Sony Bvh-3100 Service Manual
Hi everybody. I've posted a couple of question on another 'bovine' forum I didn't got any response. So I really hope someone will be able to help me here.I would like to calibrate/align a Sony BVH-2000. In the manual, Sony use the white section of the alignment tape (tracking for example).
I don't have the sony alignment tape, but a 'multipurpose reference tape for Type C' from Ampex, which doesn't have a white section. Is there a section that I can use instead of the white signal? On the Ampex tape, there's: Color Bars/Ramp Matrix, black, Multiburst, Mod.Ramp, Pulse & Bar, Programmed Dropouts, Red Field, Multipulse.If I really need the Sony Tape, does someone have one available, or can make me a copy?Thanks. About alignment tapes in general: the Sony alignment tape is slit slightly wider than normal tape stock, which is to say, an alignment tape is exactly one inch wide. Recording stock is actually slit slightly narrower.
This is very important for proper tape path alignment, especially the entrance and exit guides. Because of that, and because an alignment tape is recorded on specially calibrated recorders, a dub of an alignment tape is the next thing to useless.If you're setting up a BVH-2000, the first thing you should do is the servo setup. Among other things, this includes reel torque calibration and sensor arm adjustment. This not only interacts with entrance and exit guide alignment, a tension problem will damage your alignment tape. You will need a digital meter, oscilloscope (preferably four trace), a full one-hour reel of tape, and the set of calibration weights.Once the servos are aligned, you should also check the eccentricity of the upper drum to make sure it's properly centered on the spindle. The tolerance is incredibly small for this - less than one micron. Don't try to do this, or to change the upper drum, without the eccentricity gauge and tapered installation screws: you will very likely wind up having an out-of-center drum self-destruct on one of the ceramic guide flanges.Now clean the entire tape path.
Pure isopropyl alcohol should be sufficient; if you have a stubborn bit of oxide on a metal guide or tip, you can use xylene sparingly - then clean it off with alcohol. Make sure everything is dry before threading up any tape.Flip the 'record inhibit switch' before threading the alignment tape.Play the first section of the tape with the tracking knob in the pushed-in, standard setting, with the R/P head selected.
Look at the front edge of the RL-12 board: you should see four green LEDs lit. On the control panel, the CF LOCK light should be on, and the servo warning light should be off. If this is what you get, the servo system is behaving properly and you should be able to continue with the alignment. Otherwise, some diagnostic work is in order to find out what's making the servos unhappy.Once everything's been set up mechanically and the servos are aligned, then you check the guide alignment.
You are looking to get a flat RF envelope over the entire sweep of the head (select the R/P head, not the dynamic tracking play head). The peak overall RF should happen when the tracking knob is centered, and should not change with it's pushed into its default setting.
If it does, you shift the stationary head assembly slightly side-to-side to get the RF peak with the tracking knob pushed in. Expand the RF display to look closely at the start and end of the envelope. You should see a nearly square rise and fall, without a lot of waviness across the top. If you pull out the tracking knob and turn it side-to-side, the starting and ending edges of the envelope should rise and fall with the rest of the rest of the envelope. If the rise or fall time is really ratty, or doesn't match up with the rest of the envelope, you're going to need to adjust the entrance and/or exit guides. This is insanely touchy, and will quickly destroy your upper drum unless you know what you are doing. Several other students in my class managed to do exactly this, to the great displeasure of the instructor.
If you expand the RF display so that it centers on the overlap period (the portion of the drum's rotation where the main R/P head tip is between the exit and entrance guides, and not in contact with the tape), you should see something like this:Sony specifies the white section of the tape for the path alignment, mainly because white corresponds to the highest RF carrier frequency, and a solid full-field signal will yield a consistent RF envelope over the entire scan of the drum. Even though video is recorded as an FM signal and therefore should have a consistent amplitude regardless of the video level, real-world variations in RF frequency response for whatever reason will yield slightly differing RF levels that correlate to the video level. If you don't have a solid white field on your tape, you can still come pretty close, especially if the test pattern is consistent vertically (full-field color bars instead of SMPTE bars, for instance). The red field would be a good candidate, if it runs long enough.Ultimately, once you get through all of this, your machine should be able to record and play standard recordings. The dynamic tracking alignment is very specialized, and the procedure in the manual doesn't work very well - you can send the whole thing off the deep end very easily. Unless you need to do variable speed playback, I'd leave it alone. This was one of the areas where it was really helpful to spend the two weeks in San Jose.Hopefully this will give you a good start, and steer you away from the biggest traps.- Jeff.
The original poster asked me via message whether this alignment can be done without the tapered screws, or if that's a deal-breaker. For the sake of anyone who comes upon this thread later, I'll post the answer here, too. Also, I remembered a minor point about reassembly that I forgot in the direct message reply.I probably shouldn't say that it can't be done, but it will be exceedingly difficult. If you check the drum eccentricity and it stays within +/- half a micron or so, that's fine - you don't have to worry about it. If the upper drum was installed correctly, this should be the case.In general, when you replace the upper drum, you remove the ornamental cover and the copper-plated amplifier assembly; the drum is fastened to the spindle with two allen-head cap screws.
Make a careful note of how the inner circuit board on the spindle lines up with the outer circuit board on the drum, so that when you put the new drum on, you get it the right way around (there's a 50-50 chance of getting it wrong). Remove the old drum, and carefully set the new drum on the spindle.Use the tapered screws to initially secure the upper drum to the spindle. The taper acts to center up the drum; just get them finger tight. Then, one at a time, replace each tapered screw with the allen-head cap screw, being careful not to knock the drum out of alignment. Only tighten the cap screws partway, so that they're holding the drum in place, but not completely torqued down.Install the eccentricity gauge (make sure it's riding the upper part of the drum, and is not in line with the head tips). Typically, you will find something like +/- 20 microns of error as you move the drum around the circle.
Lightly press the inner surface of the drum, away from the gauge, and notice which direction the needle moves. Rotate the drum so that it has the maximum error in the opposite direction, then lightly tap the inner part of the drum opposite the gauge to bring the error down. Rotate the drum again, and find the spot with the maximum error, and tap some more. Keep at it until you can rotate the drum and move the needle less than one tick mark (. NECRAT wrote:We shotgunned all the caps.Wow. That's a lot of caps!Reminds me of refurbishing an old Datatek 20x10 routing switcher (circa late 1970s).
All of the input and output amplifiers and every crosspoint had wet tantalum caps - all of which had to be replaced. Took me several weeks - of course, there were the constant interruptions to do live shots and fix equipment that the 'talent' kept breaking.We still have several BVH-2000s (two working, several for parts), but aside from cleaning them, they haven't needed maintenance attention in quite a while.
They only get fired up when someone wants a piece of archive footage, which makes me sad until I remember the cost of a new upper drum. The last time I dubbed a tape, it drew people from around the building who had never seen a reel-to-reel VTR running before. Sadly, some of them were operators who tried to convince me that the machine didn't work, and that I couldn't make it work. Wrong on both counts. The combination of two weeks of Sony training school plus several decades of maintaining dozens of BVH-2000 and -2500 machines (four at our station, plus a lot at other stations and production houses) makes for rather potent experience.- Jeff. There's a upper drum new available on eBay, 17,682$.Better alternative I think, AheadTeK, they have refurbished upper drum for around 2300$.For the pinch roller, there's Terry's Pinch Roller who can refurb the roller if I send it to him (around 55$).
But there's another, more costly alternative (200$), from Athan Corp, who have new pinch roller made with a proprietary polyurethane material (and also new bearings). I'm not sure what to do, I know that Terry do a great job for the replacement of the 'rubber', but I want to be sure that the bearings are also top shape.
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Atakama wrote:There's a upper drum new available on eBay, 17,682$.Better alternative I think, AheadTeK, they have refurbished upper drum for around 2300$.Those are two very different things. The unit you see on eBay is the complete assembly that includes the lower drum (the motor, rotary transformers, stationary slant guide), the upper drum (the rotating part with the head tips), sliprings and brushes (which supply power for the preamp and dynamic tracking piezo assembly). It's pretty much everything except for the preamp and the ornamental cover.The AheadTek unit is a used upper drum that has typically been polished to remove scratches, new head tips added or old tips shifted outward, and re-balanced.A brand new upper drum generally has about 90-100 microns of tip projection on the R/P and play heads; when they wear down to about 50 microns, you start having trouble maintaining head-to-tape contact especially approaching the overlap period between the guides.Replacing an upper drum is a fairly skilled job that very often requires only minimal readjustment. Replacing the lower drum is much more difficult, and involves nearly total mechanical tape path alignment and servo alignment. For the pinch roller, there's Terry's Pinch Roller who can refurb the roller if I send it to him (around 55$). But there's another, more costly alternative (200$), from Athan Corp, who have new pinch roller made with a proprietary polyurethane material (and also new bearings). I'm not sure what to do, I know that Terry do a great job for the replacement of the 'rubber', but I want to be sure that the bearings are also top shape.There are several sets of bearings that affect tape path performance to varying degrees: the pinch roller, the timer roller, and several roller guides.
Sony Bvh-3100 Service Manual Free
It's pretty unusual that they get bad enough to cause problems, and you can tell easily by just spinning the roller. If it makes a chattering sound or if the roller hangs up in one spot, they need to be replaced. Initially, I would try simply giving the rollers a good cleaning with isopropyl alcohol. That's even more important for the timer roller: if that slips, the servo can get confused about what the tape is doing, with dramatically bad results.I never did ask: does this machine work now?- Jeff.
NECRAT wrote:Took our engineer about three weeks per machine. We may have sent the 2nd machine's boards out to Spec Comm to do the job.Well, that has me beat. At one point we bought a used BVH-2500 (it's a BVH-2000 with a dynamic tracking element on the record head, so that it can record a single field of video even when the tape isn't moving). This particular machine was one of about a dozen that were made with an analog trace control system for the record head, which was never terribly stable and needed constant recalibration. Sony redesigned the thing almost immediately to use a digital control system.
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But we were stuck with the old analog version. If I remember right, the machine was serial number 10007 (the seventh one built); I still have the control panel:This was the very first one out the door.We used it for about a year (it beat doing animation by hours of one-frame edits on the 2000), but when we got computer equipment that could render complete animations internally rather than recording a frame at a time to tape, I tore the machine down to the bare frame, rebuilding it as a BVH-2000 with a mixture of boards and major components from our oldest 2000, with new heads, guides, and other wear items. That was a fun project (okay, I have a twisted idea of fun), and took me about two weeks to finish. There's a part of me that feels bad now about having destroyed a vintage 2500, but at the time we really needed a reliable machine, and we weren't about to spend another $75,000 for a new machine.
And didn't really want to have one BVH-3100 in a shop with three other 2000s.The upside is, I have a lot of spare parts to keep our remaining machines running!- Jeff. NECRAT wrote:But how often do you use it?
We've long since disposed of all our 1' gear.We have a couple of Beta decks, and maybe 1 3/4' deck around, collecting dust.DVCPro is even barely touched anymore.It's not terribly frequent that we need 1' nowadays, but we do occasionally need to handle archived material. We still have the ability to play 1', Beta, U-matic, and DVC-Pro; if I needed to, I could fire up one of the TP66s to transfer film pretty quickly. Our news department likes being able to use old footage when it's relevant, and since we're interconnected directly with five other stations, we need to deal with content from a lot of different sources.Besides, we still have shows and movies under contract on 1' and 3/4' tape (Little House on the Prairie, anyone?).- Jeff.