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FEBRUARY 19 VHS TECHNICAL DETAILS : HI-FI AUDIO SYSTEM

Around 1985, JVC added Hi-Fi audio to VHS (in response to Betamax's introduction of Beta Hi-Fi.) Both VHS Hi-Fi and Betamax Hi-Fi delivered flat full-range frequency response (20 Hz to 20 kHz), excellent 70 dB signal-to-noise ratio (in consumer space, second only to the compact disc), dynamic range of 90 dB, and studio-grade channel separation (more than 70dB). VHS Hi-Fi audio is achieved by using audio frequency modulation (AFM), recording each of the 2 stereo channels (L, R) on a frequency-modulated carrier and embedding the modulated audio signal pair into the video signal. To avoid crosstalk and interference from the primary video carrier, VHS's implementation of AFM relied on a form of magnetic recording called depth multiplexing. The modulated audio carrier pair was placed under the luminance carrier (below 1.6 MHz), and recorded first. Subsequently, the video head erases and re-records the video signal over the same tape surface, but video signal's higher center frequency results in a shallower magnetization of the tape, allowing both the video and residual AFM audio signal to coexist on tape. (PAL versions of Beta Hi-Fi use this same technique). During playback, VHS Hi-Fi recovers the depth-recorded AFM signal by subtracting the audio head's signal (which contains the AFM signal contaminated by a weak image of the video signal) from the video head's signal (which contains only the video signal), then demodulates the left and right audio channels from their respective frequency carriers. The end result of the complex process was audio of outstanding fidelity, which was uniformly solid across all tape-speeds (EP or SP.) Since JVC had gone through the complexity of ensuring Hi-Fi's backward compatibility with non-Hi-Fi VCRs, virtually all studio home video releases contained Hi-Fi audiotracks (in addition to the linear audio track). Under normal circumstances, all Hi-Fi VHS VCRs will record Hi-Fi and linear audio simultaneously to ensure compatibility with VCRs without Hi-Fi playback, though only early, high-end Hi-Fi machines provided linear stereo compatibility. Due to the path followed by the video and Hi-Fi audio heads being striped and discontinuous- unlike that of the linear audio track- head-switching is required to provide a continuous audio signal. Misalignments may lead to imperfect joining of the signal, resulting in low-pitched buzzing. The sound quality of Hi-Fi VHS stereo is comparable to the quality of CD audio, particularly when recordings were made on high-end or professional VHS machines that have a manual audio recording level control. This high quality compared to other consumer audio recording formats such as compact cassette attracted the attention of amateur and hobbyist recording artists. Home recording enthusiasts occasionally recorded high quality stereo mixdowns and master recordings from multitrack audio tape onto consumer-level Hi-Fi VCRs. However, because the VHS Hi-Fi recording process is intertwined with the VCR's video-recording function, advanced editing functions such as audio-only or video-only dubbing are impossible. Some VHS decks also had a "simulcast" switch, allowing users to record an external audio input along with off-air pictures. Some televised concerts offered a stereo simulcast soundtrack on FM radio and as such, events like Live Aid were recorded by thousands of people with a full stereo soundtrack despite the fact that stereo TV broadcasts were some years off (especially in regions that adopted NICAM). The considerable complexity and additional hardware limited VHS Hi-Fi to high-end decks for many years. While linear stereo all but disappeared from home VHS decks, it was not until the 1990s that Hi-Fi became a more common feature on VHS decks. Even then, most customers were unaware of its significance and merely enjoyed the better audio performance of the newer decks.