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#1
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The best reason I've heard to date is that there was a legal issue, probably with Philco, who came up with the quadrature modulation method of stuffing two chrome signals into the existing NTSC monochrome standard. By shifting the I signal to the R-Y axis, poof! no RCA $ going to Philco.
Pete |
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#2
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Also likely the reason that Zenith used the "sheet beam" demodulators when they developed their debut color chassis, the 29JC20. No stinkin' patent money going to RCA, although they did have to use an RCA picture tube and deflection components in that set. I'll bet that Sarnoff laughed, all the way to the bank!
Last edited by Tim Tress; 05-14-2019 at 05:36 PM. |
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#3
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Quote:
Zenith may have had to buy those parts, but RCA had to pay Zenith for their little old inventions of Electromagnetic convergence and FM MPX stereo so I imagine it was a case of 'you begrudgingly scratch my back and I'll begrudgingly scratch yours'.
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Tom C. Zenith: The quality stays in EVEN after the name falls off! What I want. --> http://www.videokarma.org/showpost.p...62&postcount=4 |
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#4
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The one I like best is that RCA had to pay royalties to CBS for the color CRT patents CBS developed to improve the tubes. I'll bet Sarnoff wasn't pleased.
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#5
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RCA engineers couldn't see the forest for the trees so to speak. The 15HP22 and 19VP22 were a huge leap forward, and it would have been insane for RCA to release what essentially amounted to a 19 inch 15GP22 with the suspended dot plate. The 15GP22 never should have been released in production sets. The CBS 19VP22 was about the first truly practical, more modern color CRT, and even that was a bit of a dog due to very poor quality control. The 21AXP22 was better yet.
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