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.
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 2400 together with Beomaster 1900 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 had the additional convenience of a cordless ultrasonic remote control module by which you could operate radio, amplifier and Beogram 2400 or 4004 record decks 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.
Equipped with the slim remote-control module you could select between four pre-set radio stations or record player input, adjust the volume up or down or put the System into Stand-by. The illuminated panel with its large display allowed to to easily see the state of play from anywhere in the room. The phase-locked loop decoder ensured a wide separation between stereo channels and remained stable over a very long lifetime. When a stereo broadcast was received, a symbol ‘S’ lit up automatically on the fascia of the set. Automatic Frequency Control (AFC) kept the selected radio station spot on tune, and a muting circuit cut out inter-station noise during tuning.
The stereo amplifier produced 2 x 30 watts RMS of high-fidelity output and had DIN sockets for the connection of two pairs of speakers, a record-player and a tape or cassette recorder.
A headphone connection was provided beneath the front edge of the unit. Controls not needed every day were situated beneath a hinged lid. These included tone and balance adjustment, FM pre-setting, loudness, AFC and MONO/STEREO switches, and a switch for selecting a basic initial volume level. This facility allowed you to choose the volume at which the amplifier began to play each time it was switch on – no matter how controls were left the previous time. On its primary control panel Beomaster 2400 had no knobs or buttons. The panel functioned electronically and needed only the contact of your finger to activate it. However, the ultrasonic remote control would have proved more useful. The set’s sophisticated indicator system would tell you instantly that your commands had been obeyed.
Beomaster 2400 was superceded by Beomaster 2400-2 in 1980.
Beomaster 2400 together with Beomaster 1900 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 had the additional convenience of a cordless ultrasonic remote control module by which you could operate radio, amplifier and Beogram 2400 or 4004 record decks 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.
Equipped with the slim remote-control module you could select between four pre-set radio stations or record player input, adjust the volume up or down or put the System into Stand-by. The illuminated panel with its large display allowed to to easily see the state of play from anywhere in the room. The phase-locked loop decoder ensured a wide separation between stereo channels and remained stable over a very long lifetime. When a stereo broadcast was received, a symbol ‘S’ lit up automatically on the fascia of the set. Automatic Frequency Control (AFC) kept the selected radio station spot on tune, and a muting circuit cut out inter-station noise during tuning.
The stereo amplifier produced 2 x 30 watts RMS of high-fidelity output and had DIN sockets for the connection of two pairs of speakers, a record-player and a tape or cassette recorder.
A headphone connection was provided beneath the front edge of the unit. Controls not needed every day were situated beneath a hinged lid. These included tone and balance adjustment, FM pre-setting, loudness, AFC and MONO/STEREO switches, and a switch for selecting a basic initial volume level. This facility allowed you to choose the volume at which the amplifier began to play each time it was switch on – no matter how controls were left the previous time. On its primary control panel Beomaster 2400 had no knobs or buttons. The panel functioned electronically and needed only the contact of your finger to activate it. However, the ultrasonic remote control would have proved more useful. The set’s sophisticated indicator system would tell you instantly that your commands had been obeyed.
Beomaster 2400 was superceded by Beomaster 2400-2 in 1980.
Beomaster 8000 was an advanced FM receiver with a rated output of 2 x 150 watts IHF A-202. It had the power, precision and overall performance to reproduce all types of music with the utmost fidelity.
The radio section united the principle of the modern digital frequency synthesizer tuner with a precise, automatic fine-tuning system to give unparalleled accuracy and long-term stability of reception. The set’s control panel gave instant access to all sound sources – an associated record deck and two tape decks and any of 9 user-programmable FM stations. The visual feedback indicated which sources were playing and their volume settings. Controls for secondary functions were protected beneath a hinged lid.
The infra-red BeoLab Terminal was for its time, complex technology tamed. It gave easy, direct access to music and allowed the control of a musical experience from anywhere in your room and operate Beogram 8002 and Beocord 8004 if these were part of your system. A single touch is all there was between what you wanted and the fulfilment of your wish. Radio programmes, cassettes and records were all available at the touch of a button.
In the early 1980s the technical quality of records, tapes and FM transmissions was vastly improved. Improvement meant increased dynamic range.
Increased dynamic range in sound sources makes great demands on hi-fi components. They must accommodate a greater range of tones: from the very faintest tinkle of a triangle to the loudest roll of the bass drum; and reproduce each tone accurately. This requires powerful, serious hi-fi components. Power to accommodate the dynamics, and accuracy to ensure that the fundamentals and harmonics of each tone are reproduced faithfully, i.e. with the intervals and relative intensity that gives each instrument its characteristic quality.
The 2 x 150 watts RMS Beomaster 8000 high fidelity FM receiver had the power, precision and overall performance level to help you achieve this goal. Up to the time of its introduction, it was Bang & Olufsen’s most accomplished receiver to date. During its construction phase, the company focused on one major goal: that none of its circuits or components should be able to limit or distort the sound signals it received before the amplifier’s power output level was exhausted.
In accordance with this, a special circuit registered, and the “clipping” function indicated when you should regulate volume level, if you wanted to ensure continued undistorted sound. Volume was controlled by a 60-step electronic attenuator. This regulated both channels together, in balance, and allowed precise adjustments.
A digital frequency synthesizer tuner was incorporated. It was a further development of other constructions since this tuner locked stations onto their actual transmission frequencies, rather than using a mere internally-generated frequency reference.
Beomaster 8000 had the most comprehensive user-programmable facilities imaginable. They were placed out of view in the programming compartment because you didn’t need to use them every day. The primary controls were external. To keep you informed, whenever the music system was in use, the status of the primary settings was displayed on the Beomaster’s large communication panel. Beomaster 8000 formed the heart of the Beosystem 8000.
This extremely distinctive and beautiful FM stereo receiver from Bang & Olufsen used the very latest technology, both in its complex audio circuitry and in the microcomputer-based control systems which made it such an effortless and pleasurable product to use – whether or not you decided to include the optional remote control facility. The specialist radio section concentrated on the superb sound quality available from FM transmissions.
It covered the entire FM band from 87,5 to 108 MHz and incorporated the most advanced techniques for accurate, drift-free stereo reception.
The amplifier gave 2 x 75 watts RMS with an extremely low level (0,8%) of harmonic distortion. Clean, clear sound – always. Two 24-hour timers allowed you to play or record any sound source automatically. You didn’t even have to be at home. Or, if you wanted to be sure of hearing the same news programme every evening you could set the Repeat function to remember for you – day after day.
Connections included sockets for a record deck and two tape decks (DIN or RCA phono plugs) plus graphic equaliser, headphones and two pairs of loudspeakers.
Beomaster 6000 formed the heart of Beosystem 6000 and was designed by Jacob Jensen.
