The MMC20EN was the standard cartridge fitted to the top of the line Beogram 4002 and 4004.
It was a development of the very successful MMC4000 and retained the naked elliptical diamond stylus seen on that model. A fine tapered cantilever was also fitted and provided excellent performance.
Prior to the release of MMC1 – 5 cartridges, Bang & Olufsen had the following MMC range of combined styli and cartridges:
MMC cartridges were available with standard ½” mounting brackets, or with easy plug-in, lightweight connectors. These enabled you to mount MMC cartridges onto non-Bang & Olufsen arms. The cartridges plugged directly into Beogram pickup arms without additional mounting gear
MMC 20 S was a stereo cartridge with a spherical framed diamond
MMC 20 E was fitted with a framed elliptical diamond which has a high polish
MMC 20EN had a naked elliptical diamond, mounted on a tiny tapered cantilever
MMC 20 CL utilised a Contact Line naked diamond mounted on a single crystal sapphire cantilever. This shape ensures maximum groove contact. This was the most highly-specified cartridge in the MMC 20 range
In 1958, Bang & Olufsen introduced the first stereo pickup cartridge ever made in Europe. This was called the SP1. Since then, many design innovations and the creative use of new materials have kept B&O’s cartridges at the forefront of audio technology. By 1979 – 80, Bang & Olufsen’s cartridges were represented by the MMC 20 series. MMC stands for ‘Moving Micro-Cross’; the patented moving-iron principle upon which all B&O cartridges were based. This unique system employed a cross-shaped armature which, among other advantages, guaranteed exceptional stereo separation since each channel moves on a separate axis.
The job of any pickup cartridge is to transform the record’s physical profile (groove modulation) into corresponding electrical signals (which are then amplified or enlarged by the amplifier and turned into audible sound waves by the loudspeaker.
A cartridge must perform three separate and exacting tasks if it is to do this job successfully. It must function mechanically (the movements of the stylus in the groove); it must function magnetically (using the physical movements to create changes in a magnetic field); and it must function electrically (using the changes in magnetic flux to generate an electrical current). At each stage, one type of energy is transferred into another, quite different, type. And the transfer must be perfect, with no energy lost and none added from extraneous sources.
No cartridge will ever reach this ideal unless the Laws of Physics can be repealed. However, by understanding the relationships between the three transfer stages and continually applying refined engineering techniques, B&O’s belief was that each stage of cartridge improvement would bring each successive cartridge closer to the ideal. The MMC20 series therefore represented the closest that modern technology at that time, could possibly afford.
Record wear and the cartridge
If you take music seriously the value of your record collection is likely to be high. Many of your records are likely to be irreplaceable. You will also know that the signals pressed into your vinyl discs are very fragile indeed. The pickup cartridge can be the disc’s worse enemy since an ill-suited cartridge can mark a record for life in a single play.
While B&O is aware that cartridge specifications are inter-related, their research shows consistently that Effective Tip Mass (ETM) is one of the major factors affecting record wear. ETM is the equivalent of the amount of inertia the groove ‘sees’ in moving or accelerating the stylus tip. Consequently, the higher the ETM value, the higher the force required for a given constant acceleration. Obviously, more force results in more wear.
Three elements contribute to ETM. The stylus tip (diamond) contributes with its entire weight and mass. The armature contributes between 5 – 20% of its weight and mass; the cantilever around 30%. B&O has been able to reduce ETM substantially by refining these elements and building them into an integrated unit. The result is a system which not only reduces damage to the groove walls dramatically, but also provides exceptional performance at all frequencies.
Bang & Olufsen cartridges have always been highly acclaimed for their low ETM values. The ETM of the MMC 20CL is a mere 0,3mg and in the standard MMC 20 range,, only 0,5mg.
MMC cartridges were manufactured by Bang & Olufsen as totally integrated units. This means that the elements were matched, balanced and sealed at the factory. Using a computer-supported testing programme,, each sealed unit was meticulously tested and it’s performance information automatically registered and packed with each cartridge. The information given included output voltage, relative voltage output (channel balance), channel separation and frequency response. Individually-calibrated frequency response curves were also supplied with the higher-specified MMC 20CL cartridges.
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..
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.
Beomaster 1600 Type 1703 could be made up as part of Beosystem 1600, when linked together with other compatible Bang & Olufsen products such as Beocord 1600 and Beogram 1600. FM only version of the 1700 and not seen in the UK.
Beomaster 1700 was an AM/FM receiver in a class of its own. It was defiantly different when most high fidelity components still tended to look alike. Different in its design, its use of technology and the benefits it offered.
The FM section had facilities for presetting 5 favourite stations which could then be tuned instantly by pressing a button. The AM section covered both the Long and Medium wavebands. Hybrid filters were used to achieve high selectivity (the tuner’s ability to discriminate between the desired station and unwanted stations adjacent to it)The stereo amplifier was rated at 2 x 30 watts RMS with high quality sound reproduction up to the last watt. The tone control circuits were designed so that they could not limit or distort the quality of the reproduced sound before the amplifier’s maximum output level was reached.
All in all, the quality and performance levels of Beomaster 1700 were beyond reproach. As they should be, with the best technology. But what was most interesting was the creative use Bang & Olufsen made of technology – a (then) new operation system which afforded sharp, precise settings that were easy to locate on the scale. Two flexible slider controls formed the centre of this operation system. One was used to regulate volume level, bass, treble and speaker balance. The other was for the precise tuning of stations on Long, Medium and FM wavebands. The sliders had a sensitive, ridged surface that prevented the finger from slipping during operation.
The set’s large glass-covered communication surface, with its clear graphic indications aided easy operation. During use, response was light and immediate. Illuminated markers – light emitting diodes – kept you informed of the set’s operational status at all times. The surface was easy to clean with no irritating dust traps.
A Beogram 1700 and two Beovox C40 hi-fi loudspeakers complemented Beomaster 1700 in creating the well-balanced Beosystem 1700.
Well the above is the official line seen in the brochures. What could not be denied was the design of the 1700 which was innovative to say the least. I some ways it resembled the Beomaster 6000 quad except that it had a manual mechanism and clutches instead of the electrical control of the 6000. It gained a decent glass panel instead of the perspex of the 6000 but was let down by very poor quality plastics in the clutches, tractor drives that slipped and broke and an amplifier which was indirectly coupled compared to the direct coupled 1500 which it had replaced. Although it looked better than the 1500, it could not get close to the performance. Perhaps the beginning of a range designed more for looks than performance.
The 1970’s were exciting times for Bang & Olufsen. Another breakthrough during this decade was Beomaster 1900, a radio receiver and amplifier launched in 1976. Once again, design and operation differed dramatically from other contemporary products.
Originally designed by Jacob Jensen, Beomaster 1900, together with Beomaster 2400-2 were two advanced FM stereo receivers. They had identical technical specification and performance. Both were easy to use and easy to live with. Beomaster 2400-2 had the additional convenience of a cordless ultrasonic remote control module by which you could operate radio, amplifier and Beogram 2400 or 4004 record deck from a distance. Both receivers had touch-sensitive controls for operating the features and functions you used every day. All the secondary switches and adjustments were protected beneath a hinged lid, but an illuminated readout panel showed you the set’s operational status at a glance.
Beomaster 1900 boasted a powerful 2 x 30 watts RMS amplifier with distortion of less than 0,13%, five pre-set FM stations and comprehensive connection facilities. To operate it you simply touch the application “dimples” on the set’s front panel. The radio section had 4 pre-set stations which could be summoned at a touch and the phase-lock loop decoder provided excellent stereo separation even in difficult reception conditions The volume level could be pre-set at low, medium or high, and the music would always start at this level however much the volume control was altered last time the set was used.
The sets’ controls were divided into primary and secondary functions. The latter, which were less frequently used, were placed underneath the hinged aluminium panel where they were protected from dust and accidental movement.
A clear distinction was therefore made between the primary choice – accessible through a light touch – and the secondary choice, concealed under a lid hiding what the user did not need for daily use. At a stroke, what had been the norm for hi-fi in the past, with its macho grip and buttons, was eliminated. Instead, designer Jacob Jensen created a new design language, flat ‘flush-designed’ and electronically communicating, which did not target a few techno-freaks, but a much wider audience who wanted music rather than hi-fi equipment.
Beomaster 1900 had connections for two pairs of speakers, headphones, record player and cassette recorder. The receiver won the ID Award in 1976.
The 1970’s were exciting times for Bang & Olufsen. Another breakthrough during this decade was Beomaster 1900, a radio receiver and amplifier launched in 1976. Once again, design and operation differed dramatically from other contemporary products.
Originally designed by Jacob Jensen, Beomaster 1900, together with Beomaster 2400-2 were two advanced FM stereo receivers. They had identical technical specification and performance. Both were easy to use and easy to live with. Beomaster 2400-2 had the additional convenience of a cordless ultrasonic remote control module by which you could operate radio, amplifier and Beogram 2400 or 4004 record deck from a distance. Both receivers had touch-sensitive controls for operating the features and functions you used every day. All the secondary switches and adjustments were protected beneath a hinged lid, but an illuminated readout panel showed you the set’s operational status at a glance.
Beomaster 1900 boasted a powerful 2 x 30 watts RMS amplifier with distortion of less than 0,13%, five pre-set FM stations and comprehensive connection facilities. To operate it you simply touch the application “dimples” on the set’s front panel. The radio section had 4 pre-set stations which could be summoned at a touch and the phase-lock loop decoder provided excellent stereo separation even in difficult reception conditions The volume level could be pre-set at low, medium or high, and the music would always start at this level however much the volume control was altered last time the set was used.
The sets’ controls were divided into primary and secondary functions. The latter, which were less frequently used, were placed underneath the hinged aluminium panel where they were protected from dust and accidental movement.
A clear distinction was therefore made between the primary choice – accessible through a light touch – and the secondary choice, concealed under a lid hiding what the user did not need for daily use. At a stroke, what had been the norm for hi-fi in the past, with its macho grip and buttons, was eliminated. Instead, designer Jacob Jensen created a new design language, flat ‘flush-designed’ and electronically communicating, which did not target a few techno-freaks, but a much wider audience who wanted music rather than hi-fi equipment.
Beomaster 1900 had connections for two pairs of speakers, headphones, record player and cassette recorder. The receiver won the ID Award in 1976.
Beomaster 2200 was a 2 x 40 watts RMS FM/AM receiver with logical operation and high reliability.
Operation controls were separated into primary, secondary and tertiary functions. The primary functions – those you used every day – included programme selection, volume control and the off switch. They were easily accessible on the outside of the set. The secondary controls were under an aluminium panel. These included facilities for presetting 5 FM programmes; balance and tone controls; AFC (Automatic Frequency Control facility – which keeps stations properly tuned) and a mono/stereo switch. The tertiary functions, which were also hidden but easily accessible, were the connection sockets: you could make all connections for a record player, cassette deck, headphones and two pairs of speakers without moving the set.
Beomaster 2200 had a modular chassis. The modules were connected by wire-wrapping – a construction method that enhanced the product’s quality and reliability. This technique was originally adopted from computer production. The technique replaces conventional soldering, thereby eliminating any weaknesses arising from dry-joints, drop-outs and so on.
Volume adjustment was by means of a small slider along a numerical scale. Secondary controls included AFC (Automatic Frequency Control) coupled with silent tuning (AFC/ST), FM presetting dials for the radio, mono/stereo selection and loudspeaker switches.
These were all mounted beneath a hinged lid which opened when the PROGRAM panel was touched. A further compartment housed all the connection sockets which were easily accessible from the front of the unit. There was therefore a distinction between the functions which are frequently used, those that are used only once in a while, and those that would have been used a very few times during the set’s life.
The primary functions were for selecting the programme source, controlling volume and switching the set off – so these were the only controls that were on the outside of the set.
Beomaster 2200 could be made up as part of the Beosystem 2200, when linked together with other compatible Bang & Olufsen products.
