BEOCORD STEREOMASTER 4
Beocord Stereomaster war ein Spulentonbandgerät, das als Novum für seine Zeit
eine Automatik-Stop-Funktion hatte,
die bei einem Bandriss die Maschine stoppte.
dieses Gerät in zwei Versionen: Der Type T war als portables Gerät konzipiert;
während der Type K für
den stationären Betrieb ausgelegt war.
B&O Beocord Stereomaster war das ideale Gerät für den engagierten
Tonbandamateur. Zum ersten Mal hatte ein Amateur
die Möglichkeit, drei Eingangssignale gleichzeitig zu mischen! Er war das erste volltransistorierte HIFI Gerät mit
(1) Synchronmotor von Papst
(2) Getrennte Aufnahme- und Wiedergabeköpfe
(3) Die Aufnahme konnte sowohl gleichzeitig über den Aufnahme-Verstärker als auch nach der Aufnahme über einen
Monitor-Verstärkerausgang kontrolliert werden.
(4) zwei getrennte VU-Meter.
(5) Drei Zweikanal-Eingänge.
(6) Professionelle Anforderungen für Geschwindigkeit und Gleichlaufschwankungen.
Abmessungen, Type T (Transportable model)
Breite: 35 cm
Höhe mit Lautsprechern: 27cm
Höhe ohne Lautsprecher: 19cm
Abmessungen, Type K
Breite; 35,5 cm
Höhe mit Abdeckhaube: 21cm
Beocord Stereomaster 610K
(1963-?) Stereo tape recorder,
17/8, 33/4, 71/2 IPS, two or four track format, 2x6W The Beocord Stereomaster
was the first in
a long line of excellent stereo tape recorders that featured 3 heads, mixing capabilities and all-transistor modular construction. They
offered near-professional performance for the home user, though their high price put them out of reach for all but the wealthy few.
Throughout the series, these machines were amongst the most expensive items in the B&O range.
For the capabilities it offered, the Beocord Stereomaster was fairly compact. It came in a neat, wood trimmed cabinet, which was
known as the "cassette" version. This confusing title in fact meant that the machine fitted readily into a space provided in B&O
radiograms, it is just unfortunate that the word took on other meanings later on in the development of tape recorders. The deck was
large enough to accommodate 7" spools, which would allow 45 minutes of high quality stereo recording if normal tape was used at
the highest speed. The four-track version doubled this figure as the tape could be turned over, though the narrower tracks meant that
the noise performance was not quite as good. At the front of the machine there was a control panel with push buttons and sliding faders,
an unusual fitment to domestic equipment at that time. The tape transport was controlled by a single "joystick" lever, which was
interlocked to the record switches to prevent accidental erasure of existing recordings.
Because the Beocord Stereomaster had separate heads and separate amplifiers for recording and playback, it was possible to monitor
a recording "off the tape" as it was being made. In addition, there were separate stereo preamplifiers for a microphone, a record player
and a radio tuner, the outputs of which could be mixed using the sliders and recorded individually or in combination. Finally, a built-in
stereo power amplifier of 6W per channel (a good figure for the period) was included for playback through external loudspeakers. This
arrangement allowed for great flexibility, and in addition to being able to make superb stereo recordings, the machine could be used to
assemble multiple recordings onto one track and as an echo generator. A facility to use the amplifier only, without starting the motor,
was provided, so that the Beocord Stereomaster could be used as the centrepiece of a complete hi-fi system. The pre-amplifiers were
in the form of small plug-in cards and could be exchanged as the user desired. The record player preamplifier was available in two versions,
one for a standard crystal pickup and one for Beogram turntables with a magnetic pickup. This density of function in a reasonably compact
machine was made possible by the use of transistorised circuitry, it would not have been practical to make such a machine if valves had
been used. As with all transistor recorders, moving coil meters were used to show the correct recording level. These were illuminated in white
to show the machine was switched on, but changed to red if a recording was being made.
Mechanically, these machines were well designed and sturdy. A single Papst motor was used, complete with a stepped pulley for three speed
drive. The speed selector included switches for equalisation, ensuring that recordings were made correctly to the NARTB standard, the same
as was used in European recording studios at the time. The tape path included "slack absorbers", which effectively isolated the tape that was in
contact with the heads from jerks and other mechanical disturbances that could result from uneven reeling or prolonged storage. The die-cast
head cover was easily removable for cleaning and inspection of the heads.
The Beocord Stereomaster quickly gained a reputation for quality and versatility, and become a great success. The format it established continued
in production well into the 1970s, the next version being known as the Beocord 2000.
Beocord Stereomaster 610T
(1963-?) Stereo tape recorder, 17/8, 33/4, 71/2 IPS, two or four track format, 2x6W
This machine was technically
identical to the Beocord Stereomaster 610K, the difference was that it was supplied in a "luggage"
with a latching lid and a carrying handle. The lid was divided into two halves, each of which contained a loudspeaker. These loudspeakers were of a
special Philips design that had the magnetic assembly fitted inside the cone rather than behind it, so tapes could safely be left in place without fear of
recordings on them being spoiled. The cabinet was banded in polished stainless steel to protect the delicate equipment inside.
Stereomastern wurde zum ersten Mal relativ viel Kunststoff verwendet. Dass dieses
„Billig“-Lösung war, wird deutlich, wenn man beim Reinigen des Gerätes erkennt, dass allein der
Netz-Gechwindigkeit-Drehknauf aus mindesten vier Einzelteilen besteht und auch noch bedruckt
ist! Mit dem „Batteriemesswerk“ als Aussteuerunganzeige mag ich mich hingegen nicht so recht
Eigentlich schon untypisch: Knöpfe, Schieberköpfe und . . .
. . . Tonkopfabdeckung waren aus Kunststoff. Dafür wurde der Benutzer mit professionel anmutenden Schiebereglern belohnt.