History of Sony 1970s

Retrotechtacular: History Of Sony Mini Doc Bursts With 1970s Style

The 1970s, it was a time when cameras needed film, phones had cords, and televisions masqueraded as furniture. A time where hi-fi systems were judged by the volume knob feel, and thanks to YouTube user [nefesh22] we have a behind-the-scenes glimpse of what the era was like from the Sony corporate perspective in this mini documentary of the company’s history below. The film was originally created for internal use at Sony’s US manufacturing facilities in San Diego, however, now it now can be watched by anyone with an internet connection.

Sony CRT Testing Rig 1970s

Sony’s corporate ethos of allowing its engineers to drive business innovation is on full display here. For instance how in 1950 Sony introduced the first magnetic tape recorder, the G-Type, in Japan and followed that up with the first portable television, the TV8-301, a decade later. Throughout the 1970s Sony became an innovator in the video space. In fact, the Sony Trinitron brand of color TVs garnered so much notoriety in the television industry that the company was awarded an Emmy in 1973. Though the most telling feature is the documentary’s focus on the 3/4-inch U-Matic videocassette format, a precursor to VHS and Sony’s own Betamax videotapes. Highlighting the “superiority” of those VTR systems of the day really does date the film as those hulking decks failed to penetrate the market beyond early adopters and media companies.

It’s interesting to see how hands-on quality assurance testing used to be. Whether it’s glancing at NPN transistors under a microscope, dialing in the focus on a Super 8 camera, or a quick wave of the degaussing wand before a tube leaves the line, each of the QA tasks were carried out by individual employees rather than the automated methods of today. On an unrelated note, the brief overview of the Sony’s on-site “fiefdom” for its young workforce is a reminder that some ideas may be better left in the past… Google’s Mountain View campus anyone? If anything is to be gleaned from this retrotechtacular retrospective is that we could all use a little more wood-grain in our electronics these days.

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Super Mario Land DX Game Boy

Super Mario Land DX ROM Hack Shows What Game Boy Could Have Looked Like

It was about time (Mario Time) that Super Mario Land for the original Game Boy was revisited. The game served as the entry point into the world of portable gaming for millions, and it was an early example of the type of adventure players could expect from a handful of AA batteries. The original Game Boy system itself may have only been able to display four shades of grey, however, that never stopped players of Super Mario Land from imagining what the game would have looked like in stunning color. Now thanks to [toruzz] we no longer have to imagine, because their Super Mario Land DX ROM Hack does just that…and then some.

The Super Mario Land DX ROM hack adheres to the Game Boy Color’s 16-bit color palette, so it actually runs on real hardware. No changes to the gameplay were made and it also runs in the native 10:9 aspect ratio for the Game Boy. According to the patch readme file, it is recommended to use a legally sourced dump of the 1.0 version of Super Mario Land and utilize Lunar IPS to apply the patch. Additionally a CRC check sum is provided to ensure everyone is working from the same starting point.

Super Mario Land was a launch title for the Game Boy in 1989, but there was another handheld game system that released that year as well (the Atari Lynx). The Lynx featured a full color backlit LCD display, so it was not as if handheld game systems of the era were restricted to being monochromatic. Granted the Lynx came with a price tag nearly twice that of the Game Boy, but a transformative ROM hack such as the Super Mario Land DX one can serve almost as an alternate history. An alternate history that we all can experience now be it on a desktop or in true portable form.

To see the Super Mario Land DX ROM Hack in motion, there is the gameplay video from YouTube user Vincent Hernandez below:

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NVIDIA’s A.I. Thinks It Knows What Games Are Supposed Look Like

Videogames have always existed in a weird place between high art and cutting-edge technology. Their consumer-facing nature has always forced them to be both eye-catching and affordable, while remaining tasteful enough to sit on retail shelves (both physical and digital). Running in real-time is a necessity, so it’s not as if game creators are able to pre-render the incredibly complex visuals found in feature films. These pieces of software constantly ride the line between exploiting the hardware of the future while supporting the past where their true user base resides. Each pixel formed and every polygon assembled comes at the cost of a finite supply of floating point operations today’s pieces of silicon can deliver. Compromises must be made.

Often one of the first areas in games that fall victim to compromise are environmental model textures. Maintaining a viable framerate is paramount to a game’s playability, and elements of the background can end up getting pushed to “the background”. The resulting look of these environments is somewhat more blurry than what they would have otherwise been if artists were given more time, or more computing resources, to optimize their creations. But what if you could update that ten-year-old game to take advantage of today’s processing capabilities and screen resolutions?

NVIDIA is currently using artificial intelligence to revise textures in many classic videogames to bring them up to spec with today’s monitors. Their neural network is able fundamentally alter how a game looks without any human intervention. Is this a good thing?

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TOTO Forever Widescreen

Somewhere Down In Africa Toto Is Playing On Loop

Amidst the vast expanse of sand dunes in the Namib desert, there now exists a sound installation dedicated to pouring out the 1982 soft rock classic “Africa” by Toto. Six speakers connected to an MP3 player all powered by a few solar powered USB battery packs, and it is literally located somewhere down in Africa (see lyrics). The whole project, known as TOTO FOREVER, was the creation of film director [Max Siedentopf] who himself grew up in Namibia.

“I set up a sound installation which pays tribute to probably the most popular song of the last four decades…and the installation runs on solar batteries to keep Toto going for all eternity.”

Max Siedentopf, Creator of TOTO FOREVER

[Siedentopf] certainly chose a song that resonates with people on a number of levels. Toto’s “Africa” was one of the most streamed songs on YouTube in 2017 with over 369 million plays. The song continues to reach a new generation of fans as it has also been the subject of a number of internet memes. Though those local to the sound installation have had some less than positive things to say. [Siedentopf] told BBC, “Some [Namibians] say it’s probably the worst sound installation ever. I think that’s a great compliment.”

The idea of the installation “lasting for all eternity” will certainly be difficult to achieve since the components most certainly lack any serious IP rating. The audio player itself appears to be a RHDTShop mp3 player that according to its Amazon listing page, has three to four hours of battery life per charge. Considering the size of those solar cells the whole thing will probably be dead in a week or two (it is in a desert after all), but no one can deny the statement TOTO FOREVER makes. Below is some footage of the art piece in action taken by the artist himself.
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CES 1996 Las Vegas Convention Center

Retrotechtacular: HGTV, The Place For Everything CES 1996

It’s January, and that means it’s time once again for the Consumer Electronics Show. CES is the place where electronic manufacturers from all across the globe to show off their future products and make promises they probably can’t keep. Of course there is no better indicator of a company’s future than looking at the past, and thanks to [Home & Garden Television] we have a comprehensive look at what CES was twenty three years ago. The cable channel aired a special, “Plugged In with Wil Shriner”, covering CES 1996 and it is certainly illuminating to see in hindsight. Plus it even comes complete with “cable money” tier mid 90s motion graphics.

Over on YouTube, user [videoholic] has uploaded the HGTV CES ’96 special into five separate segments (links provided below). Some of the highlights include:

Part 1 – Home Video

  • Canon introduces IR eye tracking (akin to the New 3DS) in their camcorder line
  • Dual recording VCR from Sharp on one VHS tape provided you can fix the tracking with the remote.
  • The term “I triple E 1394” may just have been said for the first (and last) time ever on cable television.

Part 2 – Audio

  • A digital alarm clock from Oregon Scientific (called the Time Machine) that will tell you the weather.
  • Magellan thought, “Who needs a cell phone when you can have a satellite phone for $8000”.
  • Soundtube, the fashionable beer cozy for your gigantic speakers as seen on MTV Beach House.

Part 3 – Games & Multimedia

  • Noise Cancellation Technologies INC wanted to turn your cars headliner into a big ol’ speaker.
  • Cyber Pong promised online multiplayer a full decade before Rockstar’s Table Tennis on Xbox 360.
  • The Simpsons Cartoon Studio helps create fan fiction on multimedia CD-ROM.

Part 4 – Home & Office

  • Compaq’s PC keyboard with an integrated fax machine.
  • Norris Communication’s handheld voice recorder full of flash memory to offload to your PDA.
  • Crestron’s idea of home automation involved a touchscreen to operate a light switch (some things never change).

Part 5 – Digital Video

Homebrew ZX Spectrum title Nohzdyve

Netflix Drops ZX Spectrum Homebrew Title Nohzdyve

The dark, dystopian future is ever-present in the Netflix show Black Mirror, but the latest release in the series, Bandersnatch, presents a decidedly different narrative. Bandersnatch is a branching story that follows the fictional events of a garage-programmer named Stephan who develops the titular game, Bandersnatch, for the Tuckersoft company set in 1980s England. The whole thing plays out as a choose-your-own adventure game fit straight off the Sega CD (albeit with actual full motion video) by allowing watchers to pick what happens next in the story. Not one to miss a cross-promotional opportunity, Netflix also released a playable ZX Spectrum homebrew title, Nohzdyve, developed by a friend of Hackaday, [Matt Westcott].

Keen viewers of Bandersnatch were able to ascertain that the screeching sound at the end of the show when loaded into a ZX Spectrum would display a QR code. That in turn led to a real website for the fake Tuckersoft company (thankfully in HTML). The website itself showcases the fictional company’s software library and upcoming releases, but it also took things a step further. The duality of Bandersnatch is carried over to the website as there are branching paths for those that remove ‘www’ from the URL. Doing so reveals Tuckersoft’s website from an alternate timeline where Bandersnatch was never created, however, a downloadable copy of Nohzdyve in a .tap file is there for the taking.

The Nohzdyve game itself is a vertically scrolling action game that uses the ZX Spectrum’s garish color palette to great effect. Racking up a high score in the game can be done via emulator (for example Speccy) or for the most authentic experience, on real hardware. This may be the best reason to fire up a tape drive in a while, but for those seeking the less-analog approach there is always this gameplay footage from Mr. Tom FTW’s channel:

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DooM Retrospective: 25 Years Of Metal

Metal is many things. A material hard and coarse in nature that by forging it in fire becomes sharp enough to cut through anything in its path. The music that bares its namesake is equally cutting and exudes an unyielding attitude that seeks to separate the posers from the true acolytes. Metal is the sentiment of not blindly following the rules, a path less taken to the darker side of the street. In videogame form, there is nothing more metal than Doom.

The creators of Doom, id Software, were always hellbent on changing the perception of PC gaming in the 1990s. Games of the time were rigid and slow in comparison to their console counterparts. The graphical fidelity was technically superior on PC, but no other developer could nail movement in a game like id. The team had made a name for themselves with their Commander Keen series (which came about after a failed Super Mario Bros. 3 PC demo) along with the genre defining Wolfenstein 3D, but nothing topped Doom. In an era that was already soaking with “tude”, Doom established an identity all its own. The moody lighting, the grotesque monster designs, the signature push forward combat, and all the MIDI guitars a Soundblaster could handle; Doom looked and felt a cut above everything else in 1993.

In December of that year, Senators Joe Lieberman and Herb Kohl held a hearing to publicly condemn the inclusion of violence in videogames sold in America. The bulk of the arguments sought to portray the videogame industry and its developers as deviants seeking to corrupt the nation’s youth. Id Software responded as if to raise the largest middle finger imaginable, by releasing Doom to the world the very next day. A quarter of a century later people are still talking about it.

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