Beovox 3702 Type 6244 was a high-fidelity pressure chamber loudspeaker with high specifications and intermediate power handling capacity.
It was a three-unit loudspeaker system, which means that the entire frequency range was covered by three separate units: bass, mid-range and tweeter or treble unit. Its frequency range was 40-20 000 Hz and it had a power handling capacity of up to 40 watts RMS or 75 watts music. Distortion was lower than 1% over the entire range.
The bass unit had a 20cm diameter speaker, the mid-range 8cm, the tweeter 2,5cm. Beovox 3702 met DIN high-fidelity norms.
Beovox 2702 was a high-fidelity pressure chamber speaker in which good sound quality and discreet external appearance were skilfully combined. Frequency range 45-20.000 Hz, power handling capacity up to 25 watts RMS or 45 watts music. The bass unit has a 17,5cm diameter and the tweeter, 4cm.
Beovox 2702 met DIN high fidelity norms. The speakers were recommended as side speakers for ambio reproduction with Beosystem 4000.
A combination system with the quality and specifications of “separates”
Beocenter 3500 was built upon the Beomaster 3000 and combined a top quality FM tuner, an automatic record-player and a powerful stereo amplifier. The tuner had six pre-set stations for instant selection, plus a large manual tuning scale. There was an illuminated tuning indicator and a signal-strength meter to assist easy, accurate tuning. The powerful amplifier produced 2 x 40 watts RMS of high-fidelity output and was equipped with switchable filters.
There was a comprehensive range of connection facilities including sockets for two pairs of loudspeakers, headphones and a tape recorder with monitoring. The record-layer was fully automatic with one master-control for operating all functions. You only have to select the control position applicable to the size of the record, and touch a button. Beocenter 3500 was an ideal, simple way of enjoying high quality sound from records and radio. It was fitted with a robust hinged dust cover which protects records during play.
Features:
In the high-fidelity amplifier section, 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 I-II 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 poor records. The EH filter reduced hiss. There were sockets and push buttons for two pairs of loudspeakers. The headphone socket was on the receiver’s front. The tape connection facilitated AB monitoring. All input signals could be adjusted at the receiver’s base to give equal sound intensity on all programme sources. The FM section had six pre-set FM station selectors.
A light indicator assisted accurate tuning and an illuminated meter 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 a mere 0.4%. Field effect transistors, ceramic filters and integrated circuits were used. The built-in record-player was perfectly matched to the rest of the unit, from a specification point of view. The fitted pickup cartridge, the SP 10A (later SP 12A) had a spherical naked diamond and a stylus pressure of 1.2 grams. Frequency range was 20 – 25000 Hz ± 3 dB and distortion was lower than 1%. Wow and flutter was less than 0.09% and rumble was better than 60 dB.
The record player section was easy to operate: you simply selected the size of the record you intend to play – 7″, 10″ or 12″ – and press a button. The record-player automatically selected the correct speed – 33 or 45 rpm – and lowered the pick-up into the first groove. When the record ended, the pick-up arm returned to its resting place and the turntable switched off. The turntable and pick-up arm had a pendulum suspension which made the record-player section insensitive to vibrations. Deep furrows in the turntable made it easy to pick up records. A stroboscope and a spindle adaptor for centreless records was provided. Beocenter 3500 was fitted with a hinged dust lid which was easily removed by a sliding action.
Beocenter 3500 had an extra Phono input. This was a ‘hang over’ from the Beomasters of the time which allowed two Beograms to be connected to the music centre. However, Phono 2 needed an RIAA pre-amplifier as it required a line level input. This feature became ‘Tape 2’ in later models.
If space was limited in your home but you still wanted top-class sound reproduction from your hi-fi, Beocenter 5000 was the perfect answer. It offered high-technology performance from radio, records and cassettes, yet measured only 72 x 38 x 9,5cm. Each sound source could compete on merit with more expensive ‘separates’. The three high-performance components were integrated together into a single unit to give the best of all possible worlds.
The 2 x 40 watts RMS amplifier meant high power with minimal distortion – less than 0,1% at full output. The automatic record deck had a low-mass, low-inertia tone arm carrying an MMC 20E pickup and a precision-built electronic servo drive system for perfect speed accuracy. The cassette recorder was capable of the highest performance levels as it included Dolby Noise Reduction circuits, metal tape facility, automatic ferric/chrome selection, Sendust tape head and 4-digit electronic tape counter. The radio covered Long, Medium and FM bands, with five pre-set stations offering instant, press-button tuning.
Beocenter 5000 offered the same musical facilities and powerful 2 x 40 watts RMS output as Beocenter 7002. The two models were identical in the matter of sound quality too, but only the Beocenter 7002 had Bang & Olufsen’s very advanced timer-track location and remote control systems. The black anodised lid of its cassette compartment further differentiated Beocenter 5000 from the 7002.
Beocenter 7000 upon its release, represented one of the most advanced hi-fi centres on the market. One touch produced instant music from a record, cassette tape or an FM or AM radio station. Illuminated symbols on the set’s communication panel confirmed instructions or rejected mistakes and kept you informed on the set’s operational status at all times.
in short, Beocenter 7000 offered two-way visual communication in high-fidelity.
The cordless remote control module put you in command of most of the functions from anywhere in the room. You could select any programme which would also switch on the set. You could regulate the volume – 2 x 40 watts RMS – make cassette recordings, and switch off the set. Comprehensive memory and timer facilities enabled you to program the set’s microcomputer to operate within a 24-hour period. It could record an important radio programme while you were out, and even instruct the Beocenter to wake you up with an early morning broadcast.
Each of Beocenter 7000’s three sound sources had the quality and performance level normally found in much more expensive separate units. The record deck had Electronic Servo Drive for absolute speed accuracy and its operation was fully automated. Stop, start or pause could be controlled via the remote control terminal. The cassette recorder had a Sendust record/replay head and a double-gap erase head that could even cope with metal tapes. You could locate any point on the tape simply by asking the set’s microcomputer to search for this required counter reading. The radio had facilities for pre-setting 5 FM and 1 AM stations which could then be selected instantly at the touch of a button.
Beocenter 7000 was designed by Jacob Jensen. In 1979 three more of the designer’s creations for Bang & Olufsen were included in the Design Collection of the Museum of Modern Art in New York including the Beocenter 7000 music system.
Beocenter 7002 was one of the most advanced hi-fi music centres on the market at the time of its release. One touch gave you music instantly from a record, cassette tape or an AM or FM radio station.
Illuminated symbols on the set’s communication panel confirmed your instructions or rejected mistakes, and kept you informed of the set’s operational status at all times. In short, Beocenter 7002 offered two-way communication in high fidelity.
The cordless remote control module put you in command of all functions from your chosen listening position. Select any programme; this action also switched the set on. Regulate the volume level – there were 2 x 40 watts RMS at your disposal. Make cassette recordings. Or switch off the set – all without leaving your chair.
Comprehensive memory and timer facilities enabled you to programme the set’s microcomputer to operate any function at a given time within a 24-hour period. It could record an important radio programme while you were away from home. You could even instruct the Beocenter to wake you up with an early morning broadcast.
Each of the Beocenter 7002’s three sound sources had a high quality and performance level normally found only in much more expensive separate units.
The record deck had electronic Servo Drive for absolute speed accuracy and its operation was fully automated. Stop, start or pause by remote control. The cassette recorder had a Sendust record/replay head and a double-gap erase head that could even cope with metal tapes. You could locate any point on the tape simply by asking the set’s microcomputer to search for this required counter reading. The radio had facilities for pre-setting 5 FM and 1 AM stations which could then be selected instantly at the touch of a button.
Beocenter 7002 offered the same musical facilities and powerful 2 x 40 watts RMS output as Beocenter 5000. The two models were identical in the matter of sound quality too, but only the Beocenter 7002 had Bang & Olufsen’s very advanced timer-track location and remote control systems. The black anodised lid of its cassette compartment further differentiated Beocenter 5000 from the 7002.
In spite of its modest size, Beovox 1702 was highly efficient and had good sound quality. Frequency range was 50-20.000 Hz and it handled an output of up to 20 watts RMS or 40 watts total music power.
The bass unit had a diameter of 15cm and the treble was a tweeter with a 2,5cm diameter. Beovox 1702 met the DIN 45500 high-fidelity norms.
The speakers could be used as part of Beosystem 1001 (comprising BeoGram 1001 and BeoCord 1001 – see links at bottom of page), for example.
In spite of its modest size, Beovox 1702 was highly efficient and had good sound quality. Frequency range was 50-20.000 Hz and it handled an output of up to 20 watts RMS or 40 watts total music power.
The bass unit had a diameter of 15cm and the treble was a tweeter with a 2,5cm diameter. Beovox 1702 met the DIN 45500 high-fidelity norms.
The speakers could be used as part of Beosystem 1001 (comprising BeoGram 1001 and BeoCord 1001 – see links at bottom of page), for example.
Beocenter 3300 combined a powerful AM/FM stereo receiver with an automatic record player. Technically identical to the Beomaster 2200, the receiver section offered programmes on FM, long and medium wavebands and up to 2 x 40 watts RMS amplification with low distortion levels. It also had the same logical operation facilities.
The record player had a spring-suspended rotatory mechanism and an electronic servo drive system which ensured accurate turntable speed – even during variations in the mains current supplies. A special pendulum leaf spring suspension made the arm and platter immune to external shock and vibration which causes most other record players to mistrack and damage the record and sometimes even the stylus.
All functions of the record player were operated by touching a single button. The start/play/stop cycle is entirely automatic and moves, lifts or lowers the arm much more delicately than could the human hand. The MMC 20E cartridge carried an elliptical diamond stylus.
Beocenter 3300 had sockets for a tape deck, an extra record player, headphones and two sets of stereo speakers. The unit could be made up as part of the Beosystem 3300, when linked together with other compatible Bang & Olufsen products.
There was a 7,5cm mid-range/phase-link unit combined with a 20,5cm woofer and 2,5cm dome tweeter to provide a wide frequency response and no audible phase distortion. Overload protection was automatic. The cabinet was of pressure chamber construction. Optional pedestals and wall-fixing kits were available.
