A format war is a competition between similar but mutually incompatible technical standards that compete for the same market, such as for
content publishers by the developers of the technologies. Developing companies may be characterized as engaging in a format war if they actively oppose or avoid interoperable open-industry technical standards
in favor of their own.
A format war emergence can be explained because each vendor is trying to exploit cross-side network effects in a
Similarly, in the United States there was incompatibility between railroads built to the standard gauge and those built to the so-called Russian gauge. During the initial period of railroad building, standard gauge was adopted in most of the northeastern United States, while the wider gauge, later called "Russian", was preferred in most of the southern states. In 1886, the southern railroads agreed to coordinate changing gauge on all their tracks. By June 1886, all major railroads in North America were using what was effectively the same gauge.
Edison Electric Light Company tried to protect its patent controlled DC market by playing on the public's fears of the dangers of high voltage AC, portraying their main AC competitor, George Westinghouse's Westinghouse Electric Company, as purveyors of an unsafe system, a back and forth financial and propaganda competition that came to be known as the war of the currents,[3] even promoting AC for the Electric chair
execution device. AC, with its more economic transmission would prevail, supplanting DC.
Musical boxes: Several manufacturers introduced musical boxes that utilised interchangeable steel disks that carried the tune. The principal players were Polyphon, Symphonion (in Europe) and Regina
(in the United States). Each manufacturer used its own unique set of disc sizes (which varied depending on the exact model purchased). This assured that once the purchaser had bought a music box, they had to buy the music discs from the same manufacturer.
1900s
Player pianos: In stark contrast to almost every other entertainment medium of the 20th century and beyond, a looming format war involving paper roll music for player pianos was averted when industry leaders agreed upon a common format at the Buffalo Convention held in Buffalo, New York in 1908. The agreed-upon format was a roll 11.25 inches (286 mm) wide. This allowed any roll of music to be played in any player piano, regardless of who manufactured it. As the music played, the paper winds onto the lower roll from the upper roll, which means any text or song lyrics printed on the rolls is read from the bottom to the top.
1910s
Early recording media formats:
disc records. In 1877 Thomas Edison invented sound recording and reproduction using tinfoil wrapped around a pre-grooved cylinder, and in 1888 he introduced the wax "Edison cylinder" as the standard record format. In the 1890s Emile Berliner began marketing disc records and players. By the late 1890s cylinders and discs were in competition. Cylinders were more expensive to manufacture and the wax was fragile, but most cylinder players could make recordings. Discs saved space and were cheaper and sturdier, but due to the constant angular velocity
(CAV) of their rotation, the sound quality varied noticeably from the groove near the outer edge to the inner portion nearest the center; and disc record players could not make recordings.
1920s
Gramophone record formats: lateral versus vertical "hill-and-dale" groove cutting. When Edison introduced his "Diamond Disc" (played with a diamond stylus instead of a steel needle) record in 1912, it was cut "hill-and-dale", meaning that the groove was modulated along its vertical axis, as it had been on all cylinders—unlike other manufacturers' discs, which were cut laterally, meaning that their grooves were of constant depth and modulated along the horizontal axis. Machines designed to play lateral-cut discs could not play vertical-cut ones and vice versa. Pathé Records also adopted the hill-and-dale format for their discs, first issued in 1906, but they used a very wide, shallow groove, played with a small sapphire ball, which was incompatible with Edison products. In 1929 Thomas Edison quit the record industry, ceasing all production of both discs and cylinders. Pathé had been making a transition to the lateral format during the 1920s and in 1932 decisively abandoned the vertical format. There was no standard speed for all disc records until 78 rpm was settled on during the latter half of the 1920s, although because most turntables could be adjusted to run at a fairly wide range of speeds that did not really constitute a format war. Some Berliner Gramophone discs played at about 60 rpm. Some of Pathé's largest discs, which were 50 cm (nearly 20 inches) in diameter, played at 120 rpm. Diamond Discs were 80 rpm. Those makers aside, speeds in the mid-70s were more usual.
In addition, there were several more minor "format wars" between the various brands using various speeds ranging from 72 to 96 rpm, as well as needle or stylus radii varying from 0.0018 to 0.004 inches (0.046 to 0.102 mm) – the current 0.003-inch (0.076 mm) radius needle or stylus is a compromise as no company actually used this size. The most common sizes were 0.0028 inches (0.071 mm), used by Columbia, and 0.0032 inches (0.081 mm), used by HMV/Victor.[4]
1930s
240-line versus 405-linetelevision broadcasts. In 1936, the BBC Television Service commenced television broadcasting from Alexandra Palace in North London. They began by using two different television standards broadcasting in alternate weeks. The 240-line Baird sequential system was broadcast using a mechanical scanning apparatus. In the intervening weeks, EMI-Marconi broadcast in 405-line interlaced using fully electronic cameras. Early sets had to support both systems, adding to their complexity. It was the BBC's intention to run the two systems side by side for a six-month trial to determine which would be finally adopted. The BBC quickly discovered that the fully electronic EMI system had a superior picture quality and less flicker, and the camera equipment was much more mobile and transportable (Baird's intermediate-film cameras had to be bolted to the studio floor as they required a water supply and drainage). The trial concluded after only three months after Baird's studios had lost most of their equipment in a fire.
1940s
RCA Victor's 7-inch (18 cm) 45 rpm record, from 1949 (the introduction of the latter) into c. 1951. The battle ended because each format found a separate marketing niche (LP for classical music recordings, 45 for the pop "singles
" market) and most new record players were capable of playing both types.
The National Television System Committee (NTSC) was formed to settle the existing format incompatibility between the original 441 scan line RCA system and systems designed by the
ATSC
on June 12, 2009.
1950s
The National Television System Committee (NTSC) was reconvened in January 1950 to decide the revision to their original format to allow for color broadcasting. There were competitive format options offered by the Columbia Broadcasting System that were not downwardly compatible with the existing NTSC format.
In the early 1950s, 12 volt electric systems were introduced to automobiles in an effort to provide more starting power for big engines which were getting popular at the time; while reducing the current. Six volt systems were still popular since they were commonplace prior to the decade. However, 12 volt systems became the de facto standard.
SCA services such as in-store broadcasting and background music. FM station owners successfully lobbied the FCC
to adopt the GE/Zenith system in 1961, which was SCA-compatible.
1970s
VHS and Betamax tapes
Various
Quadraphonic encoding methods: CD-4, SQ, QS-Matrix, and others. The expense (and speaker placement troubles) of quadraphonic, coupled with the competing formats requiring various demodulators and decoders, led to an early demise of quadraphonic, though 8-track tape experienced a temporary boost from the introduction of the Q8 form of 8-track cartridge. Quadraphonic sound returned in the 1990s substantially updated as surround sound
. The competition started in 1976 and by 1980, VHS controlled 70% of the North American market. VHS's main advantage was its longer recording time. From the consumer perspective, VHS blank media held more hours and therefore was less expensive.
The first small format video recording devices were open
television tuners to record TV broadcasts. These never caught on in the consumer market but did find their way into educational television and were the mainstays of early public-access television stations. The uniformity of the EIAJ-1 format was the result of a developmental format war between Sony and Panasonic, each of whom were aiming at this market. The existence of the Electronic Industries Association of Japan
(EIAJ) was the Japanese electronics industry's answer to some potential format wars.
video disc formats. All of these ultimately failed to achieve widespread acceptance, although LD found a considerable videophile niche market that appreciated its high quality image, chapter select and widescreen presentation. The LaserDisc remained available until the arrival of the DVD. Mainstream consumers preferred the recordable videotape for capturing broadcast television and making home movies
, and made VHS the de facto standard video format for almost 20 years (circa 1982 to 2002).
AM stereo was capable of fidelity equivalent to FM but was doomed in the United States by competing formats during the 1980s with Motorola's C-QUAM competing vigorously with three other incompatible formats including those by Magnavox, Kahn/Hazeltine, and Harris. It is still widely used in Japan, and sees sporadic use by broadcast stations in the United States despite the lack of consumer equipment to support it.
S-VHS-C tape formats (see camcorder). This is an extension of the VHS vs. Betamax format war, but here neither format "won" widespread acceptance. Video8 had the advantage in terms of recording time (4 hours versus 2 hours maximum), but consumers also liked VHS-C since it could easily play in their home VCRs
, thus the two formats essentially split the camcorder market in half. Both formats were superseded by digital systems by 2011.
Micro Channel Architecture (MCA) vs. Extended Industry Standard Architecture (EISA). Up to the introduction of MCA, personal computers had relied on a 16 bit expansion system which was later christened 'Industry Standard Architecture' (ISA). IBM introduced a new range of personal computers featuring a new 32 bit expansion system which they called MCA. It was at this point that the rest of the personal computer industry named the existing expansion system as ISA. IBM wanted substantial royalties from any manufacturer wishing to adopt the MCA system (largely in an attempt to recover lost royalties that they believed that they were owed due to the wholesale cloning of their original 'PC', a task that was greatly simplified by the 'off the shelf' nature of the design). IBM's competitors jointly responded by introducing the EISA expansion system which, unlike MCA, was fully compatible with the existing ISA cards. Eventually, neither MCA nor EISA really caught on, and the PCI
Philips' Digital Compact Cassette (DCC) vs. Sony's MiniDisc (MD): both introduced in 1992. Since affordable CD-R was not available until about 1996, DCC and MD were an attempt to bring CD-quality recording to the home consumer. Restrictions by record companies fearful of perfect digital copies had limited an earlier digital system (DAT) to professional use. In response, Sony introduced the MiniDisc format which provided a copy control system that seemed to allay record companies' fears. Philips introduced their DCC system around the same time using the same copy control system. Philips' DCC was discontinued in 1996 but MD successfully captured the Asia Pacific market (e.g. Japan, Hong Kong, Singapore, etc.) and initially did well in parts of Europe. The consumers in other parts of the world chose neither format, preferring to stick with analog Compact Cassettes for home audio recording, and eventually upgrading to now affordable CD recordable discs and lossy-compressedMP3 formats. Production of MiniDisc systems finally ceased in 2013, however Sony continues to produce blank discs in Japan to this day.
Rockwell
K56flex – In the race to achieve faster telephone linemodem speeds from the then-standard 9.6 kbit/s, many companies developed proprietary formats such as V.32 Turbo (19.2 kbit/s) or TurboPEP (23.0 kbit/s) or V.FAST (28.8 kbit/s), hoping to gain an edge on the competition. The X2 and K56flex formats were a continuation of that ongoing battle for market dominance until the V.90 standard was developed in 1999. For some time, online providers needed to maintain two modem banks to provide dial-up access for both technologies. (See "modem
" for a complete history.)
Medium-capacity removable
Zip format ultimately prevailed, with capacities of 100 and 250 megabytes, plus the rather less popular 750 MB system; but these media and their drives were quickly supplanted by the much slower but far cheaper recordable compact disc CD-R (early models use a caddy to ensure proper alignment and help protect the disc). The CD-R has the advantage of existing wide industry standards support (the Red BookCD-DA standard for audio discs and the Yellow BookCD-ROM standard for data read-only CD), with the low-level recording format based upon the popular and low-cost read-only compact disc used for audio and data. Sony tried to establish "MD Data" Discs as an alternative, based on their MiniDisc R&D, with two computer peripherals: MDH-10 and MDM-111
.
External bus transfer protocols: IEEE 1394 (FireWire) vs. USB. The proliferation of both standards has led to the inclusion of redundant hardware adapters in many computers, unnecessary versioning of external hardware, etc. FireWire has been marginalized to high-throughput media devices (such as high-definitionvideocamera equipment) and legacy hardware.
Video disc formats: MMCD versus SD. In the early 1990s two high-density optical storage standards were being developed: one was the MultiMedia Compact Disc (MMCD), backed by Philips and Sony, and the other was the Super Density disc (SD), supported by Toshiba, Matsushita and many others. MMCD was optionally double-layer while SD was optionally double-sided. Movie studio support was split. This format war was settled before either went to market, by unifying the two formats. Following pressure by IBM, Philips and Sony abandoned their MMCD format and agreed upon the SD format with one modification based on MMCD technology, viz. EFMPlus. The unified disc format, which included both dual-layer and double-sided options, was called DVD and was introduced in Japan in 1996 and in the rest of the world in 1997.
More video disc formats: Video CD versus the DVD. While the MMCD and SD war was going on, Philips developed their own video format called the Video CD. While the format quickly flopped in the U.S., in Europe and Japan the battle waged on fiercely, as the VideoCD's lower production cost (and thus sales price) versus the DVD's superior audiovisual quality and multimedia experience resulted in a split market audience, with one end wanting cheap media without minding the lower quality and multimedia richness, while the other willing to pay a premium for the better experience DVD offered. The battle was settled by the movie industry who rapidly refused to issue any more VCD discs once CD recorders became available. Unlike DVD, the VCD format had no copy protection mechanism whatsoever.
Digital video formats:
20th Century-Fox, and Paramount Pictures) initially released their movies exclusively in the DIVX format.[5] However, video rental services found the multi-use DVD more attractive, and videophiles who collected films rejected the idea of a pay-per-view
disc.
Adapter for SD to CF(I)
microSD, are compatible with their parent formats, while later Memory Sticks break compatibility with the original format. After SD was introduced in 1999, it eventually won the war in the early 2000s[7] decade when companies that had exclusively supported other formats in the past, such as Fujifilm, Olympus and Sony
, began to use SD card in their products. The CF slots continued to be favoured for high-end cameras, but there are adapters for SD cards to be used in them.
, as an alternative format with the same objectives.
S-video. Composite video inputs had more widespread support since they used the ubiquitous RCA connector previously used only with audio devices, but S-video used a 4-pin DIN connector
exclusively for the video bus.
Wireless communication standards: Through the late 1990s, proponents of Bluetooth (such as Sony-Ericsson) and WiFi competed to gain support for positioning one of these standards as the de facto computer-to-computer wireless communication protocol. This competition ended around 2000 with WiFi the undisputed winner (largely due to a very slow rollout of Bluetooth networking products). However, in the early 2000s, Bluetooth was repurposed as a device-to-computer wireless communication standard, and has succeeded well in this regard. Today's computers often feature separate equipment for both types of wireless communication, and both are ubiquitous in modern smartphones.
Disk image formats for capturing digital versions of removable computer media (particularly CD-ROMs and DVD-ROMs): ISO vs. CUE/BIN vs. NRG vs. MDS vs. DAA, etc. Although the details of capturing images are complex (e.g., the oddities of various copy protection technologies applied to removable media), image formats have proliferated beyond reason - mainly because producers of image-creating software often like to create a new format with touted properties in order to bolster market share.
Single-serve coffee containers: Major players include Nestlé’s Nespresso which started in 1976, but became popular in the late 1990s and was later joined by Senseo, Caffitaly, Keurig and Tassimo. These systems were created to give out a single serving of fresh ground coffee through a capsule. By the end of the 2010s, as the patents on the original systems expired, allowing rival companies to make cheaper capsules, Nespresso came out on top in most of the world, but Keurig dominated the North American market.
. DVD-RAM has largely relegated to a niche market, but both of the other recordable DVD formats remain available. Since practically all PC based DVD drives and most new DVD recorders support both formats (designated as DVD±R recorders), the 'war' is effectively moot.
lossless
format, emerged later and has become accepted by audiophiles. Consumer outcry against software incompatibility has prompted portable music player manufacturers such as Apple and Creative to support multiple formats.
Anwell
, and others, announced the exclusive support for Blu-ray products, ending the format war.
in 2017. Its rival LG does support Dolby Vision. With widespread availability of HDR television during 2018 it can be seen that products supporting Dolby Vision do also allow HDR10+ as input.
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