“B&O loudspeakers will meet very exacting conditions as their specifications exceed international hi-fi standards. All B&O speakers are of the pressure-chamber type with an impedance of 4 ohms. They are available in matched pairs only in a choice of teak or Brazilian rosewood finish”
“B&O loudspeakers will meet very exacting conditions as their specifications exceed international hi-fi standards. All B&O speakers are of the pressure-chamber type with an impedance of 4 ohms. They are available in matched pairs only in a choice of teak or Brazilian rosewood finish”
– taken from the 1967 – 1968 Bang & Olufsen product catalogue
“If you already own a hi-fi music system or a good radio set with a tape socket – in other words, if you have an amplifier system capable of replacing that provided in a tape recorder you may prefer this 2-track recording machine. Technical specifications are equal to those of the Beocord 2000de Luxe K, but there is no mixer section or output amplifier.
The Beocord 1500 de Luxe has built-in playback pre-amplifiers and is sold complete with gramophone/radio record pre-amplifier. This recording pre-amplifier may be exchanged for a microphone pre-amplifier if direct microphone recordings are required.
Dimensions: 205mm high, 450mm wide, 335mm deep. Choice of teak or Brazilian rosewood finish” – taken from the 1967 – 1968 Bang & Olufsen product catalogue.
Beocord 1500 DL was a stereo tape recorder which you could use with an existing stereo system. There was no built-in amplifier or microphone – the unit’s raison d’être was a means to make really good recordings from records or the radio. A single stereo input channel of standard DIN level was the only source, but two outputs were provided: one of a fixed DIN level, and the other (Line) of a variable level controlled by a concentric (L,R) knob on the control panel. With a special lead and the correct Beomaster, it was possible to do off-tape monitoring during recordings (although by using standard DIN connection through the ‘radio’ socket this function was not available).
An elegant steel undercarriage on smooth-running castors was separately available for the Beocord models at that time. It was available in two versions: for Beocord 1100/Beocord 2000 de Luxe T, and Beocord 1500 de Luxe/Beocord 2000 de Luxe K, respectively.
Beocord 1500 DL was replaced by Beocord 1800 in 1970, which looked very similar but included several detail improvements, such as a die-cast chassis and optical automatic stop. Mechanically, Beocord 1500 DL was the same as Beocord 2000 DL and was offered in the same way in either 2 track + 4 track replay and 4 track only models. The Beomaster 900 RG Compact radiogram featured a recess of the exact size to fit Beocord 1500 DL which made it into a complete audio system.
While Bang & Olufsen made wire recorders in the late 1940’s and early 1950’s they did not start to produce open reel tape recorders until the early 1960’s. However, as with all B&O products these were considered excellent quality and many are still in use today.
Beocord 1000 was introduced in 1966 – and the Beocord 1100 that replaced it in 1967 – were the budget models of the range. They were stereo machines but had only mono monitoring.
Beocord 1500 and Beocord 1800 eventually superceded these two models; Beocord 1800 featured a mixer as in more expensive machines and also incorporated both sound-on-sound and overdubbing capabilities. Beocord 2000 was the best-selling and the best-loved machine that the company produced; this was manufactured from 1965 to 1968 and was drowning in features many not seen on anything but professional machines until the late 1970’s.
In 1969 the company introduced Beocord 1200, Beocord 1600 and Beocord 2400.
“One of the best semi-professional fully transistorised hi-fi stereo tape recorders. It has professional data for speed, wow and flutter that meet international standards for studio tape recorders. New modern design concepts distinguish the Beocord 2000 de Luxe K from conventional tape reorders. Here are some of them: 4-track recording/2-track and 4-track playback; built-in 4-channel mixer section with twin faders for both mono and stereo recordings provides individual control and mixing of microphone, gramophone, radio and line signal inputs.
These faders make it possible to balance channels during recording. An aurally compensated twin fader makes it possible to balance playback volume levels, too. These features permit recordings of every kind, such as Multi-playback, or sound-on sound; that is, rerecording from one track to another whilst making another recording on the other track.
Synchro-playback – this feature consists of synchronising two recordings on separate tracks which you do wish to mix by recording, and may be used for language laboratory purposes and for automatic control of lantern slides. Echo – adding echo to both mono and stereo recordings. The amplifier equipment is an outstanding new system consisting of no less than seven fully transistorised easily replaceable amplifier units.
Monitoring: separate records and playback heads with individual amplifiers permit both before-the-tape and off-the-tape monitoring. Power output is 2 x 8 watts undistorted.
Frequency response: 7.5″/sec 30-20 000 Hz (+/- 2 dB: 40 – 16 000Hz), 3.75″/sec 30 – 16 000 Hz (+/- 2dB: 40 – 12 000Hz), 1.7/8”: 50 – 8 000Hz (+/- 2 dB: 50 – 6 000Hz)
Recording level is indicated by two illuminated V.U. meters which indicate the sum of signals in each of the two tracks that can be recorded simultaneously.
Slack absorbers: Two smooth-running specially engineered slack absorbers take up slack, ensuring absolutely smooth starting and stopping at all tape speeds.
Electronic protection circuit prevents damage due to electrical overloads. No other tape recorder in this price bracket has these professional standards for electrical and mechanical specifications. Fine low-noise tape drive motor mounted on rugged non-torsion steel chassis. Four tape heads, 4-track recording but – a remarkable feature – the instrument plays back both 2-track and 4-track tapes.
The erase head (long-life dual-gap ferrite erases “right to the bottom” (70dB). The 2000 de Luxe permits recording from one tape recorder to another, parallel recording on a number of tape recorders, and simultaneous copying of both tracks. The Beocord may also be used as: public address system, permanently installed hi-fi control centre, and orchestra and guitar amplifier.” – taken from the 1967 – 1968 Bang & Olufsen product catalogue .
Beocord 2000 de Luxe T is almost a recording studio in a case. Compact, transistorised circuitry allowed a previously impossible amount of facilities to be offered by a portable machine. Independent stereo recording preamplifiers for microphones, a turntable, a radio or second recorder and line/off tape recording allowed huge flexibility.
Recording and playback amplifiers were completely separate, as were the heads, expanding the possibilities even further, to include off-tape monitoring, track to track copying and echo functions. A built in power amplifier, similar to that fitted to Beogram 1500, made the Beocord 2000 Deluxe a complete stand alone unit, even a pair of quality loudspeakers, which doubled as a hard protective lid, were included.
Internally, the electronics were built on 8 plug in cards, the radio and phono amplifier ones having switches to alter the input level that they could use. A single large synchronous motor, supplied by Papst of Germany, drove the mechanism via a series of rubber wheels. The motor pulley had a number of different radiused sections, including three precision machined surfaces for speed selection. These were selected with a stepped cam, lifting an idler wheel into the correct position to drive the large cast flywheel at the desired speed. Included on the same shaft as the cam were switches to automatically correct the equalisation settings of the recording and playback amplifiers for the speed being used.
Beneath the die-cast head cover, one could see the four head stacks, they were, from left to right, a stereo erase head, a stereo playback head set for replay of half tape stereo or four track recordings, a full width stereo record head and a full width stereo playback head. Also visible were sensing posts for both mechanical and electrical automatic stop, a brake pad linked to the pause control, a large rubber pressure roller and a thick, heavily chromed capstan spindle.
The control panel contained two simple levers to operate the tape transport, but was dominated by a stereo mixing section with 4 channels. The versatile switching functions, controlled by eight small grey buttons on the left of the panel, allowed the user to record either on the full width in stereo (so only allowing one “side” of the tape to be used), or two independent parallel tracks in mono, making two passes of the same side of the tape, or two tracks in mono, running to the end of the tape for the first one, them turning the tape over to record the second.
This, coupled with a choice of three speeds and a deck large enough to take spools up to 18cm in diameter, gave the user the chance to, at one end of the scale, record 45 minutes of music in stereo at as good as studio quality, or at the other extreme, store over 8 hours of speech quality material on a single spool of tape. Recordings from four-track recorders could be played, be they two tracks of stereo or four tracks of mono, though it was not possible to record in the four track format.
A well specified microphone amplifier made this machine ideal for live recordings, and there was space in the cover to store the microphones, such as a pair of Beomic 2000s, while not in use. B&O also made an excellent range of ribbon microphones which could be used with the Beocord 2000 Deluxe.
Beolit 700: equipped with FM, LW, MW and SW (the 49 metre waveband) this portable radio offered excellent audio quality and had good ability to pick up even faint radio signals/stations.
The radio had a leather handle and case and came equipped with two extendable FM antennas. It included connections for an extra antenna, an extension loudspeaker and connections for tape or record deck. The Beolit 700 could run off batteries, making it truly portable. It accommodated six size D, 1,5V batteries.
A renamed Beolit 611T, with novel features such as the rubberised feet that extended from the cabinet when the handle was moved downwards, allowing the set to be positioned on its side without danger of marking the cabinet. This wood-clad model was positioned towards the top of the Beolit range at the time, with only the mighty Beolit 1000 its superior in terms of looks and performance.
Essentially a Beolit 700 chassis with some minor modifications, mounted in a wooden cabinet, the Beolit 800 fitted neatly in the Beolit range between the 700 and the very well specified 1000. The set was powered by 6 ‘D’ sized cells, and covered FM, LW, AM and SW wavebands, with the latter having its own dedicated rod antenna (both could be used for FM coverage). These were positioned at opposite ends of the chassis, unlike the Beolit 700 where they were placed next to each other, and gave a particularly pleasing symmetry when deployed when the set was operating on its side using the handle as a stand and the feet built into the cabinet.
For its time the Beolit 800 was a well specified portable radio and commensurate with its price tag, B&O equipped the set with features that would be expected of a radio at the higher end of the market. Connections for an external speaker or headphones, and a tape recorder or gramophone were located at the bottom of the set, with cut outs on the bottom plate for the cables to exit if connected. Treble and bass controls were provided, as was a separate tuning scale for the FM band. A duplex drive was fitted to allow a single tuning knob to be used on both the LW/AM/SW and FM tuning scales depending on which band had been selected. Like many of the other Beolits, the 800 included a ‘Radicator’, which served the dual purpose of showing the battery voltage when no station was tuned in, or the extent to which the receiver was tuned to a particular station. This latter function was particularly useful if the owner wished to use the set to take bearings using the internal ferrite rod antenna.
One interesting feature not copied on other Beolits was the use of a series of sliding indicators in a channel running underneath the FM tuning scale. Presumably an early and simple form of pre-sets, these could be lined up with a particular station’s frequency, and used to quickly line up the tuning pointer to these frequencies. A useful feature no doubt, but a disappointing one aesthetically as the sliders were made of flimsy plastic, and did not do justice to an otherwise visually pleasing set that was well constructed using mostly wood and metal parts. Overall though, the Beolit 800 was a well thought through addition to the Beolit range, offering as it did a range of placement options in an elegant wooden cabinet for the discerning customer. When it was withdrawn in 1968 it was not replaced directly, and the mainstay of the Beolit range to come in the form of the Beolit 600, took some of its styling cues from the Beolit 1000, leaving the 800 and the 1000 as the last Beolits to be offered with a wooden cabinet.
Review kindly written by Beoworld member John Barker
“FM, Long Wave, Medium wave and Marine band. Push-button band switching. Built-in AM aerial. Telescopic whip for FM. Flywheel tuning. Separate bass and treble controls. Jacks for external aerial, extension speaker and gramophone. Rugged weather-resistant cabinet of impact-proof polystyrene in four elegant two-colour combinations. Car mounting bracket available. Dimensions: 223 mm high, 320 mm wide, 109 mm deep. ” – taken from the 1967 – 1968 Bang & Olufsen product catalogue (Read more on the BeoWorld Connoisseurs’ Club)
Beolit 600 was a very popular transistorised radio set of the mid-1960s. Unusually for the time, it featured an FM band, made possible by special transistors which had recently become available. These, like the others in the set, were sourced from Siemens, but were similar to those being made by Philips/Mullard. The output level was high for a transistor set, so a lot of power was needed. This came from six “D” size batteries mounted in an internal box. Access was through the bottom of the set, and would have been frequent if high volume settings were regularly used! There was no option of mains power for this model, the Beopower 600 mains adaptor was only suitable for sets made after 1970, which were of a completely different design.
The set was solid and sturdy, the plastic panels on the outside being purely cosmetic. Inside, there was a metal framework holding all the internal parts including the loudspeaker. Damping materials were fitted in places where it was thought resonance may occur. The styling was much admired, particularly by Murphy Radio, who copied it accurately in one of their models.
Beolit 600 included features such as proper treble and bass controls, a dual function battery and tuning meter (this changed function automatically when a broadcast was received), headphone and tape recorder sockets and coverage of the marine band (on the lower frequency short waves).
In 1970 Beolit 600 was replaced by the new Beolit 600 ‘colour radio’ range.
In the 1960’s, small, transistorised radios became extremely popular. This was a result of miniaturisation of electronics products. The world leaders on the road to miniaturisation as we know it today, were the Japanese. Bang & Olufsen eager to come up with its own idea of making products smaller, designed its own transistorised radio: the Beolit 500.
An FM transistor set, entirely without dial, with push-button selection of up to five pre-tunable stations. The Beolit 500 has a large high-performance speaker, a telescopic FM whip, jacks for tape recorder, gramophone and extension speaker, automatic frequency control, and good battery economy. An attractive extra feature: the Beolit 500 can be used as an intercom system. Dimensions: 76 mm high, 264 mm wide, 191 mm deep. Choice of teak or Brazilian rosewood finish. Not available in the UK.
Beolit 500, type 1101 is one of those so-called ‘transistor radios’ – a small portable radio that could be carried around. However, Bang & Olufsen worked on the assumption that these small ‘portable’ radios were most often stationary. As well as an FM radio receiver, Beolit 500 could be used as an intercom via an extra loudspeaker (that it could also be adapted to receive police radio communications by short-circuiting a couple of switches was an entertaining, but unintentional side-effect).
Sockets for an external 7.5V power supply (via Beopower 600) and a tape recorder were fitted.
Beolit 500 won the iF Design Award in 1966.
