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BeoVision Capri KJ

BeoVision Capri KJ

Once the post-War TV boom was over, many of the manufacturers which had emerged during the 1950s disappeared, frequently because the market had become saturated. Others, including B&O, survived because of their foresight. They had begun to focus on other product areas.

Beovision Capri TV was as a result of this foresightedness. It came in various guises, including the Capri KJ (1962 – 1965), Capri SJ/FM (1961 – 1965), Capri Moderne (1963 to 1965) and Capri KL (1964 – 1965), Capri TV 611 FM (introduced 1964)

B&O engineers, for instance, had seen that transistors would replace radio tubes – and realised that a new and exciting future lay before them. Radio with FM, stereophonic music and, perhaps later, even colour TV.

The television of the 1950s had every chance of becoming popular – and it did. Capri was an elegant little television that was available with a trolley, with fixed legs or as a shelf model. The cabinet was made of teak or high-gloss walnut, as used in furniture production. Because of innovations in the furniture industry in the use of materials, more and more furniture was being made of teak, but the products of the radio sector were walnut. Bang & Olufsen needed to adapt the products to the furniture that people had bought for their homes. Teak became popular. Over the next 6-7 years, Bang & Olufsen changed the selection of materials for its products from walnut to teak. Later, the more exclusive Brazilian rosewood came in the 1960s as an alternative to teak -cabinets. Capri was available in two different sizes, 17 or 21 inches.

One of the first major lessons learned about television was that reflected light could spoil the picture. People would often switch off the light in the room to give the picture some contrast while watching television. To protect their eyesight, people were advised to leave one lamp on in the room. To counter this problem, a solution was developed in the form of the ‘Bang & Olufsen Spectral Filter’ in anti-reflection curtains. It was a slightly tilted greyish screen in front of the picture tube. “Your eyes are protected and you can enjoy the programmes in a living room with full illumination,” the 1959 sales brochure stated. The spectral screen was a simplified version of what is today called the contrast screen.

(Source: Beolink Magazine: ‘The First 50 Years of Television’ © Bang & Olufsen a/s 2002)

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BeoVision Capri SJ

Once the post-War TV boom was over, many of the manufacturers which had emerged during the 1950s disappeared, frequently because the market had become saturated. Others, including B&O, survived because of their foresight. They had begun to focus on other product areas.

Beovision Capri TV was as a result of this foresightedness. It came in various guises, including the Capri KJ (1962 – 1965), Capri SJ/FM (1961 – 1965), Capri Moderne (1963 to 1965) and Capri KL (1964 – 1965), Capri TV 611 FM (introduced 1964)

B&O engineers, for instance, had seen that transistors would replace radio tubes – and realised that a new and exciting future lay before them. Radio with FM, stereophonic music and, perhaps later, even colour TV.

The television of the 1950s had every chance of becoming popular – and it did. Capri was an elegant little television that was available with a trolley, with fixed legs or as a shelf model. The cabinet was made of teak or high-gloss walnut, as used in furniture production. Because of innovations in the furniture industry in the use of materials, more and more furniture was being made of teak, but the products of the radio sector were walnut. Bang & Olufsen needed to adapt the products to the furniture that people had bought for their homes. Teak became popular. Over the next 6-7 years, Bang & Olufsen changed the selection of materials for its products from walnut to teak. Later, the more exclusive Brazilian rosewood came in the 1960s as an alternative to teak -cabinets. Capri was available in two different sizes, 17 or 21 inches.

One of the first major lessons learned about television was that reflected light could spoil the picture. People would often switch off the light in the room to give the picture some contrast while watching television. To protect their eyesight, people were advised to leave one lamp on in the room. To counter this problem, a solution was developed in the form of the ‘Bang & Olufsen Spectral Filter’ in anti-reflection curtains. It was a slightly tilted greyish screen in front of the picture tube. “Your eyes are protected and you can enjoy the programmes in a living room with full illumination,” the 1959 sales brochure stated. The spectral screen was a simplified version of what is today called the contrast screen.

(Source: Beolink Magazine: ‘The First 50 Years of Television’ © Bang & Olufsen a/s 2002)

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BeoVision Capri Moderne

BeoVision Capri Moderne

Once the post-War TV boom was over, many of the manufacturers which had emerged during the 1950s disappeared, frequently because the market had become saturated. Others, including B&O, survived because of their foresight. They had begun to focus on other product areas.

Beovision Capri TV was as a result of this foresightedness. It came in various guises, including the Capri KJ (1962 – 1965), Capri SJ/FM (1961 – 1965), Capri Moderne (1963 to 1965) and Capri KL (1964 – 1965), Capri TV 611 FM (introduced 1964)

B&O engineers, for instance, had seen that transistors would replace radio tubes – and realised that a new and exciting future lay before them. Radio with FM, stereophonic music and, perhaps later, even colour TV.

The television of the 1950s had every chance of becoming popular – and it did. Capri was an elegant little television that was available with a trolley, with fixed legs or as a shelf model. The cabinet was made of teak or high-gloss walnut, as used in furniture production. Because of innovations in the furniture industry in the use of materials, more and more furniture was being made of teak, but the products of the radio sector were walnut. Bang & Olufsen needed to adapt the products to the furniture that people had bought for their homes. Teak became popular. Over the next 6-7 years, Bang & Olufsen changed the selection of materials for its products from walnut to teak. Later, the more exclusive Brazilian rosewood came in the 1960s as an alternative to teak -cabinets. Capri was available in two different sizes, 17 or 21 inches.

One of the first major lessons learned about television was that reflected light could spoil the picture. People would often switch off the light in the room to give the picture some contrast while watching television. To protect their eyesight, people were advised to leave one lamp on in the room. To counter this problem, a solution was developed in the form of the ‘Bang & Olufsen Spectral Filter’ in anti-reflection curtains. It was a slightly tilted greyish screen in front of the picture tube. “Your eyes are protected and you can enjoy the programmes in a living room with full illumination,” the 1959 sales brochure stated. The spectral screen was a simplified version of what is today called the contrast screen.

(Source: Beolink Magazine: ‘The First 50 Years of Television’ © Bang & Olufsen a/s 2002)

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BeoVision Capri 611 FM

BeoVision Capri Range

Once the post-War TV boom was over, many of the manufacturers which had emerged during the 1950s disappeared, frequently because the market had become saturated. Others, including B&O, survived because of their foresight. They had begun to focus on other product areas.

Beovision Capri TV was as a result of this foresightedness. It came in various guises, including the Capri KJ (1962 – 1965), Capri SJ/FM (1961 – 1965), Capri Moderne (1963 to 1965) and Capri KL (1964 – 1965), Capri TV 611 FM (introduced 1964)

B&O engineers, for instance, had seen that transistors would replace radio tubes – and realised that a new and exciting future lay before them. Radio with FM, stereophonic music and, perhaps later, even colour TV.

The television of the 1950s had every chance of becoming popular – and it did. Capri was an elegant little television that was available with a trolley, with fixed legs or as a shelf model. The cabinet was made of teak or high-gloss walnut, as used in furniture production. Because of innovations in the furniture industry in the use of materials, more and more furniture was being made of teak, but the products of the radio sector were walnut. Bang & Olufsen needed to adapt the products to the furniture that people had bought for their homes. Teak became popular. Over the next 6-7 years, Bang & Olufsen changed the selection of materials for its products from walnut to teak. Later, the more exclusive Brazilian rosewood came in the 1960s as an alternative to teak -cabinets. Capri was available in two different sizes, 17 or 21 inches.

One of the first major lessons learned about television was that reflected light could spoil the picture. People would often switch off the light in the room to give the picture some contrast while watching television. To protect their eyesight, people were advised to leave one lamp on in the room. To counter this problem, a solution was developed in the form of the ‘Bang & Olufsen Spectral Filter’ in anti-reflection curtains. It was a slightly tilted greyish screen in front of the picture tube. “Your eyes are protected and you can enjoy the programmes in a living room with full illumination,” the 1959 sales brochure stated. The spectral screen was a simplified version of what is today called the contrast screen.

(Source: Beolink Magazine: ‘The First 50 Years of Television’ © Bang & Olufsen a/s 2002)

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BeoVision Capri TV 514K

Once the post-War TV boom was over, many of the manufacturers which had emerged during the 1950s disappeared, frequently because the market had become saturated. Others, including B&O, survived because of their foresight. They had begun to focus on other product areas.

Beovision Capri TV was as a result of this foresightedness. It came in various guises, including the Capri KJ (1962 – 1965), Capri SJ/FM (1961 – 1965), Capri Moderne (1963 to 1965) and Capri KL (1964 – 1965), Capri TV 611 FM (introduced 1964)

B&O engineers, for instance, had seen that transistors would replace radio tubes – and realised that a new and exciting future lay before them. Radio with FM, stereophonic music and, perhaps later, even colour TV.

The television of the 1950s had every chance of becoming popular – and it did. Capri was an elegant little television that was available with a trolley, with fixed legs or as a shelf model. The cabinet was made of teak or high-gloss walnut, as used in furniture production. Because of innovations in the furniture industry in the use of materials, more and more furniture was being made of teak, but the products of the radio sector were walnut. Bang & Olufsen needed to adapt the products to the furniture that people had bought for their homes. Teak became popular. Over the next 6-7 years, Bang & Olufsen changed the selection of materials for its products from walnut to teak. Later, the more exclusive Brazilian rosewood came in the 1960s as an alternative to teak -cabinets. Capri was available in two different sizes, 17 or 21 inches.

One of the first major lessons learned about television was that reflected light could spoil the picture. People would often switch off the light in the room to give the picture some contrast while watching television. To protect their eyesight, people were advised to leave one lamp on in the room. To counter this problem, a solution was developed in the form of the ‘Bang & Olufsen Spectral Filter’ in anti-reflection curtains. It was a slightly tilted greyish screen in front of the picture tube. “Your eyes are protected and you can enjoy the programmes in a living room with full illumination,” the 1959 sales brochure stated. The spectral screen was a simplified version of what is today called the contrast screen.

(Source: Beolink Magazine: ‘The First 50 Years of Television’ © Bang & Olufsen a/s 2002)

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BeoVision Capri KL

Once the post-War TV boom was over, many of the manufacturers which had emerged during the 1950s disappeared, frequently because the market had become saturated. Others, including B&O, survived because of their foresight. They had begun to focus on other product areas.

Beovision Capri TV was as a result of this foresightedness. It came in various guises, including the Capri KJ (1962 – 1965), Capri SJ/FM (1961 – 1965), Capri Moderne (1963 to 1965) and Capri KL (1964 – 1965), Capri TV 611 FM (introduced 1964)

B&O engineers, for instance, had seen that transistors would replace radio tubes – and realised that a new and exciting future lay before them. Radio with FM, stereophonic music and, perhaps later, even colour TV.

The television of the 1950s had every chance of becoming popular – and it did. Capri was an elegant little television that was available with a trolley, with fixed legs or as a shelf model. The cabinet was made of teak or high-gloss walnut, as used in furniture production. Because of innovations in the furniture industry in the use of materials, more and more furniture was being made of teak, but the products of the radio sector were walnut. Bang & Olufsen needed to adapt the products to the furniture that people had bought for their homes. Teak became popular. Over the next 6-7 years, Bang & Olufsen changed the selection of materials for its products from walnut to teak. Later, the more exclusive Brazilian rosewood came in the 1960s as an alternative to teak -cabinets. Capri was available in two different sizes, 17 or 21 inches.

One of the first major lessons learned about television was that reflected light could spoil the picture. People would often switch off the light in the room to give the picture some contrast while watching television. To protect their eyesight, people were advised to leave one lamp on in the room. To counter this problem, a solution was developed in the form of the ‘Bang & Olufsen Spectral Filter’ in anti-reflection curtains. It was a slightly tilted greyish screen in front of the picture tube. “Your eyes are protected and you can enjoy the programmes in a living room with full illumination,” the 1959 sales brochure stated. The spectral screen was a simplified version of what is today called the contrast screen.

(Source: Beolink Magazine: ‘The First 50 Years of Television’ © Bang & Olufsen a/s 2002)

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BeoMic BM3

Bang & Olufsen BeoMic BM3

Bang & Olufsen Beomic 3 (150 ohms) and Beomic 4 (multi- impedance) models were pressure-gradient full-bass microphones with a perfect figure-eight directional pattern.

Features: No resonance peaks. Extremely smooth response. Bi-Directional – no side pickup. No frequency discrimination, front to back. High efficiency Nu-Metal transformer placed in microphone housing. Switch for muting and voice/music conditions. The miniature non-corrosive duraluminium ribbon was only 0.0001″ thick and its weight only 1.3 mg. This negligible mass prevented any resonance within the audio range. Shock and blast proof. Ball swivel for tilting to any position.

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BeoGram 42V/VF

Bang & Olufsen BeoGram 42V_VF

The B&O 4-speed record player is an important step on the road to full musical enjoyment, being designed specially with a view to vibrationless and rumbleless operation. This feature is of great importance when playing stereo records as the pickup stylus must be sensitive to vibrations in all directions in order to be capable of “scanning” the record properly.

Understanding the numbering of these Beograms is really quite easy: the ‘V’ in ‘608V’ means that it is powered with AC voltage and ‘F’ means that it has a built-in preamplifier. The designation 608, 609 and so on, indicates the year the product was marketed. There was also a ‘U’ version for both AC and DC voltages. Beogram 608 for example, was a turntable without a built-in RIAA preamplifier and was produced for the 1962 season (internally many were date-stamped e.g. September 1961 would indicate the year it left the factory).

The difference between the models 41xx and 42xx was that the 41xx had a small turntable and the 42xx model had a larger turntable.

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BeoGram 41V/VF

Bang & Olufsen BeoGram 42V_VF

The B&O 4-speed record player is an important step on the road to full musical enjoyment, being designed specially with a view to vibrationless and rumbleless operation. This feature is of great importance when playing stereo records as the pickup stylus must be sensitive to vibrations in all directions in order to be capable of “scanning” the record properly.

Understanding the numbering of these Beograms is really quite easy: the ‘V’ in ‘608V’ means that it is powered with AC voltage and ‘F’ means that it has a built-in preamplifier. The designation 608, 609 and so on, indicates the year the product was marketed. There was also a ‘U’ version for both AC and DC voltages. Beogram 608 for example, was a turntable without a built-in RIAA preamplifier and was produced for the 1962 season (internally many were date-stamped e.g. September 1961 would indicate the year it left the factory).

The difference between the models 41xx and 42xx was that the 41xx had a small turntable and the 42xx model had a larger turntable.