SINUDYNE STUDIO 2886P HQ VISION DIGI SYSTEM YEAR 1992.

 

The SINUDYNE STUDIO 2886P Digi-System is A 28 inches color  DIGITAL TELEVISION from SINUDYNE.

DIGITAL Colour television receiver or set , are known in which the majority of signal processing that takes place therein is carried out digitally. That is, a video or television signal is received in a conventional fashion using a known analog tuning circuit and then, following the tuning operation, the received analog television signal is converted into a digital signal and digitally processed before subsequently being converted back to an analog signal for display on a colour cathode ray tube.
In a conventional television receiver, all signals are analog-processed. Analog signal processing, however, has the problems at the video stage and thereafter. These problems stem from the general drawbacks of analog signal processing with regard to time-base operation, specifically, incomplete Y/C separation (which causes cross color and dot interference), various types of problems resulting in low picture quality, and low precision of synchronization. Furthermore, from the viewpoints of cost and ease of manufacturing the analog circuit, a hybrid configuration must be employed even if the main circuit comprises an IC. In addition to these disadvantages, many adjustments must be performed.

In order to solve the above problems, it is proposed to process all signals in a digital form from the video stage to the chrominance signal demodulation stage. In such a digital television receiver, various improvements in picture quality should result due to the advantages of digital signal processing.
Therefore digital television signal processing system introduced in 1984 by the Worldwide Semiconductor Group (Freiburg, West Germany) of International Telephone and Telegraph Corporation is described in an ITT Corporation publication titled "VLSI Digital TV System--DIGIT 2000." In that system color video signals, after being processed in digital (binary) form, are converted to analog form by means of digital-to-analog converters before being coupled to an image displaying kinescope. The analog color video signals are coupled to the kinescope via analog buffer amplifiers and video output kinescope driver amplifiers which provide video output signals at a high level suitable for driving intensity control electrodes of the kinescope.

The SINUDYNE STUDIO 2886P HQ VISION DIGI SYSTEM Is a multistandard set and relates to a digital multistandard decoder for video signals and to a method for decoding video signals.
Colour video signals, so-called composite video, blanking and sync signals (CVBS) are essentially composed of a brightness signal or luminance component (Y), two colour difference signals or chrominance components (U, V or I, Q), vertical and horizontal sync signals (VS, HS) and a blanking signal (BL).
The different coding processes, e.g. NTSC, PAL and SECAM, introduced into the known colour television standards, differ in the nature of the chrominance transmission and in particular the different systems make use of different colour subcarrier frequencies and different line frequencies.
The following explanations relate to the PAL and NTSC systems, but correspondingly apply to video signals of other standards and non-standardized signals.
The colour subcarrier frequency (fsc) of a PAL system and a NTSC system is fsc(NTSC) = 3.58 MHz or fsc(PAL) = 4.43 MHz.
In addition, in PAL and NTSC systems the relationships of the colour subcarrier frequency (fsc) to the line frequency (fh) are given by fsc(NTSC) = 227.50 * fh or 4•fsc(NTSC) = 910 • fh fsc(PAL) = 283.75 * fh or 4•fsc(PAL) = 1135 • fh so that the phase of the colour subcarrier in the case of NTSC is changed by 180°/line and in PAL by 270°/line.
In the case of digital video signal processing and decoding the prior art fundamentally distinguishes between two system architectures. These are the burst-locked architecture and the line-locked architecture, i.e. systems which operate with sampling frequencies for the video signal, which are produced in phase-locked manner to the colour subcarrier frequency transmitted with the burst pulse or in phase-locked manner with the line frequency, respectively.

The principal advantage of the present invention is a color television receiver is provided having a fully digital color demodulator wherein the luminance signal and the chrominance signals are separated and digitally processed prior to being converted to analog signals in that the all-digital signal processing largely eliminates the need for nonintegratable circuit elements, i.e., particularly coils and capacitors, and that the subcircuits can be preferably implemented using integrated insulated-gate field-effect transistor circuits, i.e., so-called MOS technology. This technology is better suited for implementing digital circuits than the so-called bipolar technology.

Digital Signal Processing DIGVISION ITT in Brief:
 FOR several years now the use of digital techniques in television has been growing. A considerable impetus came initially from the need for high -quality Tv standards conversion. The IBA's DICE (Digital Intercontinental Conversion Equipment) standards converter came into operational use in 1972. It's success demonstrated convincingly the advantages of processing video signals in digital form - digital signals are neither phase nor level dependent. The trend since then has been towards the all - digital studio: digital effects generators have been in use for some time, and digital telecines were announced earlier this year. An earlier example of the application of digital techniques to television was the BBC's sound-in-syncs system, in which the sound signal is converted to digital form so that it can be added to the video signal for network distribution. The sound-in-syncs system first came into use in 1969, and is was  widely employed in pay tv systems alongside with video scrambling methods in the 80's.  Digital techniques have already appeared on the domestic TV scene. The teletext signals are digital, and require digital processing. In modern remote control systems the commands from the remote control transmitter are in digital form, and require digital decoding and digital - to -analogue conversion in the receiver before the required control action can be put into effect. Allied to this, digital techniques are used for the more sophisticated channel tuning systems. The basic TV receiver itself continues to use analogue techniques however. Are we about to see major changes here? 
ITT Semiconductors in W. Germany have been working on the application of digital techniques to basic TV receiver signal processing since 1977 with the supervision of the Engineer Micic Ljubomir, and at the recent Berlin Radio Show presented a set of digital chips for processing the video, audio and deflection signals in a TV receiver. The set consists of a' couple of l.s.i. and six v.l.s.i. chips - and by very large scale integration (v.l.s.i.) we're talking about chips that contain some more 200,000 transistors. What are the advantages? 
For the setmaker, there's reduction in the component count and simpler, automated receiver alignment - alignment data is simply fed into a programmable memory in the receiver, which then adjusts itself. Subsequently, the use of feedback enables the set to maintain its performance as it ages. From the user's viewpoint, the advantages are improved performance and the fact that extra features such as picture -within -a -picture (two pictures on the screen at the same time) and still pictures become relatively simple to incorporate. The disadvantage of course is the need for a lot of extra circuitry. Since the received signals remain in analogue form, analogue -to -digital conversion is required before signal processing is undertaken. As the c.r.t. requires analogue drive signals, digital -to -analogue conversion is required prior to the RGB output stages - the situation is somewhat different in the timebase and audio departments, since the line drive is basically digital anyway and class D amplifier techniques can be used in the field and audio output stages. In between the A -D conversion and the various output stages, handling the signals in digital form calls for much more elaborate circuitry - hence those chips with 200,000 or so transistors. The extra circuitry is all incorporated within a handful of chips of course, but the big question is if and when the use of these chips will become an economic proposition, taking into account reduced receiver assembly/setting up costs, compared to the use of the present analogue technology - after all, colour receiver component counts are already very low. With the present digital technology, it's not feasible to convert the signals to digital form at i.f. So conversion takes place following video and sound demodulation. Fig. 1 shows in simple block diagram form the basic video and deflection signal processing arrangement used in the system devised by ITT Semiconductors. Before going into detail, two basic points have to be considered - the rate at which the incoming analogue signals are sampled for conversion to digital form, and the number of digits required for signal coding. Consider the example shown in Fig. 2. At both (a) and (b) the signals are sampled at times Ti, T2 etc. In (a) the signal is changing at a much faster rate than the sampling rate. So very little of the signal information would be present in the samples. In (b) the rate at which the signal is changing is much slower, and since the sampling rate is the same the samples will contain the signal information accurately. In practice, the sampling rate has to be at least twice the bandwidth of the signal being sampled. Once you've got your samples, the next question is how many digits are required for adequate resolution of the signal, i.e. how many steps are required on the vertical (signal level) scale in Fig. 2 The use of a four -digit code, i.e. 0000, 0001 etc., gives 16 possible signal levels. Doubling the number of digits to eight gives 256 signal levels and so on. ITT's experience shows that the luminance signal requires 8 bits (digits), the colour -difference signals require 6 bits, the audio signal requires 12 bits (14 for hi-fi quality) while 13 bits are required for a linear horizontal scan on a 26inch tube. These digital signals are handled as parallel data streams in the subsequent signal processing. Returning to Fig. 1, the A -D and D -A conversion required in the video channel is carried out by a single chip which ITT call the video codec (coder/decoder). A clock pulse generator i.c. is required to produce the various pulse trains necessary for the digital signal processing, and a control i.c. is used to act as a computer for the whole digital system and also to provide interfacing to enable the external controls (brightness, volume, colour etc.) to produce the desired effects. In addition, the control i.c. incorporates the digital channel selection system. The video codec i.c. uses parallel A-D/D-A conversion, i.e. a string of voltage comparators connected in parallel. This system places a high premium on the number of bits used to code the signal in digital form, so ITT have devised a technique of biasing the converter to achieve 8 -bit resolution using only 7 bits (the viewer's eye does some averaging on alternate lines, as with Simple PAL, but this time averaging luminance levels). The A -D comparators provide grey -encoded outputs, so the first stage in the video processor i.c. is a grey -to -binary transcoder. As Fig. 3 shows, the processes carried out in the video processor i.c. then follow the normal practice, though everything's done in digital form. The key to this processing is the use of digital filters. These are clocked at rates up to 18MHz, and provide delays, addition and multiplication. The glass chroma delay line required for PAL decoding in a conventional analogue decoder consists of blocks of RAM (random-access memory) occupying only three square millimeters of chip area each. As an example of the ingenuity of the ITT design, the digital delay line used for chroma signal averaging/separation in the PAL system is used in the NTSC version of the chip as a luminance/chrominance signal separating comb filter. Fig. 4 shows the basic processes carried out in the deflection processor i.c. This employs the sorts of techniques we're becoming used to in the latest generation of sync processor i.c.s. Digital video goes in, and the main outputs consist of a horizontal drive pulse plus drives to the field output and EW modulator circuits. The latter are produced by a pulse -width modulator arrangement, i.e. the sort of thing employed with class D output stages. The necessary gating and blanking pulses are also provided. A further chip provides audio signal processing. One might wonder why the relatively simple audio department calls for this sort of treatment. The W. German networks are already equipping themselves for dual -channel sound however, and the audio processor i.c. contains the circuitry required to sort out the two -carrier sound signals. These chips represent a major step in digitalizing the domestic TV receiver. It seems likely that some enterprising setmaker will in due course announce a "digital TV set". The interesting point then will be whether the chip yields, and the chip prices as production increases, will eventually make it worthwhile for all setmakers to follow this path (in 1984).

The SINUDYNE STUDIO 2886P HQ VISION DIGI SYSTEM is a multisound tv digital sound processing.

It has a  DTI.(dti digital transient improvement pertains to a circuit for steepening color-signal transitions in color television receivers or the like particularly in DIGIVISION DIGIT2000 . ) circuit arrangement  designed for use in digital color-television receivers or the like and contains for each of the two digital color-difference signals a slope detector to which both a digital signal defining an amplitude threshold value and a digital signal defining a time threshold value are applied. At least one intermediate value occurring during an edge to be steepened is stored, and at the same time value of the steepened edge, it is "inserted" into the latter.
The bandwidth of the color-difference channel is very small compared with the bandwidth of the luminance channel, namely only about 1/5 that of the luminance channel in the television standards now in use. This narrow bandwidth leads to blurred color transitions ("color edging") in case of sudden color-signal changes, e.g., at the edges of the usual color-bar test signal, because, compared with the associated luminance-signal transition, an approximately fivefold duration of the color-signal transition results from the narrow transmission bandwidth.
In the prior circuit arrangement, the relatively slowly rising color-signal edges are steepened by suitably delaying the color-difference signals and the luminance signal and steepening the edges of the color-difference signals at the end of the delay by suitable analog circuits. The color-difference signals and the luminance signal are present and processed in analog form as usual. This circuit arrangement is designed for use in digital color-television receivers or the like and contains for each of the two digital color-difference signals a slope detector to which both a digital signal defining an amplitude threshold value and a digital signal defining a time threshold value are applied. At least one intermediate value occurring during an edge to be steepened is stored, and at the same time value of the steepened edge, it is "inserted" into the latter. This is done by means of memories, switches, output registers, and a sequence controller.
ADVANTAGE - Increased picture sharpness and highly improved signal-to-noise ratio.

It's a model featuring the DIGIVISION ITT technology in an Italian television model type.

Was first SINUDYNE set with a 2 board modular design DIGITAL CHASSIS T6800 introducing several improvements and replacing earlyer models with monoprint chassis type, furthermore the model here shown features a new DIGITAL BOARD DESIGN with one PCB instead of multiple in previous chassis SINUDYNE PROFESSIONAL T6700.

It has stereo HIFI digital sound and OSD CCU controlled system.

It features teletext multi-pages  mode.Teletext is a television-based communication technique in which a given horizontal video line is utilized for broadcasting textual and graphical information encoded in a digital binary representation. Such horizontal video line signal that contains teletext data is referred to herein as a Data-line. It is assumed herein, for explanation purposes, that teletext is sent by the broadcaster only during the vertical blanking interval (VBI), when no other picture information is sent. The organization of the binary information in the broadcast signal is determined by the standard employed by the broadcaster. By way of an example only, references are made herein to a teletext based on a standard referred to by the British Broadcasting Corporation (BBC) as CEEFAX.

Each Data-line carries data synchronizing and address information and the codes for a Row of 40 characters. The synchronizing information includes a clock run-in sequence followed by an 8-bit framing code sequence. Each Data-line contains a 3 bit code referred to as the Magazine number. A teletext Page includes 24 Rows of 40 characters, including a special top Row called the Page-Header. Each ROW is contained in a corresponding Data-line. A user selected Page is intended to be displayed in place of, or added to a corresponding television picture frame. A Magazine is defined to include Pages having Data-lines containing a corresponding Magazine number. The transmission of a selected Page begins with, and includes its Page Header and ends with and excludes the next Page Header of the selected Magazine number. All intermediate Data lines carrying the selected Magazine number relate to the selected Page.

It has an AV SCART SOCKET above located.

A SCART Connector (which stands for Syndicat des Constructeurs d'Appareils Radiorécepteurs et Téléviseurs) is a standard for connecting audio-visual equipment together. The official standard for SCART is CENELEC document number EN 50049-1. SCART is also known as Péritel (especially in France) and Euroconnector but the name SCART will be used exclusively herein. The standard defines a 21-pin connector (herein after a SCART connector) for carrying analog television signals. Various pieces of equipment may be connected by cables having a plug fitting the SCART connectors. Television apparatuses commonly include one or more SCART connectors.

Although a SCART connector is bidirectional, the present invention is concerned with the use of a SCART connector as an input connector for receiving signals into a television apparatus. A SCART connector can receive input television signals either in an RGB format in which the red, green and blue signals are received on Pins 15, 11 and 7, respectively, or alternatively in an S-Video format in which the luminance (Y) and chroma (C) signals are received on Pins 20 and 15. As a result of the common usage of Pin 15 in accordance with the SCART standard, a SCART connector cannot receive input television signals in an RGB format and in an S-Video format at the same time.

Consequently many commercially available television apparatuses include a separate SCART connectors each dedicated to receive input television signals in one of an RGB format and an S-Video format. This limits the functionality of the SCART connectors. In practical terms, the number of SCART connectors which can be provided on a television apparatus is limited by cost and space considerations. However, different users wish the input a wide range of different combinations of formats of television signals, depending on the equipment they personally own and use. However, the provision of SCART connectors dedicated to input television signals in one of an RGB format and an S-Video format limits the overall connectivity of the television apparatus. Furthermore, for many users the different RGB format and S-Video format are confusing. Some users may not understand or may mistake the format of a television signal being supplied on a given cable from a given piece of equipment. This can result in the supply of input television signals of an inappropriate format for the SCART connector concerned.

This kind of connector is todays obsoleted !

It's particular technological design was a distinctive recognizeable aspect for such series of digital television sets from SINUDYNE.

The set has over excellent cracking crisp pictures and features a PHILIPS 45AX CRT TUBE black matrix.
The black matrix which is applied to the interior surface of color picture tubes improves the contrast performance of color television pictures. On their interior surface, these color picture tubes which are also referred to as black matrix tubes, have a striped structure characterized by alternating light-absorbing stripes and light-transmitting stripes. As a rule, these stripes are arranged vertically, as viewed from the position of an observer. The width of the absorbing and transmitting stripes ranges from 150 to 190 μm.


(Last decent SINUDYNE SET, newer models were slightly not that best.)

SINUDYNE was an Italian manufacturer of radio and television sets.

It was founded in 1946 SEI-Società Elettronica Italiana S.p.A., by two mates : Antonio Longhi and Bruno Berti, and they started manufacturing radio apparates with tubes.

In 1954 the started producing television sets which was in the 70's the primary activity.

In 1959 the production was transferred at Ozzano dell'Emilia near Bologna.

SINUDYNE have had a good success in Italy were it have had large diffusion and lots of service centers because a good quality of product and design.

In 1983 SINUDYNE realized the first Italian Digital Television employing the ITT DIGIVISION Technology

HERE Today I'm showing one of the Advanced models of DIGITAL TELEVISION From SINUDYNE the HQ Vision Digi-System models series.

SINUDYNE was in the 1980's and in the 1990's even importer of brands like NORDMENDE and
ORION which is the manufacturer of the television here shown in collection.

SINUDYNE was even known for it's product design which was quite remarcable some times.

The slogan of SINUDYNE in the 80's was "SINUDYNE COLORE STUPORE ! " and it was meaning " SINUDYNE COLOR ASTONISHMENT " in English.

In 2002 SINUDYNE was aquired by another Italian group called Merloni which introduced productions of appliances like air conditioning clima systems.

In 2003 SINUDYNE started marketing LCD (Crap) displays.

In 2006 SINUDYNE closed his production factory landing to fail !!

SINUDYNE FIRM TODAYS IS DEAD !

One more comment about digital in 2000..............

Over the years we have learnt that one of the most important things in video/ TV technology is selecting the best system to use. We have also seen how difficult this can be. Prior to the start of the colour TV era in Europe there was an great to-do about the best system to adopt. The US NTSC system seemed an obvious choice to start with. It had been proved in use, and refine- ments had been devised. But alternative, better solutions were proposed - PAL and Secam. PAL proved to be a great success, in fact a good choice. 

The French Secam system seems to have worked just as well. Apart from the video tape battles of the Seventies, the next really big debate concerned digital TV. When it came to digital terrestrial TV (DTT), Europe and the USA again adopted different standards. 

One major difference is the modulation system used for transmission. Coded orthogonal frequency   division multiplexing (COFDM) was selected for the European DVB system, while in the USA a system called 8VSB was adopted. COFDM uses quadrature amplitude modulation of a number of orthogonal carriers that are spread across the channel bandwidth. Because of their number, each carrier has a relatively low bit rate. 

The main advantage of the system is its excellent behaviour under multipath reception conditions. 8VSB represents a rather older,  pre phase modulation technoogy: eight  state amplitude modulation of a single carrier, with a vestigial sideband. The decision on the US system was assigned to the Advanced Television Systems Committee (ATSC), reporting to the FCC. The system it proposed was approved by the FCC on December 26th, 1996. The curious date might suggest that there had been a certain amount of politicking. In fact there had been an almighty row between the TV and computer industries about the video standard to adopt, the two fearing that one or other would gain an advantage as the technologies converged. It was 'resolved' by adopting a sort of   "open standard"  we are talking about resolution and scanning standards here - the idea apparently being that the technology would somehow sort itself out.

 There seems to have been rather less concern about the modulation standard. 8VSB was adopted because it was assumed to be able to provide a larger service area than the alternatives, including COFDM, for a given transmitter power. Well, the USA is a very large place! But the US TV industry, or at least some parts of it, is now having second thoughts. Once the FCC had made its decision, there was pressure to get on with digital TV. In early 1998 there were announce- ments about the start of transmissions and broadcasters assured the FCC that DTT would be available in the ten areas of greatest population concentration by May 1999. Rapid advances were expected, with an anticipated analogue TV switch -off in 2006. So far however things have not gone like that. At the end of 1999 some seventy DTI' transmitters were in operation, but Consumer Electronics Manufacturers Association estimates suggest that only some 50,000 sets and 5,000 STBs had been sold.

 There have been many reports of technical problems, in particular with reception in urban and hilly areas and the use of indoor aerials, also with video/audio sync and other matters. Poor reception with indoor aerials in urban conditions is of particular concern: that's how much of the population receives its TV. The UK was the first European country to start DTI', in late 1998 - at much the same time as in the USA. The contrast is striking. ONdigital had signed up well over 500,000 subscribers by the end of 1999, a much higher proportion of viewers than in the USA. Free STBs have played a part of course, but it's notable that DTT 's reception in the UK has been relatively hassle -free. In making this comparison it should also be remembered that the main aim of DTT technology differs in Europe and the USA. 

The main concern in Europe has been to provide additional channels. In the USA it has been to move to HDTV, in particular to provide a successor the NTSC system. There have been plenty of channels in the USA for many a year. For example the DirecTV satellite service started in mid 1994 and offers some 200 channels. Internationally, various countries have been comparing the US and European digital systems. They have overwhelmingly come down in favour of the DVB system. There have been some very damaging assessments of the ATSC standard. The present concern in the US TV industry results from this poor domestic take up and lack of international success. Did the FCC make a boob, in particular in the choice of 8VSB? Following compara- tive tests carried out by Sinclair Broadcasting Group Inc., the company has petitioned the FCC to adopt COFDM as an option in the ATSC standard. Not only did its tests confirm poor reception with indoor aerials: they also established that the greater coverage predicted for 8VSB failed to materialise in practice. Could the USA have two DTT transmission standards? It seems unlikely. It would involve dual standard receivers and non  standardisation of transmitters. In the all important business of system selection, it looks as if the FCC got it wrong.

              ....................................   It is obviously wasteful to duplicate terrestrial TV transmissions in analogue and digital form. Sooner or later transmissions will all be digital, since this is a more efficient use of spectrum space. The question is when? It would suit some to switch off the analogue transmitters as soon as possible. 2006 has been suggested as a time to start, with ana- logue transmissions finally ending in 2010. All very neat and tidy. Whether it will work out in that way is another matter. Strong doubts are already beginning to be aired. 

 The government has, quite properly, laid down conditions to be met before the switch off occurs. Basically that the digital signal coverage should equal that achieved for analogue TV, currently 99.4 per cent of the population, and that digital receiving equipment should be available at an affordable price. The real problem is that there is a difference between a coverage of 99.4 per cent and 99.4 per cent of the population actually having digital receiving equipment. Why should those who are interested in only free - to -air channels go out and buy/rent a digital receiver? It is already becoming evident that this represents a fair chunk of the population. 

The ITC has warned the government that the 2006-2010 timetable is in jeopardy. Peter Rogers, the ITC's chief executive, has said "we need to persuade people only interested in watching free -to -air television to switch to digital. "

Unless we do, there will be no switch - over." Well not quite, because the analogue receivers will eventually wear out and have to be replaced. But that could take a long, long time. Meanwhile many people will expect to be able to continue to watch their usual TV fare using their existing analogue receivers. 

Research carried out by Culture Secretary Chris Smith's department has established that between forty and fifty per cent of the population expects the BBC licence to cover their TV viewing, which means what they get at present in analogue form. A substantial percentage of the population simply isn't interested in going digital. In fact take up of integrated receiver -decoders, as opposed to the free digital set -top boxes, has so far been very slow. 

Of five million TV sets sold in the UK year 1999 , only 10,000 were digital. There are important factors apart from overall coverage and how many people have sets. There is the extension of coverage, which becomes more difficult to achieve eco- nomically as the number of those not covered decreases. There is the problem of reception quality. And there is the question of domestic arrangements and convenience. Extending coverage to the last ten fifteen per cent of the population by means of conventional terrestrial transmitters will be expensive. Mr Smith's department seems to have conceded that other methods of signal delivery may have to be adopted - by satellite, by microwave links or by cable. The latter has of course never been economic where few households are involved. 

The frequency planners have been trying to find ways of increasing coverage even to well populated areas. There are so many areas where problems of one sort or another make the provision of DTT difficult. Satellite TV is the obvious solution. 

The time may well come when it is wondered why anyone bothered with DTT. Signal quality is becoming an increasingly important factor as the digital roll out continues. In areas where the signal is marginal, viewers could experience the extreme irritation of picture break up or complete loss like even todays. This is quite apart from the actual quality of the channel, which depends on the number of bits per second used. There is a maximum number of bits per multiplex, the total being shared by several channels. The fewer the bits, the poorer the picture in terms of definition and rendering. 

There have already been complaints about poor quality. The question of domestic arrangements is one that has not so far received adequate public attention. Most households 2000 nowadays don't have just one TV set that the family watches. They have a main one, probably, almost certainly one or more VCRs, and several other sets around the house to serve various purposes. What 'the percentage of households that have digital TV' should really mean is the percentage willing to replace all this equipment. It will be expensive, and people would not be happy if they were told to throw away their other equipment when they get a single nice new all  singing all dancing widescreen digital TV set. It fact there would be uproar. The move from analogue to digital is not like that from 405 to 625 lines, which went fairly smoothly.

In those days few people had video equipment or a multitude of sets. The transition to digital is not going to be smooth, and the suggestion of a switch off during 2006-2010 already looks totally unrealistic. Unless the government subsidises or gives away digital TV sets - and why should it? - people will expect their existing equipment to continue to be usable.  

So it's likely that analogue TV will be with us for many years yet. But that would be the end of analogue too. 

.............................Indeed...............................

Further readings and more Notes:

• ^ Sinudyne.com ^ fonte http://www.angelinidesign.eu/ e catalogo Sinudyne 2004) ^ Sinudyne.com ^ Sinudyne :: Virtuspedia, su www.virtuspedia.it. URL consultato il 22 agosto 2018. ^ Biblioteca Salaborsa, homepage, su Biblioteca salaborsa. URL consultato il 22 agosto 2018. ^ Articolo sullo stabilimento spagnolo Sinudyne Archiviato il 27 dicembre 2009 in Internet Archive. ^ schede tecniche^{[collegamento interrotto]} ^ History of the radio manufacturer Sinudyne - Bologna, Radiomuseum.org. URL consultato il 1º luglio 2018 (archiviato dall'url originale il 31 gennaio 2015). ^ (IT) Duesse Communication S.r.l., Sinudyne: in arrivo il televisore con combinato Dvd+Vhs, in E2S. URL consultato il 22 agosto 2018.
  
• pag. 34 della rivista Trade Consumer Electronics del Settembre 2006
• ^ Merloni e Mister Panini cercano un socio cinese per i televisori Sinudyne - MilanoFinanza.it, su www.milanofinanza.it. URL consultato il 22 agosto 2018.
• ^ (IT) Duesse Communication S.r.l., Sinudyne: l’azienda chiude, in Editoriale Duesse. URL consultato il 22 agosto 2018.
• ^ (IT) Sinudyne: l’azienda chiude. Accordo per mobilità lavoratori, in Sassuolo 2000. URL consultato il 22 agosto 2018.

^ (IT) Duesse Communication S.r.l., Sinudyne: delocalizzata in Lituania la produzione di Crt e Lcd, in E2S. URL consultato il 22 agosto 2018.

 

 
Redazione, la crisi, in La Repubblica - Sezione di Bologna, 1º settembre 2006, p. 2. URL consultato il 20 febbraio 2021.

Chi siamo 1946-1970, su sinudyne.com. URL consultato il 20 febbraio 2021 (archiviato dall'url originale il 5 maggio 2006).

Bruno Berti, su virtuspedia.it. URL consultato il 20 febbraio 2021.
^ 1950, su sinudyne.com. URL consultato il 20 febbraio 2021 (archiviato dall'url originale il 5 maggio 2006).
^ 1953, su sinudyne.com. URL consultato il 20 febbraio 2021 (archiviato dall'url originale il 5 maggio 2006).

Quale futuro per la tv Made in Italy?, in Trade Consumer Electronics, E2S, settembre 2006, p. 34.
^ 1954, su sinudyne.com. URL consultato il 20 febbraio 2021 (archiviato dall'url originale il 5 maggio 2006).
^ 1956, su sinudyne.com. URL consultato il 20 febbraio 2021 (archiviato dall'url originale il 5 maggio 2006).

R. Ferretti, L'industrializzazione: dalla comunità locale ai mercati mondiali, in Dalla guerra al "boom". Territorio, economia, società e politica nei comuni della pianura orientale bolognese. Industrializzazione e società. Economia, demografia e stili di vita, vol. 3, 2006, p. 177.
^ 1964, su sinudyne.com. URL consultato il 21 febbraio 2021 (archiviato dall'url originale il 5 maggio 2006).
^ 1969, su sinudyne.com. URL consultato il 21 febbraio 2021 (archiviato dall'url originale il 5 maggio 2006).
^ 1970, su sinudyne.com. URL consultato il 21 febbraio 2021 (archiviato dall'url originale il 5 maggio 2006).
^ 1975, su sinudyne.com. URL consultato il 21 febbraio 2021 (archiviato dall'url originale il 5 maggio 2006).
^ 1980, su sinudyne.com. URL consultato il 21 febbraio 2021 (archiviato dall'url originale il 5 maggio 2006).
^ R. Cominotti, S. Mariotti, Italia multinazionale 1990. L'integrazione internazionale e le prospettive del Mercato Unico Europeo. III rapporto R&P al CNEL, Franco Angeli, 1990, pp. 304, 421.
^ Sinudyne, Societá Elettronica Italiana, su radiomuseum.org. URL consultato il 6 luglio 2022 (archiviato il 1º luglio 2018).
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^ Redazione, S.E.I. Sinudyne: il marchio Orion sarà distribuito da Euronics, in E-Duesse.it, 1º maggio 2009. URL consultato il 6 luglio 2022 (archiviato il 6 luglio 2022).
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^ (ES) Audiotecnic, televisores para todo el mundo, in Laesfera, 21 dicembre 2003. URL consultato il 21 febbraio 2021 (archiviato dall'url originale il 27 dicembre 2009).
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^ Redazione, EICMA: BERTI, MOTO MORINI SI RISVEGLIA, in Motor Press, 17 novembre 2005. URL consultato il 6 luglio 2022 (archiviato il 28 luglio 2021).
^ L. Nigro, Rinasce un marchio storico torna la Moto Morini, in La Repubblica - Sezione di Bologna, 5 dicembre 2003, p. 5. URL consultato il 6 luglio 2022 (archiviato l'11 agosto 2018).
^ Synudine vuole licenziare 83 dipendenti, in L'Unità, 25 giugno 2005, p. 14.
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^ Redazione, SINUDYNE: L'AZIENDA ACQUISITA DA PANINI, in E-Duesse.it, 9 aprile 2003. URL consultato il 21 febbraio 2021.
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^ Lamberto Angelini, in Ottagono, n. 174, Editrice Co.P.IN.A, ottobre 2004, p. 174.
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^ Redazione, Merloni Progetti: nasce la linea ped a marchio Sinudyne, in E-Duesse.it, 1º maggio 2009. URL consultato il 6 luglio 2022 (archiviato il 6 luglio 2022).
^ Redazione, Sinudyne: delocalizzata in Lituania la produzione di Crt e Lcd, in E-Duesse.it, 1º maggio 2009. URL consultato il 6 luglio 2022 (archiviato il 6 luglio 2022).
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^ Redazione, MERLONI PROGETTI: JOINT VENTURE CON JOYCARE, in E-Duesse.it, 21 febbraio 2006. URL consultato il 21 febbraio 2021.

Redazione, Sinudyne: l'azienda chiude, in E-Duesse.it, 1º maggio 2009. URL consultato il 6 luglio 2022 (archiviato il 6 luglio 2022). ^ Sinudyne: l'azienda chiude. Accordo per mobilità lavoratori, in Sassuolo 2000. URL consultato il 6 luglio 2022 (archiviato dall'url originale il 23 settembre 2020). ^ Capannoni ex Sinudyne di Ozzano demoliti entro 2 mesi | Sabato Sera, su sabatosera.it, 2 marzo 2021. URL consultato il 6 luglio 2022 (archiviato il 6 luglio 2022). ^ Iniziati i lavori di abbattimento dei capannoni dell'ex Sinudyne. | Comune di Ozzano dell'Emilia, su comune.ozzano.bo.it. URL consultato il 6 luglio 2022 (archiviato il 19 giugno 2022). ^ Ditte anni 60, su carlobramantiradio.it. URL consultato il 6 luglio 2022 (archiviato il 6 luglio 2022). ^ Sinudyne, su virtuspedia.it. URL consultato il 6 luglio 2022 (archiviato il 25 aprile 2022). ^ La Virtus Sinudyne vince il campionato di basket, 4 aprile 1976, su bibliotecasalaborsa.it. URL consultato il 13 gennaio 2023. ^ M. Bertuzzi, F. Monti, La maglia del Bologna. Storia delle divise rossoblù, Edizioni Minerva, 2017, pp. 156-159.

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