TV and video in all simplicity
A Bang & Olufsen TV is always a good investment. But perhaps you didn’t want all the highly advanced functions in Bang & Olufsen’s video systems. In that case, you could choose a television like Beovision LS instead. It had the same classic lines as Beovision LX and the quality again was extremely high. There was just a slight difference in design and technical specifications. For example, unlike Bang & Olufsen’s video systems, Beovision LS and its VCR partner, Beocord V3000, could not be included in a Beolink® system.
Beovision LS was available as a 66cm or a 63cm TV – the LS5500 and LS4500 (as well as two further models – LS5000 and LS6000). All materials were of the finest quality and as always, attention to detail was meticulously made. For example, it was real wood that was used in the rosewood model and not plastic laminate. The glass screen in front of the picture tube was made of a high-quality glass, from Europe’s leading glassmaker. It served two functions: it captured the light reflections that struck the screen, minimising their effect on the picture. And at the same time, it unified the appearance of the television.
Picture and sound in high quality
You obtained the same distinguished picture on a Beovision LS as on the more advanced TVs in Bang & Olufsen’s range. The philosophy behind Bang & Olufsen’s TV picture is that it should appear as natural as possible. One of the reasons for this choice is that your eyes tire quickly if colours are too strong. In comparison with other brands, this philosophy can make a Bang & Olufsen picture seem less like a picture postcard. But Bang & Olufsen would rather be compared to reality than to glossy reproduction.
The sound in Beovision LS4500 and LS5500 also lived up to the expectations you had for a Bang & Olufsen TV. The amplifier in the built-in two-way bass-reflex speakers was, in fact, the same fine quality that was used in audio systems.
Beovision LS5500 66cm television was the result of generations of development and provided superb natural colour which is balanced automatically up to 50 times every second. Its powerful loudspeakers were set smoothly on each side of the screen which stretched from the very top to the bottom of the cabinet. Fast Teletext access was provided together with, satellite compatibility and NICAM digital stereo sound including Beolink 1000 remote control.
Beovision LS5500 could be happily married to Beocord V3000 video cassette recorder and both Teletext and NICAM stereo sound were standard on both the Beovision LS4500 and LS5500.
Beovision LX 5500 / 4500 and Beovision L 5500 / 4500
Beovision LX was the result of several generations of development. Superb technology offering a wealth of functions. And the elegant design was sheer pleasure to look at. Without doubt, Beovision LX was a thoroughbred, according to Bang & Olufsen’s 1990 catalogue. And the Beocord VX5000 video cassette recorder a worthy stable mate.
Bang & Olufsen continually seeks new ways not only to streamline operation and function but to simplify exteriors. The powerful speakers of Beovision LX had a totally smooth facade when they were originally introduced in 1990. The contrast screen in front of the picture tube stretches from the very top to the very bottom of the cabinet. And the lacquer was as polished as a grand piano’s.
The result was unity; no knobs or displays interrupted the flow.
You could keep an eye on more than one programme at a time by letting a miniature picture run in one corner of the screen. Or you could show 4, 9 or 16 ‘clips’ from programmes on air at that very moment. Beovision LX 5500 also gave fast, direct access to to four Teletext pages you used the most. And there was room for a satellite receiver to be installed as well as using the TV set for the connection of extra speakers, loop amplifier for the hard of hearing and TV game consoles.
By mounting the whole TV set on a motorised base, you could sit in your armchair and turn the TV up to 35 degrees to each side with just one press of your Beolink 1000 remote control terminal. By programming it into the set, the TV then turned automatically towards your favourite viewing position every time the set switches on. And, naturally, the TV returned to centre stage each time you switched it off.
A stage designer can creative positive associations of purity by using predominantly white or light grey in stage sets and costumes. White and grey symbolize a simple style of living and, as the audience, we associate this virtue in our mind’s eye with the person who decorates with, or dresses in, these light colours. In interior design white and grey give a modern impression with everything blending together, perfectly executed down to the tiniest detail. For those who prefer an all-white look,. Bang & Olufsen in 1990 dressed its Beovision LX range completely in white; even the back.
You could put Beovision LX White Line in the middle of a large room if you so desired. It looked discreet and elegant and spoke its own, well-modulated design language. If a pleasant light grey was more to your taste, the Beovision LX range was available in a light grey finish too. All the other technicalities internally were identical to the other LX family members.
Beovision LX was the result of several generations of development. Superb technology offering a wealth of functions. And the elegant design was sheer pleasure to look at. Without doubt, Beovision LX was a thoroughbred, according to Bang & Olufsen’s 1990 catalogue. And the Beocord VX5000 video cassette recorder a worthy stable mate.
Bang & Olufsen continually seeks new ways not only to streamline operation and function but to simplify exteriors. The powerful speakers of Beovision LX had a totally smooth facade when they were originally introduced in 1990. The contrast screen in front of the picture tube stretches from the very top to the very bottom of the cabinet. And the lacquer was as polished as a grand piano’s.
The result was unity; no knobs or displays interrupted the flow.
You could keep an eye on more than one programme at a time by letting a miniature picture run in one corner of the screen. Or you could show 4, 9 or 16 ‘clips’ from programmes on air at that very moment. Beovision LX 5500 also gave fast, direct access to to four Teletext pages you used the most. And there was room for a satellite receiver to be installed as well as using the TV set for the connection of extra speakers, loop amplifier for the hard of hearing and TV game consoles.
By mounting the whole TV set on a motorised base, you could sit in your armchair and turn the TV up to 35 degrees to each side with just one press of your Beolink 1000 remote control terminal.
By programming it into the set, the TV then turned automatically towards your favourite viewing position every time the set switches on. And, naturally, the TV returned to centre stage each time you switched it off.
Colours: Beovision LX 5500 / 4500 – high-gloss black, white or grey or rosewood.
A stage designer can creative positive associations of purity by using predominantly white or light grey in stage sets and costumes. White and grey symbolize a simple style of living and, as the audience, we associate this virtue in our mind’s eye with the person who decorates with, or dresses in, these light colours. In interior design white and grey give a modern impression with everything blending together, perfectly executed down to the tiniest detail. For those who prefer an all-white look,. Bang & Olufsen in 1990 dressed its Beovision LX range completely in white; even the back.
You could put Beovision LX White Line in the middle of a large room if you so desired. It looked discreet and elegant and spoke its own, well-modulated design language. If a pleasant light grey was more to your taste, the Beovision LX range was available in a light grey finish too. All the other technicalities internally were identical to the other LX family members.
Small, compact and elegant, Beosystem 10 was the ideal companion when you were away from a main audio system.
It offered stereo radio with FM and AM/LW reception with three pre-set FM stations. The cassette recorder played every type of tape with the built-in stereo speakers providing excellent sound quality. There was also an optional wall bracket, and you could connect a turntable or extra cassette recorder, external speakers and Form 1 or Form 2 headphones.
David Lewis’ Beosystem 2500 from 1991 marked a new era of design for hi-fi. In its design, he set out to emphasise the function of the machine. The front is protected by a Perspex eyeshade which slides inwards when in use. Lewis here introduced the flat, standing shape which has come to characterise his Bang & Olufsen designs; for instance BeoSound 9000.
Its interface, designed by Sally Beardleys, is simple and well thought out. Since Beosystem 2500 is very compact it has taken a lot of work to make its small loudspeakers effective and harmonious. Among other things this has been solved by making use of separate power sources to the loudspeakers in order to optimise their sound. The design was followed up by BeoSound Century, which, compared to the 2500 is smaller and cheaper.
Tradition had it that music systems should be recognised at such. However, not so at Bang & Olufsen. In spite of its size, Beosystems 2300 and 2500 featured operation and performance on a level that compared with larger B&O audio systems. And adding to the magic of the fascinating new sound experience at the time of its introduction, was the way that the smoked glass doors slid open the instant the beams are broken by a wave of your hand – revealing the controls beneath.
Beosystem 2300 / 2500 gave you two extremely powerful active loudspeakers – BeoLab 2500 – which acted as completely integrated components in the system. The source selection and programming keys you needed to operate Beosystem 2300 / 2500 were located in a central keypad. And just above them was an illuminated display which could keep you informed of the source and track you were listening to. Every time you touched a key, the display told you exactly which function you activated.
Beocenter 2500, or Beosystem 2500 as it was called when used with BeoLab 2500 active speakers, was developed from the idea of a flexible music system that could compete with the sound quality of heavy music systems. Thanks to the advent of active speakers, this was a possibility with both Beocenter 2500 and its CD-only capable Beocenter 2300. With active speakers, each of the powerful bass and treble units were equipped with their own separate amplifiers. In addition, the electronic cross-over network ensured full bass reproduction.
The loudspeakers were located on both sides of a centre console, where two clear glass covers automatically glided to the side when a hand was passed in front of them. Behind the glass covers there was access to the operating panel, receiver, CD player and a cassette recorder.
The receiver allowed the option of presetting 2 x 20 FM/AM radio stations. The cassette recorder featured Auto Reverse, Automatic Recording level, search function and Bang & Olufsen’s HX-PRO recording system, a system which ensures that the sensitive treble range is captured in recording. The memory in Beocenter 2300’s CD player allowed you to edit up to 100 CDs.
Both systems could be operated via their operating panel or a Beolink 1000 or Beolink 5000 remote control. There were sockets for headphones and connection to additional sound sources; extra loudspeakers can also be connected.
Beocenter 2500 was available with loudspeaker panels in cobalt grey, black, white, cerise or jade. It was later known as BeoSound Ouverture and could be made up to the Beosystem 2500 when incorporated with the BeoLab 2500 active loudspeakers.
Mounting Options
This classic design was reincarnated over a 21 year period with various mounts and stands. Floor stands were available with a pole stand or CD and tape storage, wall mount solutions allowed for the Hi-Fi only, or with BeoLab2500 speakers until these were discontinued
This pin badge was given to dealers to either wear in-store or give to customer to commemorate the release of the new BeoSystem 2500. Measuring 2.5cm x 2.5cm and made from metal with black and blue enamel inserts. Quite a rare badge!
To keep up with Beolink’s ability to move sound and picture not only from one product to another, but from one room to another, Bang & Olufsen developed remote control units capable of two-way interactive and visual communication. The handheld Beolink 5000 provided a visual display which helped guide you through every stage of an operation giving you visual feedback of each system’s current status even when you were in a different room.
As the expanded capability of the terminal called for more operating buttons, Beolink 5000 had visual displays and operational buttons on both sides of the unit. Secondary-function buttons were recessed and placed to the rear while primary control buttons were positioned at the front.
Beolink 5000 added a new dimension to Bang & Olufsen’s remote control range in the early 1990’s. A fascinating transparent display, with numbers and letters apparently hanging in mid-air kept you constantly informed about the status of the Bang & Olufsen equipment that you were either watching or listening to. The layout of the unit was similar to that of Beolink 1000. However, because of its expanded capability it called for more operating buttons. To maintain its slim design, these were found on both sides of the hand-held unit. At the front, under the visual display, were the source selection buttons. Below these were the multi-function buttons arranged in a circle and designed for easy thumb operation. The circle contained buttons for analogue operation and menu-operated functions; a total of eleven buttons.
On the back were the secondary function buttons such as programming and recording, recessed in a channel to help prevent accidental operation.
Beolink 5000 was the ideal terminal to use where extra speakers or a second television were linked to a central system in a different room. Its display gave you feedback about the system’s current status to assist you in issuing your instructions.
It allowed you to fully utilise the timer recording, play and play next facilities on the Beosystem 4500 and Beocenter 9500. It was also particularly well-suited for Beosystem 2300. The remote control also maximised the programming capabilities of Beocord VX5000 video system and, via Beocenter 9500, allowed you to program LC1 and LC2 light control units.
Features
Beolink 5000 had the added benefit of a transparent display panel to guide users through complicated operations. Combining this display with fixed buttons which were positioned to provide a clear distinction between primary and secondary operations, allowed for simple and logical overall operation. The unit was light and slim, its display had low power consumption (LCD supertwist which produced map definition and detail even in bright sunlight) with a dot matrix display capacity of two lines, each with seven characters. The display could be read from either side of the handset dependant on which operations were carried out (to be read from either the back or the front).
Other important highlights of Beolink 5000 were:
Hand-held terminal for all video, audio and AV operation in central rooms and Local Control Systems
Two-way operation with display feedback
One-button source selection, video and audio
Logical layout with grouping of related functions
Secondary functions placed on the back to prevent inadvertent operation
Comprehensive secondary functions, e.g. record/time programming with display support and guidance
Companion infra-red remote control units that were available at the time of Beolink 5000’s introduction, were Beolink 1000 and Beolink 7000.
Component features
Beolink 5000 was the key to TV and video systems of the early 1990s. It was recommended for operation of such TV/video packages as Video System 5500 or Video System 6000, because these systems contained numerous advanced functions, especially in the fields of recording- and timer-programming. Beolink 5000 was optimised for the operation of such complex functions where you were guided through the options via prompts on the display of the terminal.
The display responded whenever you activated a function. When you carried out a primary operation, e.g. selected a source, you received status feedback. The feedback was dynamic, i.e. it changed according to the operation you carried out and the subsequent response the terminal received from the system. An example of this was in the adjustment of sound, where the centre balance function was only displayed when the function was available at that time in the system.
When you were in the secondary operation mode, e.g. for recording and programming, the display acted as a menu for operation, i.e. it became an active part of the operation. Thus the display was a reassuring response to your actions when you were in the primary operation mode, and an active guide when you were in the secondary operation mode.
The display was transparent, because some of the operation where the display is an active part, was initiated on the back. One example of this is when you activated the RECORD buttons on the rear of the remote control, the display read out the appropriate cues as seen from the back of the terminal i.e. V.REC PAUSE and the source you selected for the recording.
As most of the timer programming procedure was by the circle buttons on the front of Beolink 5000, the display read out the appropriate cue seen from the front as soon as you activated the PROGRAM button in the back recess. In this way it prompted you to turn the Beolink 5000 around for the rest of the programming procedure.
The advanced functions available via the Beolink 5000 included e.g. clearing TV stations, or making advanced (timer) recordings on your Bang & Olufsen VCR. The hazard with the record and program functions of course is that you could by accident clear or erase programs that you’d already made e.g. a recording on a video tape. So it was vital that the advanced functions were kept separated from the other main functions. By placing the buttons for operation of the advanced functions on the back of the terminal, Bang & Olufsen were able both to extend the number of secondary functions, and to make timer operation a real asset without risking inadvertent operation and confusing clutter on the front. Beolink 5000 was the first hand-held Beolink terminal where timer operation was possible with all recommended systems and even in stand-by.
The buttons for recording were grouped in the back recess to preclude inadvertent recording. To further secure against the inadvertent start of a recording, it was necessary first to point out the recorder and secondly start the recording on a second button.
Recording operation was refined with the Beolink 5000: all record buttons are grouped in the recess, you could address two video recorders, and no matter which one you used, you had direct access to start or stop of the recording and to make a record return.
Once you had summoned the source you wanted to record on to the TV, all you had to do was to turn the Beolink 5000 around and activate the [V.RECORD][REC.START] sequence to initiate a simple recording.
If you wanted to make an advanced recording of a TV programme as a background job, in RECORD PAUSE you selected V.TAPE + the programme number on the front before starting the recording on the back. The REC STOP button was a useful refinement here. When you had commenced a recording and switched to another source, e.g. TV, [REC STOP] gave you direct and instant access to stop of the background recording.
The third record level, timer record, was also initiated on the back, by means of the PROGRAM button. Beolink 5000 allowed you to make the timer operation both when the system was playing and when it was in stand by. In this way you would not disturb other uses of the video system and you need not even switch the system on to make a timer programming.
Picture adjustment was shown on the TV screen, and not on the Beolink 5000. In this way you could monitor and judge the changes directly on the screen, e.g. with regard to contrast. Sound adjustments were displayed both on the screen and on the terminal. In this way the feedback was always placed at the optimal point for operation and adjustments.
Teletext contains a number of secondary functions to enhance its user value, such as enlarging the page, mixing Teletext with the TV program, revealing a hidden information (e.g. VPS information on TV program page), etc. Many users never access these secondary
functions, because they have been assigned low priority on the remote controls and therefore it is difficult to access them. Beolink 5000 accesses the functions easily and as guided by its transparent display. In TEXT-mode, if you pressed MENU the display would read out:
TEXT
MENU?
If the answer was ‘yes’ [PLAY] gave access to the first item of the menu, as shown here:
Secondary Teletext functions available via [MENU]:
MENU (Teletext time programming)
LARGE
MIX
REVEAL
UPDATE
SUBCODE
As an alternative you could step through the options or leave the menu. The menu operation procedure simplified access to the secondary Teletext functions considerably and showed the advantage of using two operation logics: one for routine operations and one for important, but rarely-used, operations.
Beolink 5000 was the key to video systems such as Video System 5500, comprising Beovision MX5500 and Beocord VX5500. It was recommended for operation of such systems because this system contained numerous advanced functions, especially in the fields of recording and timer programming. Beolink 5000 was optimised for the operation of such complex functions, where you are guided through the options via prompts on the display of the terminal. Other important highlights of Beolink 5000 were:
Hand-held terminal for all video, audio and AV operation in central rooms and Local Control Systems
Two-way operation with display feedback
One-button source selection, video and audio
Logical layout with grouping of related functions
Secondary functions placed on the back to prevent inadvertent operation
Comprehensive secondary functions, e.g. record/time programming with display support and guidance
The display responded whenever you activated a function. When you carried out a primary operation, e.g. the selection of a source, you received status feedback. The feedback was dynamic, i.e. it changed according to the operation you carried out and the subsequent response the terminal received from the system. An example of this was in the adjustment of sound, where the previously mentioned centre balance function was only displayed when the function was available in the system. When you were in the secondary operation mode, e.g. for recording and programming, the display acted as a menu for operation, i.e. it became an active part of the operation. Thus the display was a reassuring response to your action when you were in the primary operation mode and an active guide when you were in the secondary operation mode. The display of Beolink 5000 was transparent, because some of the operations where the display was an active part, was initiated on the back. One example of this was when you activated the RECORD buttons on the back when the display read out the appropriate cues as seen from the back of the terminal, i.e. V.REC PAUSE and the source which you had selected for the recording.
As most of the timer programming procedure was by way of the circular button on the front of Beolink 5000, the display read out the appropriate cue as seen from the front as soon as you activated the PROGRAM button in the back recess. this way it prompted you to turn the Beolink 5000 around for the rest of the programming procedure.
The advanced functions available via Beolink 5000 include e.g. clearing (satellite) TV stations, or making advanced (timer) recordings on your VX5500. The potential problem with record and program functions was that you could by accident clear or erase previously-recorded programmes. So with Beolink 5000 the advanced functions were kept separate from the other main functions. By placing the buttons for operation of the advanced functions on the back of the terminal, Bang & Olufsen were able both to extend the amount of secondary functions, and to make timer operation a real asset without risking inadvertent operation and confusing clutter on the front. Beolink 5000 was the first hand-held Beolink terminal where timer operation was possible with all recommended systems, even while in stand by.
The buttons for recording were grouped in the back recess to preclude inadvertent recording. To further secure against inadvertent start of a recording, it was necessary first to put the VCR into a recording pause mode before commencing the recording by way of a second button.
Recording operation was refined with Beolink 5000: all record buttons were grouped in the recess; you could address two video recorders, and no matter which one you used, you had direct access to start or stop of the recording and to make a record ‘return
The MMC1 was the top of the range of B&O’s new cartridge range.
It was only available as an upgrade – even the top of the range Beogram 8002 was only fitted with the MMC2. The MMC1 had a line contact diamond mounted on a tubular sapphire cantilever.
The tubular construction offered less weight than a solid cantilever but with immense stiffness. The diamond profile was similar to that of the MMC20CL being line contact. The way to look at these cartridges was to imagine an elliptical profile but with both the front and rear facets being scooped out. In this way the vertical contact surface was maximised and the horizontal element kept to a minimum.
The MMC1 and MMC2 were essentially the same cartridge with the MMC1 using the best specified diamond tips. The MMC system was carried over from the SP series but taken to an even smaller level.
The MMC2 was the replacement in the B&O line up for the very successful MMC20CL.
Like the MMC1, it boasted a sapphire tubular cantilever and line contact diamond. It was fitted as standard to the top of the range Beograms such as the 8002 and the 7000.
