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Master Control Panel 6500

Bang & Olufsen Master Control Panel 6500

Master Control Panel 6500

The final incarnation of the MCP style, this was a re-badged 5500 with no new features.

As with all the MCP panels, the LED display was greedy for power, and the D batteries did not last long if used regularly. The replacement, the Beolink 7000, made the move to rechargeable batteries as well as a far more advanced specification.

MCP 6500 was part of the BeoSystem 6500

Master Control Panel 6500 Product Details

Type Numbers

Please let us know​

Designer

Manufactured

1990 – 1992

Colour Options

Grey, White

Master Control Panel 6500 Product Specification

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Master Control Panel 5000

Bang & Olufsen Master Control Panel 5000

Master Control Panel 5000

The main remote control for the Beosystem 5000, the MCP 5000 allowed full control of your Beosystem from your armchair.

Two way control allowed the status of the system to be ascertained easily and complex timer programming was possible using the controls under the flip down panel.

The MCP 5000 could only be used with the Beomaster 5000 and could be part of a multi-room system allowing full control in a link room. MCP5000 will not operate any of the other systems such as the Beosystem 5500, 6500 and 7000.

Master Control Panel 5000 Product Details

Type Numbers

2038 (1983 – May 1987)

Designer

Manufactured

1983 – 1987

Colour Options

Silver, Grey

Master Control Panel 5000 Product Specification

Dimensions: 32 x 8 x 18cm
Display: Total
Radio programmes: 9FM or AM
Other programmes: PH-TP1-TP2-CD
Beocord Controls: 10
Beogram Controls: 6
VHS91 Controls: 8
Compact Disc Controls: Total
Programming: Timer + CD50
Volume Control: Yes, memory
Bass, treble: Yes, memory
Balance: Yes, memory
Muting: Yes
Status: Yes

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BeoCord 7000

Bang & Olufsen BeoCord 7000

BeoCord 7000

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.

BeoCord 7000 Product Details

Type Numbers

4941 (1992 – Dec 1995)
4945 (AUS) (1992 – July 1995)
4942 (GB) (1992 – Dec 1995)
4944 (J) (1992 – Dec 1995)
4943 (USA) (1992 – Aug 1996)

Designer

Manufactured

1992 – 1995

Colour Options

Aluminium, Black, White

BeoCord 7000 Product Specification

Recording system HX PRO
Tape transport Auto reverse
Noise reduction Auto Dolby B-C NR
Frequency range chrome 30 – 18,000 Hz
Signal-to-nose ratio chrome Dolby B > 65 dB

Power supply:
4941 220V
4942 240V
4943 110V
4944 100V
4945 240V
Power consumption/minimum max. 19 W / 6 W

Dimensions W x H x D/Weight 42 x 7.5 x 32.5 cm / 8.35 kg
Cabinet finish: aluminium, white, black
Connections: Microphone DIN

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BeoCord 6500

Bang & Olufsen BeoCord 6500

BeoCord 6500

A light touch to the front of the Beocord 6500 cassette recorder released the loader which glided out slowly and silently in order to allow you to insert a cassette. You could use whichever type of cassette you prefer; or choose between Dolby B or C Noise Reduction systems… and rejoice in Bang & Olufsen’s patented HX-PRO recording system which ensured optimal sound reproduction, particularly in the difficult, high-frequency range. And, naturally, Beocord 6500 had auto-reverse so that both sides of the tape played as one.

Beocord 6500 could be used as part of the Beosystem 6500 hi-fi system.

Auto Record level

One of the less-pleasant chores in making a recording is setting level control to its optimum position. Setting it too low raises the level of background noise on the recording. Setting it too high makes the recording distorted at high music levels. With this in mind, Bang and Olufsen introduced an automatic record mode which was called ‘Auto Record’.

Auto Record worked in two steps: when the record button was pressed for the first time, the cassette recorder went into a record pause mode, where the incoming signal was monitored. Under microprocessor control, the highest level was monitored and the record level was set at the optimum level for that music. On pressing the record button the second time, the tape was set in motion and the recording started, but continuing to make minor adjustments. If at any time during the recording, the level of music rose above the monitored level, the level control was lowered by exactly the amount required for the new optimum recording level.

This method of setting the level control closely imitated the action of a highly skilled recording engineer, if asked to set the level for a recording. It was the best that could be done when the full recording could not be monitored before recording started.

This feature incorporated a new method of monitoring the signal, which proved to be a more effective method over conventional methods. It was patented by the company with the patent number 158702.

BeoCord 6500 Product Details

Type Numbers

4936 (1989 – Jan 1992)
4940 (AUS) (1989 – Sept 1991)
4937 (GB) (1989 – Oct 1991)
4939 (J) (1989 – Sept 1991)
4938 (USA) (1989 – Dec 1991)

Designer

Manufactured

1989 – 1991

Colour Options

Aluminium, White

BeoCord 6500 Product Specification

Compact cassette C46-C60-C90-C120
Recording system: HX PRO
Tape transport system: Auto reverse
Search system Track numbers
Record level Auto Recording level
Noise reduction Auto Dolby B and C
Tape switch Auto. ferro/chrom/metal
Tape head Sendust

Wow and flutter DIN :<+/- 0.15%
Fast forward and rewind C60 75 sec.

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

Signal-to-noise ratio metal Dolby NR
B: >66 dB, C: >73 dB
Signal-to-noise ratio chrome Dolby NR B: >64 dB, C: >74 dB
Signal-to-noise ratio ferro Dolby NR B: >62 dB, C: >72 dB
Power supply 100V – 240V
Power consumption Max. 25 watts
Dimensions W x H x D 42 x 7.5 x 32.5
Weight 8 kg

Connections: AUX IN 7 pin
Microphone DIN 0,3mV /3kohms
Audio Link

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BeoCord 5500

Bang & Olufsen BeoCord 5500

BeoCord 5500

As part of Beosystem 5500, this advanced tape recorder was as close to professional standard as could be made at the time, bristling with features you just loved to use!

There was Auto Reverse, letting you play or record both sides of a cassette as one continuous tape. And automatic adjustment of sound levels avoided annoying volume changes from one recording to the next. Then there was Bang & Olufsen’s famous HX-Pro recording system which gave vastly superior sound quality on the higher frequencies, creating a richer, more detailed sound image.

Beocord 5500 automatically adjusted itself to match standard, chrome or metal tapes. You had the option of Dolby B or C during recording. During playback, the recorder automatically switched itself to the noise reduction system you recorded with. Automatic track search was also included – just key in the track number and the recorder did the rest.

The cassette recorder could be controlled via the two-way Master Control Panel 5500 as part of the Beosystem 5500.

Auto Record level

One of the less-pleasant chores in making a recording is setting level control to its optimum position. Setting it too low raises the level of background noise on the recording. Setting it too high makes the recording distorted at high music levels. With this in mind, Bang and Olufsen introduced an automatic record mode which was called ‘Auto Record’.

Auto Record worked in two steps: when the record button was pressed for the first time, the cassette recorder went into a record pause mode, where the incoming signal was monitored. Under microprocessor control, the highest level was monitored and the record level was set at the optimum level for that music. On pressing the record button the second time, the tape was set in motion and the recording started, but continuing to make minor adjustments. If at any time during the recording, the level of music rose above the monitored level, the level control was lowered by exactly the amount required for the new optimum recording level.

This method of setting the level control closely imitated the action of a highly skilled recording engineer, if asked to set the level for a recording. It was the best that could be done when the full recording could not be monitored before recording started.

This feature incorporated a new method of monitoring the signal, which proved to be a more effective method over conventional methods. It was patented by the company with the patent number 158702.

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BeoCord 5500 Product Details

Type Numbers

4931 (1986 – Sept 1990)
4935 (AUS) (1986 – Aug 1989)
4932 (GB) (1986 – Jan 1990)
4934 (J) (1986 – Jan 1990)
4933 (USA) (1986 – Jan 1990)

Designer

Manufactured

1986 – 1990

Colour Options

Metal grey, aluminium

BeoCord 5500 Product Specification

Compact cassette: C46-C60-C90-C120
Recording system: HX PRO
Tape transport system: Auto reverse
Search system: Track numbers
Record level: Auto Recording level
Noise reduction: Auto Dolby B and C
Tape switch: Auto. ferro/chrom/metal
Tape head: Sendust

Wow and flutter DIN: <+/- 0.15%
Fast forward and rewind: C60 75 sec
Frequency range chrome: 30 – 18,000 Hz +/- 3 dB

Signal-to-noise ratio metal Dolby NR: B: >66 dB, C: >73 dB
Signal-to-noise ratio chrome Dolby NR B: >64 dB, C: >74 dB
Signal-to-noise ratio ferro Dolby NR B: >62 dB, C: >72 dB
Power supply 4931 220V
4932 240V
4933 120V
4934 100V
4935 240V
Power consumption: max. 25 W
Dimensions W x H x D 42 x 7.5 x 32.5cm
Weight 8 kg

Connections: AUX IN 7 pin
Microphone DIN 0,3mV /3kohms
Audio Link

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BeoMaster 5500

Bang & Olufsen BeoMaster 5500

BeoMaster 5500

Beomaster 5500 was the brains and heart of the system which it made up.

Connected by Datalink to the record player, tape recorder and CD player it allowed the user to remote-control the whole system via the Master Control Panel. The 2 x 60 watt/8 ohm tuner/amplifier gave true hi-fi quality. Bang & Olufsen’s Automatic Power Handling Control system prevented overloading and distortion, regardless of how many speakers were connected. Up to 20 stations on the tuner could be preset and the frequency synthesizer took care of automatic search and fine tuning of stations. The result – superb reception of LW, MW and FM wavebands and impressive ease of use.

Beomaster 5500 was aesthetically balanced to match the rest of the components within Beosystem 5500

These days, these receivers are the cheapest of the Beolink 1000 controlled stackable systems. They do have the huge advantage of having not only DIN connectors but also a full complement of RCA plugs. This actually makes them ideal for present day use as the extra connections allow computer and digital music connections in addition to usual sources.

BeoMaster 5500 Product Details

Type Numbers

2331 (1986 – March 1990)
2332 (GB) (1986 – March 1990)
2333 (US) (1986 – Dec 1989)
2334 (J)(1986 – Oct 1989)
2335 (AUS) (1986 – Aug 1989)

Designer

Manufactured

1986 – 1989

Colour Options

Aluminium, White

BeoMaster 5500 Product Specification

Long-term max. output power IEC 2 z 110 / 8 ohms
Power output 20 – 20,000 Hz IHF 2 x 50 W / 8 ohms
Total harmonic distortion IHF < 0.09 % / 8 ohms 20 – 20,000 Hz
Intermodulation IHF < 0.1 %
Signal-to-noise ratio:
TAPE A-weighted: >78 d
PHONO A-weighted: >80 dB
Channel separation: 10000 Hz 60 dB
FM range 87.5 – 108 MHz
LW range 150 – 350 kHz
MW range 520 – 1610 kHz

Power supply:
2331: 220 V
2332/2335: 240 V
2334: 100 V
Power consumption. max 225 W
Dimensions W x H x D: 42 x 7.5 x 32.5cm
Weight: 8.5 kg

RIAA amplifier: built-in

Connections: Beocord Tape 1 7 pole DIN, Datalink
Beocord Tape 2 7 pole DIN, Datalink
Beogram CD 7 pole DIN, Datalink
Beogram LP 7 pole DIN, Datalink
Beovox/BeoLab 4 pole DIN
Beovision 7 pole DIN, Datalink
Link room: Speaker set Master Control Link
Line IN/OUT Phono plugs
Extra speakers Phono plugs

Link compatibility: Master Control Link

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BeoMaster 5500 FAQs

BeoMaster 5500 works but produces no sound!

Check which speaker sockets are being used. If Speaker 1, try pressing the right side of the front of the Beomaster.

This is the Mute button. If it clicks, but nothing happens, try the speakers in the Speaker 2 socket. If that works, the problem is the mute relay which needs replacing. A relatively cheap fix!

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BeoMaster 6000 (1974)

Bang & Olufsen BeoMaster 6000

BeoMaster 6000 (1974)

A thoroughgoing ‘black box’. Nothing in the shape of the device revealed how it worked or what it was. Only the inscription on the top of the unit told the user just how the black ‘magic mirror’ was brought to life so it could show which function has been activated. The unit was Bang & Olufsen’s first remote-controlled hi-fi system.

Beomaster 6000 History

Beomaster 6000 was the realisation of the Topline prototype on which work had progressed over the preceding years. The long flat cabinet of the Beomaster 1200 with its operation from the top and the depressed knobs was repeated. But the Beomaster 6000 is the first representative of a new phase in Jacob Jensen’s oeuvre. The slide rule motif symbolised mechanical precision, but now the entire idiom is adapted to the abstraction it was necessary to submit in communicating using electronics. The visually, symbolically and tactilely easily understood slide rule operation belonged to the age of mechanisation and must be understood in extension of the modernistic machine aesthetics of the 1920s. The design of the Beomaster 6000 emphasises that it belongs to the electronic age and that it is part of the virtual, digital epoch. The volume is regulated stepwise by pressing one button to increase volume and another to reduce it. The buttons are gathered together in one large steel sheet, in which ‘tongues’ have been cut. These each have a play of less than half a millimetre as they are electronic micro-switches. The depressed adjustment knob, which made its first appearance in the General Electric radiogram study model around 1960, is an electronic tuner. ” The great quality of the slide rule motif was that it showed both the user’s input (setting) and the device’s output at the same time. The logical consequence of micro-electricity is a division of input and output – the electronics differ from mechanical operation in that their function is invisible. Jensen does what he can, nevertheless, to make it easy to understand what is happening. Input is placed in a silver-coloured control panel, while output (displays) is gathered under a sheet of dark glass. This magical black sheet, ‘the magic mirror’ that lights up while in use, is to give an extra experience over and above the purely aesthetical. The Beomaster 6000 is a very easy advanced quadraphonic radio. In view of the development team, four sound channels required your being able to adapt the sound to your position in the room. In this way, the first remote-controlled hi-fi system became a reality. ” – taken from ‘Jacob Jensen’ by Christain Holmsted Olesen.

Beomaster 6000 features

At the centre of the Beosystem 6000 was Beomaster 6000, a 4-channel amplifier with an FM tuner. Beomaster 6000 had a built-in SQ decoder (4-channel matrix) and was a full remote controlled system. Five FM stations could be pre-selected and there was manual tuning on the large illuminated FM scale. The FM tuner covered 87,5 – 104MHz. Tuning was carried out via feather-touch controls. The amplifier section was designed to cope with all sound reproduction systems: one, two or four channels. It produced 4×40 watts RMS (4 ohms) or 300 watts total music. 4-channel sound reproduction from records was popularly represented by two systems: CD4 discrete and SQ matrix. CD4 (Compatible Discrete 4 channel) enabled high-quality sound reproduction with a high degree of separation between the four channels. CD4 was called at the time ‘TRUE 4 channel system’. However, many companies chose the SQ system because it was easily transmitted over FM and SQ records could be played on a high quality stereo record player. However, the price of convenience was less channel separation than the CD4 system afforded. An SQ matrix decoder was incorporated in Beomaster 6000. Basically, its job was to reconstruct sound information for the two rear speakers. For CD4 records this reconstruction took place in the record-player, Beogram 6000.

Operation

Operation of Beomaster 6000 was child’s play. The large flat operation panel had logically grouped controls for all essential functions. Primary functions (e.g. programme source selection, volume, balance, bass and treble controls) were large, prominent, yet unobtrusive easy-touch buttons, while secondary functions (e.g. loudness, hi and low filters, etc) were smaller push buttons. Volume, balance, bass and treble controls were executed by a feather-touch of the finger tip. A servo-motor did the real work. An illuminated scale indicated position and control levels. There were facilities for frequency correction on all 4 channels. Each channel had a frequency range of 20-30,000 Hz. Distortion was lower than 0.1% at full power output.

Remote Control

The cordless (ultrasonic) remote control for the receiver could be bought as an accessory. This unit put you in true control of the music system. All the following functions could be controlled: volume, balance: left and right speakers; balance: front and rear speakers; five pre-selected FM stations; selection of external programme sources: record-player, tape/cassette-recorder; switching on and off (stand-by).

Connections

All necessary connection facilities were incorporated in Beomaster 6000: 4-channel record player, 2 or 4-channel tape-recorder. 4-channel headphones or two sets stereo headphones. Beomaster 6000 was perfectly matched to partner the Beocord 5000 cassette recorder (introduced 1975). Beomaster 6000 was featured in an exhibition at New York’s MoMA (Museum of Modern Art) in 1975. At the time of its release it was the flagship of Bang & Olufsen’s hi-fi product range and was quite expensive to purchase. The UK price in 1978 was £581.50.

Accessories:

FM room aerial An FM aerial type 8902010, was designed for use with Beomaster 6000 to be used in the home, within a certain radius of the radio transmitter. It was easily positioned at the rear of Beomaster 6000 and its two telescopic elements could be extended.

BeoMaster 6000 (1974) Product Details

Type Numbers

2702

Designer

Manufactured

1974 – 1977

Colour Options

Rosewood, Teak, White

BeoMaster 6000 (1974) Product Specification

Power output 1000 Hz RMS: 4 x 40 watts / 4 ohms, 4 x 30 watts / 8 ohms
Music power: 4 x 75 watts / 4 ohms, 4 x 40 watts / 8 ohms
Speaker impedance: 4 ohms
Harmonic distortion: < 0.06 %
Frequency range: 20 – 30,000 Hz
Bass control: +/- 17 dB
Treble control: +/- 14 dB
FM range: 87.5 – 104 MHz
Power supply: 110 – 130 – 220 – 240 V
Power consumption: 10 – 350 watts
Dimensions W x H x D: 67 x 8 x 32 cm
Weight: 16 kg
Connections: AUX , Phono, tape (front)

Batteries for your BM6000 Commander Remote Control:

• Duracell: M504
• Eveready: 504, ER-504
• Gold Peak: GP220
• I.E.C.: 10F15
• NEDA: 504M, 220
• Panasonic: W10, W10E
• Polaroid: 202, 222
• RadioShack: 01386, 0400125, 22049, 22205, 23-509
• Varta: V74PX IEC 10 LR54
• Vinnic: 10LR54

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BeoLab 5000 (1969)

Bang & Olufsen BeoLab 5000

BeoLab 5000 (1969)

Design is a language which is understood by everyone…” as designer Jacob Jensen expressed it and demonstrated it in practice.”

 

A silicon-transistor high-fidelity amplifier with less than 0.6% distortion at all frequencies and at all volume levels up to 2 x 60 watts of power output. Its signal-to-noise ratio is better than 90dB (linear measurement). It has calibrated graphic controls and is extremely versatile, due to an unusual number of input and output facilities.

The Beolab 5000 is an amplifier that introduces no hiss or hum and reproduces all frequencies of the tonal range exactly as received. It has enormous power, permitting reproduction of even the loudest passages without distortion. Moreover, operation is logical and straightforward; varying or poor record quality can be compensated by means of efficient filters which remove the particular tonal range in which flaws are present; there is provision for connecting several speakers, including centre speaker, as well as provision for channelwise control of programme material. A special feature is a test control to facilitate adjustment of balance between channels. The use of silicon transistors ensures very low noise level, high temperature stability, and a very wide tonal range.” – taken from the 1967

Bang & Olufsen’s Beomaster 5000 FM tuner, BeoLab 5000 amplifier and Beovox 2500 Cube loudspeakers were the first product series designed by Jacob Jensen in 1967.

 

The traditional style for tuning knobs was replaced by an exact measuring instrument akin to the slide rule which was considered an innovation in changing the future of radios and amplifiers. The interface, in its precision and simplicity, proved to give the user optimal functionality. This solution had never been seen before and laid the foundation for the future form language of B&O. On this basis, Jacob Jensen was asked to design B&O´s audio programme. Beomaster 5000 was an FM tuner, with elimination of static between stations and a built in ‘data base’ which automatically tuned in on stereo broadcasts.

Partner to BeoLab 5000 was Beomaster 5000, an amplifier with the same slide rule interface.

The TV boom of the 1950’s hit the cinemas badly, which meant that the pressure on Bang & Olufsen’s sound engineers became less. The engineers’ love of high class sound reproduction, however, remained undiminished.

As early as the 1950s, they had developed stereo systems for the installation of Cinema-Scope systems in cinemas. In 1958, they were also responsible for the development of equipment for the first stereophonic radio transmissions from Denmark’s very first commercial radio station, Radio Mercur. When stereo started gaining ground, the engineers found new opportunities for a comeback.

The development of High Fidelity had already begun in the US and a number of small companies, headed by Scott and Fischer, had gained a dedicated following. By 1964, Bang & Olufsen was planning to conquer the new upcoming European Hi-fi market, a niche which ideally matched Bang & Olufsen’s survival strategy. Now engineers with more than 30 years’ experience behind them, under the leadership of chief engineer Nikolaj Krebs Sørensen, embarked on the development of the world’s most perfect hi-fi system, the BeoLab 5000 series.

With its ultra selective tuner and a powerful, distortion-free amplifier of no less than 2 x 60 watts, it offered qualities never seen before. The design was equally sensational. In the US, where the production of Hi-fi components had already started, they had found their form in the 19” rack format which was used by the first customers, the radio stations. When Hi-fi enthusiasts wanted quality tuners and amplifiers, they had to accept a design which belonged in the professional world.

Bang & Olufsen’s brief for the designers was: “Create a European Hi-fi format, which communicates power, precision and identity.”

 

This became designer Jacob Jensen and his assistant, David Lewis’ first assignment together for Bang & Olufsen. They solved it by designing the new linear controls like a slide rule bar in order to communicate the greatest possible precision. Thus began the era of the slide rule bar, a motif which was used and varied in the years to come.

The Hi-fi modules’ handles became countersunk Allen screws and the faceted and framed gold panels, which were the industry’s standard, were, in Bang & Olufsen’s design, transformed into extruded natural anodised aluminium.

BeoLab 5000 became a success, not only as Bang & Olufsen’s flagship, but also in more affordable versions, e.g.. Beomaster 1200 and 3000 and competitors were forced to follow suit. Elsewhere too, knobs were replaced by the linear slides – a development which continued until the mechanical grips were replaced by the electronic ‘easy touch’ controls of the Beomaster 1900.

 

At the 1967 spring fair in Hanover, B&O received the IF award for BeoLab 5000, Beomaster 5000 and Beovox 2500 Cube for outstanding and user friendly design.

BeoLab 5000 (1969) Product Details

Type Numbers

5303 (1969 – Dec 1972)

Designer

Manufactured

1967 – 1972

Colour Options

Rosewood, Teak

BeoLab 5000 (1969) Product Specification

Power output: 2 x 60 W
Speaker impedance: 4 ohms
Frequency range: 20 – 20,000 Hz +/- 1.5 dB
Distortion: 0.2 %
Intermodulation: 1 %
Signal-to-noise ratio: -90 dB < 60 W
– 58 < 50 mW
Bass control: +/- 17 dB 50 Hz
Treble control: +/- 14 dB 10 kHz

Outputs:
Tape DIN
Line out DIN
Line out RCA
Power supply: 110 – 130 – 220 – 240 V
Power consumption: 45 – 325 W

Dimensions W x H x D: 47 x 10 x 25cm
Weight: 10.4 kg

Connections: Inputs: DIN; MIC DIN
Phono high DIN – RCA
Phono low DIN – RCA
Tuner high DIN – RCA
Tuner low DIN – RCA
AUX DIN – RCA
Tape DIN – RCA

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BeoLab 2000

Bang & Olufsen BeoLab 2000

BeoLab 2000

With BeoLab 2000 the customer is able to extend choices with a range of dedicated Beolink® products. These offer the maximum convenience when it comes to moving and controlling sound and vision around the home.

BeoLab 2000 is the second speaker from Bang & Olufsen specially made for the Beolink® system, MasterLink, the first being BeoLab 3500. This product was designed by Anders Hermansen. All its required electronics are housed within the speaker and the only thing needed is a cable to be plugged in. As with all MasterLink products, BeoLab 2000 is totally auto-configurating.

On the front of the speaker there are buttons to select which source to listen: CD, tape and so on, as well as track selection and on/off. There is also a volume control of course. The speaker can also be operated via a remote control – for example the Beolink 1000 or Beo4. The sound is really impressive considering the very small net volume. This speaker is best used in smaller rooms such as kitchens and bedrooms.

In the kitchen, a BeoLab 2000 connected to the BeoSound Ouverture or BeoSound 3000 in the living room will give you hands-on control of various sources. Via the link to the Beovision Avant, you can follow the news on TV and only watch if something catches your interest. In the kitchen, the bathroom or the garage this little active loudspeaker gives you the option of remote or hands-on control of tape, CD, radio, timer and volume.

“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

BeoLab 2000 is a flexible Beolink loudspeaker which is easy to accommodate and gives you the option of hands-on or remote control. On the front panel you choose between CD, tape or radio, turn on & off, up & down. A bracket for wall or corner mounting is included

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.

The fine art of control of BeoLab 2000

A control knob on the front of the BeoLab 2000 allows hands-on operation, when or if a Beo4 remote control is not at hand. A perforated disc inside the knob breaks a beam of light in front of a sensor that counts the number of perforations and adjusts the sound level accordingly. No wear and tear and no distortion from worn out resistors.

BeoLab 2000 Product Specifications

BeoLab 2000 Product Details

Type Numbers

2605 (1973 – Dec 1977)

Designer

Manufactured

1973 – 1977

Colour Options

Rosewood, Teak

BeoLab 2000 Product Specification

Power output 1000 Hz RMS: 2 x 20 watts / 4 ohms;
2 x 19 watts / 8 ohms
Music Power 2 x 40 watts / 4 ohms;
2 x 25 watts / 8 ohms
Speaker impedance: 4 ohms
Harmonic distortion: < 0.1 %

Intermodulation: < 1%
Frequency range: 30 – 30,000 Hz
Signal-to-noise ratio: > 52 dB
Channel separation: > 40 dB
Bass control: +/- 17 dB
Treble control: +/- 14 dB
Power supply: 110-130-220-240V
Power consumption: 15 – 120 W
Dimensions H x W x D: 7.5 x 50 x 23cm
Weight 5.2 kg

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BeoLab 1700

Bang & Olufsen BeoLab 1700

BeoLab 1700

” This title and the picture of Beosystem 1700 might suggest a paradox to many readers. And in a way you are right. But there is a reason why Bang & Olufsen has separated this otherwise perfectly integrated high-fidelity system. The combination possibilities in Beosystem 1700 are so numerous that for many people the entire system is unnecessary. The essential part of the system is BeoLab 1700: a 2 x 20 watts RMS amplifier with ambiophonic stereo facilities.

BeoLab 1700 type 2605 was an amplifier designed to be used with Beomaster 1700 tuner.

The tuner, Beomaster 1700, the cassette-recorder, Beocord 1700 and the record player, Beogram 2000 (not shown) cover nearly all existing programme sources for the reproduction of music. Beovox 2702 loudspeakers complete the system. Beovox 1702 are recommended as side speakers for ambiophony, if this extra sound experience is desired. Now it is up to you to put your ideal Beosystem 1700 together. “

The unit was a high-fidelity stereo amplifier whose technical specifications exceeded the DIN 45500 high fidelity norms by a wide margin. Frequency range was 20-30.000 Hz and power bandwidth was 10-50.000 Hz. Harmonic distortion was less than 0.1% at the normally used output (50 mW) and less than 0,5% at maximum power output (2 x 20 watts RMS). Music output was 80 watts total. With four loudspeakers – two front and two at the sides, ambiophony (an extension of stereo reproduction) could be achieved.

Apart from loudspeaker connections, there were sockets for tuner, tape recorder, record player and headphones. BeoLab 1700 had slider controls for volume, bass, treble and balance. A push button for LOUDNESS facilitated switching between an objective and a subjective linear reproduction. Monitoring (AB switching) could be carried out on BeoLab 1700 if the connected tape recorder had separate record and play-back heads.

BeoLab 1700 Product Details

Type Numbers

2605 (1973 – Dec 1977)

Designer

Manufactured

1973 – 1977

Colour Options

Rosewood, Teak

BeoLab 1700 Product Specification

Power output 1000 Hz RMS: 2 x 20 watts / 4 ohms;
2 x 19 watts / 8 ohms
Music Power 2 x 40 watts / 4 ohms;
2 x 25 watts / 8 ohms
Speaker impedance: 4 ohms
Harmonic distortion: < 0.1 %

Intermodulation: < 1%
Frequency range: 30 – 30,000 Hz
Signal-to-noise ratio: > 52 dB
Channel separation: > 40 dB
Bass control: +/- 17 dB
Treble control: +/- 14 dB
Power supply: 110-130-220-240V
Power consumption: 15 – 120 W
Dimensions H x W x D: 7.5 x 50 x 23cm
Weight 5.2 kg

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