Beogram 3000 was a specially designed tangential record deck with a lightweight tone arm featuring the patented suspension system – Optimum Pivot Point – which prevented internal vibrations from interfering with sound reproductions.
Beogram 3000 was a specially designed tangential record deck with a lightweight tone arm featuring the patented suspension system – Optimum Pivot Point – which prevented internal vibrations from interfering with sound reproductions.
Beogram 3000 had an MMC 4 pick up for optimum sound and minimal record wear. A record sensor automatically record size and with it, the correct speed. The platter reduces static electricity and thereby dust in the grooves, and the pendulum suspension made Beogram 3000 ‘danceproof’. The search system worked both forwards and backwards and the new Active Light system was all automatic, giving you light when you needed it, for searching and changing your records etc.. A repeat function allowed you to play the same record up to 7 times in a row.
Beogram 3000 was designed to be used within Beosystem 3000. Beogram 3000 does not have a built in RIAA amplifier and relies on this being in the receiver used with it. Beomaster 3000 – which this deck was designed to work with – has the RIAA built in as do almost every receiver before this time, including the Beomaster 8000. Later equipment such as the Beomaster 7000 and Beomaster 3500 and Beomaster 4500 transferred the RIAA to the record player as this allowed a longer cable to be fitted to the record player and gave better siting options.
Master Control Link 30 makes it possible for you to have music all over the house from a BeoSystem 3000
Remote control of all primary functions in the BeoSystem 3000
Can also be used for the BeoSystem 6000
Connection of up to 4 link units
Easily mounted with only one cable
wide range of installation accessories
MCL30 can convey the operation from the terminal 3000.
With a loudspeaker button on the Master Control Link you activate the loudspeakers in the link room, and not you can operate all the functions from the terminal 3000.
There is a wide range of accessories. How and for what they should be used is described in the Master Control Link handbook.
Note that there can be connected 4 link rooms, and that the total length of the cable should not exceed 150 meters.
When connected to BeoMaster 6000, MCL-kit type 1006/1007 should be used as well.
“The device appears as a well-formed cabinet from the front. From the rear, the encapsulation of the picture tube is so well done that the device may be enjoyed from all angles. The stacked-build of the device makes it possible to place it in a corner. Technically it contains many new functions, including the integration of a contrast screen that reduces disturbances from incoming light.”
So wrote The Danish Design Council when presenting their 1986 ID prize for exceptional design to David Lewis and Bang & Olufsen for the Beovision MX 2000. Launched in season 1984/85 as Beovision M20, the basic conceptual elements of the Beovision MX exist virtually unchanged into the 21st century, with 2002’s release of Beovision MX8000.
“Beovision MX2000 gives the impression of lightness and extended freedom of positioning. Now, all of a sudden, the TV could be positioned anywhere – even in the middle of a room”
The MX concept began as Beovision M20 in a modest grey cabinet and without a contrast screen. It sort of heralded what a monitor television by Bang & Olufsen might look like. Basically, a monitor is just a screen with a box around it. In the mid-1980s, the emphasis was on the picture and efforts to achieve a monitor look. The clean screen. Bang & Olufsen elected to make the television slim by placing the loudspeakers below the screen. This broke with the practice of several decades of placing the loudspeakers at the sides of the picture tube.
The latest MX 8000 model incorporates active loudspeakers and the sound has become even better. Previously, and with its Beovision MX 7000, Bang & Olufsen introduced yet another element that, so far, is unique to he company: a motorised base. Now the television turned to face the viewer – not vice versa.
Bang & Olufsen had a lot of difficulty explaining Bang & Olufsen’s picture quality, which comprises many individual factors that have been optimised over the years. In 1985 – 86, the decision was made to combine everything that came under the term “picture quality” into a single concept – VisionClear. MX2000 was born out of the ideas for the M20 and was further equipped with VisionClear, including a contrast screen. The MX family became extremely popular and remains so (it is still being produced and sold). Designer David Lewis created a cabinet that fitted around the back of the picture tube, thereby achieving the purely psychological effect of making the picture tube appear smaller than it actually is. Beovision MX 2000 gave the impression of lightness and extended freedom of positioning. Now, all of a sudden, the TV could be positioned anywhere – even in the middle of the room.
Bang & Olufsen’s first television in the the US market was a variant, Beovision MX 5000 US. But, because of sales factors and market conditions at the time, it was not a great success.
Big sound
In 1984, TV sound was produced by passive log-line loudspeakers, producing either stereo or mono sound. Whether coming from a television programme or VHS, Betamax or Video 2000 VCR, it was only experienced as coming from the TV itself. Today, multi-channel surround sound systems provide enveloping sonic experiences in the home. Back then the user listened to two 7-watt speakers in the TV itself. Today six powerful active speakers are becoming more and more popular.
In 2002, important dialogue emerges from the powerful active loudspeakers which, following the original MX design, are sill located directly below the screen.
Beovision MX2000 was a completely different kind of TV. In terms of design, colour and uses it was a departure from tradition. Beovision MX2000 was one of the most stunning and versatile television sets ever created.
Technically the TV was new at the time of its release because of its stereo sound, automatic search for channels and its remote-control. Visually the TV was remarkable because of its contrast screen which reduced the inconvenience of incident light and left the TV dark and discrete when turned off. When turned on the TV was reduced to its function – that of displaying a picture. David Lewis’s design on the MX2000 was detailed and highly aesthetic which made the TV look good from all angles. Because of the pyramidal shape the TV was suitable for placement in corners. The set was a 50cm stereo colour TV that you could literally take with you. Bang & Olufsen’s special VisionClear system ensured that lifelike colours and the best contrast conditions were always obtained… both night and day. And Beovision MX2000 had so many different positioning possibilities that the perfect sound and picture quality could be taken advantage of and enjoyed to the full. Beovision MX2000 was controlled by the remote control Video Terminal. The TV could work with any video tape recorder but the Beocord VHS 82 was a specially designed video recorder that was created to harmonize with the MX2000. Not just when it came to operation but also in design and colour. And the complete, remote-controlled video system could deliver much more than perfect pictures with sound. Beocord VHS 82 was also a stereo audio tape recorder that offered up to eight hours recording on one tape, with hi-fi stereo quality playback. The choice of colour for MX2000 was a matter of personal taste, and style. The choice was yours: rich red for a home abounding in colour and striking contrasts; elegant white; distinguished metallic grey; or black to go with most colour schemes. Beovision MX2000 wasn’t portable TV but it was easy to move around. Grab hold of the built-in handle and Beovision MX2000 went with you. The TV could be put most anywhere. On the floor, shelf, table, window sill and so on. The built-in support on the base even made it possible to tilt the TV backwards. This ensured for a natural, perfect viewing angle when placed low on a floor. The set could of course be put on the practical TV stand which was equipped with solid, easy rolling wheels. And the special mounting platform made it possible to swivel the TV from side to side. The complete remote controlled – Video Terminal – video system could be grouped on a video stand to create one space-saving piece of furniture. It too had solid, easy rolling wheels and allowed the TV to be swivelled from side to side. Beovision MX2000 won the ID Award in 1986. Beovision MX2000 could be both manually operated or operated by remote control. The concealed panel in the top of the TV adjusted all sound and picture functions. But once adjustments to volume, sound, balance, bass, treble, contrast, colour balance and brightness had been made according to the viewer’s wishes and surrounding conditions, the Terminal took over day-to-day usage. Fine-tuning of TV channels, which is generally a once-only task, and stereo width-adjustment were also part of manual control. It was also possible of course, to change over stations and turn on and off the set with the controls on the panel. “Beovision MX2000 gives the impression of lightness and extended freedom of positioning. Now, all of a sudden, the TV could be positioned anywhere – even in the middle of a room” The MX concept began as Beovision M20 in a modest grey cabinet and without a contrast screen. It sort of heralded what a monitor television by Bang & Olufsen might look like. Basically, a monitor is just a screen with a box around it. In the mid-1980s, the emphasis was on the picture and efforts to achieve a monitor look.
The clean screen.
Bang & Olufsen elected to make the television slim by placing the loudspeakers below the screen. This broke with the practice of several decades of placing the loudspeakers at the sides of the picture tube. The latest MX 8000 model incorporates active loudspeakers and the sound has become even better. Previously, and with its Beovision MX 5000, Bang & Olufsen introduced yet another element that, so far, is unique to he company: a motorised base. Now the television turned to face the viewer – not vice versa. Bang & Olufsen had a lot of difficulty explaining Bang & Olufsen’s picture quality, which comprises many individual factors that have been optimised over the years. In1985-86, the decision was made to combine everything that came under the term
“picture quality” into a single concept – VisionClear.
MX2000 was born out of the ideas for the Beovision M20 and was further equipped with VisionClear, including a contrast screen. The MX family became extremely popular and remains so (it is still being produced and sold). Designer David Lewis created a cabinet that fitted around the back of the picture tube, thereby achieving the purely psychological effect of making the picture tube appear smaller than it actually is. Beovision MX 2000 gave the impression of lightness and extended freedom of positioning. Now, all of a sudden, the TV could be positioned anywhere – even in the middle of the room. Bang & Olufsen’s first television in the the US market was a variant, Beovision MX 5000 US. But, because of sales factors and market conditions at the time, it was not a great success. The many features of the Beovision MX2000 were market leaders in their day; however, many of these features are still included, even today, in Bang & Olufsen television sets:
In-line black matrix picture tube.
Part of the VisionClear system which reduces the chance of unintentional mixing of picture colours and ensures perfect pictures throughout the life of the set
Automatic Cut-Off.
Also part of the VisionClear system. This is an electronic circuit that regulates colour balance 50 times a second. A patented Bang & Olufsen circuit that ensures lifelike colours… automatically, and constantly
Contrast screen.
The most visually stunning part of the VisionClear system. At the time of the MX2000 introduction, this was a newly-developed Bang & Olufsen screen that ‘tones down’ the effect of bright light. It ensures that colours are bright and that there is optimum contrast – even in daylight. The rectangular contrast screen provides a wider picture and thereby creates the impression of watching a larger screen Remote-controlled station tuning based on digital technology. Search and tuning of up to 100 channels was carried out automatically after a couple of touches on the Terminal 32 permanent channels and 3 AV channels. Built-in memory which ensured that your favourite channels were right at hand. A touch of one button was all that was needed – and still is right up to the 21st century! Fine tuning: a help feature that was activated manually on the MX2000 when reception conditions were poor or if a TV signal’s frequency was non-standard e.g. in the case of cable TV, home computer etc.. Fine tuning could also be stored in the TV’s memory Display: a small illuminate display in the upper right-hand corner of the screen provided clear responses to almost all orders received from the Terminal Log Line speaker system: a special principle that ensured perfect, lifelike sound reproduction in very compact speakers. The power output was 7 watts sine Stereo-width adjustment: creating the illusion of increased distance between the speakers and providing a wider, fuller sound image Enhanced mono broadcasts: the special stereo-width circuit also improved the sound quality of mono broadcasts Teletext decoder: an optional extra which with a couple of touches on the Terminal gives direct access to the latest news, TV listings, weather forecasts, sports results and so on Built-in clock: during Teletext broadcasts, the correct time can be called on to the screen. This was shown discreetly in the upper right-hand corner On top of this was a wealth of connection options. Beovision MX2000 was awarded the Danish Design Centre’s IP Prize in 1986.
This radial-tracking record deck had a lightweight turntable (only 400g) to minimise torque at starting. The automatic cueing system was also very fast-acting, so it was only a matter of a few seconds between touching the PLAY control and hearing the music.
The tone arm had built-in anti-skating and carried the MMC 4 pickup, ensuring accurate tracking and excellent sound quality. Normal PLAY and STOP functions were entirely automatic and could be operated with the lid closed; manual buttons for playing non-standard discs were located on the deck plate. In addition to automating the setting of correct speed and cueing position for each record, the Beogram’s built-in microcomputer allowed a REPEAT function, which could be programmed for up to 7 plays of the same record.
Drive was provided by a tacho-controlled DC motor via a flat rubber belt, so turntable speed was always accurate and could not be affected by fluctuations in the mains supply.
When used with Beomaster 2000, an electronic data-link allowed Beogram 2000 to be operated by the Beomaster’s controls. Beogram 2000 could also be made up as part of the Beosystem 2000, when linked together with other compatible Bang & Olufsen products.
Beocord VHS 91 was a genuine hi-fi sound recorder as well as a high quality VCR. It not only gave 4 hours of video recording, but also 8 hours of stereo sound with a level of quality approaching that of compact disc..
Equipped with Bang & Olufsen’s advanced HX Professional recording system and Dolby B Noise Reduction, Beocord VHS 91 could be used for recording directly from the television and stereo sound from your hi-fi during simulcasts. And as a hi-fi sound recorder, it could also be connected to the Beolink® system to take music all over your house. When connected to your B&O TV, VHS91 could be controlled by the Video Terminal remote control.
Beocord VHS 91 was a genuine hi-fi sound recorder as well as a high quality VCR. It not only gave 4 hours of video recording, but also 8 hours of stereo sound with a level of quality approaching that of compact disc..
Equipped with Bang & Olufsen’s advanced HX Professional recording system and Dolby B Noise Reduction, Beocord VHS 91 could be used for recording directly from the television and stereo sound from your hi-fi during simulcasts. And as a hi-fi sound recorder, it could also be connected to the Beolink® system to take music all over your house. When connected to your B&O TV, VHS91 could be controlled by the Video Terminal remote control.
Beocord VHS 80 was Bang & Olufsen’s entry into the VHS arena. Both Beocord VHS 90 and VHS 80 had stereo sound circuitry with Dolby B Noise Reduction. So when combined with a stereo Beovision they ensured the fullest enjoyment from stereo videotapes. You could also record stereo TV/FM Simulcasts if you used a stereo Beovision model.
One of the many plus points for owning a Bang & Olufsen VHS recorder from this period meant that for the first time, you could operate both the Beocord and the Beovision using the same remote Terminal. Whichever Beovision you chose, whether mono or stereo, Beocords VHS 80 or 90 would have been an ideal match for it. One touch on the TV’s remote Terminal allowed you to play a videotape, make recordings, fast wind or rewind the tape, scan the tape in either direction or freeze a single frame on-screen. If you wished to combine a Beocord VHS 80 or VHS 90 with a non-Bang & Olufsen TV, the remote Video Terminal could be purchased separately to provide chairside control of all primary playing and recording functions.
Beocord VHS 90 offered the best of both worlds – a high quality stereo sound recorder that, when connected to a hi-fi system, achieved performance characteristics that were close of compact discs; and a video recorder that combined superb picture quality with true hi-fi sound. When used as an audio recorder, up to 8 hours of music could be stored on one VHS tape and replayed non-stop. For hi-fi video recording, 4 hours was the maximum. With Beocord VHS 90, you could instruct the automatic timer to record up to five different programmes up to 14 days ahead. A repeat button enabled you to record the same show at a specific time every day of the week.
Unlike most most dual-purpose machines the Beocord VHS 90 records two versions of video track simultaneously: a hi-fi stereo track for replay on the same machine and an ‘ordinary’ stereo track which meant that your cassettes could be replayed on a non-hi-fi stereo video recorder.
Beocord VHS 80 also had stereo sound circuitry for video recording and playback. In fact, it offered the same video facilities as Beocord VHS 90, including an identical 39 channel search-and-store tuner and 5 programme/14 day timer.
Picture quality was of equally high standard too, but Beocord VHS 80 did not offer audio-only recording or hi-fi sound characteristics. However, it did incorporate a Dolby B Noise Reduction Circuit for maximising the recorded sound.
Placement of both VCRs: a practical stand from Bang & Olufsen organised your video system into a complete remote-controlled centre which could easily and discreetly be placed in your viewing room.
In the crucial quiet passages you heard only the sound of silence from the mono Beocord VHS66. The HX Professional recording system gave more ‘headroom’, enhancing the definition of high, delicate sounds, and Dolby B Noise Reduction cut down on hiss and noise.
Features:
Dimensions (WxHxD): 48 x 10,5 x 36cm
4 hours of recording/playback on E240
Mono sound recording, HX Professional recording system; Dolby B
