Beomaster 3000 was the central part of Beosystem 3000. It was an FM and AM receiver with four preset FM stations and a power output of 30 watts. Beomaster 3000 featured Automatic power Handling Control which protected amplifier and speakers against overload.
The electronic volume control ensured a smooth transition to more, or less, sound, and the volume level could be preset. By activating ‘mute’ you could silence a function without turning it off. Another touch, and the function resumed where it left off.
Add a Beocord 2000, a Beogram 3000 and maybe a Beogram CDX and you had a stylish and high performance set up. This receiver could be seen as the natural descendant of the Beomaster 2400-2.
The Beomaster 4500 radio/amplifier received both FM and AM radio and was your communication link to the other sound sources in the system. Its operation was simplicity itself with an illuminated menu presenting all the options available. 20 radio stations could be pre-set providing you with instant access together with automatic fine tuning.
The 2 x 55 watt/8 ohm amplifier had a newly-developed, well-balanced interplay with the power supply which gave the output extra strength. The power reserve encompassed the entire frequency range and gave stable sound quality no matter what the volume. Beomaster 4500 also had automatic power handling control that prevented overloading, no matter how many loudspeakers were connected, as well as a special loudspeaker socket which ensured optimal utilisation of BeoLab active loudspeakers.
Beomaster 4500 could be used as part of the Beosystem 4500 hi-fi system and could be controlled via a Beolink 1000 remote control terminal. Later models of Beomaster 4500 could be controlled by the two-way Beolink 5000 and had the extra benefit of programmable timer functions (note that only Beomaster 4500 models with a software version of 2.1 and higher were able to handle two-way communication as well as the timer function.)
Long, medium and FM wavebands were featured on this high-technology 2 x 55 watts receiver that served as the heart of Beosystem 5000 introduced in 1983.
A frequency-synthesized tuner with automatic fine tuning and two-speed manual drive all contributed to fast, accurate location of radio programmes and superb reception quality. Nine station frequencies (on any combination of wavebands) could be stored in the Beomaster’s microcomputer memory for instant recall.
The low-distortion stereo amplifier included a very advanced feature, unique to Bang & Olufsen: Automatic Power Handling Control. This special circuit continuously monitored the dynamic range and power of the signal and instructed the microcomputer to decrease volume if the combined effects of these two parameters threatened to cause amplifier “clipping” or damage to the speakers. This type of overload became increasingly common since the introduction of the Compact Disc, which can produce signals of enormous dynamic range, but it could not occur in Beomaster 5000.
An internal, variable-speed fan ensured the proper dissipation of heat, even when the Beomaster was used in a stack format. Direct operation of all primary functions was available on the Beomaster itself should the Master Control Panel not be to hand. These controls were located beneath a hinged cover which sprang open at a touch
Beomaster 5000 had no visible controls. Normal operation was by means of the Master Control Panel – a slim, table-top keypad that gave chair-side access to all functions including microcomputer programming and storage, timer facilities, status check, day and clock display, volume, tone and stereo balance adjustments and control of all sound sources. A programme-sequencing facility allowed you to pre-plan a whole evening’s listening composed of record, radio and cassette music in any order and combination. Once set, this “command performance” would play continuously as instructed without further use of the controls
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.
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
