Beovision 3000 and 3300 had 50cm screens and were, at the time of the 1979 – 80 catalogue, Bang & Olufsen’s smallest colour TV sets. They were identical technically, except that Beovision 3300 had the ability to be controlled by remote control.
However, it was only the size of the screens and the outer dimensions of the sets that were small, according to the catalogue. Inside, the technology was on a par with B&O’s biggest models, with the same advanced circuits that made the bigger 26″ models renown for their reliability and high quality levels. In order to secure the best sound reproduction, Bang & Olufsen included a large, forward-facing pressure chamber loudspeaker and a 6,5 watts RMS hi-fi amplifier, similar to those in audio setups.
The sets’ cabinets were finished in genuine wood veneers and lived up to the tradition of excellent Danish furniture workmanship.
Beovision 3000 and 3300 had 50cm screens and were, at the time of the 1979 – 80 catalogue, Bang & Olufsen’s smallest colour TV sets. They were identical technically, except that Beovision 3300 had the ability to be controlled by remote control.
However, it was only the size of the screens and the outer dimensions of the sets that were small, according to the catalogue. Inside, the technology was on a par with B&O’s biggest models, with the same advanced circuits that made the bigger 26″ models renown for their reliability and high quality levels. In order to secure the best sound reproduction, Bang & Olufsen included a large, forward-facing pressure chamber loudspeaker and a 6,5 watts RMS hi-fi amplifier, similar to those in audio setups.
The sets’ cabinets were finished in genuine wood veneers and lived up to the tradition of excellent Danish furniture workmanship.
The Beovision 1600 replaced the Beovision 1400 range and included a new all-transistor chassis. As before, a 24” wide-angle tube was fitted, the largest monochrome tube that was available at the time. In contrast to the 1400 range, only one cabinet style was available, a table model, though this could be fitted with an optional pillar stand for free-standing use. The design was simple and elegant, with the minimum of cabinet work around the screen.
The controls were all of a new design, and concealed when not in use. Each one was mounted in a small latching drawer marked with a graphical symbol to represent its function. To adjust a setting (volume, brightness etc), one only had to touch the relevant drawer lightly and it would open, allowing access to an edgewise rotary control. The tuning worked in a similar manner, where the tuning controls were hidden inside the channel selector buttons. To adjust the tuning, one would press the button one wished to adjust, thus selecting the channel, then press again to slide out the drawer to reveal the tuning scale and control.
To make the most of the instant picture possibilities that the adoption of transistors (instead of the valves in previous models) offered, the heater of the picture tube of the Beovision 1600 was left energised at all times. In order to extend the life of the tube, when the set was switched “off”, the heater was run at a slightly lower level of power. Even despite this, the picture appeared truly instantly as soon as the “on” button was pressed, something that no other range of Beovision TV sets has been capable of since.
The rest of the design was quite conventional, with the exception of the voltage regulator which could tolerate a very wide range of mains voltages without picture disturbance.
The Beovision 1600 was the last large-screen monochrome Beovision model
Beomaster 2400’s pièce de résistance was its remote control Commander which no hi-fi manufacturer had ever dreamed of producing before. In the USA however, remote controlled TVs had already become a reality and in Europe, the first TV commanders, with a plethora of buttons, had turned up in Germany
The 2400 system introduced the first version of system communication which allowed the Beomaster to speak to the Beogram. Either a Beogram 2400 or a Beogram 4004 could be controlled with the Beomaster controller.
This was the cartridge specified for the Beogram 3400 and had a Shibata profile diamond. This is quite a rare cartridge to find these days as many 3400s did not have the CD4 decoder fitted and hence did not require this cartridge..
Bang & Olufsen’s (then) most accomplished pickup cartridge was fitted to Beogram 6000.
The MMC principle was adapted to track 4-channel records: both Quadradiscs and SQ. MMC 6000 would track both mono and stereo records with the utmost fidelity. It was designed for record-players with tangential arms. The stylus was the Pramanik diamond, named after its inventor: engineer S K Pramanik from Bang & Olufsen’s Laboratories.
The diamond’s radii were 7 um/2 x 50 um. It was a refinement of the elliptical shape, rather like the shape of the cutter-head, and enabled greater contact with the undulations of the record groove. The cantilever was made of berylium – a material which is harder yet lighter than popularly-used aluminium. Effective tip mass was 0.22 mg. Compliance was higher than 30×10-6 cm/dyne. Recommended- stylus pressure was 1g. The total frequency range was 20-45.000 Hz.
In the audible range: 20-15.000 Hz there is less than 1.5 dB variation and in the inaudible range 20,000-45,000 Hz where the carrier frequencies lie, the pick-up fulfils RCA/JVC’s specifications for a Class A discrete 4-channel pick-up cartridge. Each cartridge is an integrated, individually calibrated unit. The stylus unit is not separately replaceable since it is part of the integrated unit. An individual frequency response curve traced on a Bruel & Kjaer level recorder and a complete Calibration Card were enclosed with every MMC 6000 sold.
Beomaster 1100 in 1977/78 was a powerful, sensitive and compact unit incorporating an FM tuner and stereo amplifier.
The tuner had facilities for presetting four favourite stations, and once these had been permanently tuned, the programme of your choice could be instantly selected just by pressing a button. There was also a large slider and scale for manual tuning. An AFC (Automatic Frequency Control) switch was provided to help capture weak stations and keep them correctly tuned.
The amplifier section had a power output of 2 x 22 watts RMS with minimal distortion – less than 0,3% at full power. There were connections for two pairs of loudspeakers, a record player, headphones and a tape or cassette recorder (for which A monitoring facilities were also included).
Beomaster 1100 could be made up as part of the Beosystem 1100, together with other compatible Bang & Olufsen products.
An FM only version of the Beomaster 1500 and available only with a black fascia, the 1400 was not popular in the UK and is now rarely seen. It actually shares many qualities with the more upmarket Beomaster 4400 and is very much under-rated.
Beomaster 1500 was a compact combination of an AM/FM radio and a 2 x 25 watts RMS hi-fi amplifier. Four FM stations could be pre-set and tuning accuracy for all three wavebands was aided by an illuminated indicator and combined AFC/ST circuit. There were connections for a cassette deck, record player, headphones and two pairs of stereo speakers.
This was Bang & Olufsen’s smallest receiver (1979 – 80) but in terms of quality and performance data it matched their top model, Beomaster 4400 in many respects – thus offering the same high standards of electronic engineering to those who demand excellence but require less power and fewer facilities. Beomaster 1500 therefore represented extremely good value.
Beomaster 1500 could be made up as part of the Beosystem 1500 when linked together with other compatible Bang & Olufsen products.
