An update to the cheapest of the column speakers, this saw the Class AB amplification discarded along with the large heat sinks. Instead 2 cool running ICE amplifiers were fitted, both rated at 125W.
The LED was repositioned and the finish of the foot changed to match the TV range. A three position switch for wall, corner and free position settings was now fitted and the previous model’s phono plug was deleted. 2 Powerlink sockets were still present though.
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.
” 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
Squeeze a pair of BeoLab 4000s into the bookcase in your study and link them to the music system in the living room, via a Beolink® ‘eye’, which responds to your remote control. Whether it’s a matter of placement or simple colour co-ordination, BeoLab 4000 turns flexibility into an art form. Placing amplifiers directly in the loudspeakers themselves not only improves sound quality but allows the manufacturer to reduce the cabinet’s overall size. The result is a compact loudspeaker that can sit on a shelf, bookcase or hang, at almost any angle, from the wall or ceiling. Available in six vivid colours, BeoLab 4000 is equally at home in a stereo setup, a surround sound system or as superior multimedia speakers for your computer.
Features:
BeoLab 4000 fills the room with sound
You can’t see sound, but that doesn’t mean that it has to be totally invisible. BeoLab 4000 is formed from aluminium that’s polished until it shines like a mirror. It also comes in an array of colours – not only to suit your interior decoration, but because life itself is full of colour
Aluminium
Aluminium is the perfect material for BeoLab 4000. It’s light, but offers an impressive stiffness despite a thickness of only a few millimetres. It also makes it easier to obtain the loudspeaker’s unique curved form, which is important for avoiding problems with audible artefacts due to internal standing waves in the cabinet
Active loudspeaker
The equation used to be a simple one; the louder the sound, the bigger the loudspeaker – but not anymore. Placing the amplifier directly into the loudspeaker allows us to reduce the overall size of the BeoLab 4000 to one third of a conventional loudspeaker with the same sound capacity.
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.
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.
The cube
During the development phase, all BeoLab loudspeakers are put through their paces in ‘The Cube’, Bang & Olufsen’s own acoustic measurement facility. In the 12 x 12 x 13 metre room, the entire audible spectrum is played through the loudspeaker to give a perfect picture of it’s sound ‘fingerprint’.
Performance
To ensure an optimal performance every time you listen to it, a BeoLab loudspeaker constantly fine-tunes the signal received from the sound source before distributing it out to the separate bass and treble power amplifiers.
The listening panel
Since it’s humans that will listen to BeoLab 4000, it’s important that a human ear should also measure its quality. That’s why Bang & Olufsen employs its own Listening Panel to scrutinise every step in a loudspeaker’s development. If any sonic shortcomings are discovered, the whole project is returned to the drawing board.
Individual Calibration
Since no two loudspeaker units have exactly the same physical characteristics, we calibrate them individually to make certain that the sound of each and every BeoLab 4000 loudspeaker leaving the factory is identical.
Appearance
Using aluminium for the cabinets is not just about looking good. Despite a thickness of only a few millimetres, it’s a remarkably strong metal that’s easily shaped to eliminate the problems with audible artefacts due to internal standing waves in the cabinet.
Rule of thumb
Substitute cabinet volume (the amount of space a loudspeaker takes up) for amplifier power (which doesn’t take up much) and cabinets like that of the BeoLab 4000 can be reduced to one-third the size of a conventional, passive loudspeaker with the same sound capacity.
Flexibility in placement
You can use BeoLab 4000 as your main loudspeakers or as extras in a Bang & Olufsen surround-sound set-up. Their ability to fit into the smallest of spaces, or to be hung on the wall at almost any angle, also makes them the perfect loudspeaker for the Beolink® system. BeoLab 4000 owes its shape to the fact that active loudspeakers produce heat if they have to play for a long time without a pause. Squeeze it into a bookcase and it will still have sufficient cooling air around it, no matter how many books it shares its space with. Raised on the optional stand, BeoLab 4000 presents itself at the same angle as BeoSound Ouverture.
Even Cooler?
2007 saw the introduction of the Beolab 4000 Mk2 . Almost unheralded, the main change was the use of ICE amplifiers to replace the AB type. At first glance it would appear that the amplifiers from the Beolab 4 were being used. These offered a power output of 35W each with 2 being used. This was remarkably similar to the real output of the older amplifiers and not surprisingly the maximum sound levels achievable were not changed. Indeed it was unlikely that any customers would have noticed the change if not told.
Part numbers: BeoLab 4000 front covers
Mounting Options
Wall mounting brackets were supplied with this model. Pole mounted Floor Stands were the only other option.
Quality loudspeakers provide well-modulated sound expression, and at the same time a visual personality that also commands attention. Bang & Olufsen’s BeoLab 3000 and Beovox 3000 loudspeakers had both the voice and the looks for a leading, acoustic role. Because of their thin shape, they became known as Panel loudspeakers.
Panel loudspeakers were one of the most exciting examples of how Bang & Olufsen united advanced technology and stunning design to achieve totally new effects. They didn’t look like high specification loudspeakers,, but their sound gave them away. Even at full volume they kept the total sound picture in perfect balance.
The elegant, flat loudspeakers were designed to be hung on the wall. And with their calm surfaces of blue or grey fabric coupled with beautiful, polished steel they looked like works of art presented in their own right. The idea of the panel speakers was based upon an advanced, acoustic principle that uses the wall as an active part of the sound reproduction, without causing the wall itself to vibrate.
They were available with or without amplifier and display showing which source was playing, at what volume, and which track number on a CD or tape you were listening to.
With display and amplifier the panel, speakers were called BeoLab 3000. Without, they were known as Beovox 3000.
The options depended on which Bang & Olufsen sound system was connected. You obtained maximum utilisation from Beosystems 6500, 4500, 3500 and Beocenters 9500 and 8500.
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.
Mounting Options
Wall mounting brackets were supplied with this model. No other mounting solution wall offered.
Bang & Olufsen’s preferred supplier for brackets and stands, STBbrackets, have made a range of solutions specifically for this model. Distributed throughout the World by the Bang & Olufsen store network, the STB options add to the diversity of mounting options and positions available.
»Wall Mounting Brackets
Wall Bracket for BeoVox & BeoLab flat panel speaker range
WB3000 has been introduced to meet a growing demand to mount Bang & Olufsen flat panel speakers to the wall. The bracket (sold as a pair) is a faithful reproduction of the original which was supplied with the speakers. These beautiful speakers can now be installed on to the wall, where they are a genuine and authentic Bang & Olufsen statement.
BeoLab 2500 are active loudspeakers designed to match the BeoSound Ouverture and the BeoSound 3000. With their built-in amplifiers, they sound as if they’re three times their size. Hang them on the wall or place them on bookshelves.
They match both the Beocenter Ouverture and 3000 (previous to this they were used with both the BeoSound 2300 and 2500 music systems) with perspective and clarity, despite their modest dimensions. The explanation of the wide sound lies in the built-in amplifiers in each cabinet: one for bass and one for treble, so that they never have to compete for the same amplifier.
Features:
BeoLab 2500 are active loudspeakers with 2 built-in power amplifier modules to combine with the current (2002) BeoSound 3000 and BeoSound Ouverture. As speakers for the BeoSound 2300 and 2500 music systems, they were available in Blue Lapis, Black Granite, Red Garnet, Green Malachite, Yellow Dolomite and Silver Galena. However, new metal frets were introduced at the end of 2001. From the previous replaceable cloth fronts, they are now manufactured in pearlescent aluminium (see below). These new perforated metal frets presently come in 5 different colours – natural aluminium, black, blue, green and russet to match those of BeoSound 1.
“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
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.
Mounting Options
BeoLab2500 were originally mounted to the HiFi with wall bracket 2087 or physically separated and mounted onto furniture as a bookshelf option.
Hi-fi television acoustics
Packed with advanced technology, BeoLab 7 is, quite simply, the most powerful stereo speaker ever developed for TV. With six individual driver units, all powered by their own digital ICEpower amplifier, BeoLab 7 delivers an unequalled sound performance for your TV viewing. The beam-shaped loudspeaker below the screen provides superb acoustic performance and signifies the presence of sound as an integral part of your viewing experience. Musically, the speaker rivals many hi-fi systems, and is quite capable of being used as a BeoLink speaker.
The natural fit
BeoLab 7 is specially developed for BeoVision 7 to contribute the ultimate stereo sound performance to the viewing experience. BeoLab 7-1 is the natural accompaniment for the BeoVision 7-32 LCD television, while the broader beam of BeoLab 7-2 is designed for BeoVision 7-40. In addition, BeoLab 7 stereo loudspeakers fit naturally under the BeoVision 4 plasma screen, or under a projection screen. In this application, the speaker can be either wall-mounted or placed on a special tabletop stand.
Colours to match
Long and lean, BeoLab 7-1 and BeoLab 7-2 look at home under a BeoVision 7 or BeoVision 4, or as part of a projection screen setup. The shorter BeoLab 7-1 is best suited for the BeoVision 7-32” screen. The loudspeaker cabinet is made from a single piece of aluminium and coated in a resilient black soft-touch lacquer. The perforated aluminium front grill now comes anodised in five different colours: Light and dark grey, blue, red and black.
A firm grip on powerful sound
A special three-way bass reflex construction incorporates six individual units – two each for treble, mid-range and bass. Each driver is powered by a unique built-in ICEpower amplifier, delivering a combined effect of 750 watt. In addition, BeoLab 7-1 and 7-2 are equipped with thermal protection circuits and Adaptive Bass Linearisation (ABL), which ensures maximum performance without distortion, even at very high volume. Bang & Olufsen has a quarter of a century of experience making loudspeaker cabinets from extruded aluminium. This technique allows for very rigid and compact enclosures with powerful sound performance.
Note that BeoLab 7-1 was designed to be used with the BV4-37 and BV4-42. The wider BeoLab 7-2 may be used with the larger-version BeoVision 4: BV4-50 and BV4-65.
Mounting Options
All four versions of BeoLab 7 were designed for incorporation with Bang & Olufsen’s motor stand options.
This advanced CD player was straight from tomorrow’s world – but it would still marry up happily with any Bang & Olufsen system created over the previous decade. It was as simple to use as a tape recorder. The track search system was invaluable for finding your way quickly around the disc. A display indicated the number of the track you’re on.
Recording was just as straight forward. And you could time recordings to the second – just press the sensi-touch panel and you could find out how much time was left on a particular track or on the whole disc.
This replacement for the former Beogram CDX used at that time, new 16-bit technology and an all-new optical system. The player itself though, was derived from the Philips CD150 machine; the same as that in the Beocenter 9000. After one year the machine was discontinued and replaced by the Beogram CD 3300 – a similar sensi-touch CD player – as part of Beosystem 3300.
A featherlight touch on the glass control panel brought up an illuminated display of numbers which corresponded to the tracks on the disc. You could select tracks in any order; you could see how long a track lasted and a motorised dust cover and automatic light were among the features that this stand-alone CD player possessed.
The CD player was based around the Philips CD104, built in Belgium.
As a standalone player, it lacked the Datalink and remote control facilities that its predecessor, the Beogram CD50, possessed. A good-looking CD player which performed well, it was later superceded by the Beogram CDX-2 in 1987.
Bang & Olufsen Sales Training System
Beogram CDX
Beogram CDX is a Compact Disc player in a classical Bang & Olufsen design
Features:
Top operation
Motor driven dust cover
Sensi-touch operation
ADVANCE and RETURN functions
Replay up to 4 times
Display with indication of playing time of individual tracks, elapsed time and index
Analogue and digital filter (176.4 KHz over sampling)
Connection with Phono plugs
Operation
If Beogram CDX is in standby position and there is a compact disc on the platter, one push at the PLAY button will start the playback.
If there isn’t a compact disc inserted, you push the EJECT button and the motor driven dust cover will open, the platter will lift and the compact disc can be inserted.
Apart from the above-mentioned PLAY and EJECT buttons, all operations are sensi-touch fields, which are operated with a slight touch.
When pushing the field PLAY, the dust cover closes automatically and playback starts.
The display indicates the individual tracks on the inserted Compact Disc. If it has more than 20 tracks, the two first digits in the time display will show the total.
The time display has 3 main functions, which can be ordered by pressing DISPLAY, namely the time of the individual tracks, the elapsed playing time and index, which is a sub-division of the time of the individual tracks.
ADVANCE and RETURN are used for jumping to the next or the previous track and are indicated with a flashing of the selected track on the display.
With the digits 1 to 0, a track can be selected at random and the jump is marked on the display.
With STORE and CLEAR you can select or leave out up to 40 tracks on the Disc.
REPEAT replays the Disc up to 4 times.
One push at STOP gives pause, and by keeping the finger on the field till the Disc stops, you get actual STOP. << and >> are used for fast search within the individual tracks.
When activating it once, you search in jumps of 1 second
By keeping the finger on the field you search in jumps of 10 seconds and after 10 seconds the jumps are 1 minute
Connection
Beogram CDX is provided with a fixed signal cable with Phono plugs and can be connected to all LINE inputs. For amplifiers with TAPE inputs which are already being used, we can deliver a CD/TAPE adaptor, type 8950060 (accessory at additional price)
1985 Magazine Review
” The CDX is one of two ‘Beograms’ which have been promised by B & O for some considerable time. It would seem that to a large extent B & O have edged, their bets, for the CDX is a Philips-based machine while the alternative model uses Sony-sourced assemblies. The CDX is an extraordinarily beautiful machine yet, as we shall learn, is based entirely upon the ever so humble Philips CD?101 (the same player as used by Meridian for the MCD conversion). The styling is obviously intended as match the other B & O units and so the company has an untapped market of existing owners who have been patiently waiting for a CD player. But it is a player well worth considering in its own right as a separate purchase.
Unusually the CDX is a top loader but the lid assembly is powered and in response to the eject button the lid assembly smoothly folds back to allow the disc to be loaded. With the exception of the Eject and Power switches, all the controls are touch sensitive (using a type of capacitive sensing) a choice which I found far from reassuring since I kept wanting to use extra finger pressure to ensure a good contact! My overall lack of confidence was further encouraged by the all black control panel which reveals nothing until the power is applied. Perhaps it’s too much like computer screen ‘soft keys’ for me for I kept wondering if the Play switch would be still in the same place every time I went back to this player!
Two types of display are provided; a digital readout to show track time, total elapsed play time, and track numbers up to 99; and a bar scale of 20 LEDs to show the status of the first 20 tracks. A reasonable range of facilities is offered with both track skipping and fast searching (both backwards and forwards). Tracks can be pre-selected for playback and programming is possible for combinations of up to 40 tracks stored in the memory. Finally a Repeat mode allows continuous playback of the whole disc or of individual tracks.
Once the CDX is opened some idea of B & O’s inventiveness can be gained. Into the plastic casing has been dropped a Philips CD101 player complete down to the signal and mains supply cables but less the Switch/Display board. Instead B & O plug in wires from their own front panel and wire connections to their Eject and Power switches. The whole conversion is very neat and since the Philips player is left unmodified all the standard parts fit thus ensuring ease of service.
It has to be said that providing the last word in performance is not needed; the Philips CD?101 is an excellent choice with the CDM mechanism being recognised for its good build quality and reliable operation (it is also to be found in the expensive Revox B225 player). The electronics design largely follows the familiar Philips circuit with 4 times oversampling conversion using a separate 14-bit DAC for each channel.
In the laboratory the performance was much as expected with a generally flat frequency response except for a mild dip of 0.25dB around 7kHz; very low noise (?104dB); low crosstalk between channels and quite reasonable linearity. No problems were experienced when using the error testing discs and this player did very well in playing back some of my badly scratched discs with very few garbled passages.
Auditioning was conducted through my usual system of passive control unit and Krell power amplifier with LC connecting cables. Essentially in terms of sound quality this was very much a case of re-reviewing a Philips CD101 (or Marantz CD63) and the expected high standards were
achieved. The sound can be characterised as open, exciting with a fine sensation of space and depth, and good stereo focus. The weaknesses were primarily at the extremes of the audio band with a warm, stodgy bass and a degree of harshness at high frequencies. However within the context of the B & O system the sound quality of this player would be considered quite excellent.
VERDICT: A beautiful model which will appeal to a wider market than just the traditional
B & O owner. The overall performance of the CDX is excellent and this player can be considered as good value
PROS: Good sound quality. Very good value for money. Beautiful looks
CONS: Rather fiddly to use. Old fashioned top loading ”
‘Which Compact Disc’ November 1985
Beogram CD 7000 was distinctive because of its authentic sound reproduction as well as its large dynamic range. It was equally suitable for symphonic music and rock. Its many functions allowed you to pre-programme tracks for playback in any desired order. This CD player was the last in line as far as separates were concerned, replaced with the likes of Beocenter 2300 and Beocenter 2500.
Features:
Exclusive computer-controlled CD loading mechanism with extremely fast access time
CD tray machined from a 4mm solid aluminium plate for maximum mechanical stability and convenient loading
Disc tray cut-outs with rubber lining for 12 and 8cm discs
Spring-suspended CD mechanism and magnetic disc clamp
Special functions, such as scan and sequence programming, were carried out from Beolink 7000
Dynamic readout on Beolink 7000 of all functions, track bar, remaining time, elapsed time, scan, etc.
CD players are now among the simplest constructions in the electronic world and standard players are based on very few components, a simple electronic layout and use of economical materials, both inside the product and in the cabinet. In the construction of CD7000 the main objectives were the achievement of excellent mechanical stability, convincing sonic qualities and easy access to the CD functions.
The loading mechanism, the way the clamp function and the suspension of the CD mechanism were all points that received special attention. The high quality of the mechanical solutions was continued in the electronic circuitry and both were highly integrated and interdependent of each other.
The CD tray was very solid and elegant and the loading mechanism extremely durable. The tray was made from a 4mm thick sheet of aluminium and the conical recess for the CD was milled and diamond polished to the smallest of tolerances – to prevent dust gathering in the recess. The circular rubber profile protected the disc during loading and unloading, while the triangular cut-out facilitated unloading. To avoid static build-up the tray was connected to ground and to avoid ‘ringing’, a damping plate was placed at the innermost part of the tray, inside the cabinet.
The motorised movement of the CD tray was very fast and gentle. The movement was controlled by the microcomputer via an optocoupler and was a very stable mechanical solution with two parallel chrome plated brass rail tubes and precision plastic roller bearings. A nylon coated steel cord wire was applied for maximum duration and quiet transport. The electronically governed transport was very smooth, started the movement slowly, then speeded up very quickly, decelerating when the disc approached the clamp. Furthermore, it secured against possible damage occurring from obstacles either in front of the tray or in between tray and cabinet.
While the tray approached the clamp the disc was gently lifted off the tray and clamped between the CD mechanism and magnet. The magnet was placed on a bridge across the CD mechanism and when it engaged the disc the magnet was lifted away from the bridge. While the disc was rotating, the magnet was not in contact with the cabinet, but only the disc and CD mechanism.
This assembly was insulated very efficiently from the cabinet to prevent vibrations from the outside. A special suspension was designed, with 4 steel springs, encased in rubber. The springs ensured that the CD mechanism was fixed in the horizontal plane (i.e. across the disc), while a certain amount of movement was allowed in the vertical plane (i.e. up and down). Test showed that the servo system counteracts movements in the vertical plane better than in the horizontal plane, and the suspension thus was a good compromise with regard to immunity from external vibrations. The inherent frequency of the suspension was placed at 25 Hz to avoid tracking and focusing errors, which were prone to emerge if the CD mechanism was subjected to vibrations around 100 Hz and upward. Furthermore, at this frequency interference with the inherent frequency of the CD cabinet was also avoided.
The electronics
The CD format is one of the most precisely defined audio formats, but it is still possible to design differentiated products. The electronic solutions in CD 7000 were just as elaborate, the computer controlled loading just being one of the elements. Separate power supplies were available for the digital and analogue parts, and in connection with a careful print layout Bang & Olufsen achieved the most respectable electronic specifications. The digital-to-analogue filtering was special as well. First, a standard digital filtering (4 x oversampling) was applied to filter away the sidebands below 176,4 kHz. The analogue filtering at 176,4 kHz was carried out by a modified order filter. To avoid remnants of the 176,4kHz sideband having an effect on the filtering, a special suction circuit cut off the frequencies above 156,4 kHz. The modified filter was known as a ‘Bessel elliptical filter’. It had a very gentle filter characteristic and was not susceptible to ripple phenomena, phase distortion or ageing.
The functions
As with the other sources, operation was via the Beolink 7000, with full display readout of all functions. Special functions available included: the space function, where a pause of 4 seconds was added between tracks to facilitate track search on a tape recorded from CD 7000. Scan gave playback of the first 15 seconds of each track and was especially useful in connection with a sequence programming.
While you were scanning the CD, tracks could either be selected (compiled) or omitted and when the last track had been scanned, playback of the programmed sequence commenced. Sequence programming could also be carried out independently of the scan function and if you used the select programming, playback could be non-chronological. If you used the reject programming to leave out specific tracks, playback would be chronological.
Beogram 7000 could, ideally, be used as part of Beosystem 7000
If you wanted to indulge yourself with the finest sound quality then you’d do no better than listening to your favourite pieces of music on Bang & Olufsen’s Beogram CD 6500. Beogram CD 6500 was a replacement for its predecessor, Beogram CD 5500.
It played both 12cm and 8cm compact discs, and housed sophisticated and advanced digital technology. And it offered sound reproduction which would satisfy even the most demanding of listeners.
Beogram CD 6500 could be used as part of the Beosystem 6500 hi-fi system.
