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Beovox MC120.2

Bang & Olufsen Beovox MC120.2

Beovox MC120.2

The speaker has a built-in protection circuit continuous overload. If the speaker output significantly exceeded 120 watts sinus, the speaker is cut out and the OVERLOAD indicator on the front lights up. The speaker is cut in again by pressing the button to the right of the indicator light. This protection circuit does not react to temporary signals and does not cause clipping or distortion.

Beovox MC 120.2 would handle up to 120 watts RMS power. The 20cm woofer, 7,5 mid/phase-link unit and 2,5cm dome tweeter were protected from overload by an automatic circuit. The port reflex cabinet allowed for full bass performance despite modest size. This model could be placed in a shelf system. Alternatively, optional wall-mounting brackets and floor pedestals were available.

 
 

Beovox MC120.2 Product Details

Type Numbers

6433

Designer

Manufactured

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Colour Options

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Beovox MC120.2 Product Specification

RMS power handling capacity 120 watts
Music power handling capacity 170 watts
Impedance: 8 ohms
Frequency response 4+ -8 dB 42 – 22,000 Hz
Frequency response +/- 4 dB 70 – 20,000 Hz
Sensitivity 2.5 W
Distortion 250 – 1000 Hz <2.5%
Distortion > 1000 Hz <0.5% Woofer: 20.5 cm, throw +/- 5 mm
Phase-link, mid-range: 7.5 cm dome
Tweeter: 2.5 cm dome
Net volume: 24 litre
Gross volume: 40 litre
Dimensions W x H x D: 26.5 x 56 x 27.5cm
Weight 12 kg

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Beovox S120

Bang & Olufsen Beovox S120

Beovox S120

Beovox S120 is designed to handle 120 watts continuous load and can handle temporary loud passages throughout the entire audio range.

The speaker has a built-in protection circuit continuous overload. If the speaker output significantly exceeded 120 watts sinus, the speaker is cut out and the OVERLOAD indicator on the front lights up. The speaker is cut in again by pressing the button to the right of the indicator light. This protection circuit does not react to temporary signals and does not cause clipping or distortion.

Beovox MC 120.2 would handle up to 120 watts RMS power. The 20cm woofer, 7,5 mid/phase-link unit and 2,5cm dome tweeter were protected from overload by an automatic circuit. The port reflex cabinet allowed for full bass performance despite modest size. This model could be placed in a shelf system. Alternatively, optional wall-mounting brackets and floor pedestals were available.

 
 

Beovox S120 Product Details

Type Numbers

6413

Designer

Manufactured

1983 - 1988

Colour Options

Rosewood, Teak, White, Oak

Beovox S120 Product Specification

Description: RMS power handling capacity 120 watts
Music power handling capacity 170 watts
Impedance: 8 ohms
Frequency response 4+ -8 dB 42 – 22,000 Hz
Frequency response +/- 4 dB 70 – 20,000 Hz
Sensitivity 2.5 watts
Distortion 250 – 1000 Hz : <2.5%
Distortion > 1000 Hz: <0.5% Woofer: 20.5 cm, throw +/- 5 mm
Phase-link, mid-range: 7.5 cm dome
Tweeter: 2.5 cm dome

Net volume: 24 litre
Gross volume: 40 litre
Dimensions W x H x D: 26.5 x 56 x 27.5cm
Weight 12 kg

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BeoMaster 4000

Bang & Olufsen BeoMaster 4000

BeoMaster 4000

The amplifier section of this receiver had outstanding technical data: harmonic distortion was less than 0.1% at maximum power output and 0.06% at 50 mW. Frequency range was 20-30.000 Hz and effective bandwidth 10-35.000 Hz.

Frequency correction facilities were the LOW filter which reduced rumble on records (12 dB per octave at 80 Hz) and the HI filter which damped hiss (12 dB per octave at 4000 Hz). With the LOUDNESS control you could switch between objective and subjective linear reproductions. Beomaster 4000 had facilities for stereo and ambio reproduction. There were sockets for a record player and two tape-recorders, one allowing A\B monitoring. The headphone connection was placed on the receiver’s front. All inputs could be adjusted to give equal volume from all programme sources. The FM section had six pre-set stations. A light indicator assisted accurate tuning and an illuminated meter indicated the strength of a station. Field effect transistors, ceramic filters and integrated circuits were used.

When combined with a built-in record deck, the music centre was known as Beocenter 3500.

Receivers and amplifiers with the ambio function were products which, apart from stereo, could also reproduce the ambience or sound information of a room. Ambient information was included on most stereo vinyl recordings but could not be reproduced by a sound system with two loudspeakers or an ordinary stereo amplifier. Bang & Olufsen systems with the ambio function had facilities which electronically subtracted the difference signal (i.e. the difference between left and right channels) which contained ambient information. This information was fed into two extra loudspeakers which were placed as side speakers in a room. Ambiophony was an extension of stereo reproduction and enhanced the sense of realism. It could be used with nearly all stereo programme materials.

“Ambio is an extension of the type of sound reproduction known today as stereo.

Ambio is reproduced through four loudspeakers – two more than required for stereo.

Ambio is sensed as being more spatial and acoustically more life-like than conventional stereo. The sound picture has greater depth because you get the added feeling of being present of the concert hall, listening to the actual performance. Ambio is based on the principle that in the concert hall you not only receive sound impressions directly from the performing group, you also get reflections from the wall and ceiling. The spatial sensation is instrumental in providing the auditory experience and even a two-speaker stereo system will not bring it out fully. And you cannot accomplish the effect by connecting additional speakers to a conventional stereo amplifier because you still have the same left and right front signals merely distributed to more speakers.

In the Beomaster 4000 the left and right channels are subtracted from each other electronically and the resulting difference signal contains a certain amount of spatial information which is fed to the two new side speakers.

Many existing stereo records, FM broadcasts and tape recordings contain this spatial effect to a greater or lesser extent. In a concert hall, room acoustics will be recorded together with the actual programme material, appearing as time-delayed signals in both left and right channels. Recordings made in a strongly damped studio contain few time-delayed signals and the spatial sensation will therefore depend on how the producer mixed the sounds from the various instruments, perhaps adding acoustical effects by electronic means.

Multi-channel records such as SQ records, which are intended for use in a four-channel matrix system in order to bring out the sound effects , can be played successfully through the Beomaster 4000.

A good quality stereo turntable will provide ambio reproduction of both stereo and SQ records through your Beomaster 4000″

BeoMaster 4000 Product Details

Type Numbers

2406
2408 (US) (1972 - April 1977)

Designer

Manufactured

1972 - 1977

Colour Options

Rosewood, Teak

BeoMaster 4000 Product Specification

Power output 2 x 60 watts/ 8 ohms
2 x 40 W / 4 ohms
2 x 100 W / 8 ohms
2 x 55 W / 4 ohms
Speaker Impedance 4 ohms
Harmonic Distortion < 0.06 %
Intermodulation < 0.3 %
Frequency Response 20 – 30000 Hz
Signal-to-noise ratio > 58 dB
Channel Separation > 45 dB

Bass control: +/- 17 dB
Treble control +/- 14 dB

FM tuner: Range 87.5 – 104 MHz

Power supply:110 – 130 – 220 – 240 V, 50 – 60 Hz
Power Consumption: 20 – 275 W
Dimensions W x H x D: 9.5 x 58 x 27cm
Weight: 10 kg

RIAA amplifier: built-in

Connections: Tape 1 DIN
Tape 2 DIN
Phono DIN
Speakers 2 sets

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BeoCord 9000

Bang & Olufsen BeoCord 9000

BeoCord 9000

For serious music lovers whose major interest was in recording their own professional-quality tape library, Beocord 9000 offered even more facilities and higher performance capabilities than Beocord 8004. It could therefore be chosen as an alternative in Beosystem 8000 when its primary playing and recording functions could be operated via Beomaster 8000’s remote control Terminal.

While Beocord 9000 shared all of Beocord 8004’s advanced engineering techniques and microcomputer intelligence, its superior sound quality was achieved by the addition of a unique tape calibration system. This computerised system measured the four vital recording parameters of each individual tape – bias, equalisation, sensitivity and distortion level – and actually adjusted the deck’s own recording characteristics to match them exactly.

As a serious recordist, you no doubt had your particular favourites among the many brands and types of cassette tapes available when Beocord 9000 was released. And your particular hates too! Good results are partly a measure of how closely the tape’s technical characteristics match the ‘average’ recording parameters for which your machine is adjusted during manufacture. The tape brand you have identified as ‘the best’ may, on another type of recorder, sound quite poor. The fact is that tape manufacturers design their tapes for use with as many different recorders as possible, while the equipment manufacturers design their decks to use all brands and all types of tape. So both industries rely on a set of ‘average’ specifications.

But with Beocord 9000 microcomputer technology freed Bang & Olufsen from this hit and miss approach. B&O gave Beocord 9000 the ability to monitor the tape and set its own recording characteristics accordingly, thereby creating a perfect partnership within very fine tolerances.

What is more, Beocord 9000 could show you on a digital read-out panel what those settings were, and could store them in its computer memory. Calibration data for each of the three tape types – ferric, chrome and metal – could be stored in this way.

The tape calibration process was fully automated and took about 9 seconds from the touch of a button. Beocord 9000 featured a new type of Sendust/ferrite tape head, specially designed for Bang & Olufsen. It had separate tone-gaps for recording and playback, housed in a single casing. Compared to a combination head, this arrangement afforded wider frequency response and constantly correct azimuth between recording and playback.

The real-time counter was similar to that used in Beocord 8004 but had an additional feature. Beocord 9000 could calculate and display the time remaining on the tape, as well as the time already consumed. In other respects the operation, facilities and dimensions of Beocord 9000 are as described for Beocord 8004.

Beocord 9000 could be used as a stand-alone tape cassette recorder or as part of Beosystems such as Beosystem 6000 or Beosystem 8000.

Auto-Calibration

With improving specifications of cassette recorders, tape manufacturers also made progress in the formulation of tape. Standards committees decided to classify tapes into three main categories: oxide tape, chrome tape and metal tape. The newer categories allowed improved recording performance, but also required different recording bias levels to achieve the improvements. Manufacturers of cassette recorders incorporated switches to adapt the recording characteristics to the tape, and later a system of slots at the back of the cassette were standardised, so that the recorder was set to the correct type of tape during recording. It should be added that once recorded, replay conditions were identical for all tape types, so that once the cassettes were recorded, they could be replayed on any machine.

While the categories were standardised, manufacturers did not strictly adhere to the standards, in an effort to offer improved performance from their tapes. This meant that bias needed to be set differently for the tapes from each manufacturer, even within each tape category. In addition, the maximum recording level was different for each tape category, and for tapes within each category. As if this were not enough, tapes from any particular manufacturer also proved to be slightly variable from time to time, and from batch to batch. This meant that for the best recording performance, not only that bias needed adjustment for every single tape that was used, but that the level meter also needed calibration to show the optimum maximum recording level.

To take these factors into account and allow the best recording on tapes of all types and manufacture, Bang & Olufsen decided to incorporate auto calibration in its top-of-the-line cassette recorders. Operation had to be as simple as possible in order to allow maximum performance even for those who were not technically-minded. Finally, a system was developed where the user needed to press a single button, when the recorder automatically performed the calibration and set itself to be ready to record. The recorder remained adjusted for the tape until it was removed from the recorder.

The auto calibration process worked as follows:

* The position of the tape is noted and “bookmarked”

* Under microprocessor control, a short passage with a number of frequencies is recorded on the tape

* The tape is wound back to the original position

* The recorded frequencies are played back and analysed. The analysis gives the microprocessor information about the correct bias and the maximum recording level

* The bias is set for the optimum frequency response

* The recording level meter is set to turn on the red warning lamp at the maximum level to which the tape may be recorded without overloading

* The tape is wound back to the bookmark so that the test tones are erased when a new recording is made

* The level recorder is switched to show the level of the input signal to allow level adjustment

* The recorder is set to start a new recording at the touch of the record button

Magazine test:

Beocord 9000

There’s a story behind the development of this remarkable cassette deck and it’s one and the same time a sobering one, highlighting our lack of understanding of what we fondly believe are well-understood physical processes; and something of a fairy tale – albeit of the modern, technological variety.

If there is one outstanding characteristic of the Beocord 9000 that stands out above all others, it is paradoxically its all round balance in every area of performance. The tape mechanics no less than the computerised tape&#8209;handling facilities, have been thoroughly thought out from scratch and the same applies equally to the ergonomics and the signal-handling electronics of the beast. There is literally no sign of the usual commercially inspired compromises that ensure that the most brilliant pieces of laboratory work come out as shadows of what they could have been.

In my opinion, this is simply because B&O have made the decision to pursue a specific requirement for an up&#8209;market recorder in all its facets, without letting their marketing department bend the project towards an imagined maximum public acceptability. The result may be the finest up market cassette deck made, it is certainly the most practical and nicest to use. The price to be paid for all this is heavy – £675 in fact, but in my judgement this is as inevitable as it is justifiable and the recorder remains good value.

The story referred to relates directly to the Dolby HX Pro circuit used in the B&O, a circuit that was developed by B&O, is marketed by Dolby Labs (hence the name) and will be seen on a wide range of cassette decks from all sources as soon as B&O’s arranged year of grace has elapsed. According to the company, HX Pro had its genesis when they built an automatic adjuster/tester for the cassette deck production line.

This machine was intended to optimise record bias, equalisation and tape sensitivity adjustments on each machine down the line, and as part of this function it was to feed several frequencies at different levels simultaneously onto a tape, which would then be played back for measurements. When the machine was tested, it was found that the readouts from measurements were different from the predicted values, sometimes by as much as 10dB, a very significant amount.

It soon became apparent what was happening. The signal, especially that at high frequencies, was itself partially biasing the tape and when high levels of high frequencies were recorded, the effective bias current was high enough so that the tape was severely over biased, and high frequencies significantly suppressed. In effect, the self-biasing effect was making a signal dependent compressor out of the mechanism of recording itself. Once identified, the solution was easy enough and the HX Pro circuit consists of just a couple of ordinary op&#8209;amps and a few other components, which have the effect of altering the bias fed to the record head so that the effective (or dynamic) bias stays constant. This contrasts to the situation with every other tape recorder, where only no&#8209;signal (or static) bias stays constant.

I said above that HX Pro is the only system that keeps dynamic bias constant However, the original Dolby HX circuit had many of the same properties. But the facts are that while Dolby HX restores some of the dynamic range available on cassette tape that is otherwise lost by the automatic compression mechanism referred to above, it does so in a convoluted fashion with for example a control signal derived from a Dolby B circuit, and is simply not as effective. In addition, the Dolby circuit is mono, where the B&O circuit, which works quite independently of any noise reduction circuit in the system, is a true stereo device, operating quite independently on each channel.

Now let’s look at taping from another angle. The history of improvements to tape formulations has been a dramatic and rapid one over the last ten years, but has been characterised by one common factor The coercivity and bias requirements of the best available types, has progressively increased with the years. Raw measurements of such tapes dynamic range – the chrome slot and metal ones in particular shows them to have improved performances at the top end of their operational envelopes – that is higher frequency saturation has been less of a problem and because signal/noise ratio performance of tapes is critically dependent on what happens at high frequencies, they have shown a greater effective dynamic range. But this doesn’t explain why such tapes invariably sound sharper more dynamic and clearer than ordinary ferric tapes even on material which lacks any great measured dynamic range.

B&O findings do explain this fact Quite simply, what is happening is that because the signal is much smaller compared to the bias signal on such high energy tapes, the amount of compression caused by the mechanism explained above is reduced. And that’s it. The extraordinary thing is that all the facts here have been well known for many years, but no one seems to have put two and two together and made an effective circuit to eradicate this distortion producing mechanism. Now that it has been done it turned out to have been a small, European company, with no great reputation or special involvement in tape machines which has made the discovery – which in its way is akin to discovering the audio equivalent of the wheel.

To summarise then, the advantage that HX Pro gives is to restore the inherent high frequency dynamics to material recorded on low-bias tapes. The circuit requires no lining up and can be used in addition to Dolby or any other noise reduction system and gives an effective increase in high frequency headroom of up to 10dB on cooking ferric tapes, reducing on high-bias tapes. In effect, HX Pro should make the type of formulation used more or less immaterial, so that the choice can be made on other more important grounds – like the uniformity and finish of the tape coating and the quality of the tape mechanics.

To make the freedom of tape choice point even stronger, the 9000 has an automatic tape calibration system on board, which sets bias equalisation and sensitivity. In contrast to other such systems, the B&O operates very quickly (never more than about nine seconds) and, it seems, very accurately. The sensitivity is set by measuring the inherent distortion of the tape itself, and setting +5dB on the meters to correspond to five per cent harmonic distortion, which puts OVU at 2 ;0.2dB in theory. In consequence, there is no need for the wide ranging meters most metal equipped recorders have, and the OVU point really is near the limits of all types of tape – even those which have a lot of headroom above the normal OVU point, which is usually 200nW, but which may correspond to only half per cent or so distortion. So a couple of button pushes, and any tape should be properly catered for.

Of course, the B&O accepts all normal tape groups, sensing the type inserted by the lugs on the backs, but there is an override switch, and in any case, the lug sensor is ignored by the calibration process should the latter discover the tape to have characteristics inconsistent with what the lugs say. The sensor only controls playback equalisation and nothing more. One small additional refinement is that the recorder will store the characteristics of up to four types of tape if so required, thus bypassing the calibration procedure. But this is only the beginning. The 9000 is equipped with a small built in computer, with 41k of RAM and 2k of ROM and in this relatively small amount of processing space B&O has managed to cram in a number of quite sophisticated programs which can operate on the transport as well as the bias, EQ and so on needed for record calibration. Space is insufficient to detail all of them, but a few examples will give the flavour, as well as explaining some of the capabilities of the machine.

Example 1

The record calibration sequence outlined above. As part of the calibration ‘package’, the programme will identify the leader and wind on to about one minute into the tape. Its job done, it will rewind, then go forward to the end of the leader to wait for the command to start recording. Further, if the tape gives anomalous readings, it will repeat the procedure up to three times at different places on the tape and if still in doubt it will set an average value for the type of tape identified by the lugs at the back of the cassette. The calibration signals are short pulses, spaced 0.5dB apart i.e. logarithmically. The recording done and the tape then passes the replay head about 80ms later, by which time the recorder has switched to replay: and this is repeated until all the required values have been identified. The machine can, if required, be ‘interrogated’ to determine what settings it has chosen.
 

Example 2.

The prime method of locating tracks is by using a counter scaled in minutes and seconds. The recorder will measure tape thickness if so instructed, by timing the slowing down of the tape-up spool as its diameter increases with added tape – but it does this using just a few turns only. From the tape thickness, the tape length can be inferred and when the end of the tape is neared in record mode, warning is given. It does all this with extraordinary precision, and another even more complex programme comes into play to get the same end result should a tape be inserted which has not been fully rewound.
 

Example 3.

You can ask the recorder to commence play at, say 12 minutes and 25 seconds into the tape. It will seek out this spot with a repeatability of about one second per 45 minutes playing time and switch to play, but with the output muted, just a few seconds before the required spot. It then looks for a gap between musical segments, and stops in the gap when found. If there’s no gap, it simply carries in to the 12 min 25 sec point.
 

Example 4.

The record head is demagnetised at the end of each recording, automatically. The playback head doesn’t require demagnetising.
 

Example 5.

The recorder will find the beginning of the last recording made with just one key operation – and will switch itself into standby (effectively off) after a period of inactivity, Memory contents are protected from unplugging from the mains by a built-in lithium rechargeable battery.
 

And so it goes on. As noted above, this is a three head recorder, but there is no facility to monitor off-tape, which the head construction chosen would have meant certain compromises to performance according to B&O The reason for two heads is simply to optimise the record and playback heads for their own tasks and to facilitate the record calibration sequence.

Noise reduction systems available to the user are Dolby B and Dolby C – with switchable MPX filtering to protect the frequency response of Dolby recordings. Inputs and outputs are via DIN socketry, but the levels are adjustable between true DIN and normal phono type levels and the output can be continuously varied. The HX Pro circuit is permanently connected, which is sensible enough given its function.

In practice, the results from the recorder will be dependent on partnering equipment, to an even greater extent than usual because the machine itself is so inherently good. The listening was done using the best hi&#8209;fi system at my disposal: a Linn/Naim/Linn Sara one. Pre-recorded tapes sounded as good as I have ever heard them – the ability to be able to adjust azimuth easily helped here, but even at their best such cassettes are rather poorer than records – good records anyway. Records still give the widest dynamics and frequency responses available in the home, and therefore stress the cassette medium to it utmost &#8209; even though some of this extension, in the form of LF rubbish from the record deck, is unwanted.

‘Fine’ here is the operative word. I used a variety of tape types, ranging from TDK D to TDK Metal and some in between, and found that metal gave the best account of itself sounding Iivelier and sharper in musical definition, but without any sings of being tonally bright. At the same time, the gap between the tape varieties was narrower than would have seemed reasonable from any other deck I’ve tried, and anyone wishing to economise with one of the mid-price pseudo-chromes or low bias ferrics will not have to accept much compromise.

I also tried the effect of listening with the two noise reduction systems and without noise reduction at all. Unquestionably the best results were to be had with the Dolby systems switched out, and the signal/noise ratio available was still wide enough to make hiss unobtrusive with most programme material. The differences were similar to the kind of differences found by changing tapes, with the recordings made without noise reduction seeming much livelier and more detailed, and better able to hang on to the very low level ‘clues’ such as the ambience surrounding the musical event on tape. By contrast, Dolby B sounded slightly dried out and lifeless; Dolby C more so, but the sound remained tonally flat and certainly with very low levels of hiss using Dolby C especially. For best results without noise reduction it is advisable to use Metal tapes if possible, because of their better signal/noise performance and for their ability to handle high frequency dynamics.

But even using, say, TDK SA or Maxell UDXLII and Dolby C, there was little of the usual sound signature of the cassette medium. Apart from one errant tape which gave a little dropout near the beginning, there was no noticeable dropout and a superb mechanical performance in such areas as stability, absence of the roughening effects of flutter and so on. Equally, there was little of the lack of tunefulness at frequency extremes, of compressed dynamics or of the usual two dimensional, mechanical sound cassette decks usually impart to the music. The Beocord 9000 must come highly recommended and is the first cassette deck I have heard of which I am temp ted to say that it approaches good open reel tape recorder standards and not just on paper, which cassette decks have been doing for years, but in practice.

Beocord 9000 Test Results

Wow and flutter: 0.1% DIN replay

Sensitivities (for OdB at 1 kHz with TDK metal tape):

line: 73mV

Maximum input (for 0.5% THD at 1 kHz):

mic: 0.8mV

line: 3.5V

mic: 26mV

Comments: will match European and Japanese equipment

Headphones maximum output (for 0.5% THD at I kHz): 4.7V into 600 ohms, 1.2V into 10 ohms

Comments: OK with headphones tried – adjustable output

Output level: 0.87V (for Dolby level 200nWb/m) adjustable

Note: The results area little difficult to compare to those of other machines because the measurements are referred to ‘O’ on the meter but this varies automatically from one tape formulation to another in the B&O 9000. For ‘0’ level responses the results below 30Hz are suspect because the input caused clipping at low frequencies.

Source: Adapted from ‘Practical Hi-Fi’ October 1982. Written by Alvin Gold

BeoCord 9000 Product Details

Type Numbers

4814 (1981 - Feb 1987)
4816 <AUS) (1981 - Nov 1984)
4815 (GB) (1981 - Feb 1987)
4817 (J) (1981 - Feb 1987)
4812 (USA) (1981 - Feb 1987)

Designer

Manufactured

1981 - 1987

Colour Options

Teak, Rosewood, White

BeoCord 9000 Product Specification

Compact cassette C46-C60-C90-C120
Tape head Double, Sendust/ferrite
Noise reduction system Dolby NR-B and NR-C
Tape switch Auto. ferrochrome/chrome/metal

Wow and flutter DIN
<+/- 0.1%
Fast forward and rewind C60 70 sec.

Frequency range meta
10 – 25,000 Hz +/- 3 dB
Frequency range all types 20 – 20,000 Hz +/- 1.5 dB
S/N ratio Dolby NR CCIR weighted

Metal Scotch Metafine C90
B: >68 dB, C: >79 dB
Ferrochrom Sony FeCr C90 B: >68 dB, C: >79 dB
Chrome BASF chrom II C90 B: >70 dB, C: >80 dB
Ferro BASF LH I C60 B: >64 dB, C: >74 dB
Power supply 4811 114V
4812 120V
4813 127V
4814 220V
4815 240V
4816 240V
4817 105V

Power consumption : max. 50 W
Dimensions W x H x D 53 x 13 x 30cm
Weight 7.8 kg

Connections: Datalink
Microphone 0,15V/3 kohms

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BeoCord 9000 User Guide

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BeoCord 9000 Technical Guide

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BeoCord 9000 Service Manual

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BeoCord 8000

Bang & Olufsen BeoCord 8000

BeoCord 8000

When you used metal tape cassettes in the Beocord 8000 you obtained the same high quality sound you were used to from a good gramophone record. Careful choice of components and materials, creative engineering and technical excellence all made this possible.

But superb sound reproduction was only one of the benefits you got from this advanced cassette deck, which replaced Beocord 5000. Of equal importance was the fact that time, through Beocord 8000, came to the cassette deck. Bang & Olufsen used it to measure tape consumption. Quite simply, instead of using meaningless digits, minutes and seconds were used instead. This allowed you to locate specific tracks of music easily and accurately for immediate replay. Just tell the Beocord 8000 where to start, in minutes and seconds and let the set’s microcomputer do the rest.

This feature also helped you plan recordings and thereby ensure maximum use of your tapes. During play, Beocord 8000 measured and displayed the exact amount of tape consumed so that you always knew how much playing time was left on the cassette. And the Beocord wouldn’t let you make mistakes: if you gave incorrect instructions, reject signals flashed on the set’s display panel. The microprocessor which made the real time counter possible was also used to provide a digital clock for timer recording. In normal use the clock did not show on the display, but it could be programmed to start the tape either playing back or recording any time within 24 hours.

The button marked ‘RETURN’ afforded great convenience during recording. Together with the automatic tape position indicator, it enabled you to edit your tapes electronically. The split-channel Peak Programme Meter eased the setting of recording levels and was extremely accurate. It indicated the actual signal that was being fed to the tape, for each channel, rather than that which was being received at input.

Underneath the brushed aluminium panel was the cassette compartment, sliders for setting recording level, an independent slider for adjusting volume level on headphones, facilities for timer programming and adjustments for secondary functions.

For example, you could instruct Beocord 8000 to make recordings of radio programmes while you are out. In short, everything was done to ensure total listening pleasure in terms of sound reproduction and convenience.

Beocord 8000 could be used as a stand-alone tape cassette recorder or as part of hi-fi systems such as Beosystem 6000 or Beosystem 8000.

BeoCord 8000 Product Details

Type Numbers

4824 (1980 - July 1982)
4823 (127V) (1980 - April 1980)
4826 (AUS) (1980 - Nov 1980)
4825 (GB) (1980 - Aug 1981)
4827 (J) (1980 - June 1981)
4822 (USA) (1980 - Aug 1981)

Designer

Manufactured

1980 - 1981

Colour Options

Teak, Rosewood, Oak, White

BeoCord 8000 Product Specification

Compact cassette: C46-C60-C90-C120
Tape head: Sendust
Noise reduction: Dolby NR
Tape switch: Auto. ferro/chrome, man. metal

Wow and flutter DIN: <+/- 0.1%
Speed deviation: <+/-1%
Fast forward and rewind: C60 70 sec.

Frequency range chrome/metal/ferro
30 – 16,000 Hz +/- 3 dB (with MPX filter)

Signal-to-noise ratio metal Dolby: >68 dB
Signal-to-noise ratio chrome: Dolby >65 dB
Signal-to-noise ratio ferro: Dolby >63 dB

Power consumption: Max. 45 W
Dimensions W x H x D: 53 x 13 x 30cm
Weight: 7.5 kg

Connections: microphone input: 0.1 mV/2.2 kohms
AUX input: 120mV/1.2 kohms
Headphones: max. 9 V/56 ohms

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BeoCord 8004

Bang & Olufsen BeoCord 8004

BeoCord 8004

Beocord 8004 had its own microcomputer which took care of most of the tasks involved in recording and listening to cassette tapes. The microcomputer was also responsible for one of Beocord 8004’s most advanced and unique features – the real-time tape counter. Actual minutes and seconds were used to measure elapsed time so you always knew how much recording time was left to fill.

Selection between chrome, ferric and metal tape characteristics was automatic. So was the operation of the HX-Professional recording system – a technique developed by Bang & Olufsen to expand the peak ceiling level of all types of tape. The provision of Dolby B and Dolby C Noise Reduction improved the sound quality of your recordings even further.

Signal input levels were indicated on electronically-controlled Peak Programme Meters that performed to standards set for professional studio and broadcasting recorders. The signal level was monitored on both recording and playback.

The tape head of Beocord 8004 was a single combination head of superb technical quality. Both the poles and the beddings were made of Sendust alloy. As with all Bang & Olufsen recorders, a special additional circuit automatically demagnetised the head each time the STOP function was used at the end of a recording.

Locating particular recordings was quick and easy using the Beocord’s computerised tape address system. Just key in the track’s start time – in minutes and seconds – press GO, and wait a few seconds. The tape automatically wound to that location and began to play.

For recording an important broadcast while you were out of the house (or when you didn’t want to spend the evening clock-watching) there was a twenty-four hour electronic timer. With a few touches to the programming buttons you could store the station, start time and stop time in the microcomputer’s memory. It then carried out your instructions at the appropriate hour – regardless of how you used the recorder in the interim.

Beocord 8004 could be used as a stand-alone tape cassette recorder or as part of hi-fi systems such as Beosystem 6000 or Beosystem 8000.

BeoCord 8004 Product Details

Type Numbers

4864 (1982 - April 1987)
4865 (GB) (1982 - April 1987)
4867 (J) (1982 - Feb 1987)
4862 (USA) (1982 - April 1987)

Designer

Manufactured

1982 - 1987

Colour Options

Teak, Rosewood, White

BeoCord 8004 Product Specification

Compact cassette C46-C60-C90-C120
Tape head: Sendust
Recording system HX PRO
Noise reduction system Dolby B and C
Tape switch Auto. ferro, chrome and metal
Wow and flutter, DIN < +/- 0.1 %
Speed deviation < +/- 1 %
Fast forward and rewind C60 70 sec

Frequency range ferro/chrome/metal 20 – 20,000 Hz +/- 3 dB
Signal-to-noise ratio CCIR / ARM:
Metal Dolby NR B: >65 dB, C: >74 dB TDK-MA
Chrome Dolby NR B: >66 dB, C: >75 dB TDK-SA
Ferro Dolby NR B: >64 dB, C: >72 dB BASF LM I
Power supply 220 V
Power consumption Max. 50 W
Dimensions W x H x D 53 x 13 x 30cm
Weight 7.5 kg

Connections: Headphones jack, AUX DIN, Microphone DIN, Amplifier DIN

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BeoCord 6002

Bang & Olufsen BeoCord 6002

BeoCord 6002

This advanced cassette deck was a fine example of the way Bang & Olufsen employed new technology to obtain useful functions with easy, logical operation. Microcomputer intelligence was the basis of many of the Beocord’s unique features, including the use of real time (actual minutes and seconds) to measure tape consumption.

You knew exactly how much recording time was left on your cassettes, so that you could fit in the various tracks precisely without wasting the last few metres of tape every time. Once recorded, the same microcomputer could find individual tracks for you, too. Just key in the address (counter of reading) of the passage of music you want to hear. The cassette fast rewound to that position and played the track automatically for you.

Recognition between chrome and ferric tapes was automatic: a manual switch selected metal tape characteristics. The M&X record/replay head was made of a special type of super permalloy and Dolby B Noise Reduction was included.

Beocord 6002 incorporated Bang & Olufsen’s (then) latest HX-Professional recording system (HX-Pro), developed in co-operation with Dolby laboratories. This technique effectively extended the recording headroom (peak-level ceiling) of all types of tape, and operated automatically during recordings to give stabilised frequency response, wider dynamic range and better signal-to-noise ratio. In other words, you got disc-quality sound from normal ferric or chrome tapes, so you didn’t have to buy expensive metal tapes for professional-sounding recordings.

An electronic Peak Programme Meter registered recording level, which you set by separate sliders for left and right channels. The electronic clock and 24-hour timer allowed you to make recordings or play a tape automatically at any pre-set time.

Beocord 6002 could be used as a stand-alone tape cassette recorder or as part of hi-fi systems such as Beosystem 6000 or Beosystem 8000.

BeoCord 6002 Product Details

Type Numbers

4854 (1982 - June 1983)
4857 (J) (1982 - May 1983)
4852 (USA) (1982 - June 1983)

Designer

Manufactured

1982 - 1983

Colour Options

Teak, rosewood

BeoCord 6002 Product Specification

Compact cassette C46-C60-C90-C120
Tape head: Sendust
Noise reduction Dolby B
Tape switch Aut. ferro/chrome/manual metal

Wow and flutter DIN: < +/- 0.1%
Speed deviation < +/- 1%
Fast forward en rewind C60 70 sec

Frequency range chrome/metal/ferro
30 – 16,000 Hz +/- 2.5 dB (MPX filter)

Signal-to-noise ratio metal Dolby NR: > 68 dB
Signal-to-noise ratio chrome Dolby NR > 66 dB
Signal-to-noise ratio ferro Dolby NR > 64 dB
Power supply:
4854 2340V
4857 100V
4852 120V

Power consumption: max. 50 W
Dimensions W x H x D 53 x 13 x 50cm (24,5cm high with lid open)
Weight 7.5 kg

Connections: AUX IN 100mV/1.2 mohms
Microphone 0,1mV/3 kohms
Headphone Max 5V/89 ohms

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BeoCord 6000

Bang & Olufsen BeoCord 6000

BeoCord 6000

Beocord 6000 measured 53cm wide x 13cm high (24,5cm with lid open) x 30cm deep. The slim cabinet was finished in a choice of natural teak or rosewood.

With improving specifications of cassette recorders, tape manufacturers also made progress in the formulation of tape. Standards committees decided to classify tapes into three main categories: oxide tape, chrome tape and metal tape. The newer categories allowed improved recording performance, but also required different recording bias levels to achieve the improvements.

Manufacturers of cassette recorders incorporated switches to adapt the recording characteristics to the tape, and later a system of slots at the back of the cassette were standardised, so that the recorder was set to the correct type of tape during recording. It should be added that once recorded, replay conditions were identical for all tape types, so that once the cassettes were recorded, they could be replayed on any machine.

Beocord 6000 closely resembled the top of the range Beocord 8000 but had black keys to match those on the Beomaster 6000. The Beocord 8000 was replaced at the time of the introduction of the 6000 by the 8002 which offered Dolby HX Pro in addition to its other features.

BeoCord 6000 Product Details

Type Numbers

4834 (1981 - Jan 1983)
4836 (AUS) (1981 - March 1983)
4835 (GB) (1981 - Aug 1983)
4837 (J) (1981 - Dec 1983)
4832 (USA) (1981 - Sept 1982)

Designer

Manufactured

1981 - 1983

Colour Options

Teak, rosewood

BeoCord 6000 Product Specification

Compact cassette: C46-C60-C90-C120
Tape head: Sendust
Noise reduction: Dolby B
Tape switch Auto. ferro/chrome/manual metal

Wow and flutter DIN: < +/- 0.1%
Speed deviation: < +/- 1%
Fast forward and rewind C60: 70 sec

Frequency range chrome/metal/ferro
30 – 16,000 Hz +/- 2.5 dB (MPX filter)

Signal-to-noise ratio metal Dolby NR:> 68 dB
Signal-to-noise ratio chrome Dolby NR: > 66 dB
Signal-to-noise ratio ferro Dolby NR: > 64 dB
Power supply:
4831 114V
4832 120V
4833 127V
4834 220V
4835 240V
4836 240V
4837 105V

Power consumption: max. 50 W
Dimensions: W x H x D 53 x 13 x 50cm (24,5cm high with lid open)
Weight: 7.5 kg

Connections: AUX IN 100mV/1.2 mohms
Microphone: 0,1mV/3 kohms
Headphone: max 5V/89 ohms

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BeoCord 8002

Bang & Olufsen BeoCord 8002

BeoCord 8002

Beocord 8002 was one of Europe’s most advanced cassette recorders, yet electronic automation made it by far the easiest to use. Microcomputer control meant operational errors were impossible.

A new development – the Dolby HX Professional recording system or ‘HX-Pro’ automatically optimised bias levels relative signal content, thus ensuring professional standard recordings every time, no matter whether you used, ferric, chrome or metal tapes. In addition Beocord 8002 had the ability to indicate recorded and playback time in minutes and seconds so you could plan your recordings economically.

Finding the start of a particular track was automatic: you just had to key in the required ‘address’: computer logic then found it for you. You could also program the deck to make unattended recordings at any given time within a 24-hour period.

When coupled to Beomaster 8000 all recording and playback functions could be operated by remote control using the BeoLab terminal. Beocord 8002 could be used as a stand-alone tape cassette recorder or as part of hi-fi systems such as Beosystem 6000 or Beosystem 8000.

BeoCord 8002 Product Details

Type Numbers

4844 (1981 - Feb 1982)
4846 (AUS) (1981 - Nov 1981)
4845 (GB) (1981 - Sept 1982)
4847 (J) (1981 - July 1981)
4842 (USA) (1981 - Oct 1982)

Designer

Manufactured

1981 - 1982

Colour Options

Teak, rosewood, oak, white

BeoCord 8002 Product Specification

Compact cassette C46-C60-C90-C120
Tape head Sendust
Noise reduction Dolby B
Tape switch Auto. ferro/chrome/metal

Wow and flutter DIN: <+/- 0.1%
Speed deviation: <+/- 1%
Fast forward and rewind: C60 70 sec.

Frequency range chrome/metal/ferro
20 – 20,000 Hz +/- 3 dB

Signal-to-noise ratio metal Dolby NR: >68 dB
Signal-to-noise ratio chrome Dolby NR: >66 dB
Signal-to-noise ratio ferro Dolby NR: >64 dB

Power supply:
Type 4841 114V
4842 120V
4843 127V
4844 220V
4845 240V
4846 240V
4847 105V
Power consumption Max. 50 W
Dimensions W x H x D: 53 x 13 x 30cm
Weight 7.5 kg

Connections: Microphone 0,1mV/3 kohms
AUX 100mV/56 kohms
Headphones 10V/56 ohms

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BeoCord 5000 (1984)

Bang & Olufsen BeoCord 5000 1984

BeoCord 5000 (1984)

A top-quality cassette recorder, perfectly matched to Beomaster 5000 as part of Beosystem 5000. When the two units were used together the cassette deck could be operated entirely by remote control.

Beocord 5000 was of very advanced design in both its technical features and in its control/operations systems. For the home recording enthusiast it offered superb standards of sound quality and precision engineering. Bang & Olufsen’s patented HX PRO recording system, Dolby B and Dolby C Noise Reduction and a 6-layer Canon combination head with a 1.8mm gap all contributed to a recording and playback performance that delighted even the most exacting technician.

For the novice or the non-technical music lover, Beocord 5000 represented a supremely straightforward way of making high-quality recordings and subsequently enjoying them in relaxing comfort.

Every possible convenience was built into the Beocord’s control system. There was a START/GO function that rewound the tape to its beginning and played it without further instruction. And an automatic ADVANCE function (tape search) that found the start of any required track from either end of the tape.

Selection between ferric, chrome and metal tapes was fully automatic, and setting the correct recording level was quick and easy using the input sliders and LED signal strength meters. You could switch instantly from one tape transport mode to another (e.g. from play to fast rewind) without any danger of tangling the tape or harming the mechanism.

The cassette tray and direct operation controls were housed in a motor-driven drawer which opened and closed at a touch. When used with Beomaster 5000, Beocord 5000 could, of course, be programmed to record or play automatically at any set time.

Connections: stereo microphone (DIN); Aux input DIN; data-link to Beomaster 5000 (one socket, 3-way switchable)

BeoCord 5000 (1984) Product Details

Type Numbers

4921 (1984 - April 1987)
4925 (AUS) (1984 - Sept 1985)
4922 (GB) (1984 - Feb 1987)
4924 (J) (1984 - Feb 1987)
4923 (USA) (1984 - Dec 1986)

Designer

Manufactured

1984 - 1987

Colour Options

Metal grey, aluminium

BeoCord 5000 (1984) Product Specification

Specifications: Compact Cassette C46-C60-C90-C120
Tape head M&X
Recording system HX PRO
Noise reduction system Dolby B and C
Tape switch auto ferro/chrom/metal

Wow and flutter: < +/- 0.13%
Speed deviation: < +/- 1.5%
Fast forward and rewind: 100 sec

Frequency range chrome: 30 – 18,000 Hz +/- 3dB

Signal-to-noise ratio CCIR/ARM
Metal Dolby NR > 56 dB TDK-MA
Chrome > 56 dB TDK-SA
Ferro > 55 dB BASF LH I

Power supply:
4921 220V
4922 240V
4923 120V
4924 100V
4925 240V
Power consumption: max 35W
Dimensions W x H x D: 42 x 7.5 x 32.5cm
Weight 8.35 kg

Connections: AUX
Microphone 0,18mV / 3 kohm

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