“A sound panel in which high-fidelity reproduction and compactness were successfully reunited” – 1974 Catalogue.
Beovox P50 represented a new concept in the design of pressure chamber loudspeakers. They were developed with convenience and homeliness in mind. Their remarkable design provided the sound quality of a “large” speaker without the dominating size and appearance which speakers of this standard had hitherto necessitated. It was possible to place even four top-quality speakers in your living-room without inconvenience.
Beovox P50 could be easily mounted on a wall where their presence would not obtrude upon their surroundings, yet they presented the most excellent sound quality. Frequency response was 40-20 000 Hz with distortion less than 1%. The “P” stood for “panel” and “50” signified power handling capacity – 50 watts RMS (or 80 watts music power). The speaker units were two 12,5cm woofers, a 8cm mid-range dome and a 2,5cm dome tweeter.
Living proof that big sound need not take up more space than a couple of ring binders, Beovox CX50 snuggled in anywhere, even as extras in a Beolink® system.
Beovox CX50 and Beovox CX100 loudspeakers were the smallest loudspeakers from Bang & Olufsen up to the time that the manufacture of passive speakers ceased in 2002. They were mostly used to place within a passive Beolink® system (MCL), although they could also be used as main speakers. Thanks to different colour combinations they blended well into most people’s décor.
Beovox CX100 finally ceased production in September 2003 – the last of a long and successful line of passive speakers.
Description:
Passive loudspeaker, aluminium cabinet, available in black, white and brushed aluminium.
Replacement drive units: Top drive unit for CX50/CX100 Part number: 411743
Mounting Options
BeoVox CX50/CX100 replaced C40 and was designed to be optionally mounted with the wall brackets supplied in the box.
Living proof that big sound need not take up more space than a couple of ring binders, Beovox CX50 snuggled in anywhere, even as extras in a Beolink® system.
Beovox CX50 and Beovox CX100 loudspeakers were the smallest loudspeakers from Bang & Olufsen up to the time that the manufacture of passive speakers ceased in 2002. They were mostly used to place within a passive Beolink® system (MCL), although they could also be used as main speakers. Thanks to different colour combinations they blended well into most people’s décor.
Beovox CX100 finally ceased production in September 2003 – the last of a long and successful line of passive speakers.
Description:
Passive loudspeaker, aluminium cabinet, available in black, white and brushed aluminium.
Replacement drive units: Top drive unit for CX50/CX100 Part number: 411743
Mounting Options
BeoVox CX50/CX100 replaced C40 and was designed to be optionally mounted with the wall brackets supplied in the box.
By using smaller loudspeakers in the Bang & Olufsen range – like the BeoVox CX50 or BeoVox C75 passive speakers, all it took to fill out the sound even more was the BeoVox Cona, a passive sub-woofer.
Beovox Cona functioned almost like a prompter who ensured that the sound didn’t forget its ‘lines’. It worked on the principle that the human ear cannot detect in which direction deep tones are coming from. Beovox Cona, like the newer BeoLab 2, could therefore be placed anywhere in a room with the rest of the music system to give it a deeper, much richer sound.
Review by BeoWorld Member – Evan Bunner
The BeoVox Cona Having waited very patiently for a Cona to come my way, I finally stumbled across not one, but two BeoVox Conas on the internet. I quickly arranged a demonstration the next day. It didn’t take very long to impress me. I loaded the pair into my car with a great sense of satisfaction. However, I had to wait for some din plugs I had ordered off the internet before I could start using them, so my excitement was slightly delayed.
My excitement soon resumed once I received my din connectors. I hastily fashioned them together with some surplus speaker wire of mine and proceeded to connect one of the Conas, as originally directed, to my BeoMaster 4500. Being a passive speaker, it is very handy when you have your Power link ports all filled up with your favorite BeoLab speakers.
Being able to channel both left and right signals to one diver through the Cona’s dual voice coil feature allows the Cona to produce BeoLab level sound at a BeoVox level price. However, I find that combining two signals in a single driver does make the sound much choppier than say if you were to connect two Conas, one signal assigned to each. Additionally, this fight over the driver can create some enclosure rattle, something that can become annoying in heavier listening. I find that a stereo configuration generates much more natural sound.
Since it is a passive speaker, the driver is much smaller than what you would find in an average standalone subwoofer, mostly due to the fact that it has to be able to perform on less power, keeping the Cona from being power hungry. This directly affects the range of the speaker. Being slightly smaller than most standalone subwoofers, the Cona is slightly heightened in the frequency range, making it more of a musical speaker while slightly lacking in movie listening. The heightened frequency range is not very noticeable at higher volumes due to the great amount of bass the Cona can deliver higher up on the volume scale.
In usual Bang & Olufsen style, things are much more aesthetically pleasing and interesting than the bland norm that comes with most other loudspeakers. The BeoVox Cona is no exception.
Visually, the BeoVox Cona generates several comments. First off, one notices the size, very large for a single driver, especially that of 8 inches. This quality quickly earned the title “ottoman” by my girlfriend. So far I have not found a corner the Cona could not squeeze into, so it is a very practical size. They are very subtle but can also retain a good focal point in a modernly appointed room. The roundness of the Cona is a nice departure from the cubic trend of standalone subwoofers we are all used to seeing. I like to maintain the idea that the form of the Cona also serves a function. Coming from the same time period that gave us the Penta and Red Line speakers, I believe that the Cona followed a common trend set by the Penta and Red Line speakers in utilizing a unique cabinet shape to reduce internal acoustic reflections and standing waves by removing parallel surfaces from the construction.
For the first attempt at an individual subwoofer, Bang & Olufsen hit a home run. The sound is very rich and full. The bass is very tight and responsive, even on as little as 55 watts. The bass is light in quantity down low on the volume scale, but can still annoy the neighbors when you crank up the volume. This is definitely a piece for collector interested in past Bang & Olufsen products.
When B&O’s engineers had discovered that the signals from respectively the bass unit and the tweeter in a loudspeaker do not reach the human ear at the same time, and that as a consequence a very slight distortion occurs, they asked Jacob Jensen to design a loudspeaker cabinet in which the units were skewed in relation to each other.
Jensen illustrated B&O’s technical discovery with an angle: “form follows function”. B&O’s loudspeakers in this way achieved a characteristic visual identity in the 1970s and 1980s.” – taken from ‘Jacob Jensen’ by Christain Holmsted Olesen.
Although the speaker was the tallest in the original line-up of aluminium compact passive speakers, Beovox C75 was no taller than an LP record, yet its reproduction quality equalled some of the full-size Beovox models. The one-piece aluminium log-line casing and separate bass (2 x 10cm bass drivers) and treble drivers (1 x 2,5cm) were specially designed to sound best in small rooms. Power handling was 75 watts RMS. Both the C75 and their smaller counterpart, the C40, benefited from the advantages of the “log line transmission system” and exploited the acoustic properties of small rooms to ensure well-balanced sound reproduction quality from these physically small cabinets.
As part of the Beovox Uni-Phase family, they also had linear phase and linear amplitude characteristics, which meant that they reproduced all types of music naturally. The range of C-type speakers won the ID Award in 1978.
Beovox C75 was eventually replaced by the CX100 in 1984.
Beovox C30 and C40 speakers were two compact bookshelf units offering high performance from deceptively small cabinets. The 10cm woofer and 2,5cm tweeter were mounted in thick aluminium casings to eliminate audible resonance. Log-line transmission ensured wide frequency response and clean, clear sound. Ideal for smaller rooms, their power handling capabilities were 30 watts and 40 watts RMS respectively.
The one-piece aluminium log-line casing and separate bass and treble drivers of the Beovox C75 were specially designed to sound best in small rooms. Power handling was 75 watts RMS
When B&O’s engineers had discovered that the signals from respectively the bass unit and the tweeter in a loudspeaker do not reach the human ear at the same time, and that as a consequence a very slight distortion occurs, they asked Jacob Jensen to design a loudspeaker cabinet in which the units were skewed in relation to each other.
Jensen illustrated B&O’s technical discovery with an angle: “form follows function”. B&O’s loudspeakers in this way achieved a characteristic visual identity in the 1970s and 1980s.” – taken from ‘Jacob Jensen’ by Christain Holmsted Olesen.
Although the speaker was the tallest in the original line-up of aluminium compact passive speakers, Beovox C75 was no taller than an LP record, yet its reproduction quality equalled some of the full-size Beovox models. The one-piece aluminium log-line casing and separate bass (2 x 10cm bass drivers) and treble drivers (1 x 2,5cm) were specially designed to sound best in small rooms. Power handling was 75 watts RMS. Both the C75 and their smaller counterpart, the C40, benefited from the advantages of the “log line transmission system” and exploited the acoustic properties of small rooms to ensure well-balanced sound reproduction quality from these physically small cabinets.
As part of the Beovox Uni-Phase family, they also had linear phase and linear amplitude characteristics, which meant that they reproduced all types of music naturally. The range of C-type speakers won the ID Award in 1978.
Beovox C75 was eventually replaced by the CX100 in 1984.
Beovox C30 and C40 speakers were two compact bookshelf units offering high performance from deceptively small cabinets. The 10cm woofer and 2,5cm tweeter were mounted in thick aluminium casings to eliminate audible resonance. Log-line transmission ensured wide frequency response and clean, clear sound. Ideal for smaller rooms, their power handling capabilities were 30 watts and 40 watts RMS respectively.
The one-piece aluminium log-line casing and separate bass and treble drivers of the Beovox C75 were specially designed to sound best in small rooms. Power handling was 75 watts RMS
When B&O’s engineers had discovered that the signals from respectively the bass unit and the tweeter in a loudspeaker do not reach the human ear at the same time, and that as a consequence a very slight distortion occurs, they asked Jacob Jensen to design a loudspeaker cabinet in which the units were skewed in relation to each other.
Jensen illustrated B&O’s technical discovery with an angle: “form follows function”. B&O’s loudspeakers in this way achieved a characteristic visual identity in the 1970s and 1980s.” – taken from ‘Jacob Jensen’ by Christain Holmsted Olesen.
Although the speaker was the tallest in the original line-up of aluminium compact passive speakers, Beovox C75 was no taller than an LP record, yet its reproduction quality equalled some of the full-size Beovox models. The one-piece aluminium log-line casing and separate bass (2 x 10cm bass drivers) and treble drivers (1 x 2,5cm) were specially designed to sound best in small rooms. Power handling was 75 watts RMS. Both the C75 and their smaller counterpart, the C40, benefited from the advantages of the “log line transmission system” and exploited the acoustic properties of small rooms to ensure well-balanced sound reproduction quality from these physically small cabinets.
As part of the Beovox Uni-Phase family, they also had linear phase and linear amplitude characteristics, which meant that they reproduced all types of music naturally. The range of C-type speakers won the ID Award in 1978.
Beovox C75 was eventually replaced by the CX100 in 1984.
Beovox C30 and C40 speakers were two compact bookshelf units offering high performance from deceptively small cabinets. The 10cm woofer and 2,5cm tweeter were mounted in thick aluminium casings to eliminate audible resonance. Log-line transmission ensured wide frequency response and clean, clear sound. Ideal for smaller rooms, their power handling capabilities were 30 watts and 40 watts RMS respectively.
The one-piece aluminium log-line casing and separate bass and treble drivers of the Beovox C75 were specially designed to sound best in small rooms. Power handling was 75 watts RMS
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. Beovox 2700 were one of those seven products. That same year Beovox 2700 won the iF Design Award.
Beovox S55 was an ideal bookshelf speaker, but could also be used as a wall-mounted or free-standing model with the optional fittings available separately.
The pressure chamber cabinet contained a 21cm bass driver, an 11,5 mid-range/phase-link unit and a 2,5cm tweeter. Power handling was 55 watts RMS.
