
corrupted through repeated copying or editing. Other features valued by
movie-makers include an editing terminal, to link this machine with an edit
controller; an unusually agile transport system and better than average AV
performance. It's lagging behind on the more up to date convenience features
though, and the old barcode timer programming system, lack of on-screen displays
and somewhat brutal styling are reminders of a bygone era.
It can still show the latest models a
clean pair of heels, though, especially when it comes to picture performance.
Resolution figures of over 400-lines are not uncommon on these machines, and
the highly efficient noise filters produce an unusually clean-looking picture.
Still and slomo picture stability are both very good -- important for accurate editing -- and colour accuracy is amongst the best
you'll see, on any VCR. The stereo sound system comes out well too, it has a
flat, even response with negligible noise levels.
VERDICT
Rather too expensive for home cinema users, but for serious
video movie-makers it's a price worth paying,
just for those high-end editing features and AV performance.
Picture quality *****
Sound quality ****
Feature/facility ****
Ease of use ***
Value for money **
SPECS BOX Panasonic
NV-FS200, £1100
Features: jog/shuttle, sound on search, timebase corrector,
multi-speed replay, NTSC replay, insert edit, audio dub, auto head cleaner,
manual level control
Sockets: front AV terminal, edit terminal, microphone, headphone, twin
SCART, syncro edit, S-Video input and output
Dimensions (mm) 460 x 109 x
403
PANASONIC UK LTD., Panasonic House, Willoughby Road,
Bracknell,
Berkshire RG12 4PF. Telephone (0344) 862444
PHILIPS VR-948
The latest and one of the most
unusual S-VHS VCRs to date. This is the first machine to have two editing
terminals, using the Control L and Panasonic 5-pin RMC protocols. This makes it
a uniquely versatile editing deck, capable of working with pretty well every
edit controller on the market, including those specifically designed to work
with Sony equipment. That's an important plus point because Sony do not produce
a domestic S-VHS video recorder, nor are they ever likely to do so. This has
left them with a serious gap in their VCR range for a edit deck to work with
their Hi8 camcorders and controllers. The design and layout are unusual too,
the comprehensive LCD display panel and glass front are both firsts on a
domestic VCR; the quirky control logic can take some getting used to after
living with highly predictable Japanese machines. One rather strange omission
is an RF output, which forces the owner to use dedicated AV interconnections
between the VCR and TV, ensuring the best possible picture quality.
Picture performance is good, our
sample managed to resolve 400-lines without any difficulty. Picture noise is
only average but colours are clean and lifelike. Trick-play stability is fine
at most forward speeds but a touch wobbly in reverse. A very promising newcomer
and a much-needed tonic for the format. A good price and it should be of
particular interest to S-VHS-C and Hi8 camcorder users, Sony owners especially,
but it's equally capable of holding its own in home cinema set-ups.
VERDICT
A brilliant newcomer and versatile all-rounder. Good price,
fine AV performance and some unique features that will appeal to advanced video
movie-makers
Picture quality ****
Sound quality ****
Feature/facility ****
Ease of use ****
Value for money ****
SPECS BOX Philips VR-948, £800
Features: jog/shuttle, insert edit, audio dub, Video Plus+,
PDC, text programming, subtitle recording,
multi-speed replay, auto head cleaner, manual level control, NTSC replay
Sockets: front AV terminal, 2 x edit terminal (see text), microphone,
headphone, twin SCART, syncro edit, S-Video input and output
Dimensions (mm):
435 x 386 x 107
PHILIPS CONSUMER ELECTRONICS, City House, 420-430 London
Road,
Croydon CR9 3QR.
Telephone 081-689 4444
CONCLUSION
In the past couple of years it has
become increasingly difficult to justify the extra expense of a Super VHS VCR
unless you've also got a S-VHS-C or Hi 8 camcorder. There's little or nothing
to be gained using these machines solely as home cinema components, there's
plenty of good stereo VHS VCRs on the market that can do the job just as well,
and cost significantly less.
The least appealing machine in this
selection is the Panasonic FS88, it's too expensive, and its days are clearly
numbered. The HR-S5900 fares only slightly better, it is bang up to date, and
it works well, but editing functions are limited, and the £900 price tag is
unremarkable. The JVC HR-S6800 might appeal to movie-makers who want a simple
VCR to VCR editing system, but there are cheaper and simpler ways, otherwise
it's expensive and dated. Mitsubishi's H1000 has about the same editing
potential as the 5900, but it's £100 cheaper and slightly easier to use; it's
no spring chicken though, and the silver cosmetics may not be to everyone's
taste. The Panasonic FS200 is the one to go for if you're a serious or semi-pro
video movie-maker with editing and AV performance high on your list of
priorities; the timebase corrector is a vitally important feature and top-end
users will happily pay for it. However, the overall winner is the Philips 948,
for combining bold styling with advanced features, twin edit terminals, a
sensible price and good all-round performance.
AT A GLANCE
Make/Model ££s Score Timer
Dimensions (mm)
PANASONIC
NV-FS200 £1100 18 B/Code 460
x 109 x 403
JVC HR-S6800 £1000 18 LCD 435 x 108 x 390
JVC
HR-S5900 £900 17 VP/PDC 459 x 109 x 387
PANASONIC
NV-FS88 £900 17 B/Code 430 x 109 x 403
MITSUBISHI HS-M1000 £800 19 OSD 425 x 100 x 354
PHILIPS VR-948 £800 20 VP/OSD 435 x 386 x 107
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1994 1205
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