SONY KV-27XS TA YEAR 1985.

The SONY KV-27XS TA is a 27 inches color television with 40 programs PLL synthesized tuning and HIFI stereo sound and teletext.
Tuning indicator apparatus (OSD old school) is provided for use with a frequency synthesizer tuner of the type having a phase-locked loop including a reference oscillator, a variable frequency oscillator to produce a local oscillating signal, a programmable frequency divider coupled to the variable frequency oscillator for dividing the frequency of the local oscillating signal.In a typical tuner, such as a tuner for receiving broadcasted radio or television signals which are transmitted over respective broadcast frequencies, the runing condition of the tuner is determined by the frequency of the local oscillating signal which is mixed with the received broadcast frequencies to produce an intermediate frequency (IF) signal. The carrier frequency of the IF signal is constrained within a narrow range which is a function of the mixing of the broadcast frequency and the local oscillating frequency. As the local oscillating frequency is changed, the tuner is tuned to different broadcast frequencies to receive the program information which is broadcast thereover. Typically, a local oscillator may include a manually adjustable capacitor which, when the capacitance value thereof varies, the local oscillating frequency correspondingly varies. By adjusting the tuning knob which is mechanically coupled to the variable capacitor, an operator may change the local oscillating frequency as desired and, thus, may establish any desired tuning condition of the tuner. Recently, the variable capacitor has been constructed as a variable capacitance diode whose capacitance value is determined by a control voltage applied thereto. Since the same control voltage will result in the same tuning condition, tuners are known wherein digital techniques are relied upon for storing digital representations of respective control voltages, which digital representations can be retrieved, as desired, so as to establish a capacitance value rapidly which would tune the tuner to a desired broadcast frequency.
More recently, a so-called frequency synthesizer tuner has been proposed, in which the local oscillating signal is generated by a phase-locked loop under the control of a digital frequency-selecting signal. In such a phase-locked loop, a variable frequency oscillator produces the local oscillating signal. In addition to being supplied to the usual mixer in the tuner, the local oscillating signal is supplied through a programmable frequency divider to a phase comparator whereat it is compared to a reference oscillating signal. Any phase difference therebetween results in an error signal which is fed back to the variable frequency oscillator so as to adjust the frequency of the local oscillating signal and thereby adjust the tuning condition of the tuner. If the dividing ratio of the frequency divider changes, the frequency-divided oscillating signal which is supplied to the phase comparator will change. By well-known phase-locked loop operation, this changes the basic frequency of the local oscillating signal, resulting in cancelling the phase error signal. Thus, the tuning condition of the tuner is established merely by setting a desired frequency dividing ratio of the programmable frequency divider.
In the aforementioned frequency synthesizer tuner, the dividing ratio of the programmable frequency divider may be established by a counter, such as an UP/DOWN counter whose count sets the dividing ratio. As the count of this UP/DOWN counter is incremented, the dividing ratio increases and, conversely, as the count of the UP/DOWN counter is decremented, the dividing ratio correspondingly decreases. This features can be used, advantageously, to effect a so-called scanning operation, whereby the tuning condition of the tuner is scanned either in the upward or downward direction from one broadcast frequency to the next. Such a scanning operation may be helpful to the operator to enable him to ascertain the program information which is available on the various broadcast frequencies which can be received by his tuner. This scanning operation may be of the automatic scanning type, referred to herein as the auto-scan mode, in which the count of the UP/DOWN counter is incremented or decremented periodically at a fixed rate, whereupon the frequency of the local oscillating signal is increased or decreased at this same rate. In addition to the auto-scan mode, it may be desirable to change the tuning condition of the tuner on a step-wise basis.

PLL SYNTHESIZED TUNING System Concepts:

INTRODUCTION Digital tuning systems are fast replacing the conventional mechanical systems in AM FM and television receivers The desirability of the digital approach is mainly due to the following features * Precise tuning of station frequencies
* Exact digital frequency display
* Keyboard entry of desired frequency
* Virtually unlimited station memory
* Up down scanning through the band
* Station ‘‘search’’ (stop on next active station)
* Power on to the last station
* Easy option for time-of-day clock In addition
" recent "developments in large scale integrated circuit technology and new varactor diodes for the AM band have made the cost-benefit picture for digital tuning very attractive System partitioning is extremely important in optimizing this cost-benefit picture as will be discussed.

SYSTEM DESCRIPTION
A simplified block diagram of a typical digitally tuned receiver is shown in Figure 1 Notice this receiver could be one for AM FM marine radio or television it makes no difference The frequency synthesizer block generates the local oscillator frequency for the receiver just as a conventional mechanical tuner would However the phase-locked-loop (PLL) acts as an integral frequency multiplier of an accurate crystal controlled reference frequency while the mechanical type provides a continuously variable frequency output with no reference Some method of controlling the value of the multiplier for channel tuning must be provided The other RF IF and audio video circuitry will be the same as in the mechanical tuning method There are many different ways to partition the frequency synthesizer system to perform the digital tuning function................

The Trinitron colour tube, designed by and used exclusively by Sony in all its colour receivers, was the first to have an in -line gun arrangement. The Cathode Ray Tube (CRT) has been slowly changing since its con- ception about 50 years ago. Since then the emitter, accelerator and focus structures at the “gun” end have been added to the vacuum tube to shape and control the amount of electrons from the gun. At the target end of the CRT, the luminescent screen is made of a phos- phor mixture. Phosphor glows white when struck by electrons. Phos- phor brightness is directly proportional to the amount of electrons that strike the phosphor. The CRT sport brightness was controllable with a gun and phosphor screen. The electron beam produced a spot of light that was stationary on the phosphor screen. Placing an electromagnetic field near the electron beam after it left the gun created movement. The spot intensity and location were now controllable and the CRT became known as the pic- ture tube. To produce a color picture on the CRT screen; three independent gun structures are used. The electron guns produce different amounts of electrons targeted to their corresponding Red, Green and Blue phos- phors. Red, Green and Blue are the primary colors for light. In 1968 the Sony Trinitron picture tube was a departure from the tradi- tional three-gun color picture tube. Three major changes to the old color tube created a distinctive Trinitron picture tube:

 1. Instead of three small electron guns, focus was improved using one large electron gun structure that all three beams pass through.
 2. Electrostatic convergence plates were added to bend the outer elec- tron beams so they would land on the corresponding red and blue color phosphor.
 3. A continuous vertical slotted aperture grill at the screen end that: • Reduces the effects of terrestrial magnetism. • Prevents adjacent and stray electrons from striking the wrong phos- phor. • Allows more electrons to pass, increasing brightness without short- ening life. • Results in a flat screen. This reduces annoying room light reflections (glare).

It has a single gun assembly with three cathodes mounted in line horizontally, a striped -phosphor screen, an aperture grill with vertical slots instead of the traditional type of shadowmask, and a faceplate with cylindrical rather than parabolic curvature. The Trinitron tube produces a very good display - some people, including the   Obsolete Technology Tellye ! - author, would say the best aven if some exceptions with the PHILIPS ERF Series. There are sound technical reasons for making this claim, for example the design of the large electron lens which provides excellent resolution. An advantage of the cylindrical in comparison with the traditional parabolic faceplate is the fact that most of the external light that falls on it is reflected away from instead of towards the viewer, thus improving the. contrast and reducing eye strain.
The Black Trinitron introduced a couple of years ago gives a further improvement in this respect (the faceplate has been darkened to a black colour). Since the first Trinitron tubes appeared in the UK in the late sixties there has not been a great deal of change in the design, though a number of improvements have been introduced. More recently we have had the Black Trinitron mentioned above and the Pan -focus gun which gives uniform focusing over the entire screen area, eliminating any need for dynamic focusing but further added in large screen models in the 70's and 80's and 90's.

A SCART SOCKET is present and headphone stereo jack too.

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 !

Front numbering led display is present.

SONY KV-27XS TA a television receiver incorporating a processing section for processing stereo/dual sound signals having a first sound carrier which is modulated by a first sound signal and a second sound carrier modulated by a second sound signal and also by a pilot signal which is modulated by a stereo-dual sound identifying signal, said processing section comprising a synchronous demodulator in which the pilot signal is demodulated and to which an output signal of a Phase-Locked Loop circuit is applied, the phase-locked loop circuit comprising a frequency-controllable oscillator and a phase discriminator which compares a signal derived from the oscillator with a reference signal which, as regards frequency and phase, is in a fixed relationship to the pilot signal. Such a television receiver is obtained when the known integrated circuit TDA 4940 marketed by Siemens is used.
As is known, two frequency-modulated sound carriers are used, according to the German standard, for the transmission of stereo/dual sound television signals, the second, for instance weaker, sound carrier being frequency-modulated by a pilot carrier which, in the case of stereo or dual sound transmission, is amplitude-modulated by an identifying signal which characterizes the stereo or dual-sound transmission mode and which is required in the receiver to enable the required switching actions to be effected automatically. In a television receiver comprising the prior art circuit, the identifying signal is obtained in that the modulated pilot carrier is multiplied by the output signal of a PLL circuit whose oscillator oscillates at a frequency equal to 28-times the line frequency and whose frequency is controlled by a phase discriminator which compares the frequency-divided oscillator signal with the line frequency.

The set has a superb picture feature which is even today unsurpassed and this set was featuring first time the SONY CHASSIS RX2 which is the most reliable and durable SONY CHASSIS of everytime.

(To see the Internal Chassis Just click on Older Post Button on bottom page, that's simple !)


Sony Corporation (Sonī Kabushiki Gaisha) (TYO: 6758, NYSE: SNE), or commonly referred to as Sony, is a Japanese multinational conglomerate corporation headquartered in Minato, Tokyo, Japan and the world's fifth largest media conglomerate with revenue exceeding ¥ 7.730.0 trillion, or US$77.20 billion (FY2010).[3] Sony is one of the leading manufacturers of electronics, products for the consumer and professional markets.

Sony Corporation is the electronics business unit and the parent company of the Sony Group, which is engaged in business through its eight operating segments – Consumer Products & Devices (CPD), Networked Products & Services (NPS), B2B & Disc Manufacturing (B2B & Disc), Pictures, Music, Financial Services, Sony Ericsson and All Other.[5][6] These make Sony one of the most comprehensive entertainment companies in the world. Sony's principal business operations include Sony Corporation (Sony Electronics in the U.S.), Sony Pictures Entertainment, Sony Computer Entertainment, Sony Music Entertainment, Sony Ericsson, and Sony Financial. As a semiconductor maker, Sony is among the Worldwide Top 20 Semiconductor Sales Leaders.

Its founders Akio Morita and Masaru Ibuka derived the name from sonus, the Latin word for sound, and also from the English slang word "sonny", since they considered themselves to be "sonny boys", a loan word into Japanese which in the early 1950s connoted smart and presentable young men.

History
Masaru Ibuka, the co-founder of Sony:

In late 1945, after the end of World War II, Masaru Ibuka started a radio repair shop in a bomb-damaged department store building in Nihonbashi of Tokyo. The next year, he was joined by his colleague, Akio Morita, and they founded a company called Tokyo Tsushin Kogyo K.K., (Tokyo Telecommunications Engineering Corporation). The company built Japan's first tape recorder called the Type-G.

In the early 1950s, Ibuka traveled in the United States and heard about Bell Labs' invention of the transistor.[8] He convinced Bell to license the transistor technology to his Japanese company. While most American companies were researching the transistor for its military applications, Ibuka and Morita looked to apply it to communications. Although the American companies Regency[disambiguation needed] and Texas Instruments built the first transistor radios, it was Ibuka's company that made them commercially successful for the first time.

In August 1955, Tokyo Tsushin Kogyo released the Sony TR-55, Japan's first commercially produced transistor radio.[9] They followed up in December of the same year by releasing the Sony TR-72, a product that won favor both within Japan and in export markets, including Canada, Australia, the Netherlands and Germany. Featuring six transistors, push-pull output and greatly improved sound quality, the TR-72 continued to be a popular seller into the early sixties.

In May 1956, the company released the TR-6, which featured an innovative slim design and sound quality capable of rivaling portable tube radios. It was for the TR-6 that Sony first contracted "Atchan", a cartoon character created by Fuyuhiko Okabe, to become its advertising character. Now known as "Sony Boy", the character first appeared in a cartoon ad holding a TR-6 to his ear, but went on to represent the company in ads for a variety of products well into the mid-sixties.[8] The following year, 1957, Tokyo Tsushin Kogyo came out with the TR-63 model, then the smallest (112 × 71 × 32 mm) transistor radio in commercial production. It was a worldwide commercial success.[8]

University of Arizona professor Michael Brian Schiffer, Ph.D., says, "Sony was not first, but its transistor radio was the most successful. The TR-63 of 1957 cracked open the U.S. market and launched the new industry of consumer microelectronics." By the mid 1950s, American teens had begun buying portable transistor radios in huge numbers, helping to propel the fledgling industry from an estimated 100,000 units in 1955 to 5,000,000 units by the end of 1968.

Sony's headquarters moved to Minato, Tokyo from Shinagawa, Tokyo around the end of 2006.
Origin of name

When Tokyo Tsushin Kogyo was looking for a romanized name to use to market themselves, they strongly considered using their initials, TTK. The primary reason they did not is that the railway company Tokyo Kyuko was known as TKK.[8] The company occasionally used the acronym "Totsuko" in Japan, but during his visit to the United States, Morita discovered that Americans had trouble pronouncing that name. Another early name that was tried out for a while was "Tokyo Teletech" until Morita discovered that there was an American company already using Teletech as a brand name.

The name "Sony" was chosen for the brand as a mix of two words. One was the Latin word Sonus which is the root of "sonic" and "sound" and the other was "sonny," a familiar term used in 1950s America to call a boy.
The first Sony-branded product, the TR-55 transistor radio, appeared in 1955 but the company name did not change to Sony until January 1958.

At the time of the change, it was extremely unusual for a Japanese company to use Roman letters to spell its name instead of writing it in kanji. The move was not without opposition: TTK's principal bank at the time, Mitsui, had strong feelings about the name. They pushed for a name such as Sony Electronic Industries, or Sony Teletech. Akio Morita was firm, however, as he did not want the company name tied to any particular industry. Eventually, both Ibuka and Mitsui Bank's chairman gave their approval.

By Japanese standards Sony is a comparative newcomer. It started out in May 1946, recently celebrating its fiftieth anniversary. Most of the major Japanese companies in the consumer electronics field were formed much earlier. Hitachi and Toshiba for example date from the nineteenth century, Matsuhsita from the early years of the twentieth century. During those fifty years however Sony's achievements have been second to none. Sony started operations as Tokyo Tsuchin Kogyo (Tokyo Telecommunications Engineering Corporation). Its aim was "to make unique products", and to "create and introduce technologies that larger companies cannot match". One of its earliest achievements was Japan's first reel-to-reel audio tape recorder, which was launched in 1950. The tape to go with it, also developed by the company, was called Soni-tape. In 1954 the company launched the first all -transistor radio to go into production anywhere. When, in the following year, it decided to start exporting, a simple brand name that would be easily recognised in any part of the globe was required. Sony was the obvious answer, and in 1958 the company changed its name to the Sony Corporation. The Sony Corporation of America was set up in 1960. Sony UK, in 1968, brought Sony to Europe. Innovation continued apace. In 1960 Sony launched the fast fully transistorised portable TV receiver. Five years later the first open -reel video tape recorder for domestic use was introduced. The Trinitron colour system arrived in 1968. It was incredible, though typical, that Sony should develop its own colour TV tube from scratch. While relying on the traditional three primary colour phosphors and a shadowmask, the phosphors were laid down in stripes, the mask became a shadow grille, the guns were arranged in -line and the faceplate became much flatter. This was to be the way tube development would go. The Betamax VCR system was introduced in 1975. It is today generally accepted that it was the best of its time. But, as with the Trinitron system, Sony wouldn't licence it to other manufacturers. That mistake led to its demise, and wasn't repeated. The 8nun video system, which has come to dominate the camcorder field, was launched by Sony ten years later, in 1985. Meanwhile Sony had had an extraordinary success with the Walkman portable audio system, which was launched in 1979. This is claimed to have been "the single best-selling consumer electronics product ever marketed". Sony kept up the pace of development, moving on to digital systems. The MiniDisc, capable of both record and playback, arrived in 1993. In 1995 Sony was first to launch a digital camcorder. A home DV recorder is due later this year, along with a device called the DV cap: this links a DV camera to a PC for editing and image manipulation. There have been a number of other significant developments in recent times. The highly successful PlayStation established Sony in the video games market. Sony is to introduce its first PC later this year, while "a true living -room computer" is promised for next year. Plasmatron large, flat screen TV sets are already available in Japan. DVD players are another imminent prospect. All in all it has been an extraordinary story, and Sony's position at the centre of electronics development looks set to continue indefinitely. The company has combined world -class R&D capabilities, manufacturing excellence, the ability to read and to create markets, and remarkable marketing skills. The UK's main CE innovator for a long time, Amstrad, makes a sorry contrast. For a time Amstrad couldn't do anything wrong. It came up with a string of innovative ideas and products, skillfully meeting and developing user requirements. Packaged audio, wordprocessors then an IBM PC clone. There were the combined TV/VCR units, then the video Double Decker. Amstrad was in and out of audio, video and TV, always with highly competitive products. The company came up with the first Sky package at under £200. But while it came up with products that met contemporary needs, it never seemed to take root and grow. We are now witnessing its final dismemberment. Psion, the hand-held computer manufacturer, is negotiating to take over Amstrad's digital telephone interests, which fit in with its own product development programme. Amstrad's loss - making consumer electronics interests are to be split between Betacom, an affiliated company, and a new company to be called Digicom Technology. The latter will take over Amstrad's analogue satellite business and inherit a small R&D operation. How did Sony succeed, starting out with twenty employees, no machinery and negligible capital, while Amstrad simply shuffles off stage? Because Amstrad never developed a comprehensive business strategy. It came up with bright ideas, subcontracted production, stocked up then walked away as soon as the market turned.

It's the tragic story of much of UK and European industry.

..................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.

R.I.P. EUROPE.

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• Further reading

• Made in Japan by Akio Morita and Sony, HarperCollins (1994)^{[ISBN missing]}Sony: The Private Life by John Nathan, Houghton Mifflin (1999)^{[ISBN missing]}Sony Radio, Sony Transistor Radio 35th Anniversary 1955–1990 – information booklet (1990)^{[ISBN missing]}The Portable Radio in American Life by University of Arizona Professor Michael Brian Schiffer, PhD (The University of Arizona Press, 1991).The Japan Project: Made in Japan – a documentary about Sony's early history in the U.S. by Terry Sanders.^{[ISBN missing]}