In the mid 1980s, Bang & Olufsen entered the field of telecommunications. This was partly because of the merging of the applied technologies and partly because the company needed to acquire experience in digital communication. This led to the formation of a separate company, DIAX, for the development of digital telephone exchanges. Later followed the formation of TELECOM for the purpose of developing telephones for consumers.
‘Bang & Olufsen Telecom’ began production of telephones in 1986 following an approach from the then Jydsk Telefon. Inspired by B&O’s proven competence within the audio-video segment, the Danish telecommunications company was eager to exploit this expertise within the field of telephones, especially in terms of design and sound. Seeing telephony and telecommunications as future areas of interest – and anticipating steadily increasing convergence between telecommunications and the A/V systems of the future – the Group formed a partnership with Jydsk Telefon.
In addition, B&O had experience with transmitting sound to the ear – via earphones. The result – Beocom 750 – broke with all conventional telephones in terms of design, sound and functionality. Launched in Jydsk Telefon’s teleshops in December 1986, Beocom 750 was adopted by other telecommunications companies after only a few months in the market. In April 1987, the first Beocom 750 was exported.
BeoCom 1000 was similar to BeoCom 2000 but it was not fitted with a loudspeaker or an LCD display. This lowered the cost while at the same time offering the usual high quality sound There was a choice of four colours: black, blue, green or red.
Bang & Olufsen did not invent the telephone. They just developed it a little further Bang & Olufsen’s Telecom Vision is to “constantly question the ordinary in search of surprising, long-lasting experiences”
Loudspeaker quality
Earphone coupling loss factor, receiver loudness rating value and acoustic leakage are technical terms that mean little to most telephone users. They are just some of the things that Bang & Olufsen test for to determine the sound quality of a BeoCom telephone.
The enhanced sound of the BeoCom telephone range is the result of Bang & Olufsen’s long-standing specialisation in the miniaturisation of high-performance loudspeakers. Every BeoCom handset contains a built-in pressure chamber loudspeaker that ensures optimal natural sound reproduction while minimising distortion and sound leakage.
But Bang & Olufsen telephones are not only the result of theoretical calculations and complicated acoustical analyses, the final test is the human ear itself. A listening panel made up of people with an extraordinary sense of hearing provides the most crucial evaluation of BeoCom telephones.
Telephone competence: even good telephones have bad days
Telephones are used a lot more than other electronic equipment and sometimes under tougher and more hazardous conditions. Design and technological features mean little if your telephone lets you down when you need it most, so the anticipation of what can happen to a telephone has been turned into a fine art at Bang & Olufsen.
Our telephones are exposed to extremes of heat and cold, we spill coffee over them, blow dust at them, step on them and subject them to a whole series of bumps, vibrations and falls.
And it’s not only the unexpected that’s tested for, a robot assesses daily wear and tear by methodically lifting and replacing the handset of a telephone 100,000 times, while a mechanical finger dials telephone numbers over and over again. In a space of days, we simulate the life of a telephone and everything the modern world may throw at it.
Beocord 4500 cassette recorder housed exciting details and distinguished technology. Like Auto Reverse, so you did not need to turn over the tape. Automatic registration of the type of tape, and Bang & Olufsen’s patented HX-PRO recording system that provided optimal sound reproduction. Both in design and technology, Beocord 4500 was a direct extension of Beomaster 4500.
The cassette recorder featured Bang & Olufsen’s own HX-PRO recording system which ensures that recordings are made as perfectly as possible. With the Beolink 1000 terminal or by lightly touching the panel itself, you could select a particular piece of music you wanted to hear. The search system found it automatically whether it was on Side 1 or Side 2 of the cassette. For Beocord 4500 had Auto Reverse so you did not have to turn the tape over.
The recorder was also equipped with Dolby B and knew exactly what type of tape you were using. Beocord 4500 could be used as part of the Beosystem 4500 hi-fi system.
Beocenter 2100 – three variations and a one-finger exercise
Beocenters 2200, 2100 and 4000 – each with a totally distinctive style but sharing the unmistakeable themes of Bang & Olufsen quality and simplicity.
If you loved true hi-fi but you weren’t a record fan, then Bang & Olufsen ‘had your radio perfectly taped’! Beocenter 2100 had all the features of Beocenter 2200 but without the record deck so that it took up even more of a conveniently small space.
Beovox X25 loudspeakers were the offered choice but you could equally mix and match the Beocenter with any other Bang & Olufsen speaker on the market at that time. When linked with Beovox X25 loudspeakers, the combined system was known as Beosystem 2100. A recommended record deck to complement your system would be either the Beogram RX2 or TX2.
As part of Beosystem 5500, this advanced tape recorder was as close to professional standard as could be made at the time, bristling with features you just loved to use!
There was Auto Reverse, letting you play or record both sides of a cassette as one continuous tape. And automatic adjustment of sound levels avoided annoying volume changes from one recording to the next. Then there was Bang & Olufsen’s famous HX-Pro recording system which gave vastly superior sound quality on the higher frequencies, creating a richer, more detailed sound image.
Beocord 5500 automatically adjusted itself to match standard, chrome or metal tapes. You had the option of Dolby B or C during recording. During playback, the recorder automatically switched itself to the noise reduction system you recorded with. Automatic track search was also included – just key in the track number and the recorder did the rest.
The cassette recorder could be controlled via the two-way Master Control Panel 5500 as part of the Beosystem 5500.
Auto Record level
One of the less-pleasant chores in making a recording is setting level control to its optimum position. Setting it too low raises the level of background noise on the recording. Setting it too high makes the recording distorted at high music levels. With this in mind, Bang and Olufsen introduced an automatic record mode which was called ‘Auto Record’.
Auto Record worked in two steps: when the record button was pressed for the first time, the cassette recorder went into a record pause mode, where the incoming signal was monitored. Under microprocessor control, the highest level was monitored and the record level was set at the optimum level for that music. On pressing the record button the second time, the tape was set in motion and the recording started, but continuing to make minor adjustments. If at any time during the recording, the level of music rose above the monitored level, the level control was lowered by exactly the amount required for the new optimum recording level.
This method of setting the level control closely imitated the action of a highly skilled recording engineer, if asked to set the level for a recording. It was the best that could be done when the full recording could not be monitored before recording started.
This feature incorporated a new method of monitoring the signal, which proved to be a more effective method over conventional methods. It was patented by the company with the patent number 158702.
At the base of the BeoLab Penta column was the BeoLab 150 amplifier with a power output of 175 watts DIN/IEC. This could give your music a tremendous boost, both to the quality and the actual power output. It was ideal if you loved to party but had a relatively small music system. Big power needs careful control – so the amplifier was equipped with Bang & Olufsen’s Dynamic Soft Clipping system. This was a circuit that prevented both distortion and damage to the speaker units by softly rounding off signals that were too powerful. Another circuit prevented damage due to prolonged overloading.
BeoLab 150: Controlled overdrive
On the amplifier itself were buttons for adjusting bass and the level of sensitivity. This meant that you could arrive at a permanent adjustment that matched the room exactly.
BeoLab Penta turned on automatically when it received a signal and also turned itself off three minutes after receiving the last signal. BeoLab Penta had a light display that indicated the volume level and which sound source the music was coming from. This was especially useful with Beosystem 5500 and Beocenter 9500.
BeoLab 150 and 200 were used as part of the BeoLab Penta active loudspeakers range.
Connections:
At the bottom of BeoLab 150 were two clip-sockets and a four pole DIN socket for connecting speakers, a line input phono socket and a mains cable.
This advanced CD player was straight from tomorrow’s world – but it would still marry up happily with any Bang & Olufsen system created over the previous decade. It was as simple to use as a tape recorder. The track search system was invaluable for finding your way quickly around the disc. A display indicated the number of the track you’re on.
Recording was just as straight forward. And you could time recordings to the second – just press the sensi-touch panel and you could find out how much time was left on a particular track or on the whole disc.
This replacement for the former Beogram CDX used at that time, new 16-bit technology and an all-new optical system. The player itself though, was derived from the Philips CD150 machine; the same as that in the Beocenter 9000. After one year the machine was discontinued and replaced by the Beogram CD 3300 – a similar sensi-touch CD player – as part of Beosystem 3300.
A featherlight touch on the glass control panel brought up an illuminated display of numbers which corresponded to the tracks on the disc. You could select tracks in any order; you could see how long a track lasted and a motorised dust cover and automatic light were among the features that this stand-alone CD player possessed.
The CD player was based around the Philips CD104, built in Belgium.
As a standalone player, it lacked the Datalink and remote control facilities that its predecessor, the Beogram CD50, possessed. A good-looking CD player which performed well, it was later superceded by the Beogram CDX-2 in 1987.
Bang & Olufsen Sales Training System
Beogram CDX
Beogram CDX is a Compact Disc player in a classical Bang & Olufsen design
Features:
Top operation
Motor driven dust cover
Sensi-touch operation
ADVANCE and RETURN functions
Replay up to 4 times
Display with indication of playing time of individual tracks, elapsed time and index
Analogue and digital filter (176.4 KHz over sampling)
Connection with Phono plugs
Operation
If Beogram CDX is in standby position and there is a compact disc on the platter, one push at the PLAY button will start the playback.
If there isn’t a compact disc inserted, you push the EJECT button and the motor driven dust cover will open, the platter will lift and the compact disc can be inserted.
Apart from the above-mentioned PLAY and EJECT buttons, all operations are sensi-touch fields, which are operated with a slight touch.
When pushing the field PLAY, the dust cover closes automatically and playback starts.
The display indicates the individual tracks on the inserted Compact Disc. If it has more than 20 tracks, the two first digits in the time display will show the total.
The time display has 3 main functions, which can be ordered by pressing DISPLAY, namely the time of the individual tracks, the elapsed playing time and index, which is a sub-division of the time of the individual tracks.
ADVANCE and RETURN are used for jumping to the next or the previous track and are indicated with a flashing of the selected track on the display.
With the digits 1 to 0, a track can be selected at random and the jump is marked on the display.
With STORE and CLEAR you can select or leave out up to 40 tracks on the Disc.
REPEAT replays the Disc up to 4 times.
One push at STOP gives pause, and by keeping the finger on the field till the Disc stops, you get actual STOP. << and >> are used for fast search within the individual tracks.
When activating it once, you search in jumps of 1 second
By keeping the finger on the field you search in jumps of 10 seconds and after 10 seconds the jumps are 1 minute
Connection
Beogram CDX is provided with a fixed signal cable with Phono plugs and can be connected to all LINE inputs. For amplifiers with TAPE inputs which are already being used, we can deliver a CD/TAPE adaptor, type 8950060 (accessory at additional price)
1985 Magazine Review
” The CDX is one of two ‘Beograms’ which have been promised by B & O for some considerable time. It would seem that to a large extent B & O have edged, their bets, for the CDX is a Philips-based machine while the alternative model uses Sony-sourced assemblies. The CDX is an extraordinarily beautiful machine yet, as we shall learn, is based entirely upon the ever so humble Philips CD?101 (the same player as used by Meridian for the MCD conversion). The styling is obviously intended as match the other B & O units and so the company has an untapped market of existing owners who have been patiently waiting for a CD player. But it is a player well worth considering in its own right as a separate purchase.
Unusually the CDX is a top loader but the lid assembly is powered and in response to the eject button the lid assembly smoothly folds back to allow the disc to be loaded. With the exception of the Eject and Power switches, all the controls are touch sensitive (using a type of capacitive sensing) a choice which I found far from reassuring since I kept wanting to use extra finger pressure to ensure a good contact! My overall lack of confidence was further encouraged by the all black control panel which reveals nothing until the power is applied. Perhaps it’s too much like computer screen ‘soft keys’ for me for I kept wondering if the Play switch would be still in the same place every time I went back to this player!
Two types of display are provided; a digital readout to show track time, total elapsed play time, and track numbers up to 99; and a bar scale of 20 LEDs to show the status of the first 20 tracks. A reasonable range of facilities is offered with both track skipping and fast searching (both backwards and forwards). Tracks can be pre-selected for playback and programming is possible for combinations of up to 40 tracks stored in the memory. Finally a Repeat mode allows continuous playback of the whole disc or of individual tracks.
Once the CDX is opened some idea of B & O’s inventiveness can be gained. Into the plastic casing has been dropped a Philips CD101 player complete down to the signal and mains supply cables but less the Switch/Display board. Instead B & O plug in wires from their own front panel and wire connections to their Eject and Power switches. The whole conversion is very neat and since the Philips player is left unmodified all the standard parts fit thus ensuring ease of service.
It has to be said that providing the last word in performance is not needed; the Philips CD?101 is an excellent choice with the CDM mechanism being recognised for its good build quality and reliable operation (it is also to be found in the expensive Revox B225 player). The electronics design largely follows the familiar Philips circuit with 4 times oversampling conversion using a separate 14-bit DAC for each channel.
In the laboratory the performance was much as expected with a generally flat frequency response except for a mild dip of 0.25dB around 7kHz; very low noise (?104dB); low crosstalk between channels and quite reasonable linearity. No problems were experienced when using the error testing discs and this player did very well in playing back some of my badly scratched discs with very few garbled passages.
Auditioning was conducted through my usual system of passive control unit and Krell power amplifier with LC connecting cables. Essentially in terms of sound quality this was very much a case of re-reviewing a Philips CD101 (or Marantz CD63) and the expected high standards were
achieved. The sound can be characterised as open, exciting with a fine sensation of space and depth, and good stereo focus. The weaknesses were primarily at the extremes of the audio band with a warm, stodgy bass and a degree of harshness at high frequencies. However within the context of the B & O system the sound quality of this player would be considered quite excellent.
VERDICT: A beautiful model which will appeal to a wider market than just the traditional
B & O owner. The overall performance of the CDX is excellent and this player can be considered as good value
PROS: Good sound quality. Very good value for money. Beautiful looks
CONS: Rather fiddly to use. Old fashioned top loading ”
The quality of the Beogram CD 5500 CD player took time to fully appreciate. For example, the elegant disc tray with its completely smooth and silent drive. Or the way that the disc drive system was mounted to isolate it from vibrations. Perhaps you were most impressed by the way that a built-in circuit in the player compensated for the tiniest faults on the disc itself (contrary to popular belief they’re not always perfect!). Finding tracks was both fast and easy – it was necessary to just ask the Master Control Panel for the track number you wanted. You could programme tracks to be played in any order, or sample each track briefly. There was a light display which showed you the length of the track you were playing and the remaining time on the disc – invaluable for recording.
Though very similar to look at to Beogram CD 50, this all-new Philips-based machine was a radical departure, both in manufacturing and technical terms. Beogram CD 5500 was the first CD player to be entirely designed by Bang & Olufsen and with the exception of the optical deck, it was entirely made by the company too. The performance and reliability of the Beogram CDX models probably influenced the choice of the Philips radial single beam pickup system and brushless DC spindle motor.
Externally, a slim aluminium plate machined out to the size of a compact disc replaced the Beogram CD 50 door and drawer loading system and it moved quickly and silently, again in marked contrast to its predecessor. The deck was on the right-hand side side of the fascia as opposed to Beogram CD 50 left-hand side arrangement, so that the loading of a cassette into the new Beocord 5500 tape recorder, which you had the option of placing below, was not obstructed. Later versions had a concentric 8cm circular recess machined into the loading plate, to accept CD singles.
With the Beogram CD 5500 there was no infra-red sensor option, and the front panel controls were even more basic, so at very least a Beomaster 5500 and Beolink 1000 terminal were needed to use it properly. On the back panel, there was a 7-pin Datalink socket for Beomaster 5500, and a single phono digital output connection, for which there was never a use within the B&O range.
The performance of this outstanding machine was never bettered, and with the exception of minor styling and software revisions, it remained virtually unchanged until the end of the separates system range with the Beogram CD 7000.
Beogram CD 5500 could be controlled via the two-way Master Control Panel MCP 5500 as part of Beosystem 5500.
The sound reproduction achieved by Bang & Olufsen’s CD 4500 CD player was truly outstanding.
It played both 12cm and 8cm compact discs and had an ingenious ‘step’ function which allowed you to go straight to a chosen track selected from anywhere on the disc. The CD player was one of the most technologically-advanced pieces of hi-fi on the market at the time and yet was one of the easiest to operate. The explicit display always indicated what the CD player was doing all the time – for example, which track was being played, and how many tracks there were on the played compact disc.
Beogram CD 4500 could be used as part of the Beosystem 4500 hi-fi system.
