Trinitron2

Trinitron was Sony's brand name for its line of aperture-grille-based CRTs used in television sets and computer monitors. One of the first truly innovative television systems to enter the market since the 1950s, the Trinitron was announced in 1968 to wide acclaim for its bright images, about 25% brighter than common shadow mask televisions of the same era. Constant improvement in the basic technology and attention to overall quality allowed Sony to charge a premium for Trinitron devices into the 1990s.

Patent protection on the basic Trinitron design ran out in 1996, and it quickly faced a number of competitors at much lower prices. Sony responded by introducing their flat-screen FD Trinitron designs (WEGA), which maintained their premier position in the market into the early 2000s. However, these designs were surpassed relatively quickly by plasma and LCD designs. Sony removed the last Trinitron televisions from their product catalogs in 2006, and ceased production in early 2008. Video monitors are the only remaining Trinitron products being produced by Sony, at a low production rate, although the basic technology can still be found in downmarket televisions from third parties.

The name Trinitron was derived from ''trinity'', meaning the union of three, and ''tron'' from elec''tron'' tube, after the way that the Trinitron combined the three separate electron guns of other CRT designs into one.

History

Color television

Color television had been demoed since the 1920s starting with John Logie Baird's system. However, it was only in the late 1940s that it was perfected by both CBS and RCA. At the time, a number of systems were being proposed that used separate red, green and blue signals (RGB), broadcast in succession. Most systems broadcast entire frames in sequence, with a colored filter (or "gel") that rotated in front of an otherwise conventional black and white television tube. Because they broadcast separate signals for the different colors, all of these systems were incompatible with existing black and white sets. Another problem was that the mechanical filter made them flicker unless very high refresh rates were used. In spite of these problems, the United States Federal Communication Commission selected a sequential-frame 144 frame/s standard from CBS as their color broadcast in 1950.

RCA worked along different lines entirely, using the luminance-chrominance system. This system did not directly encode or transmit the RGB signals; instead it combined these colors into one overall brightness figure, the "luminance". Luminance closely matched the black and white signal of existing broadcasts, allowing it to be displayed on existing televisions. This was a major advantage over the mechanical systems being proposed by other groups. Color information was then separately encoded and folded into the signal as a high-frequency modification to produce a composite video signal – on a black and white television this extra information would be seen as a slight randomization of the image intensity, but the limited resolution of existing sets made this invisible in practice. On color sets the signal would be extracted, decoded back into RGB, and displayed.

Although RCA's system had enormous benefits, it had not been successfully developed because it was difficult to produce the display tubes. Black and white TVs used a continuous signal and the tube could be coated with an even deposit of phosphor. With the compatible color encoding scheme originally developed by Georges Valensi in 1938, the color was changing continually along the line, which was far too fast for any sort of mechanical filter to follow. Instead, the phosphor had to be broken down into a discrete pattern of colored spots. Focusing the proper signal on each of these tiny spots was beyond the capability of electron guns of the era, and RCA's early experiments used three-tube projectors, or mirror-based systems known as "Triniscope".Ed Reitan
"RCA Dot Sequential Color System"
, 28 August 1997

Shadow masks

RCA eventually solved the problem of displaying the color images with their introduction of the shadow mask. The shadow mask consists of a thin sheet of steel with tiny holes photo etched into it, placed just behind the front surface of the picture tube. Three guns, arranged in a triangle, were all aimed at the holes. Stray electrons at the edge of the beam were cut off by the mask, creating a sharply focused spot that was small enough to hit a single colored phosphor on the screen. Since each of the guns was aimed at the hole from a slightly different angle, the spots of phosphor on the tube could be separated slightly to prevent overlap.

The disadvantage of this approach was that for any given amount of gun power, the shadow mask filtered out the majority of the energy. To ensure there was no overlap of the beam on the screen, the dots had to be separated and covered perhaps 25% of its surface. This led to very dim images, requiring much greater electron beam power in order to provide a useful picture. Moreover, the system was highly dependent on the relative angles of the beams between the three guns, which required constant adjustment by the user to ensure the guns hit the correct colors. In spite of this, the technical superiority of the RCA system was overwhelming compared to the CBS system, and was selected as the new NTSC standard in 1953. The first broadcast using the new standard occurred on New Year's Day in 1954, when NBC broadcast the Tournament of Roses Parade.

In spite of this early start, only a few years after regularly scheduled television broadcasting had begun, consumer uptake of color televisions was very slow to start. The dim images, constant adjustments and high costs had kept them in a niche of their own. Low consumer acceptance led to a lack of color programming, further reducing the demand for the sets in a supply and demand problem. In the United States in 1960, only 1 color set was sold for every 50 sets sold in total.''Sony'', pg. 42

Chromatron

Sony had entered the television market in 1960 with the black and white TV8-301, the first non-projection type all-transistor television. A combination of factors, including its small screen size, limited its sales to niche markets. Sony engineers had been studying the color market, but the situation in Japan was even worse than the U.S.; they accounted for only 300 of the 9 million sets sold that year. But by 1961, dealers were asking the Sony sales department when a color set would be available, and the sales department put pressure on engineering in turn. Masaru Ibuka, Sony's president and co-founder, steadfastly refused to develop a system based on RCA's shadow mask design, which he considered technically deficient. He insisted on developing a unique solution.

In 1961, a Sony delegation was visiting the IEEE trade show in New York City, including Ibuka, Akio Morita (Sony's other co-founder) and Nobutoshi Kihara, who was promoting his new CV-2000 home video tape recorder. This was Kihara's first trip abroad and he spent much of his time wandering the trade floor, where he came across a small booth by the small company Autometric. They were demonstrating a new type of color television based on the Chromatron tube, which used a single electron gun and a vertical grille of electrically charged thin wires instead of a shadow mask. The resulting image was far brighter than anything the RCA design could produce, and lacked the convergence problems that required constant adjustments. He quickly brought Morita and Ibuka to see the design, and Morita was "sold" on the spot.''Sony'', pg. 44

Morita arranged a deal with Paramount Pictures, who was paying for Chromatic Labs' development of the Chromatron, taking over the entire project. In early 1963, Senri Miyaoka was sent to Manhattan to arrange the transfer of the technology to Sony, which would lead to the closing of Chromatic Labs. He was unimpressed with the labs, describing the windowless basement as "squalor". The American team was only too happy to point out the serious flaws in the Chromatron system, telling Miyaoka that the design was hopeless. By September 1964, a 17-inch prototype had been built in Japan, but mass-production test runs were demonstrating serious problems. Sony engineers were unable to make a version of Chromatron that could be reliably mass-produced.

When sets were finally made available in late 1964, they were put on the market at a competitive 198,000 yen (US$550), but cost the company over 400,000 yen (US$1111.11) to produce. Ibuka had bet the company on Chromatron and had already set up a new factory to produce them with the hopes that the production problems would be ironed out and the line would become profitable. After several thousand sets had shipped, the situation was no better, while Panasonic and Toshiba were in the process of introducing sets based on RCA licenses. By 1966, the Chromatron was breaking the company financially.

Trinitron

In the autumn of 1966, Ibuka finally gave in, and announced he would personally lead a search for a replacement for Chromatron. Susumu Yoshida was sent to the U.S. to look for potential licenses, and was impressed with the improvements that RCA had made in overall brightness by introducing new rare-earth phosphors on the screen. He also saw General Electric's "Porta-color" design, using three guns in a row instead of a triangle, which allowed a greater portion of the screen to be lit. His report was cause for concern in Japan, where it seemed Sony was falling ever-farther behind the U.S. designs. They might be forced to license the shadow mask system if they wanted to remain competitive.''Sony'', pg. 46

Ibuka was not willing to give up entirely, and had his 30 engineers explore a wide variety of approaches to see if they could come up with their own design. At one point, Yoshida asked Senri Miyaoka if the in-line gun arrangement used by GE could be replaced by a single gun with three cathodes; this would be more difficult to build, but be lower cost in the long run. Miyaoka built a prototype and was astonished by how well it worked, although it had focusing problems. Later that week, on Saturday, Miyaoka was summoned to Ibuka's office while he was attempting to leave work to attend his weekly cello practice. Yoshida had just informed Ibuka about his success, and the two asked Miyaoka if they could really develop the gun into a workable product. Miyaoka, anxious to leave, answered yes, excused himself, and left. The following Monday, Ibuka announced that Sony would be developing a new color television tube, based on Miyaoka's prototype.''Sony'', pg. 47 By February 1967, the focusing problems had been solved, and because there was a single gun, the focusing was achieved with permanent magnets instead of a coil, and required no manual adjustments after manufacturing.

During development, Sony engineer Akio Ohgoshi introduced another modification. GE's system improved on the RCA shadow mask by replacing the small round holes with slightly larger rectangles. Since the guns were in-line, their electrons would land onto three rectangular patches instead of three smaller spots, about doubling the lit area. Ohgoshi proposed removing the mask entirely and replacing it with a series of vertical slots instead, lighting the entire screen. Although this would require the guns to be very carefully aligned with the phosphors on the tube in order to ensure they hit the right colors, with Miyaoka's new tube, this appeared possible. In practice, this proved easy to build but difficult to place in the tube – the fine wires were mechanically weak and tended to move when the tubes were bumped, resulting in shifting colors on the screen. This problem was solved by running several fine tungsten wires across the grille horizontally to keep the vertical wires of the grille in place.

The combination of three-in-one electron gun and the replacement of the shadow mask with the aperture grille resulted in a unique and easily patentable product. In spite of Trinitron and Chromatron having no technology in common, the shared single electron gun has led to many erroneous claims that the two are very similar, or the same.

Introduction, early models

Officially introduced by Ibuka in April 1968, the original 12 inch Trinitron had a display quality that easily surpassed any commercial set in terms of brightness, color fidelity, and simplicity of operation. The vertical wires in the aperture grille meant that the tube had to be nearly flat vertically; this gave it a unique cylindrical look. It was also all solid state, with the exception of the picture tube itself, which allowed it to be much more compact and cool running than designs like GE's Porta-color. Some larger models such as the KV-1320UB for the United Kingdom market were initially fitted with 3AT2 valves for the extra high tension (high voltage) circuitry, before being redesigned as solid state in the early 70s.

Ibuka ended the press conference by claiming that 10,000 sets would be available by October, well beyond what engineering had told him was possible. Ibuka cajoled Yoshida to take over the effort of bringing the sets into production, and although Yoshida was furious at being put in charge of a task he felt was impossible, he finally accepted the assignment and successfully met the production goal.''Sony'', pg. 48 The KV-1210 was introduced in limited numbers in Japan in October as promised, and in the U.S. as the KV-1210U the following year.

Early color sets intended for the UK market had a PAL decoder that was different from those invented and licensed by Telefunken of Germany, who invented the PAL color system. The decoder inside the UK-sold Sony color Trinitron sets, from the KV-1300UB to the KV-1330UB, had an NTSC decoder adapted for PAL. The decoder used a 64 microsecond delay line to store every other line, but instead of using the delay line to average out the phase of the current line and the previous line, it simply repeated the same line twice. Any phase errors could then be compensated for by using a tint control knob on the front of the set, normally unneeded on a PAL set.

Reception

Reviews of the Trinitron were universally positive, although they all mentioned its high cost. Sony won an Emmy Award for the Trinitron in 1973. On his 84th birthday in 1992, Ibuka claimed the Trinitron was his proudest product.

New models quickly followed. Larger sizes at 19" and then 27" were introduced, as well as smaller, including a 7" portable. In the mid-1980s, a new phosphor coating was introduced that was much darker than earlier sets, giving the screens a black color when turned off, as opposed to the earlier light grey. This improved the contrast range of the picture. Early models were generally packaged in silver cases, but with the introduction of the darker screens, Sony also introduced new cases with a dark charcoal color, following a similar change in color taking place in the hi-fi world. This line expanded with 32", 35" and finally 40" units in the 1990s. In 1990, Sony released the first HD Trinitron TV set, for use with the Multiple sub-Nyquist sampling encoding standard.

In 1980, Sony introduced the "ProFeel" line of prosumer component television

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