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BeoMaster 2400

Bang & Olufsen BeoMaster 2400-2

Beomaster 2400 together with Beomaster 1900 were two advanced FM stereo receivers. They had identical technical specification and performance. Both were easy to use and easy to live with.

Beomaster 2400 had the additional convenience of a cordless ultrasonic remote control module by which you could operate radio, amplifier and Beogram 2400 or 4004 record decks from a distance. Both receivers had touch-sensitive controls for operating the features and functions you used every day. All the secondary switches and adjustments were protected beneath a hinged lid, but an illuminated readout panel showed you the set’s operational status at a glance.

Equipped with the slim remote-control module you could select between four pre-set radio stations or record player input, adjust the volume up or down or put the System into Stand-by. The illuminated panel with its large display allowed to to easily see the state of play from anywhere in the room. The phase-locked loop decoder ensured a wide separation between stereo channels and remained stable over a very long lifetime. When a stereo broadcast was received, a symbol ‘S’ lit up automatically on the fascia of the set. Automatic Frequency Control (AFC) kept the selected radio station spot on tune, and a muting circuit cut out inter-station noise during tuning.

The stereo amplifier produced 2 x 30 watts RMS of high-fidelity output and had DIN sockets for the connection of two pairs of speakers, a record-player and a tape or cassette recorder.

A headphone connection was provided beneath the front edge of the unit. Controls not needed every day were situated beneath a hinged lid. These included tone and balance adjustment, FM pre-setting, loudness, AFC and MONO/STEREO switches, and a switch for selecting a basic initial volume level. This facility allowed you to choose the volume at which the amplifier began to play each time it was switch on – no matter how controls were left the previous time. On its primary control panel Beomaster 2400 had no knobs or buttons. The panel functioned electronically and needed only the contact of your finger to activate it. However, the ultrasonic remote control would have proved more useful. The set’s sophisticated indicator system would tell you instantly that your commands had been obeyed.

Beomaster 2400 was superceded by Beomaster 2400-2 in 1980.

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BeoMaster 2400-2

Bang & Olufsen BeoMaster 2400-2

Beomaster 2400 together with Beomaster 1900 were two advanced FM stereo receivers. They had identical technical specification and performance. Both were easy to use and easy to live with.

Beomaster 2400 had the additional convenience of a cordless ultrasonic remote control module by which you could operate radio, amplifier and Beogram 2400 or 4004 record decks from a distance. Both receivers had touch-sensitive controls for operating the features and functions you used every day. All the secondary switches and adjustments were protected beneath a hinged lid, but an illuminated readout panel showed you the set’s operational status at a glance.

Equipped with the slim remote-control module you could select between four pre-set radio stations or record player input, adjust the volume up or down or put the System into Stand-by. The illuminated panel with its large display allowed to to easily see the state of play from anywhere in the room. The phase-locked loop decoder ensured a wide separation between stereo channels and remained stable over a very long lifetime. When a stereo broadcast was received, a symbol ‘S’ lit up automatically on the fascia of the set. Automatic Frequency Control (AFC) kept the selected radio station spot on tune, and a muting circuit cut out inter-station noise during tuning.

The stereo amplifier produced 2 x 30 watts RMS of high-fidelity output and had DIN sockets for the connection of two pairs of speakers, a record-player and a tape or cassette recorder.

A headphone connection was provided beneath the front edge of the unit. Controls not needed every day were situated beneath a hinged lid. These included tone and balance adjustment, FM pre-setting, loudness, AFC and MONO/STEREO switches, and a switch for selecting a basic initial volume level. This facility allowed you to choose the volume at which the amplifier began to play each time it was switch on – no matter how controls were left the previous time. On its primary control panel Beomaster 2400 had no knobs or buttons. The panel functioned electronically and needed only the contact of your finger to activate it. However, the ultrasonic remote control would have proved more useful. The set’s sophisticated indicator system would tell you instantly that your commands had been obeyed.

Beomaster 2400 was superceded by Beomaster 2400-2 in 1980.

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BeoMaster 3000-2

BeoMaster 3000-2

Beomaster 3000-2 was a solid state FM stereo receiver. The receiver was the kind of product you wanted to both look and to listen to.

It delivered 2 x 40 watts RMS at 30-30.000 Hz and whose distortion was less than 0.5%. With additions to the receiver like Beogram 3000, a fully automatic record player whose operating functions were executed by one master control, and two Beovox 3800 pressure chamber loudspeakers, Beosystem 3000 formed a complete high-fidelity system which deserved to be included in serious evaluations by those who felt that a quality hi-fi system must be chosen in separate units.

The unit was a high fidelity stereo amplifier in which emphasis was placed on specifications, frequency correction and connection facilities. The LOUDNESS feature permitted switching between an objective or a subjective linear reproduction and the LOW and EH filter controls gave a sharper regulation of frequencies, in addition to the normal bass and treble controls. The LOW filter helped reduce rumble resulting from a poor or defective record. At 80Hz its slope was 12dB per octave. There were sockets and push buttons for two pairs of loudspeakers. The headphone socket was situated on the front of the receiver. The tape connection facilitated AB monitoring and there were two record-player inputs: a high and a low impedance. All input sockets could be adjusted from the receiver’s base so that all signals had the same sound level. This was an extra convenience because one needed not adjust the volume control on the amplifier when it was switched between programme sources. The FM section had six pre-set stations. A light indicator assisted accurate tuning and the indicator registered the signal strength of a station. The FM section was extremely sensitive (better than 1.4 uV, I.E.C.) and harmonic distortion was only 0.4%. Field effect transistors, ceramic filters and integrated circuits were used.

In 1972 the Museum of Modern Art in New York (MoMA) chose seven Bang & Olufsen products designed by Jacob Jensen to be included in their Design Collection as representing excellent examples of the Museum’s criteria for quality and historical importance; design, in fact, which had influenced the twentieth century. Beomaster 3000 was one of those seven products. Two years’ previously Beomaster 3000 won the iF Design Award.

Beomaster 3000-2 was introduced in 1972. Both units could be used as part of Beosystem 3000. The two models were visually indistinguishable except for the model number, but the Beomaster 3000-2 contained a few minor technical improvements. The effect of these was not visually or aurally evident; the improvements were seen as Bang & Olufsen’s desire at that time to offer the customer the best components and aural experience.

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Beomaster 4401

Bang & Olufsen Beomaster 4401

This was a variant of the Beomaster 4400 but which had a black fascia instead of the aluminium front seen on the Beomaster 4400. It seemed to be designed mainly for the US market but numbers made seem to be few and it has attained almost mythical status amongst European collectors. Bang & Olufsen themselves have not got one in their collection and in fact did not even have a picture.

However the enthusiast is not so easily thwarted! Thanks to the superb investigating powers of Frede Kristenssen of Classic Audio, we present the Beomaster 4401!

A more detailed description will follow once the model has been serviced, but essentially it has the same design and performance as the Beomaster 4400.

Two of these receivers are known to exist and examination would suggest that these were design studies taken to a production level. Some evidence of prototype wiring is present but clearly the parts are anodised in black.

Investigations have not completely uncovered the status of this model. There is one line of thinking which suggests that a number of these were made – in the region of a thousand with the majority going to the United States. However other insiders at B&O suggest that only a handful exist and it would seem that they are now in the hands of enthusiasts.

Reports of a matching Beogram , the 4001, are not backed up by any official data and unlike the Beomaster 4401, no service manual has yet been found.

In use the Beomaster 4401 is no different from a normal 4400. Except in this case the 4401 was restored by Classic Audio. This means that this Beomaster exceeds all the factory specifications.

How does it sound? Very modern despite it being over 30 years old. Lots of power and superb dynamics and extremely neutral. Many Beomasters have a warm slightly veiled sound but this one is a clear as a bell. It works equally well with small and large speakers and is easily able to control the bass on Beovox M100s which are a bit of a handful.

The tuner is a delight, pulling in weak stations with ease though the pre-sets are no easier to use than those on the Beomaster 3000. The geared wheels on the Beomaster 2200 are vastly better.

Connections are limited to DIN sockets – the useful RCA sockets are no longer there. This receiver also was the last to feature ambiophonics and a switch to activate the rear channels was fitted to the rear of the unit where most users would never see it!

In this users opinion, this is the best receiver made by B&O. The later Beomaster 8000 was more powerful but the 8000 is prone to going off specification very quickly due to the use of a particular type of capacitor. Therefore an 8000 in proper fettle is a rare beast indeed.

The 4400 is therefore a hidden gem; clothed in the skin of the lesser 3000 and 4000, it hides its splendour till called upon to play. Buy one now – these are true bargains!

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BeoMaster 5000 (1967)

Bang & Olufsen BeoMaster 5000 1967

Highly selective and sensitive FM stereo tuner with low-distortion multiplex adaptor featuring a high degree of channel separation. It has a 4-section gang-tuned radio-frequency amplifier with separate oscillator, five-stage intermediate-frequency amplifier, automatic frequency control, and automatic stereo/mono switching.

Large tuning meter facilitates pin-point tuning and provides relative signal-strength indication. An automatic data-processing centre switches from mono to stereo when the signal-to-noise ratio permits stereo reception (and if the set is tuned to a stereo broadcast). Moreover, it automatically cuts out the signal if the field strength drops below the critical level – and between channels, during tuning. The automatic frequency control circuit also ensures that the set stays accurately tuned at all times. The remarkable sensitivity of the Beomaster 5000 is due to the use of multi-stage radio-frequency and intermediate-frequency amplifiers, and the large number of intermediate-frequency circuits provide knife-edge selectivity. An amply-dimensioned true slide-rule dial with station markers ensures easy and rapid tuning.” – taken from the 1967 – 1968 Bang & Olufsen product catalogue

Bang & Olufsen’s Beomaster 5000 FM tuner, Beolab 5000 amplifier and Beovox 2500 Cube loudspeakers were among the first product series designed by Jacob Jensen in 1967. The first was Beomaster 1000 in 1964.

The traditional style for tuning knobs was replaced by an exact measuring instrument akin to the slide rule which was considered an innovation in changing the future of radios and amplifiers. The interface, in its precision and simplicity, proved to give the user optimal functionality. This solution had never been seen before and laid the foundation for the future form language of B&O. Beomaster 5000 was an FM tuner, with elimination of static between stations and a built in ‘data base’ which automatically tuned in on stereo broadcasts.

Partner to Beomaster 5000 was Beolab 5000, an amplifier with a similarly-designed slide rule interface.

At the 1967 spring fair in Hanover, B&O received the IF award for Beomaster 5000, BeoLab 5000 and Beovox 2500 Cube for outstanding and user-friendly design.

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BeoMaster 900M

Bang & Olufsen BeoMaster 900

The inspiration for the Beomaster 900 came from the brains of Henning Moldenhawer.

The first product of the new era was launched in 1964.
Beomaster 900 was a fully transistorised radio with FM stereo radio. It was even launched in a version with two built-in speakers – Beomaster 900K – making it clear to everyone that it contained two independent stereo loudspeakers. Bang & Olufsen wanted to design a product so unique that it would open the doors to distribution throughout Europe, in the same way as the “Five Lamper” had done in Denmark 30 years earlier .
Beomaster 900M
This version of the Beomaster 900 was developed specially for those who require a set for use with external speakers. Otherwise, the Beomaster 900M is identical with the Beomaster 900K. Dimensions: 146mm high, 404mm wide, 230mm deep. Choice of teak or Brazilian rosewood finish.” – taken form the Bang & Olufsen product catalogue 1967 – 68

The most remarkable aspect, however, was not in the technology, but in the design. Transistors, which are small compared to radio tubes, generate less heat. As they require less space to release heat, transistors allow for radically different cabinet designs. The architect and designer, Henning Moldenhawer, knew how to exploit this. He designed the world’s first low, flat radio cabinet, creating a radical innovation in the process. From practically one day to the next, the good old tube equipped radio had become obsolete. Now it was transistors, not tubes, which for the first time would be powered from the mains. While the sound was improved, the loudspeakers also underwent significant changes, becoming more compact. After all, in those days, loudspeakers were foreign elements in the living-room. This was achieved with the pressure chamber loud speaker which reproduced sound of a quality which had, until then, only been possible with far bigger boxes. A long, low and fully transistorised mains radio, which played immediately – with no warm-up necessary, as was the case with the radio tubes – was an achievement in itself. In addition, the design concept challenged all established ideas for radio design. The new Beomaster 900 marked a revolution. It was the architect Henning Moldenhawer who, for the first time in the history of radio, extended the front all the way out to the sides of the unit, breaking with the traditional framing of the front which all radios, TVs and loudspeakers had been using until then. This motif was retraced in Bang & Olufsen’s future design language. It was even repeated graphically in the company’s advertisements. Beomaster 900 became a European-wide success. At the same time – and much to the company’s surprise – its share of the Danish market did not fall. On the contrary, it rose significantly – at a time when the last of the remaining Danish manufacturers went to the wall. Proof indeed that design is not only for connoisseurs, but is a universal language, at least when applied with talent and as an expression of the product’s conceptual content, i.e. making the product itself a communicator. When, some years later, Bang & Olufsen explained its identity, this visually self-communicating aspect was dubbed ‘Autovisuality’. Concept communication in terms of what the unit is and can do, communication between the unit and the user, but also identity communication between those who create the products and those who select and acquire them as well as between those who own the products. ” Beomaster 900K: This all-transistor mains-powered stereo radio will revolutionise your ideas about radio and was awarded the iF prize at the International Hanover Fair. The Beomaster 900K is an all-transistor mains-powered stereo radio featuring a specially engineered highly-efficient dual-channel audio amplifier for reproduction of stereo gramophone records (delivers 2 x 5 watts of undistorted power output). It is prepared for single transmitter stereo broadcasts, having a B&O multiplex adaptor (stereo decoder). A Beo-Beacon pilot lamp lights up when the receiver is tuned to a station transmitting an FM stereo programme or when the receiver is switched to play stereo gramophone records or stereo tapes. The Beomaster 900K has two B&O pressure-chamber speakers. Dimensions: 146mm high, 744mm wide, 230mm deep)

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BeoMaster 900K

Bang & Olufsen BeoMaster 900K

The inspiration for the Beomaster 900 came from the brains of Henning Moldenhawer.

The first product of the new era was launched in 1964.

Beomaster 900 was a fully transistorised radio with FM stereo radio. It was even launched in a version with two built-in speakers – Beomaster 900K – making it clear to everyone that it contained two independent stereo loudspeakers. Bang & Olufsen wanted to design a product so unique that it would open the doors to distribution throughout Europe, in the same way as the “Five Lamper” had done in Denmark 30 years earlier .

Beomaster 900M
This version of the Beomaster 900 was developed specially for those who require a set for use with external speakers. Otherwise, the Beomaster 900M is identical with the Beomaster 900K. Dimensions: 146mm high, 404mm wide, 230mm deep. Choice of teak or Brazilian rosewood finish.” – taken form the Bang & Olufsen product catalogue 1967 – 68

The most remarkable aspect, however, was not in the technology, but in the design. Transistors, which are small compared to radio tubes, generate less heat. As they require less space to release heat, transistors allow for radically different cabinet designs. The architect and designer, Henning Moldenhawer, knew how to exploit this. He designed the world’s first low, flat radio cabinet, creating a radical innovation in the process. From practically one day to the next, the good old tube equipped radio had become obsolete.

Now it was transistors, not tubes, which for the first time would be powered from the mains. While the sound was improved, the loudspeakers also underwent significant changes, becoming more compact. After all, in those days, loudspeakers were foreign elements in the living-room. This was achieved with the pressure chamber loud speaker which reproduced sound of a quality which had, until then, only been possible with far bigger boxes. A long, low and fully transistorised mains radio, which played immediately – with no warm-up necessary, as was the case with the radio tubes – was an achievement in itself. In addition, the design concept challenged all established ideas for radio design. The new Beomaster 900 marked a revolution.

It was the architect Henning Moldenhawer who, for the first time in the history of radio, extended the front all the way out to the sides of the unit, breaking with the traditional framing of the front which all radios, TVs and loudspeakers had been using until then. This motif was retraced in Bang & Olufsen’s future design language. It was even repeated graphically in the company’s advertisements.

Beomaster 900 became a European-wide success. At the same time – and much to the company’s surprise – its share of the Danish market did not fall. On the contrary, it rose significantly – at a time when the last of the remaining Danish manufacturers went to the wall. Proof indeed that design is not only for connoisseurs, but is a universal language, at least when applied with talent and as an expression of the product’s conceptual content, i.e. making the product itself a communicator.

When, some years later, Bang & Olufsen explained its identity, this visually self-communicating aspect was dubbed ‘Autovisuality’.

Concept communication in terms of what the unit is and can do, communication between the unit and the user, but also identity communication between those who create the products and those who select and acquire them as well as between those who own the products.

” Beomaster 900K: This all-transistor mains-powered stereo radio will revolutionise your ideas about radio and was awarded the iF prize at the International Hanover Fair.

The Beomaster 900K is an all-transistor mains-powered stereo radio featuring a specially engineered highly-efficient dual-channel audio amplifier for reproduction of stereo gramophone records (delivers 2 x 5 watts of undistorted power output). It is prepared for single transmitter stereo broadcasts, having a B&O multiplex adaptor (stereo decoder). A Beo-Beacon pilot lamp lights up when the receiver is tuned to a station transmitting an FM stereo programme or when the receiver is switched to play stereo gramophone records or stereo tapes.

The Beomaster 900K has two B&O pressure-chamber speakers. Dimensions: 146mm high, 744mm wide, 230mm deep)

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BeoMaster 900 RG

Bang & Olufsen BeoMaster 900 RG

No other stereo radio gramophone with low, modern, yet reasonable dimensions is so beautifully styled as this. It incorporates a Beomaster 900 all-transistor stereo radio and the semi-professional Beogram 1000 stereo record player. There is space for installation of of tape recorder and a record and tape storage compartment. Pneumatically damped twin lids. Two B&O pressure-chamber speakers. 2 x 5 watts output. Dimensions: 585mm high, 1293mm wide, 510mm deep. Choice of teak or Brazilian rosewood finish. – taken from the 1967 – 1968 Bang & Olufsen product catalogue.

Radiogram Beomaster 900 RG Compact included a record player – either a B&O or Garrard auto-changer – within the combined unit.

Beomaster 900RG Compact was a high-quality radiogram and included the company’s first transistorised mains receiver – Beomaster 900. It was finished in either a natural teak or a rosewood veneer. It had two built-in stereo pressure chamber speakers rated at 85 Watts output. The transistorised circuitry included 26 transistors and four diodes. The radio section within the Beomaster 900 receiver had an internal FM antenna (an optional FM stereo decoder could be fitted). The receiver included an FM, MW, LW and SW radio, together with the Beogram 1000 record player. The space next to the turntable was for the storage of records, but if you had a Beocord 1500 or Beocord 2000 reel-to-reel tape recorder then the space was designed to allow this to be slotted in.

Controls: volume, bass, treble and tuning. Push button controls for on/off, gramophone, tape recorder, AFC circuitry, SW, LW, MW and FM wavebands. It had a ‘stereo’ indicator (optional module) and a tuner indicator.

Dimensions: (WxHxD):156.0cm x 68.5cm x 52.0cm

Weight: 54kg