Richtige Fernseher haben Röhren!

Richtige Fernseher haben Röhren!

In Brief: On this site you will find pictures and information about some of the electronic, electrical and electrotechnical technology relics that the Frank Sharp Private museum has accumulated over the years .

Premise: There are lots of vintage electrical and electronic items that have not survived well or even completely disappeared and forgotten.

Or are not being collected nowadays in proportion to their significance or prevalence in their heyday, this is bad and the main part of the death land. The heavy, ugly sarcophagus; models with few endearing qualities, devices that have some over-riding disadvantage to ownership such as heavy weight,toxicity or inflated value when dismantled, tend to be under-represented by all but the most comprehensive collections and museums. They get relegated to the bottom of the wants list, derided as 'more trouble than they are worth', or just forgotten entirely. As a result, I started to notice gaps in the current representation of the history of electronic and electrical technology to the interested member of the public.


Following this idea around a bit, convinced me that a collection of the peculiar alone could not hope to survive on its own merits, but a museum that gave equal display space to the popular and the unpopular, would bring things to the attention of the average person that he has previously passed by or been shielded from. It's a matter of culture. From this, the Obsolete Technology Tellye Web Museum concept developed and all my other things too. It's an open platform for all electrical Electronic TV technology to have its few, but NOT last, moments of fame in a working, hand-on environment. We'll never own Colossus or Faraday's first transformer, but I can show things that you can't see at the Science Museum, and let you play with things that the Smithsonian can't allow people to touch, because my remit is different.

There was a society once that was the polar opposite of our disposable, junk society. A whole nation was built on the idea of placing quality before quantity in all things. The goal was not “more and newer,” but “better and higher" .This attitude was reflected not only in the manufacturing of material goods, but also in the realms of art and architecture, as well as in the social fabric of everyday life. The goal was for each new cohort of children to stand on a higher level than the preceding cohort: they were to be healthier, stronger, more intelligent, and more vibrant in every way.

The society that prioritized human, social and material quality is a Winner. Truly, it is the high point of all Western civilization. Consequently, its defeat meant the defeat of civilization itself.

Today, the West is headed for the abyss. For the ultimate fate of our disposable society is for that society itself to be disposed of. And this will happen sooner, rather than later.

OLD, but ORIGINAL, Well made, Funny, Not remotely controlled............. and not Made in CHINA.

How to use the site:

- If you landed here via any Search Engine, you will get what you searched for and you can search more using the search this blog feature provided by Google. You can visit more posts scrolling the left blog archive of all posts of the month/year,
or you can click on the main photo-page to start from the main page. Doing so it starts from the most recent post to the older post simple clicking on the Older Post button on the bottom of each page after reading , post after post.

You can even visit all posts, time to time, when reaching the bottom end of each page and click on the Older Post button.

- If you arrived here at the main page via bookmark you can visit all the site scrolling the left blog archive of all posts of the month/year pointing were you want , or more simple You can even visit all blog posts, from newer to older, clicking at the end of each bottom page on the Older Post button.
So you can see all the blog/site content surfing all pages in it.

- The search this blog feature provided by Google is a real search engine. If you're pointing particular things it will search IT for you; or you can place a brand name in the search query at your choice and visit all results page by page. It's useful since the content of the site is very large.

Note that if you don't find what you searched for, try it after a period of time; the site is a never ending job !

Every CRT Television saved let revive knowledge, thoughts, moments of the past life which will never return again.........

Many contemporary "televisions" (more correctly named as displays) would not have this level of staying power, many would ware out or require major services within just five years or less and of course, there is that perennial bug bear of planned obsolescence where components are deliberately designed to fail and, or manufactured with limited edition specificities..... and without considering........picture......sound........quality........

..............The bitterness of poor quality is remembered long after the sweetness of todays funny gadgets low price has faded from memory........ . . . . . .....
Don't forget the past, the end of the world is upon us! Pretty soon it will all turn to dust!

Have big FUN ! !
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©2010, 2011, 2012, 2013, 2014 Frank Sharp - You do not have permission to copy photos and words from this blog, and any content may be never used it for auctions or commercial purposes, however feel free to post anything you see here with a courtesy link back, btw a link to the original post here , is mandatory.
All sets and apparates appearing here are property of
Engineer Frank Sharp. NOTHING HERE IS FOR SALE !

Tuesday, August 9, 2011

PANASONIC TX-21S1TC YEAR 1996.





















The PANASONIC TX-21S1TC is A comfortable 21 inches compact color television from PANASONIC.

These sets aren't much around but they were good popular tellyes with super picture
(PHILIPS TUBE ! ) and good deep sound even if mono.


With 60 Programs preselection with remote, Automatic tuning and OSD plus teletext and AV SCART Socket + AV front connectors and headphone jack was expensive but far better than some others.

The television receiver has an alphanumeric display  which appears on the picture tube screen, to give the user data on the tuned channel number, colour settings and other operating data. The digital processor which generates the characters for display also controls the channel setting, etc., under the control of a digital remote control unit . The processor  has an associated memory circuit  for permanent tuning back up. The control of the capacitance diode tuner  is achieved by the processor  altering the dividing factor of a feedback loop to a phase/frequency comparator . The other input to the comparator is a divided frequency from a quartz oscillator.

In this set for first time the Panasonic Z5 chassis was introduced in 1993 as a lower - cost replacement for the Z4 chassis in small -screen, monophonic sound sets. Whereas the Z4 had been designed to drive the more expensive Invar-mask FST picture tubes, the Z5 can drive cheaper iron -mask non-FST displays. The chassis was mainly developed by Panasonic's Cardiff design team. It employs a significant feature that's new for a non -Japanese Panasonic chassis, a 'hot' line output stage. This, in conjunction with a 'cold' field deflection circuit, means that an isolation split is required in the yoke. In fact the chopper, line driver and output transformers and the scan coils all have to provide mains isolation. Thus while the line scan circuit is hot, the EHT system and the field scan circuit remain cold. Obviously the picture tube, or at least the deflection coils, can't be replaced with a conventional non -isolated type. Other innovations include a linear transformerless remote -control standby circuit and a simple teletext option mounted on a small subpanel. This features four -page text storage with both FLOF and TOP text. Initially only 21in. models were equipped with CATS (Contrast Auto Tracking System), an automatic contrast control system that employs a light -dependent resistor to sense the ambient light level. This feature was subsequently added to all UK models. The rather exotic on -screen calendar/calculator/`mood light' used in the Z4 chassis was dropped however. A single AV input is provided, via both scart and phono sockets, with no S video connector. Unlike the Z4, NTSC playback is not possible, though continental variants have Secam and modified NTSC facilities. The scart connector does allow for external RGB signal display however, and has a tuner AV output. The non -text TC14S1R and TC21S1R and the text TX14S1T and TX21S1T are amongst the more popular models fitted with the chassis. Some models with cosmetic variations have been added - the S2R and S2T versions. There are also cabinet colour variants. Some sets are fitted with Philips tubes (suffix /B) while others have Thomson types (suffix /BH). Layout and Access From the servicing point of view the most obvious improvement in the Z5 compared with the Z4 is the reduced number of PCBs. There are usually only two, the main panel E and the CRT base panel Y. When added, the text board T is a daughter board that's soldered directly into panel E. This is the first Panasonic chassis to have so few interconnecting leads! The circuitry is arranged as follows: Panel E contains the power supply, the tuner, the IF, vision and sound processing stages, the sync and timebase circuitry, the audio output chip, the microcontroller chip and its associated devices and the AV connectors. Panel Y contains the RGB output stages and CRT base. Option panel T contains the teletext decoder and an RGB switch. Option panel A contains a Secam L decoder (for French models only).

They were reliable and durable in the majority.



Panasonic Corporation (Panasonikku Kabushiki-gaisha) (TYO: 6752, NYSE: PC), formerly known as Matsushita Electric Industrial Co., Ltd. ( Matsushita Denki Sangyō Kabushiki-gaisha), is a Japanese multinational consumer electronics corporation headquartered in Kadoma, Osaka, Japan. Its main business is in electronics manufacturing and it produces products under a variety of names including Panasonic and Technics. Since its founding in 1918, it has grown to become the largest Japanese electronics producer. In addition to electronics, Panasonic offers non-electronic products and services such as home renovation services. Panasonic was ranked the 89th-largest company in the world in 2009 by the Forbes Global 2000 and is among the Worldwide Top 20 Semiconductor Sales Leaders !

History

Panasonic was founded in 1918 by Konosuke Matsushita first selling duplex lamp sockets. In 1927, it produced a bicycle lamp, the first product it marketed under the brand name National. It operated factories in Japan and other parts of Asia through the end of World War II, producing electrical components and appliances such as light fixtures, motors, and electric irons. After World War II, Panasonic regrouped and began to supply the post war boom in Japan with radios and appliances, as well as bicycles. Matsushita's brother-in-law, Toshio Iue founded Sanyo as a subcontractor for components after WWII. Sanyo grew to become a competitor to Panasonic. Name For 90 years since establishment, the name of the company was always topped with "松下" ("Matsushita"). The company's name before 1 October 2008 had been "Matsushita Electric Industrial Co., Ltd.", used since 1935. In 1927, the company founder adopted a brand name "National" ( National) for a new lamp product, knowing "national" meant "of or relating to a people, a nation."[5] In 1955, the company labeled its export audio speakers and lamps "PanaSonic", which was the first time it used its "Panasonic" brand name. The company began to use a brand name "Technics" in 1965.[6] The use of multiple brands lasted for some decades.[6] In May 2003, the company put "Panasonic" as its global brand, and set its global brand slogan, "Panasonic ideas for life."[7] The company began to unify its brands to "Panasonic" and, by March 2004 replaced "National" for products and outdoor signboards, except for those in Japan[7]. On January 10, 2008, the company announced that it would change its name to "Panasonic Corporation" (effective on October 1, 2008) and phase out the brand "National" in Japan, replacing it with the global brand "Panasonic" (by March 2010). The name change was approved at a shareholders' meeting on June 26, 2008 after consultation with the Matsushita family. Panasonic owns RCTI, Global TV and MNC TV. Electronics In 1961, Konosuke Matsushita traveled to the United States and met with American dealers. Panasonic began producing television sets for the U.S. market under the Panasonic brand name, and expanded the use of the brand to Europe in 1979. The company used the National trademark outside of North America during the 1950s through the 1970s. (The trademark could not be used probably due to discriminatory application of trademark laws where brands like General Motors were registrable.) It sold televisions, hi-fidelity stereo receivers, multi-band shortwave radios, and marine radio direction finders, often exported to North America under various U.S. brand names. The company also developed a line of home appliances such as rice cookers for the Japanese and Asian markets. Rapid growth resulted in the company opening manufacturing plants around the world. National/Panasonic quickly developed a reputation for well-made, reliable products. The company debuted a hi-fidelity audio speaker in Japan in 1965 with the brand Technics. This line of high quality stereo components became worldwide favorites. The most famous product still made today is the SL-1200 record player, known for its high performance, precision, and durability. Throughout the 1970s and early 1980s, Panasonic continued to produce high-quality specialized electronics for niche markets such as shortwave radios, as well as developing a successful line of stereo receivers, CD players, and other components. Since 2004, Toyota has used Panasonic batteries for its Toyota Prius, an environmentally friendly car made in Japan. On January 19, 2006 Panasonic announced that, starting in February, it will stop producing analog televisions (then 30% of its total TV business) to concentrate on digital TVs. On November 3, 2008 Panasonic and Sanyo were in talks, resulting in the eventual acquisition of Sanyo. The merger was completed in December 2009, and resulted in a mega-corporation with revenues over ¥11.2 trillion (around $110 billion). As part of what will be Japan's biggest electronics company, the Sanyo brand and most of the employees will be retained as a subsidiary. In November 1999, the Japan Times reported that Panasonic planned to develop a "next generation first aid kit" called the Electronic Health Checker. At the time, the target market was said to be elderly people, especially those living in rural areas where medical help might not be immediately available, so it was planned that the kit would include support for telemedicine. The kits were then in the testing stage, with plans for eventual overseas distribution, to include the United States. In recent years the company has been involved with the development of high-density optical disc standards intended to eventually replace the DVD and the SD memory card. On July 29, 2010 Panasonic reached an agreement to acquire the remaining shares of Panasonic Electric Works and Sanyo shares for $9.4 billion. Panasonic and Universal Panasonic used to own Universal Studios, then known as the Music Corporation of America, since acquiring the company in 1990 but sold it to Seagram in 1995. Universal Studios is now a unit of NBC Universal.


JAPAN IS STRANGE
Strange how situations change. It seems not so long ago that Japan and its industries, particularly electronics, could do no wrong. They taught us how to make cars and TV sets properly. They invested heavily and came up with a seem- ingly endless stream of desirable, innova- tive products. Both outsiders and insiders could see no end to this success story. We were told, by more than one leading Japanese electronics industrialist, that the 21st century would be the Japanese one, when Japan became predominant industri- ally and culturally. For the last couple of years the situation has been somewhat different. Japan is still the world's second largest economy, but the previous confidence has gone. The econo- my has stalled, and doesn't look like getting going again for some time. Profitability has become appalling, and the talk now is all of restructuring and job losses. Sony has announced that some 17,000 jobs will be lost worldwide, ten per cent of its workforce, while fifteen of its seventy factories are to be closed. Mighty Hitachi, whose activities span a much wider field and whose turnover is equivalent to over two per cent of Japan's gross domestic product, has launched a detailed review of its businesses. 6,500 of its 66,000 parent company employees are to be made redun- dant by March next year. On a consolidat- ed basis Hitachi is Japan's largest employ- er, with 330,000 staff. Businesses are to be dropped or reorganised. The story from Mitsubishi Electric is similar: there is to be a "sweeping restructuring of its portfolio of businesses". In the UK, the latest manifes- tation of this is the closure of Mitsubishi's VCR plant at Livingston. 14,500 jobs will go (8,400 in Japan) at Mitsubishi Electric, nearly ten per cent of the workforce. Other manufacturers who have announced poor results and restructuring recently include NEC, Matsushita, Sharp and Toshiba. It's all a long way since the time when, it seemed, all the Japanese had to do was to get the product right and produce more and more of it. Some of this was foreseeable. Markets reach saturation point; new products are not always a runaway success; if investment in new plant is excessive you end up with too much capacity; and so on. Then there is the fact that Japan is not isolated from econom- ic problems elsewhere: no economy that is heavily dependent on exports can be. But there are also more specific Japanese prob- lems. The banking system is beset by non- performing loans that Japanese bankers are reluctant to write off. The bubble economy of a few years ago, when asset values rose to unrealistic levels, collapsed. This is part of the cause of the banking system difficul- ties. Then there is the practice of cross - ownership, with firms owning substantial stakes in each other. This can work nicely when everything is doing well: when reces- sion looms, it aggravates the problems. Japan's unemployment rate hit a new high of 4.8 per cent (3.39m) in March, part- ly because of the corporate sector restructur- ing. Japanese industrialists hope to improve their profitability in the second half of the year, and will be helped by improved condi- tions in SE Asia. But it will be hard going, particularly to improve domestic market conditions. The Japanese have always had a high propensity to save. This increases when the economic climate is poor, with unemployment a threat. Right now Japanese consumers are saving rather than buying. No one seems to know how to alter their behaviour. There is also a demographic problem: the Japanese population is ageing. Japanese interest rates are negligible. So borrowing is not a problem. But conversely all those savings are bringing in little income. In the Western world interest rate changes often have a considerable impact on the economy. This economic tool is not available when interest rates are negligible. The Japanese have been advised to get their banking system sorted out, but that's not the sort of thing that can be done overnight. Right now the best opportunity for Japan seems to be to export its way out of its dif- ficulties, something that shouldn't be too difficult once worldwide expansion has resumed. But the high value of the yen is a drawback. From the economic viewpoint it's an extremely interesting situation, one in which the laws of economics have little to offer. This could be because such laws are, basically, descriptive rather than prescrip- tive. In the real world you can't always ini- tiate economic activity through monetary or fiscal means. Some commentators have gone so far as to suggest that the Japanese government should spend, spend, spend and print money to kick-start the economy. This is a dangerous course that can go badly wrong. It has already been tried by the Japanese government to a limited extent, with similarly limited success. The one thing that we do know is that economies are not stable. Change is ever present in one form or another. The prob- lem lies in trying to control it. This is all rather humbling, and certainly something of a comeuppance for the rather arrogant Japanese industrialists who had talked about the century of Japanese economic hegemony.





..................OLD RELIABILITY PROBLEM:
 It's a well known fact that the reliability of Japanese made TV sets is better than that of European made ones. It works out something like this: for every call to a Japanese set during its first year you'll have to make two -three calls to its European counterpart. It's not quite as bad as that may sound. Call rates tend to lie in the region 0.5-1, which means at one end that half the sets won't require attention while at the other end each set will require one call per year. Then again these are average figures, and while many sets won't require attention at all others will have more than their fair share of breakdowns. Fortunately there has been an improvement in recent years - the situation was rather worse say four years ago. But then for the last couple of years we've been going through a period when the technical situation has remained fairly static. Will the new in -line gun tube chassis using the new ranges of i.c.s prove more or less reliable than their immediate predecessors? Only time will tell of course. But the unfavourable comparison between the failure rate of Japanese and European sets has been a continuing fact of life for several years. Is it to do with components, assembly methods, or basic design? Well, Japanese sets use much the same components and assembly methods, and the designs are not fundamentally all that different. Perhaps there is some subtler difference somewhere? Recent conversations we've had suggest that this could well be so. We can speak only of the European industry of course, but feel that the situation is probably much the same with our continental competitors. The first thing to bear in mind - and this relates to other industries, such as car manufacturers, as well - is the different industrial structures. Like the car industry, European TV setmakers tend to be assemblers of finished products rather than manufacturers of whole units. They buy in capacitors, resistors, semiconductor devices, many of the wound components, the tubes, probably the tuners and triplers and so on. This is far less the case in Japan, where most of what a setmaker uses comes from "in house" sources. All right you may say. But European component manufacturers have been in the game long enough to know what they're about - as long as anyone else for that matter. Furthermore, they've been working in close contact with the same setmakers, both facing and dealing with common problems. Why should this different industrial set-up make any difference? It's probably not so much the set-up itself so much as the fact that the way the European industry is organised tends to emphasise certain basic weaknesses. Quite substantial changes have occurred in even the most mundane components in recent years - component manufacturers are producing new types of capacitor and resistor that were simply not known a decade ago for example. But to do this successfully calls for adequate investment and the employment of adequate numbers of properly trained engineers and technical staff. In both these respects, European industry is notorious. It may well be said that in difficult economic times it's hardly possible to increase investment and take on extra trained staff, which is true enough. But the fact is that we are reaping the results of our past inadequacies, and a start hag to be made sometime if the situation is ever to be retrieved. The main problems seem to relate to know-how and technical liaison. Does the setmaker get a thorough and reliable service from his suppliers - and conversely has he set about ensuring that he does? It's not good enough today to continue on the basis that something worked reasonably well enough last time and the supplier says he hasn't had any particular complaints other than the usual ones. To achieve the degree of reliability required to continue to exist in a highly competitive international industrial climate, it's necessary to know precisely what order of tolerances under various operating conditions the various components offered and bought have. And this calls for adequate technical back-up and investment. The Japanese invest adequately and their engineers can get together within a single organisation to deal with common problems. It's not necessary for the European industry to be reorganised for the same to be done. What's required is a more powerful voice for the engineer, backed by adequate investment.








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