This was a rare and interesting model. It boasted a new arm and motor compared to the Beogram 1000 but retained quite a lot of the design and the uninspired rubber mat.
It also had a most unusual dust cover with a metal surround with only the top panel being transparent. This design was to be seen also in the prototype Beogram 6000 but not in any production model.
Beogram 1500 combined ease of operation and advanced technology in a simple, straightforward way. All its operations were controlled via a single button.
Another advantage of this totally integrated design was its immunity to external shock and vibrations. The electronic servo drive system ensured correct turntable speed at all times. The low-mass arm had built-in bias compensation, and the MMC 20S pickup tracked at only 1,5 grams.
The unique pendulum spring suspension helped make the Beogram range of record players immune to the external shock and vibrations which would cause most other record decks to mistrack and damage the record groove.
Beogram 1500 could be made up as part of the Beosystem 1500, when linked together with other compatible Bang & Olufsen products.
This deck was the basic model of its time but the inherent design of this deck meant that the performance was extremely similar to the top of the range radial decks. Very easy to set up and simple to use, a true bargain buy in later years.
You had the benefits of the very latest technology with this cassette recorder when it was first introduced. Such as the patented HX Pro recording system which enriched the sound image by giving vastly superior reproduction of the treble range.
You were certain to approve of the wealth of useful features too. For example, if the record finished while you were recording, the tape stopped automatically and restarted automatically when you turn the record over.
When you pressed STOP after a recording, a four-second pause was inserted between tracks with the automatic search system. Clever stuff – all designed to make life easier and more fun. Beocord 3300 was part of Beosystem 3300 although it could also be used as a stand-alone item.
Beocord 1900 equalled Bang & Olufsen’s top-of-the-line cassette deck (Beocord 5000) in terms of specifications and performance, but it but it did not have the same wide range of facilities and operational refinements.
This does not mean that the Beocord 1900 was difficult to operate. On the contrary, the slanting front panel which contained all the operational facilities made the set’s controls handy and easily accessible. The cassette eject mechanism was air damped so that delivery was gentle and controlled. Two large VU meters enabled accurate setting of recording levels.
The microphones socket was placed discreetly under a sliding panel together with a balance control which enabled signal level adjustment in both channels. All the features which characterised high quality and high performance levels in cassette decks were incorporated. These included a combined recording/play-back Sendust tape head and Dolby B Noise Reduction circuits.
Beocord 1900 used precision techniques that ensured stable tape drive and the highest standards of recording and playback. Yet despite its comprehensive facilities it was easy to use and harmonised comfortably with many different Beosystems.
Beocord 1900 could be made up as part of the Beosystem 1900 or Beosystem2400, when linked together with other compatible Bang & Olufsen products.
Beocord 1700 matched the Beomaster 1700 both physically and technically. It combined high performance with easy, straightforward operation.
Ferric, chrome or metal tapes could be used. The Sendust tape head, Dolby B circuits and Peak Programme Meter all contributed to high quality recording and playback. You could switch between all modes of play without fear of tangling the tape or damaging the mechanism.
Beovox Uni-Phase MS150 and M150 were Bang & Olufsen’s answer to the need for loudspeakers that could cope with greater dynamic range and increased demand for serious, no-gimmick sound reproduction.
They were B&O’s biggest and most perfected loudspeakers up to the time of their introduction, designed to reproduce sound with a natural, linear phase quality – even at very high sound pressure levels. Their power handling capacities were specified at 150 watts RMS. However, effective overload protection circuits enabled them to handle brief passages of music way above their ratings.
Both speakers reproduced all types of music – from the faintest to the loudest notes – with extreme accuracy and precision, without adding to or subtracting from the signals they received.
In addition, the MS150 was designed to reproduce a clean, powerful bass in a relatively large room. That is why it was fitted with a monitor quality sub-woofer and had a net volume of 64 litres. It reproduced the lowest of tones that any record, tape or FM broadcast could deliver. Apart from the sub-woofer, all other speaker drivers in both models were identical.
Behind this successful design lay a new acoustic technology, an integrated loudspeaker design which put Bang & Olufsen in control of all the parameters that affected the loudspeakers’ performance. That is, all, except the room acoustics in which they were situated.
The new technology was based upon the use of Fourier analysis, computer-aided design and simulation techniques and laser holography. It helped prove measuring, calculating and testing techniques and thereby led to better cross-over filters’ design, refinement of patented linear phase techniques, control cabinet resonances and the minimisation of diffractions caused by the cabinet’s traditionally sharp-edged profiles. There was also a redesigning of the necessary drivers in order to meet precise construction requirements and perform optimally.
A monitor quality sub-woofer, a 20cm bass unit and a 64 litre net cabinet secured clean, powerful, bass reproduction. The mid-range unit, a 7,5cm dome tweeter, was aperiodically tuned to secure the exact frequency response characteristic required, while the super tweeter ensured excellent high frequency response.
Beovox M150-2 featured a 3-unit configuration to ensure monitor-quality sound reproduction in the 38 – 22000 Hz frequency range. Power handling capacity was 150 watts RMS with overload protection on all drive units. The 7,5cm unit acted as a mid-range filler-driver to eliminate audible phase distortion, so the music was always crisp and well defined with individual instruments correctly ‘positioned’ in the musical landscape. Pedestals were included as standard equipment.
Beovox Uni-Phase MS150 and M150 were Bang & Olufsen’s answer to the need for loudspeakers that could cope with greater dynamic range and increased demand for serious, no-gimmick sound reproduction.
They were B&O’s biggest and most perfected loudspeakers up to the time of their introduction, designed to reproduce sound with a natural, linear phase quality – even at very high sound pressure levels. Their power handling capacities were specified at 150 watts RMS. However, effective overload protection circuits enabled them to handle brief passages of music way above their ratings.
Both speakers reproduced all types of music – from the faintest to the loudest notes – with extreme accuracy and precision, without adding to or subtracting from the signals they received.
In addition, the MS150 was designed to reproduce a clean, powerful bass in a relatively large room. That is why it was fitted with a monitor quality sub-woofer and had a net volume of 64 litres. It reproduced the lowest of tones that any record, tape or FM broadcast could deliver. Apart from the sub-woofer, all other speaker drivers in both models were identical.
Behind this successful design lay a new acoustic technology, an integrated loudspeaker design which put Bang & Olufsen in control of all the parameters that affected the loudspeakers’ performance. That is, all, except the room acoustics in which they were situated.
The new technology was based upon the use of Fourier analysis, computer-aided design and simulation techniques and laser holography. It helped prove measuring, calculating and testing techniques and thereby led to better cross-over filters’ design, refinement of patented linear phase techniques, control cabinet resonances and the minimisation of diffractions caused by the cabinet’s traditionally sharp-edged profiles. There was also a redesigning of the necessary drivers in order to meet precise construction requirements and perform optimally.
A monitor quality sub-woofer, a 20cm bass unit and a 64 litre net cabinet secured clean, powerful, bass reproduction. The mid-range unit, a 7,5cm dome tweeter, was aperiodically tuned to secure the exact frequency response characteristic required, while the super tweeter ensured excellent high frequency response.
Beovox M150-2 featured a 3-unit configuration to ensure monitor-quality sound reproduction in the 38 – 22000 Hz frequency range. Power handling capacity was 150 watts RMS with overload protection on all drive units. The 7,5cm unit acted as a mid-range filler-driver to eliminate audible phase distortion, so the music was always crisp and well defined with individual instruments correctly ‘positioned’ in the musical landscape. Pedestals were included as standard equipment.
Top of the range monitor speaker, these were much more like the Beovox S60 than the Beovox M75 that replaced them.
They were 4 way speakers with the tweeter and midrange level with each other and the Phase link and woofer below. They could be fitted with the dramatic trumpet stand and were the speakers specified for the Beosystem 6000.
Beovox Uni-Phase M100 and M75 were the top models in the 1979 – 1980 range of Bang & Olufsen speakers.
They reproduced sound with studio monitor quality, which, in practice meant that even at very high sound pressure levels (volume) they reproduced sound with constantly neutral, linear phase quality. They could also withstand hard-working conditions similar to those met in sound studios, because they were effectively protected against damage from overloading. Their power-handling capacities were specified at 100 and 75 watts RMS respectively; however, their unique overload protection circuits permitted them to handle music passages above these rated capacities.
Special emphasis was placed on Beovox M100’s ability to reproduce clean, powerful bass. That it why it was given a ported bass-reflex cabinet with a 30,5cm woofer. The cabinet’s volume was 89 litres. Bass response went down to 27Hz (measured at +/- 4 – 8 dB).
Beovox M75 had outstanding overall performance too, and was equally suitable for medium-sized or larger rooms. Both models had specially-designed pedestals which could be adjusted to the correct listening height and angle.
Beovox Uni-Phase M100 and M75 were the top models in the 1979 – 1980 range of Bang & Olufsen speakers.
They reproduced sound with studio monitor quality, which, in practice meant that even at very high sound pressure levels (volume) they reproduced sound with constantly neutral, linear phase quality. They could also withstand hard-working conditions similar to those met in sound studios, because they were effectively protected against damage from overloading. Their power-handling capacities were specified at 100 and 75 watts RMS respectively; however, their unique overload protection circuits permitted them to handle music passages above these rated capacities.
Special emphasis was placed on Beovox M100’s ability to reproduce clean, powerful bass. That it why it was given a ported bass-reflex cabinet with a 30,5cm woofer. The cabinet’s volume was 89 litres. Bass response went down to 27Hz (measured at +/- 4 – 8 dB).
Beovox M75 had outstanding overall performance too, and was equally suitable for medium-sized or larger rooms. Both models had specially-designed pedestals which could be adjusted to the correct listening height and angle.
