Beocord V6000 was a hi-fi stereo video cassette recorder designed to work with Beovision models ME6000 and MS6000.
Together they formed an integrated unit in which TV and video cassette recorder automatically share all commands and can be operated by the same remote control. This combination was designed to be used as a standalone TV/VCR combination. The VCR had all playback facilities as any standard VCR. It also had VPS/PDC and NTSC playback. The video recorder was controlled via a Beolink 1000 handset through the Beovision television.
Bang & Olufsen’s new generation of TV and video systems at the time that the V6000 was released, made it simpler an more comfortable to watch TV. All data stored in the TV: time and programme channels, were automatically stored in the VCR as well. The same applied when you connected your TV and video recorder to a Beolink system – the clocks on the various units within the system were automatically synchronised.
Beocord V3000 was designed to match Beovision LS5500 in looks and budget in order to allow video programming directly on-screen. It permitted eight programmes to be recorded up to one year in advance and had a superb quality slow motion and freeze facility. It also had twin speed recording and playback.
With the assistance of the Beolink 1000 remote control terminal you could handle complicated programming of the video recorder in the easiest possible way – direct via a menu on the TV screen. Beocord V3000 also had Bang & Olufsen’s uniquely fast access to taping any programme you were watching at that moment.
Press RECORD twice on the Beolink 1000 terminal and the VCR would automatically find the right channel in its memory and commence recording your TV programme. It was a fast mover too, having two winding speeds in both directions for picture search. Four video heads ensured that you obtained still pictures and slow motion in choice quality. Sound quality was in mono.
Beocenter 2300 was dedicated to the CD enthusiast who, for example, like to store the titles of favourite CDs, or permanently skip unwanted tracks. It was known as Beosystem 2300 when connected to the BeoLab 2500 active speakers. It was eventually surpassed by BeoSound 3000 when it included more features and received a facelift in 2001.
Beocenter 2300 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 2300 and its similarly-equipped sibling (which also had cassette tape recording and playback) the Beocenter 2500. 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 2300 was available with loudspeaker panels in cobalt grey, black, white, cerise or jade and could be made up to the Beosystem 2300 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
“BeoSound Ouverture: the design may be a Bang & Olufsen classic, but BeoSound Ouverture and BeoSound 3000 refuse to rest on their laurels. Access to new musical sources and fresh loudspeaker options ensure that the concept remains an open invitation to make something special out of your music” (B&O catalogue 2001 -2002)
This stereo has two different names: BeoSound Ouverture in Europe and BeoSound 4000 in the rest of the world. This is the only stereo system, so far, to support the new MasterLink system without any add-ons. It’s really a follow up to the Beocenter 2500 which was the first and original stereo with this somewhat different look. Along with the launch of this unit in 1991 (as the BeoSound 2500) Bang & Olufsen also started selling the new remote control – Beo4. The difference between the Ouverture and Beocenter 2500 is that the newer model doesn’t feature two-way communication and it has instead a completely new CD mechanism. It also holds some new features when it comes to the CD. But the most important difference is the MasterLink connection. With this system you can connect the unit to, for example, a BeoLab 2000 or BeoLab 3500 without any further electronics. Reach out and the doors glide quietly aside, while a gentle light spreads from within. It’s BeoSound Ouverture’s way of saying, “welcome” and part of the experience every time you put on a new tape or CD. CD player with programming, tape recorder with auto reverse, FM/AM radio with pre-set, timer function, optional Beo4 remote control operation, connections for Beolink® and headphones, optional wall bracket and floor stand. BeoSound Ouverture’s unassuming rubber key pad hides a contact foil, which, in turn, covers a matrix of vertical and horizontal cords. When a control is pressed, the cords connect and the microprocessor is activated.
Design
Music is more than just something you listen to, it’s an emotion you experience. So isn’t it time your favourite music was played on something that lets it express itself to the full? BeoSound Ouverture stands up and invites you to make something special out of your music – over and over again.
Features
Bring new life to old CDs by changing their track sequence with the Random Play function. Or programme it to skip over any unwanted tracks and to play the ones you want in the order you prefer. Transferring the music of a CD onto tape doesn’t have to mean poorer quality. The Ouverture constantly monitors and adjusts the signal during any recording to ensure a uniform sound level throughout – and will automatically stop recording when the CD finishes playing. There’s room for up to 30 pre-set stations on the Ouverture’s intelligent AM/FM radio.
So how do the sliding glass doors work?
The glass doors on the BeoSound 3000 and BeoSound Ouverture are opened and closed by steel wires driven by an electric motor via a gearbox. The motor is triggered by an infrared system that detects your approach… Why wake up to an annoying alarm clock when it could be your favourite piece of music instead? The timer function on the Ouverture can be programmed for the entire week and will automatically turn itself off again after playing for any length of time you choose.
Specials
Just raise a hand and watch as the glass doors glide silently aside. It’s the Ouverture’s way of saying “welcome” and reveals that a special experience is about to begin. Of course, a simple on/off button would do, but then what would be so special about that?
Easily Placed
It’s a dream come true – a music system that can fill your life with music without filling your home with equipment. The flat upright design of BeoSound Ouverture means that it’s slim enough to sit by itself upon the narrowest shelf or light enough to be hung directly on a wall with a pair of loudspeakers.
Use
With its mix of glass and aluminium, the Ouverture grabs the attention without shouting out loud. Its compact size and visual presence ensures that it enhances rather than dominates the surroundings in which it’s placed – which makes it the perfect audio system for the home and place of work. The stereo can also be controlled by the optional Beo4 remote control.
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
Beocord 7000 was a high-quality cassette recorder used specifically with Beosystem 7000. When playing cassettes, the order of the tracks could also be changed and the recorder could also find a specific track on a tape. Other functions included Auto Reverse, Auto Record levels, Dolby B and C as well as Bang & Olufsen’s recording system HX-Pro, which ensured that the sensitive treble range is captured in recording.
Beocord 7000’s features were supplemented by an abundance of special features. Space available precludes a more full description of elements such as the design of the peak programme meter, locally operated functions such as microphone recording, memo set/go, adjustment of the maximum record level and so on.
Main features:
Auto record level
Auto track search/auto reverse
HX Pro
Auto Dolby B-C
Auto tape switch
All operation available from Beolink 7000, with full display readout of track bar, counter, record level, Dolby NR, auto reverse functions, sequence programming etc.
Recording with Beosystem 7000 was a system feature, with benefits such as automatic signal routing, record lock, etc. Beocord 7000 contributed a lot to the convenience of the system and the unique auto record level was the feature that made remote controlled recording a real possibility – without compromising the quality of the recording. To further ensure a high and consistent sound quality level Beocord 7000 was equipped with HX Pro.
Auto record level
Auto record level is a unique Bang & Olufsen feature and ensures a uniform and optimal recording level from all sources, from tape to tape, without overload. Major benefits of auto record level are:
all tapes recorded with auto record level have the same optimum level, without overload and therefore without distortion
a recording can be started immediately and directly, without any pre-adjustments
you do not have to supervise a recording to adjust record level and the system recording even stops the recording when the source runs out, or stops the source when the tape runs out
if auto record level interferes and adjusts the recording it is done in such a way that it is not noticeable in playback. The dynamic range of the recording will not be impaired and the adjustments are carried out so early that overload is precluded.
The assets of auto record level are obvious when a comparison is made between those carried out on a standard recorder without auto record level and those with.
Recording on a standard recorder requires you to supervise the recording in order to step in if the manually set input level is too high. In this case you would have to adjust the record level down when a signal with a high dynamic content is to be recorded. If this is not carried out the tape will be overloaded and the music distorted. Without auto record level, copying is in real-time, which means that you will have to pay attention all the time you are recording (or risk a distorted recording). And when a very wide dynamic signal threatens to overload the tape being recorded, the record level must be lowered quickly, which will often be audible in subsequent playback, either as a suddenly lowered output volume or as a distorted signal because the record level was lowered too late.
Auto record level is an efficient remedy to this problem, without both disadvantages mentioned above. Primitive solutions reduce the record level when powerful signals are recorded and increase the record level when weak or no signals are recorded. The result can be a fluctuating dynamic range with, for example, pauses between tracks causing the recording level to rise dramatically and the noise level with it.
The Bang & Olufsen solution
The auto record level in Beocord 7000 was monitored by the microcomputer interacting with the peak programme meter indicator on the front of the cassette deck. Auto Record Level only reduces the record level and only if the signals exceed the set value for a certain period. In this way brief noise pulses, such as the ones resulting from scratches on a record, do not lower the record level. When a signal of more than +2 dB above the set value is encountered, the microcomputer lowers the record level with 2 dB. The recording continues at the lowered level unless even louder signals appear and trigger new reductions.
Other advantages of auto record level are:
it is applied to all sources, even if you record sound from a video source
the preset values can be changed, e.g. if you use special tape formulas
auto record level can be overridden while you are recording, or you can make a recording with manual adjustment of the record level
You did not have to pre-adjust Beocord 7000 before you started a recording. Another feature was the auto tape switch, i.e. an automatic adjustment to the three tape types, metal, chrome and ferro, by means of three electronic sensors located in the cassette holder. Auto-reverse was the default mode both in recording and playback, i.e. Beocord 7000 automatically continued the recording (and playback) on side two, when side one ran out. The turning time from side one to two was very short, because an optic sensor registered the lead-in tape and executed the 180 degree turning of the tape head immediately. Auto reverse could be cut out manually to protect side two from being recorded. This had to be done prior to record start.
Track Search
Beocord 7000 featured track search, based on pauses between individual tracks. You could also make a sequence programming, operated just like CD. Track search was available no matter if the track was on side one or two of the tape. Even if you executed a manual TURN function (i.e. change playback direction) the microcomputer registered the turning point and if you selected a track after the turning point the search for this track would be initiated at the turning point. Track numbers could be displayed on Beolink 7000.
Auto Dolby
Another convenience was the Auto Dolby function. All tapes recorded on a Beocord 7000 contained inaudible information as to whether the tape was recorded with Dolby B, Dolby C or no Dolby noise reduction. The registration of noise reduction type was dynamic and in case the circuit registered a change during playback the reduction was automatically changed. If no signal was registered, e.g. on a pre-recorded tape, the noise reduction last selected would remain active, until altered manually (see more below).
HX-Pro
Beocord 7000 was equipped with HX Pro, like all other ‘stackable’ Bang & Olufsen audio tape recorders. HX Pro is an acronym for Headroom Extension Professional and tapes recorded with HX Pro give a better reproduction quality on playback, no matter which tape deck they are played on. Both the dynamics and the the signal capability in the treble range is improved. The improvements are most noticeable in the reproduction of treble signals, but also the midrange will be influenced in a positive way. At 10KHz the signal loading capability is improved by approximately 8dB for chrome tape, 5dB for ferro tape and 3dB for metal tape formulas.
Beocord 7000 could ideally be used as part of Beosystem 7000.
Three variations on a theme… Beo4 over the years. From the Mark I version introduced in 1994 with its central ‘AV’ button, the Mark II version introduced in 1999 to accommodate the then recently introduced DVD format, and the November 2004 Mark III inception with its noticeable DTV, VMEM and AMEM buttons.
Beo4 is the key to all current Bang & Olufsen television and music systems. A remote control must be able to be operated in the dark, without glasses and without moving your eyes from the screen. That’s why the most often-used controls on the Beo4 are gathered together on one multi-functional button which you can control with just your thumb: programme shift, video play and wind. Choose a function and your command is registered on the Beo4’s LCD display. Simple and logical, so the manual can be put away after a few days. The design is ergonomical and so tough that Beo4 can be left in the hands of the youngest user.
Beo4 Mark III Update – November 2004
Released in order to ensure that the remote control keeps up to date with products currently sold, as well as new products on the horizon, Beo4 Mark III was produced for sale at the end of 2004.
Visual changes were made to the V.TAPE, A.TAPE and SAT buttons and are now renamed V.MEM, A.MEM and DTV. A number of changes have also been made to the ‘LIST’ functions. The part number of the new remote is: 1162700
Beo4 remote control is provided with all new Bang & Olufsen TV receivers. It may be purchased as a separate accessory (around £155 – 2004 prices) to control audio equipment and lights. It works with all recent (post-1994) Bang & Olufsen products and also Beolink® around-the-house systems. It is one of the most powerful remote controls on the market; so much so, that the user needs not point it directly at the appliance being controlled.
The star-shaped control can be operated by your thumb alone – you don’t need to move your eyes to look to see what you’re doing. Extra ‘buttons’ can be programmed into the unit to control other not so much needed functions of Bang & Olufsen products.
Plastic-free surface on remote control units
“Surface treatment is very important to Bang & Olufsen. It affects not only the appearance but also the feel of a piece of equipment” states Technology Director Peter Petersen. “A product is created to be used, and you can’t do that without touching it.”
“A Bang & Olufsen terminal – or remote control – must sit nicely and comfortably in the hand. So we don’t coat it with plastic. A plastic terminal somehow doesn’t feel as genuine as ours. And gets hot and sweaty, too. After a great deal of work on the choice of materials we have selected zinc for all our terminals. It sits well in the hand and is pleasant to touch. The heat from the hand is conducted away, so the terminal never feels clammy. In design terms, this choice represents an extra form of quality.”
Bang & Olufsen terminals, of course, are not just attractive to the eye and pleasing to the hand. User interface is in fact one of Bang & Olufsen’s main concerns, where technology is really put in the service of humankind. Through logic operations, in fact, B&O’s remote control units make life with the product a pleasant experience.
Handing it intuitively to Bang & Olufsen: a history of remote controls
Bang & Olufsen’s first remote control came on the market in 1974. That year, Bang & Olufsen launched two products, each with a remote control of the same design. It was the size of a small cigar case and had a steel top plate. These two remote controls, which were not integrated, were the Beovision 6000 Commander and the Beomaster 6000 Commander. The TV remote control allowed the user to select programmes and picture quality from the comfort of an armchair. The remote control for the stereo enabled the user to control a four-channel sound system.
Before too long remote controls became smaller, in the form of Beovision 6002’s Beovision Control Module. The buttons on its surface were designed so that you could use the remote control without looking at it. Those for turning down a setting were shaped to curve downwards, while the buttons for turning up a setting curved upwards.
The following Video Terminal was cast in zinc so that heat was conducted away from the palm of the hand. This remote control, which used an infrared beam, was launched in 1980. It was quite narrow, with a keypad that both resembled and functioned the same way as the buttons on a telephone. This was another way of helping the user to operate the remote control without looking at it. This version introduced additional buttons for operating Teletext TV.
The following year, Bang & Olufsen added functions for operating video recorders and a new version of the Beovision Control Module. System integration had advanced to the point of sharing a remote control between the Beovision 8800 and Beocord 8800 Video.
The next generation of remote controls arrived when it became necessary to transfer more operating information that, for purely technical reasons, could not be incorporated into a single remote control. Now sound could be transferred between the television and the stereo system. This became possible with the combination of a video terminal and an audio terminal into an AV Terminal – the forerunner of Beolink 1000 – in 1985.
In 1987, all audio, video and audio/video remote controls were integrated into one unit with the Beolink 1000. Since then, Bang & Olufsen has pursued a strategy of only having one remote control for all products – most recently with Beo4, which is capable of operating all products. Beo1 is a minor exception to the strategy. It only operated Beocenter 1 and Beovision 1 and was intended for a new customer segment, which it did not completely succeed in capturing. For this reason, it was replaced by the Beo4 from autumn 2002.
Beo4 Specifications
In general, Bang & Olufsen’s development of remote controls can be summed up in a simple concept: Intuitive use. It is important to be able to adjust sound and picture from wherever you may be in the home. Accordingly, Bang & Olufsen has chosen simple functions – and that, of course, also has implications for the design of the remote control. It’s easy enough to pack a lot of buttons and functions into a remote control, but Bang & Olufsen has chosen a simple operational philosophy for the customer.
Beo4 has relatively few buttons, but it can retrieve a lot of information if required. That is what you call quality. Since the development of the first remote control cast in zinc, the company’s remote controls have had a certain intrinsic weight. This helps to give a sense of quality. Last but not least, the remote control is renowned for having a long range. You don’t have to get into a special position to communicate with the system. Once you have the remote control in your hand, you are ‘in total command’.
These tall and elegant speakers were developed according to a totally new acoustic principle. They sounded just as magnificent as they looked. Because there were no parallel surfaces in the pentagonal cabinet, the design reduced the internal standing waves and reflection; it was a simple and beautifully effective way of eliminating distortion. The cabinet provided the ideal conditions for the loudspeakers. It was an acoustically ‘dead’ construction, with a moulded inner cabinet surrounded by a stainless steel exterior. Whatever the dimensions of your room, and regardless of the furnishings, BeoLab Penta always sounded wonderful. It also needed very little floor space; head room was all that’s required!
BeoLab Penta was the top-of-the-line speaker from Bang & Olufsen. It was around from the late ‘eighties to the mid-1990s and was upgraded several times. The last version of the active Penta was the Penta 3. In the late 1980’s – when the Penta range was introduced – there was also a passive version, Beovox Penta. But since Bang & Olufsen decided in the 1990s just to concentrate on active speakers, these and some other models, such as the Beovox 4500 and most of the RedLine speakers, were discontinued.
Did you know that the display in Penta I and Penta II was orange and and on Penta III it turned green?
Why build amplifiers into the loudspeakers instead of keeping them separate?
Because you can reduce the size of the cabinet volume to one-third of the size of a conventional loudspeaker with the same sound capacity.
The principle is called Active Loudspeakers, and what you get is a compact loudspeaker that can play at high volume without distortion or damage to its drive units. Furthermore, when amplifier, treble and bass units are paired for the same task, they can be tailored to compensate for each other’s shortcomings. What you hear is music that sounds exactly like the instrument it originally came from.
BeoLab Penta had nine individual loudspeaker units that were accurately positioned in a vertical line to produce a sound dispersion which was so precise that reflections from the floor and ceiling were eliminated. Consequently, Penta speakers could be placed almost anywhere in a room, irrespective of its size or furnishings. The operating panel at the base of BeoLab Penta allowed for the fine tuning of the bass reproduction at three levels.
The speaker’s cross section was a pentagon. The benefit of this design was that it cannot house standing waves which normally are a problem in speakers. The choice of using polished stainless steel was made to help the speaker blend into its surroundings by reflecting them. This gave the speaker the same colour as the surroundings which helped to make the speaker more of a subtle fixture,
Sound with as many facets as a diamond
The location of the speakers within the column was carefully planned to control the sound waves so that they weren’t reflected by the floor and ceiling. The resulting sound quality simply beggared description.
BeoLab 150: Controlled overdrive
At the base of BeoLab Penta 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 love partying but had a relatively small music system. Big power needs careful control – so the amplifier was equipped with Dynamic Soft Clipping system. When there was any overloading, the system softly rounded off the sound; distortion becoming a thing of the past.
Speakers that more than measure up
Top quality music systems need the best speakers available – or you’re missing out. BeoLab Penta was the natural partner for Bang & Olufsen’s Beosystem 5000 and Beocenter 9000, with their built in CD players. The laser-pure quality of compact disc makes heavy demands on speakers, and both these systems had extremely fine amplifiers. Using BeoLab Penta with these systems and you’d enjoy some of the best sounds in the world. You’d also appreciate handy features such as the light display at the base of the column, which indicated which music source was being used. Of course this was even more useful if you installed Beolink® to give you music all over the house.
BeoLab 4500 was a wall speaker which was no more than 8cm deep. It had a built-in (active) amplifier and extended bass reproduction, which used the wall as a reflector. The display told you which source that BeoLab 4500 was reproducing at any one time.
There were two versions of this panel loudspeaker. The pure Beovox 4500 loudspeaker (shown here) and BeoLab 4500 with built-in amplifier and Dynamic Bass Equaliser (shown in main picture above), which automatically compensated for the inability of the human ear to perceive deep bass tones at low volume
The design of BeoLab 4500 and Beovox 4500 was based an acoustic principle that allowed the loudspeaker to use the wall to enhance the bass level. The cabinet let the sound waves reflect off the wall and out into the room without delay. This made it possible to reduce the depth of the cabinet to just 8cm, so the loudspeaker becomes a natural part of the wall décor.
BeoLab 4500 had a display which indicated sound source, volume and which track on CD or tape that you were listening to. In looks, it was similar to the BeoLab 5000 active speaker, but smaller. The display too was in a green-coloured LED as opposed to BeoLab 5000’s orange. Both loudspeakers were available with blue or grey fabric.
Quality loudspeakers provide well-modulated sound expression, and at the same time a visual personality that also commands attention. Bang & Olufsen’s BeoLab 3000 and Beovox 3000 loudspeakers had both the voice and the looks for a leading, acoustic role. Because of their thin shape, they became known as Panel loudspeakers.
Panel loudspeakers were one of the most exciting examples of how Bang & Olufsen united advanced technology and stunning design to achieve totally new effects. They didn’t look like high specification loudspeakers,, but their sound gave them away. Even at full volume they kept the total sound picture in perfect balance.
The elegant, flat loudspeakers were designed to be hung on the wall. And with their calm surfaces of blue or grey fabric coupled with beautiful, polished steel they looked like works of art presented in their own right. The idea of the panel speakers was based upon an advanced, acoustic principle that uses the wall as an active part of the sound reproduction, without causing the wall itself to vibrate.
They were available with or without amplifier and display showing which source was playing, at what volume, and which track number on a CD or tape you were listening to.
With display and amplifier the panel, speakers were called BeoLab 3000. Without, they were known as Beovox 3000.
The options depended on which Bang & Olufsen sound system was connected. You obtained maximum utilisation from Beosystems 6500, 4500, 3500 and Beocenters 9500 and 8500.
Why build amplifiers into the loudspeakers instead of keeping them separate?
Because you can reduce the size of the cabinet volume to one-third of the size of a conventional loudspeaker with the same sound capacity.
The principle is called Active Loudspeakers, and what you get is a compact loudspeaker that can play at high volume without distortion or damage to its drive units. Furthermore, when amplifier, treble and bass units are paired for the same task, they can be tailored to compensate for each other’s shortcomings. What you hear is music that sounds exactly like the instrument it originally came from.
Mounting Options
Wall mounting brackets were supplied with this model. No other mounting solution wall offered.
Bang & Olufsen’s preferred supplier for brackets and stands, STBbrackets, have made a range of solutions specifically for this model. Distributed throughout the World by the Bang & Olufsen store network, the STB options add to the diversity of mounting options and positions available.
»Wall Mounting Brackets
Wall Bracket for BeoVox & BeoLab flat panel speaker range
WB3000 has been introduced to meet a growing demand to mount Bang & Olufsen flat panel speakers to the wall. The bracket (sold as a pair) is a faithful reproduction of the original which was supplied with the speakers. These beautiful speakers can now be installed on to the wall, where they are a genuine and authentic Bang & Olufsen statement.
BeoLab 2500 are active loudspeakers designed to match the BeoSound Ouverture and the BeoSound 3000. With their built-in amplifiers, they sound as if they’re three times their size. Hang them on the wall or place them on bookshelves.
They match both the Beocenter Ouverture and 3000 (previous to this they were used with both the BeoSound 2300 and 2500 music systems) with perspective and clarity, despite their modest dimensions. The explanation of the wide sound lies in the built-in amplifiers in each cabinet: one for bass and one for treble, so that they never have to compete for the same amplifier.
Features:
BeoLab 2500 are active loudspeakers with 2 built-in power amplifier modules to combine with the current (2002) BeoSound 3000 and BeoSound Ouverture. As speakers for the BeoSound 2300 and 2500 music systems, they were available in Blue Lapis, Black Granite, Red Garnet, Green Malachite, Yellow Dolomite and Silver Galena. However, new metal frets were introduced at the end of 2001. From the previous replaceable cloth fronts, they are now manufactured in pearlescent aluminium (see below). These new perforated metal frets presently come in 5 different colours – natural aluminium, black, blue, green and russet to match those of BeoSound 1.
“When it comes to sound reproduction we believe there’s only one relevant parameter: How close can we come to the originally recorded sound. We feel an obligation not to disturb the intentions of the artist by adding unnatural elements to the acoustic image. Therefore all Bang & Olufsen loudspeakers share the same goal. They differ in size and shape and in terms of sound pressure level. But they are all developed to reproduce the natural, unaltered sound as closely as possible ” – Bang & Olufsen catalogue 2001 – 2002
Adaptive Bass Linearisation
Adaptive Bass Linearisation (ABL) is a process patented by B&O and is incorporated in BeoLab loudspeakers. The idea is to use the surplus capacity in amplifiers and driver units, arising by normal listening levels, for a bass extension – a sound reproduction with more bass, than the loudspeaker otherwise would be able to produce.
The function is adaptive. This means that the loudspeaker adapts to the signal it receives. Loudspeaker drivers are therefore fully exploited, without suffering mechanical or electronic abuse, and the built in amplifiers are not subjected to signals would otherwise create an overload situation.
ABL gives stunning bass reproduction considering the size of the loudspeaker in which it is incorporated, under normal listening levels.
Mounting Options
BeoLab2500 were originally mounted to the HiFi with wall bracket 2087 or physically separated and mounted onto furniture as a bookshelf option.
