The main remote control for the Beosystem 5000, the MCP 5000 allowed full control of your Beosystem from your armchair.
Two way control allowed the status of the system to be ascertained easily and complex timer programming was possible using the controls under the flip down panel.
The MCP 5000 could only be used with the Beomaster 5000 and could be part of a multi-room system allowing full control in a link room. MCP5000 will not operate any of the other systems such as the Beosystem 5500, 6500 and 7000.
Beocord 7000 was a high-quality cassette recorder used specifically with Beosystem 7000. When playing cassettes, the order of the tracks could also be changed and the recorder could also find a specific track on a tape. Other functions included Auto Reverse, Auto Record levels, Dolby B and C as well as Bang & Olufsen’s recording system HX-Pro, which ensured that the sensitive treble range is captured in recording.
Beocord 7000’s features were supplemented by an abundance of special features. Space available precludes a more full description of elements such as the design of the peak programme meter, locally operated functions such as microphone recording, memo set/go, adjustment of the maximum record level and so on.
Main features:
Auto record level
Auto track search/auto reverse
HX Pro
Auto Dolby B-C
Auto tape switch
All operation available from Beolink 7000, with full display readout of track bar, counter, record level, Dolby NR, auto reverse functions, sequence programming etc.
Recording with Beosystem 7000 was a system feature, with benefits such as automatic signal routing, record lock, etc. Beocord 7000 contributed a lot to the convenience of the system and the unique auto record level was the feature that made remote controlled recording a real possibility – without compromising the quality of the recording. To further ensure a high and consistent sound quality level Beocord 7000 was equipped with HX Pro.
Auto record level
Auto record level is a unique Bang & Olufsen feature and ensures a uniform and optimal recording level from all sources, from tape to tape, without overload. Major benefits of auto record level are:
all tapes recorded with auto record level have the same optimum level, without overload and therefore without distortion
a recording can be started immediately and directly, without any pre-adjustments
you do not have to supervise a recording to adjust record level and the system recording even stops the recording when the source runs out, or stops the source when the tape runs out
if auto record level interferes and adjusts the recording it is done in such a way that it is not noticeable in playback. The dynamic range of the recording will not be impaired and the adjustments are carried out so early that overload is precluded.
The assets of auto record level are obvious when a comparison is made between those carried out on a standard recorder without auto record level and those with.
Recording on a standard recorder requires you to supervise the recording in order to step in if the manually set input level is too high. In this case you would have to adjust the record level down when a signal with a high dynamic content is to be recorded. If this is not carried out the tape will be overloaded and the music distorted. Without auto record level, copying is in real-time, which means that you will have to pay attention all the time you are recording (or risk a distorted recording). And when a very wide dynamic signal threatens to overload the tape being recorded, the record level must be lowered quickly, which will often be audible in subsequent playback, either as a suddenly lowered output volume or as a distorted signal because the record level was lowered too late.
Auto record level is an efficient remedy to this problem, without both disadvantages mentioned above. Primitive solutions reduce the record level when powerful signals are recorded and increase the record level when weak or no signals are recorded. The result can be a fluctuating dynamic range with, for example, pauses between tracks causing the recording level to rise dramatically and the noise level with it.
The Bang & Olufsen solution
The auto record level in Beocord 7000 was monitored by the microcomputer interacting with the peak programme meter indicator on the front of the cassette deck. Auto Record Level only reduces the record level and only if the signals exceed the set value for a certain period. In this way brief noise pulses, such as the ones resulting from scratches on a record, do not lower the record level. When a signal of more than +2 dB above the set value is encountered, the microcomputer lowers the record level with 2 dB. The recording continues at the lowered level unless even louder signals appear and trigger new reductions.
Other advantages of auto record level are:
it is applied to all sources, even if you record sound from a video source
the preset values can be changed, e.g. if you use special tape formulas
auto record level can be overridden while you are recording, or you can make a recording with manual adjustment of the record level
You did not have to pre-adjust Beocord 7000 before you started a recording. Another feature was the auto tape switch, i.e. an automatic adjustment to the three tape types, metal, chrome and ferro, by means of three electronic sensors located in the cassette holder. Auto-reverse was the default mode both in recording and playback, i.e. Beocord 7000 automatically continued the recording (and playback) on side two, when side one ran out. The turning time from side one to two was very short, because an optic sensor registered the lead-in tape and executed the 180 degree turning of the tape head immediately. Auto reverse could be cut out manually to protect side two from being recorded. This had to be done prior to record start.
Track Search
Beocord 7000 featured track search, based on pauses between individual tracks. You could also make a sequence programming, operated just like CD. Track search was available no matter if the track was on side one or two of the tape. Even if you executed a manual TURN function (i.e. change playback direction) the microcomputer registered the turning point and if you selected a track after the turning point the search for this track would be initiated at the turning point. Track numbers could be displayed on Beolink 7000.
Auto Dolby
Another convenience was the Auto Dolby function. All tapes recorded on a Beocord 7000 contained inaudible information as to whether the tape was recorded with Dolby B, Dolby C or no Dolby noise reduction. The registration of noise reduction type was dynamic and in case the circuit registered a change during playback the reduction was automatically changed. If no signal was registered, e.g. on a pre-recorded tape, the noise reduction last selected would remain active, until altered manually (see more below).
HX-Pro
Beocord 7000 was equipped with HX Pro, like all other ‘stackable’ Bang & Olufsen audio tape recorders. HX Pro is an acronym for Headroom Extension Professional and tapes recorded with HX Pro give a better reproduction quality on playback, no matter which tape deck they are played on. Both the dynamics and the the signal capability in the treble range is improved. The improvements are most noticeable in the reproduction of treble signals, but also the midrange will be influenced in a positive way. At 10KHz the signal loading capability is improved by approximately 8dB for chrome tape, 5dB for ferro tape and 3dB for metal tape formulas.
Beocord 7000 could ideally be used as part of Beosystem 7000.
A light touch to the front of the Beocord 6500 cassette recorder released the loader which glided out slowly and silently in order to allow you to insert a cassette. You could use whichever type of cassette you prefer; or choose between Dolby B or C Noise Reduction systems… and rejoice in Bang & Olufsen’s patented HX-PRO recording system which ensured optimal sound reproduction, particularly in the difficult, high-frequency range. And, naturally, Beocord 6500 had auto-reverse so that both sides of the tape played as one.
Beocord 6500 could be used as part of the Beosystem 6500 hi-fi system.
Auto Record level
One of the less-pleasant chores in making a recording is setting level control to its optimum position. Setting it too low raises the level of background noise on the recording. Setting it too high makes the recording distorted at high music levels. With this in mind, Bang and Olufsen introduced an automatic record mode which was called ‘Auto Record’.
Auto Record worked in two steps: when the record button was pressed for the first time, the cassette recorder went into a record pause mode, where the incoming signal was monitored. Under microprocessor control, the highest level was monitored and the record level was set at the optimum level for that music. On pressing the record button the second time, the tape was set in motion and the recording started, but continuing to make minor adjustments. If at any time during the recording, the level of music rose above the monitored level, the level control was lowered by exactly the amount required for the new optimum recording level.
This method of setting the level control closely imitated the action of a highly skilled recording engineer, if asked to set the level for a recording. It was the best that could be done when the full recording could not be monitored before recording started.
This feature incorporated a new method of monitoring the signal, which proved to be a more effective method over conventional methods. It was patented by the company with the patent number 158702.
Three variations on a theme… Beo4 over the years. From the Mark I version introduced in 1994 with its central ‘AV’ button, the Mark II version introduced in 1999 to accommodate the then recently introduced DVD format, and the November 2004 Mark III inception with its noticeable DTV, VMEM and AMEM buttons.
Beo4 is the key to all current Bang & Olufsen television and music systems. A remote control must be able to be operated in the dark, without glasses and without moving your eyes from the screen. That’s why the most often-used controls on the Beo4 are gathered together on one multi-functional button which you can control with just your thumb: programme shift, video play and wind. Choose a function and your command is registered on the Beo4’s LCD display. Simple and logical, so the manual can be put away after a few days. The design is ergonomical and so tough that Beo4 can be left in the hands of the youngest user.
Beo4 Mark III Update – November 2004
Released in order to ensure that the remote control keeps up to date with products currently sold, as well as new products on the horizon, Beo4 Mark III was produced for sale at the end of 2004.
Visual changes were made to the V.TAPE, A.TAPE and SAT buttons and are now renamed V.MEM, A.MEM and DTV. A number of changes have also been made to the ‘LIST’ functions. The part number of the new remote is: 1162700
Beo4 remote control is provided with all new Bang & Olufsen TV receivers. It may be purchased as a separate accessory (around £155 – 2004 prices) to control audio equipment and lights. It works with all recent (post-1994) Bang & Olufsen products and also Beolink® around-the-house systems. It is one of the most powerful remote controls on the market; so much so, that the user needs not point it directly at the appliance being controlled.
The star-shaped control can be operated by your thumb alone – you don’t need to move your eyes to look to see what you’re doing. Extra ‘buttons’ can be programmed into the unit to control other not so much needed functions of Bang & Olufsen products.
Plastic-free surface on remote control units
“Surface treatment is very important to Bang & Olufsen. It affects not only the appearance but also the feel of a piece of equipment” states Technology Director Peter Petersen. “A product is created to be used, and you can’t do that without touching it.”
“A Bang & Olufsen terminal – or remote control – must sit nicely and comfortably in the hand. So we don’t coat it with plastic. A plastic terminal somehow doesn’t feel as genuine as ours. And gets hot and sweaty, too. After a great deal of work on the choice of materials we have selected zinc for all our terminals. It sits well in the hand and is pleasant to touch. The heat from the hand is conducted away, so the terminal never feels clammy. In design terms, this choice represents an extra form of quality.”
Bang & Olufsen terminals, of course, are not just attractive to the eye and pleasing to the hand. User interface is in fact one of Bang & Olufsen’s main concerns, where technology is really put in the service of humankind. Through logic operations, in fact, B&O’s remote control units make life with the product a pleasant experience.
Handing it intuitively to Bang & Olufsen: a history of remote controls
Bang & Olufsen’s first remote control came on the market in 1974. That year, Bang & Olufsen launched two products, each with a remote control of the same design. It was the size of a small cigar case and had a steel top plate. These two remote controls, which were not integrated, were the Beovision 6000 Commander and the Beomaster 6000 Commander. The TV remote control allowed the user to select programmes and picture quality from the comfort of an armchair. The remote control for the stereo enabled the user to control a four-channel sound system.
Before too long remote controls became smaller, in the form of Beovision 6002’s Beovision Control Module. The buttons on its surface were designed so that you could use the remote control without looking at it. Those for turning down a setting were shaped to curve downwards, while the buttons for turning up a setting curved upwards.
The following Video Terminal was cast in zinc so that heat was conducted away from the palm of the hand. This remote control, which used an infrared beam, was launched in 1980. It was quite narrow, with a keypad that both resembled and functioned the same way as the buttons on a telephone. This was another way of helping the user to operate the remote control without looking at it. This version introduced additional buttons for operating Teletext TV.
The following year, Bang & Olufsen added functions for operating video recorders and a new version of the Beovision Control Module. System integration had advanced to the point of sharing a remote control between the Beovision 8800 and Beocord 8800 Video.
The next generation of remote controls arrived when it became necessary to transfer more operating information that, for purely technical reasons, could not be incorporated into a single remote control. Now sound could be transferred between the television and the stereo system. This became possible with the combination of a video terminal and an audio terminal into an AV Terminal – the forerunner of Beolink 1000 – in 1985.
In 1987, all audio, video and audio/video remote controls were integrated into one unit with the Beolink 1000. Since then, Bang & Olufsen has pursued a strategy of only having one remote control for all products – most recently with Beo4, which is capable of operating all products. Beo1 is a minor exception to the strategy. It only operated Beocenter 1 and Beovision 1 and was intended for a new customer segment, which it did not completely succeed in capturing. For this reason, it was replaced by the Beo4 from autumn 2002.
Beo4 Specifications
In general, Bang & Olufsen’s development of remote controls can be summed up in a simple concept: Intuitive use. It is important to be able to adjust sound and picture from wherever you may be in the home. Accordingly, Bang & Olufsen has chosen simple functions – and that, of course, also has implications for the design of the remote control. It’s easy enough to pack a lot of buttons and functions into a remote control, but Bang & Olufsen has chosen a simple operational philosophy for the customer.
Beo4 has relatively few buttons, but it can retrieve a lot of information if required. That is what you call quality. Since the development of the first remote control cast in zinc, the company’s remote controls have had a certain intrinsic weight. This helps to give a sense of quality. Last but not least, the remote control is renowned for having a long range. You don’t have to get into a special position to communicate with the system. Once you have the remote control in your hand, you are ‘in total command’.
On the amplifier itself were buttons for adjusting bass and the level of sensitivity. This meant that you could arrive at a permanent adjustment that matched the room exactly.
BeoLab 150: Controlled overdrive
At the base of the BeoLab Penta column was the BeoLab 150 amplifier with a power output of 175 watts DIN/IEC. This could give your music a tremendous boost, both to the quality and the actual power output. It was ideal if you loved to party but had a relatively small music system. Big power needs careful control – so the amplifier was equipped with Bang & Olufsen’s Dynamic Soft Clipping system. This was a circuit that prevented both distortion and damage to the speaker units by softly rounding off signals that were too powerful. Another circuit prevented damage due to prolonged overloading.
BeoLab Penta turned on automatically when it received a signal and also turned itself off three minutes after receiving the last signal. BeoLab Penta had a light display that indicated the volume level and which sound source the music was coming from. This was especially useful with Beosystem 5500 and Beocenter 9500.
BeoLab 150 and 200 were used as part of the BeoLab Penta active loudspeakers range.
Connections:
At the bottom of BeoLab 150 were two clip-sockets and a four pole DIN socket for connecting speakers, a line input phono socket and a mains cable.
As easy on the eye as they are on the ear, BeoLab 6000 loudspeakers – designed by David Lewis – defy conventional thinking in delivering the maximum sound from the minimum of space.
There’s not much point in thinking about BeoLab 6000 in terms of watts, woofers or tweeters. There has never been loudspeakers that look like this – or so clear and rich a sound produced from such slender cabinets. BeoLab 6000 represents both the engineering skills as well as the design capabilities from Bang & Olufsen.
BeoLab 6000 is probably one of the most famous speakers around today being a part of the standard exhibition at the Museum of Modern Art in New York along with some other Bang & Olufsen equipment, namely the Beovox Cona (a subwoofer) and the Beocord VX5000, which by the way looks almost exactly as the VX7000 does. BeoLab 6000 is a smaller version of the BeoLab 8000 with the same active construction but with even smaller net volume: 3 litres.
A great advantage with the BeoLab 6000 is the fact that it has two PowerLink connections giving the possibility to loop-through the signal to the second speaker directly. This speaker is used very often as the second pair in a Dolby Pro-Logic setup for example in the AV9000 system.
” When it comes to sound reproduction we believe there’s only one relevant parameter: How close can we come to the originally recorded sound. We feel an obligation not to disturb the intentions of the artist by adding unnatural elements to the acoustic image. Therefore all Bang & Olufsen loudspeakers share the same goal. They differ in size and shape and in terms of sound pressure level. But they are all developed to reproduce the natural, unaltered sound as closely as possible ” – Bang & Olufsen catalogue 2001 – 2002
Features:
BeoLab 6000 fills the room with sound
The choice is simple – you can fill your home with big black boxes, or you can make a stand with BeoLab 6000 and fill it with beautiful sound and beautiful looks.
Aluminium
Formed from a single piece of aluminium, BeoLab 6000 is shaped to stand out from its surroundings, but coloured to match any Bang & Olufsen audio or video setup.
Active loudspeaker benefits
How does B&O reduce the overall size of a loudspeaker, but improve its sound performance? It can only be done by placing the amplifiers directly into the loudspeaker cabinet. It’s called ‘Active Loudspeaker Technology’ and is used to combine the purest of sounds with the smallest and simplest of shapes.
Fits any room
With a height of just 110cm and a depth of 10cm, finding space for a pair of BeoLab 6000 speakers is never going to be a problem. Its superior sound capabilities ensure that its performance will never dictate your placement options. The polished aluminium cabinet is available in a range of colours – black, blue, green, red and natural – that will match any Bang & Olufsen audio or video setup.
Materials and finish
The deliberate choice of material, and the final surface treatment of the products’ finish, are characteristic of Bang & Olufsen and one of their true core competences. B&O’s designers know that people use several of their senses in experiencing a product. They therefore derive great pleasure from tactile experiences, whether they are touching a cold or a warm surface, or one that is smooth or textured. The span of materials used for Bang & Olufsen products is wider than that of any other company within the trade, and they are carefully selected for their high quality and their ability to fit naturally into a home environment. The finish is then refined to perfection and created to provide a tangible experience that supports the visual impression.
Why build amplifiers into the loudspeakers instead of keeping them separate?
Because you can reduce the size of the cabinet volume to one-third of the size of a conventional loudspeaker with the same sound capacity. The principle is called Active Loudspeakers, and what you get is a compact loudspeaker that can play at high volume without distortion or damage to its drive units.
Furthermore, when amplifier, treble and bass units are paired for the same task, they can be tailored to compensate for each other’s shortcomings. What you hear is music that sounds exactly like the instrument it originally came from (See active speakers)
Deep bass: how to make deep bass with a shallow cabinet
All loudspeakers, regardless of brand, size or construction, make sound by converting electric energy into acoustic energy. They push air in waves, which is what our ears pick up. To get high sound pressure, you need to move a lot of air.
You can use a very large diameter loudspeaker membrane, which moves a very short distance. Or (as Bang & Olufsen prefer), you can make the membrane “deeper”, in other words, make it move a greater distance with a smaller diameter. Imagine two balloons, one round and shaped like a ball, the other long and tubular. Both contain the same amount of air; it’s simply their shapes that are different.
A side benefit to the deeper membrane is that it allows a smaller cabinet, with greater freedom as far as form and function are concerned.
Since no two loudspeaker units have exactly the same physical characteristics, Bang & Olufsen calibrate them individually to make certain that the sound of each and every loudspeaker leaving our factory is identical. By employing an active electronic crossover network with equalization, we’re able to adjust frequencies before they’re amplified. The signal from the sound source is shaped before distribution to the separate power amplifiers for bass and treble.
In this way, the performance of the various components is “fine-tuned”, until they produce an ideal, harmonised output, which will be the same, no matter which BeoLab loudspeaker you feast your eyes upon. The custom made driver units of a BeoLab loudspeaker feature extra-heavy membranes with longer movement, which help produce a deeper bass.
Adaptive Bass Linearisation
Adaptive Bass Linearisation (ABL) is a process patented by B&O and is incorporated in BeoLab loudspeakers. The idea is to use the surplus capacity in amplifiers and driver units, arising by normal listening levels, for a bass extension – a sound reproduction with more bass, than the loudspeaker otherwise would be able to produce.
The function is adaptive. This means that the loudspeaker adapts to the signal it receives. Loudspeaker drivers are therefore fully exploited, without suffering mechanical or electronic abuse, and the built in amplifiers are not subjected to signals would otherwise create an overload situation.
ABL gives stunning bass reproduction considering the size of the loudspeaker in which it is incorporated, under normal listening levels.
BeoLab 6000: active loudspeaker, 2 power amplifier modules, adaptive bass linearisation and aluminium cabinet.
At the base of the BeoLab Penta column was the BeoLab 150 amplifier with a power output of 175 watts DIN/IEC. This could give your music a tremendous boost, both to the quality and the actual power output. It was ideal if you loved to party but had a relatively small music system. Big power needs careful control – so the amplifier was equipped with Bang & Olufsen’s Dynamic Soft Clipping system. This was a circuit that prevented both distortion and damage to the speaker units by softly rounding off signals that were too powerful. Another circuit prevented damage due to prolonged overloading.
BeoLab 150: Controlled overdrive
On the amplifier itself were buttons for adjusting bass and the level of sensitivity. This meant that you could arrive at a permanent adjustment that matched the room exactly.
BeoLab Penta turned on automatically when it received a signal and also turned itself off three minutes after receiving the last signal. BeoLab Penta had a light display that indicated the volume level and which sound source the music was coming from. This was especially useful with Beosystem 5500 and Beocenter 9500.
BeoLab 150 and 200 were used as part of the BeoLab Penta active loudspeakers range.
Connections:
At the bottom of BeoLab 150 were two clip-sockets and a four pole DIN socket for connecting speakers, a line input phono socket and a mains cable.
“BeoLab 4 is a compact, flexible loudspeaker concept at a highly attractive price point. In addition to its use with the BeoSound 4 music system, BeoLab 4 can also be combined with PCs or be part of other Bang & Olufsen music systems. Offering a large number of positioning options, BeoLab 4 is scheduled for initial roll-out in the second quarter “- taken from Bang & Olufsen’s Financial Report, August 2005 .
BeoLab 4 was launched in November 2005 as a new entry-level loudspeaker concept. They are designed to be discreet yet offer exceptional performance for their size. They can be used as stereo loudspeakers with an audio system, as front or rear loudspeakers within a surround sound set-up, and as link room loudspeakers or with a computer.
BeoLab 4 are 2-way stereo loudspeakers with a 2cm tweeter and a 10 cm bass loudspeaker. Each driver is powered by a 30 Watt ICE power amplifier. They also feature a placement switch to adapt the bass performance depending on their position in the room. This is similar in operation to BeoLab 2 with a wall-mounted, corner or free-standing position. In line with the versatile concept, BeoLab 4 adapts its bass performance to the specific placement in the room. A switch is set to match a wall-mounted position, a corner position or a free-standing position to ensure optimum performance. BeoLab 4 features Adaptive Bass Linearization (ABL), Bang & Olufsen’s proprietary technology for ensuring superior bass performance from loudspeaker cabinets with modest physical dimensions.
Pyramid power to super charge your laptop
With a 3.5 mm mini jack Line input, dedicated PC mode and low price, BeoLab 4 is a realistic solution to be sold with non B&O masters such as PCs or as even for portable MP3 players There are two new adaptors to support connection to these sources:
6270273 2 – piece set of 3.5 mm mono mini plug > RCA M, for BL4 w/ non B&O system.
6270250 3.5mm stereo mini plug > 2 x 3.5 mono mini plugs for PC connected to BL4s
Placement
To support the versatility of the loudspeaker, BeoLab 4 is supported with a range of stand options. On its built-in foot, BeoLab 4 can easily be placed on a bookshelf or a table. Furthermore, BeoLab 4 can be mounted on the wall or to the ceiling by means of the optional wall and ceiling brackets. Finally BeoLab 4 can be placed on a dedicated floor stand.
Colour options
The covers are made of a special fabric and will be available in 4 different colours – Black, Dark Grey, Red and Blue. Thanks to a simple snap-on system, it is easy for the customer to change to another colour if required.
With the release of the BeoLab 4 loudspeaker, Bang & Olufsen has once again shown that excellent sound is wonderfully compatible with the design and crafting of a compact and intriguing cabinet. BeoLab 4 will be available towards the end of 2005. Despite its modest size, the pyramid-shaped BeoLab 4 is a true hi-fi loudspeaker, with the amplifier built in to the loudspeaker unit and a range of Bang & Olufsen proprietary acoustic technologies ensuring the best performance. In terms of design and placement options, BeoLab 4 is the perfect accompaniment to the new BeoSound 4 audio system, and the small dimensions suit well as rear speakers for home cinema, or as superbly performing PC loudspeakers.
Flexibility is the key
“In today’s audio market, flexibility is central to our business. Our customers expect to be able to hear music wherever they may be, without any diminishment in quality,” says Michael Jensen, Product Manager, Bang & Olufsen. “BeoLab 4 complements our other BeoLab loudspeakers and sound solutions by ensuring that listening experiences from the living room to the bedroom or home office are of an equally high quality.”
It is often unnecessary to use large loudspeakers as the rear speakers for home cinema, and BeoLab 4 can fill this role. Furthermore, BeoLab 4 has a dedicated PC mode, making it a superbly performing PC loudspeaker. Bang & Olufsen’s well-known BeoLink system ensures the total integration of all entertainment at home, and BeoLab 4 is a great solution for remote loudspeakers that can be placed discretely around the house and linked to home entertainment systems.
A perfect blend of expression and technology
BeoLab 4 is available with a range of stand options for the wall, floor or table that complement the stands for the new BeoSound 4 audio system. BeoLab 4 can even be tastefully hung from the ceiling, and the cloth covers are available in four colours. Three bass presets ensure that BeoLab 4 performs according to its placement in a room – whether in a corner, against a wall, or free-standing in the room.
BeoLab 4 is, like all BeoLab loudspeakers, an active loudspeaker, meaning that the amplifier unit is placed in the cabinet to ensure no deterioration of signal strength between the amplifier and loudspeaker unit. The ICEpower amplifier unit used is a patented Bang & Olufsen solution, allowing for an ultra-compact design, high power output, and cool operation. Adaptive Bass Linearisation, another proprietary Bang & Olufsen technology, offers superior bass performance from modestly- dimensioned loudspeaker cabinets. In addition, circuit protection technology ensures BeoLab 4 never overheats.
Mounting Options
BeoLab4 were conceived as a table top speaker with optional floor stands featuring a stainless steel turned pole. Cables could not be internally routed within the stand and so a silver sock was supplied, which proved not to be popular.
It’s a fact that not all compact disc players are ideal for all types of music. Some of them seem to highlight certain parts of the frequency range. But you can be confident that Bang & Olufsen’s CD players never discriminate between rock and roll and classical. They smooth over faults in the CD very cleverly too, because not all compact discs are perfect. So it’s just as well that Bang & Olufsen CD players are!
Beogram CD 3300 was part of Beosystem 3300 although it could have been used as a stand-alone item.
To complement Beocenter 8500, a dedicated record player – Beogram 8500 – was designed specifically for this particular hi-fi centre.
The technical aspects of Beogram 8500 were identical to Beogram 9500; it was only the finish that was different which was coloured soft grey to complement the rest of the system.
