Category: <span>german radios – en</span>

Grundig 5005W 5005w - en

Grundig 5005W Enhanced- en

Grundig 5005W enhanced

Also this reviews will be accompanied by a section with graphs of technical measures of the most important parameters.
There is no such thing anywhere else, as far as I know. Not even the manufacturers themselves detailed the technical features of their own devices at this level.
This new section has been developed for an objective comparison of different devices.
In order to avoid interpreting the measurements incorrectly, it is very important to read the warnings carefully the first time.

The Grundig 5005W was the progenitor of a new line of Grundig radios model. The 5005W line will be followed, with some modifications, by the 5010, the 4010 and other less and less prestigious series.
From the previous top of the range model, the Spitzen-Super UKW 495W inherits the beautiful full-range speakers, one of which is equipped with a coaxial electrostatic tweeter.
There are also many mechanical elements in common with the 495W, the chassis has a very similar setup as does the high frequency group and the variable capacitor, the keyboard and much more. The tuner section is instead more elaborate, sensitive and selective and the low frequency section has completely changed.

The FM converter stage is interesting. Unlike the usual stages composed of the classic ECC85 double triode (specially designed for this), an ECF12 pentode/triode was used on the 5005W. The pentode section is used as an antenna amplifier and is very quiet for a pentode. The triode acts as an AF oscillator. There is then a further medium frequency amplifier pentode, an EF15, before entering the grid of the ECH11 amplifier/mixer.

The low frequency stage is an excellent example of a Push-Pull amplifier, with two EL41s, the most powerful compact tubes at the time.
The phase inverter stage consists of a double triode Ecc40 in "Anode follower" configuration. Also in this case the characteristics of the tube are important. To have correct driving of the two final EL41s, which work in Push-Pull, one on the positive half-waves and one on the negative half-waves, it is advisable to check the signal present on the two grids of the final pentodes. The configuration of the inverter might make you think that the two triodes of the ECC40 work symmetrically, but this is not the case. The first triode works as a preamplifier while the second has only the purpose of inverting the signal, indeed, it has a slightly negative amplification. The advantages of this type of inverter are the high voltage available at the output to effectively drive the finals and the high rate of internal feedback which guarantees a high linearity of response compared to other types of cheaper inverters.

The counter-reaction is moderate, and affects the response curve. The resulting sound is very open, with great presence in the mid and high tones and sufficiently damped bass.
The cabinet is very robust and free of vibrations and resonances.

The speakers:
There are three speakers, all on the front.
These are two full-range cones of 25 cm each and a coaxial electrostatic tweeter which is inserted when the TA button or the UKW/FST button is pressed.
The advantage of having two separate full-range speakers is that for the same amount of air moved, the cones and the voice coil support are much lighter to move, so each speaker is much faster and more responsive. All this translates into more responsive and muffled bass and without serious resonances.
The die-cast baskets ensure the mechanical rigidity of the speaker itself, therefore again reduction of resonances  and greater efficiency of the transducer (no force is dissipated in the vibration of the basket).
The entire frequency range is sent to the full-range speakers and the high part is cut mechanically.

The front canvas covering the speakers is never completely transparent from an acoustic point of view.
For this reason the only way to obtain maximum performance from the appliance is to eliminate it.
We can build a false frame in which the original canvas has been installed. This frame attaches to the speaker panel with magnets.
In this way it is possible to detach it when you want to listen to music with maximum transparency and put it back in its place when the radio is at rest to protect the speakers from dust and to restore the original aesthetic appearance of the device.

All this translates into exciting dynamics, brilliance of sound, lack of canvas oscillations in the presence of low frequencies, making listening to this beautiful device very realistic and pleasant.

 

Grundig 5005W

Grundig 5005W

The first song is the famous Moanin' written and arranged by Charles Mingus. There are actually two different jazz classics called "Moanin'." Both are blues-based songs with gospel music influences. Both evoke, in different ways, a sense of pain but also a sense of exuberant life.
The song was recorded in 1959, the group members included four sax players, John Handy, Jackie McLean, Booker Ervin and Pepper Adams, two trombones, Jimmy Knepper and Willie Dennis, Horace Parlan on piano, Dannie Richmond on drums and Mingus on bass .
The original lyrics of Moanin', by Jon Hendricks and known on the popular album by Art Blakey and the Jazz Messengers, begin like this:

Every Mornin' finds me moanin'I'm alone and crying the bluesI'm so tired of paying the duesEverybody knows I'm moanin'
Every evening I am moanin''Cause of all I the trouble I seeLife's a loosing gamble to meEverybody knows I moanin'
Lord, I spend many a days and nights alone with my griefAnd I pray, really and truly praySomebody will come and bring me relief

The second song is "Smooth Operator" published by Sade in 1984. It was the song that made Sade famous in the USA. The song appears on her debut album, Diamond Life. "Smooth Operator" is about a charming con man who seduces high society women into getting money from them and breaking their hearts.
Despite the cold-hearted lyrics, this song is also often used in cinema in scenes of a romantic encounter.
An interesting curiosity: the music producer Robert Millar recorded the song for a demo to present to the record company to obtain a contract. Epic Records liked it so much that he released it exactly like that, without having it recorded again in the studio.

The third song is Walk On The Wild Side by Lou Reed. The song is very well known. From a musical point of view it is rather simple, supported by a bass line with repetitive "Du du du" choruses and an interesting baritone saxophone solo. The text, however, is the most provocative one could have imagined at the time. It talks about the gender world and male prostitution. Each verse introduces a new character, Holly (Holly Woodlawn), Candy (Candy Darling), Little Joe (Joe Dallesandero), Sugar Plum Fairy (Joe Campbell), and Jackie (Jackie Curtis). All cronies of the Andy Warhol Factory, as well as Lou. A cross-section of the Big Apple's underground.

The fourth song is Yakety Sax written by saxophonist Boots Randolph and guitarist James Q. "Spider" Rich. The song became famous as the closing song on The Benny Hill Show. It is a piece of "instrumental novelty song", a light piece of music which is usually, but not in this case (instrumental), accompanied by a fun and topical text. The song is inspired by Yakety Yak recorded in 1958 by the Coasters from which it took its title. Yakety Yak is a slang expression that means to talk for a long time for nothing, to chat in vain.

And finally, to really put the device to the test, the final part of the drum solo from Led Zeppelin's Moby Dick. In this piece the skill of John Henry "Bonzo" Bonham is expressed at the highest levels. Artistic heir to Ginger Baker, Bonham had developed spectacular right hand/left hand/foot sequences, which were particularly exciting for him in live concerts. The piece is really difficult and requires great strength, and probably also great anger. Bonham's life was filled with fights, trashed hotel rooms, drinking, orgies, except when he was at home in his cottage in Worcestershire. Bonham died at the age of 32 after choking on his own vomit one drunken evening.

BLUETOOTH

Bluetooth receiver embed

READ MORE >

CONNESSIONE A DISPOSITIVI DIGITALI

Each radio is equipped with a cable for connection to any digital device.

READ MORE >

TUBESOUND IMPROVEMENT

Bluetooth receiver embed – The unit is equipped with a BLUETOOTH receiver powered directly by the receiver power supply. This makes it possible to control the amplifier from any external digital device as an IPAD, a Smartphone, or a sophisticated multimedia station. So you can hear your preferred web station or your lossesless file without cables on the room. Wireless Receiver can be equipped upon requests.
Multi Platform Connection – A customized adaptation cable to connect any digital device as Iphone, Smartphone, Laptop, CD Player etc. will be provided with this radio. This special cable suits the different impedances between the modern equipment and the receiver. Furthermore the two stereo channels flow into one without increasing the load to the input unit.

HISTORY

1930 - At 22 years old Max Grundig begin a radio repair business.
1939 - The II world War start. Grundig works primarily for the Wehrmacht and repair of telecommunication equipment.
1945 - Immediately after the war, the demand for repair work was very great. Max Grundig built the first two Grundig appliances: the Tubatest tube tester and the Novatest testing device.
1947 - Start the sale of a kit radio, the Heinzelmann. The unit is the basis of success, sold more than 15,000 pieces.
1950 - Very high frequency (VHF) is introduced to Germany and places new demands on the industry. Grundig launches the 380 W on the market.
1952 - The first television channel starts up in Germany. After intensive research, Grundig launches the FS 080 onto the market. In the same year the first portable tape recorder Reporter 500 L is created.
1956 - After a lot of radio produced with progrssively high performances was produced the Concert Radio 5080 equipped with an equaliser, which has five controls and a visual display.
1965 - A new factory is established in Braga, Portugal. The Satellit 205 is one of many appliances in the Satellit series. This product marks the beginning of Grundig production of high-quality global receivers.
1970 - The Audiorama 7000 Hi-fi was produced, it has twelve dynamic speaker systems in one speaker.
1976 - The Reel Tape Recorder TS 1000 is equipped for semi-professional use.
1980 - The slim-line Hi-fi Tuner ST 6000 and the Monolith Hi-fi Dynamic Flat Top Antenna, which has 22 speaker systems, are two particularly popular appliances in the new hi-fi range.
1984 - After severe drop in sales Philips increased its stake in Grundig 31.6 percent and takes over the corporate management.
1997 - Philips pulls out of its involvement with Grundig.
2003 - The company files for bankruptcy.
2008 - Turkey's Koç Holding took full ownership of Grundig Multimedia B.V., the parent company of Grundig Intermedia GmbH in Nuremberg.

Courtesy of: Grundig

MAIN FEATURES

Year of production:  1951
Superheterodyne IF 468/10700
9 AM circuits
9 FM circuits

Wavebands:
Long wave: 150 - 310 KHz
Medium wave 1: 515 - 950 KHz
Medium wave 2: 950 - 1620 KHz
Short wave 1: 5,9 - 8,6 MHz
Short wave 2: 8,6 - 12,5 MHz
Short wave 3: 12,5 - 18 MHz
FM: 86,5 - 100 MHz

Loudspeakers:
2 x 24 cm Fullrange
1 x coaxial electrostatic tweeter

Dimensions (LHD): 706 x 396 x 288 mm / 27.8 x 15.6 x 11.3 inch
Net weight: 19.5 kg / 42 lb 15.2 oz

10 tubes: ECF12 EF15 ECH11 EBF15 EM71 EAA11 EF11 ECC40 2x EL41

Grundig 5005W

 

MEASURED TECHNICAL FEATURES

IMPORTANT REMARK
(to be read carefully at least the first time)

  1. The following measures have been carried out in order to compare, from an electrical point of view, the devices that will be reviewed on this site. It is not possible to make comparisons with measurements made by other laboratories on different devices. The instrumentation and measurement conditions are probably very different.
  2. The instrumentation used for the measurements is obsolete and unprofessional. We believe that more precise instrumentation is not necessary due to the tolerances of the human auditory system. Distinguishing a distortion of 1% from one of 1.1% or 1.001% only makes sense from the electrical point of view. Probably no one can hear the difference by ear. Only a child and very few lucky people can perceive the difference between a flat response curve up to 16 KHz and one up to 20 kHz.
  3. The perception of sound depends on many factors, namely the age of the listener, the listening environment, the musical genre that is being reproduced, the listener's expectations, his or her listening habits and knowledge and many other factors, besides of course the quality of the other devices. Therefore, there is no direct and unique relationship between the results of the measurements made and the pleasantness of listening to a specific device.

Grundig 5005W

BANDWIDTH

Normally the measurement of the bandwidth is done on a resistive load. Therefore, the deformation caused by the loudspeakers' inductive load and the effect of the mechanical resonance of the speakers themselves on the feedback circuit are not considered. The effects are by no means negligible, the measurements carried out on a purely resistive load are always very linear but they don't coincide with the real frequency response.

On the other hand, this response curve was measured on an inductive laod, that is, with its own loudspeakers.
The frequency response measurements were made with a sinusoidal generator and a 
Wandel & Goltermann WM  20 level meter.
You can see the actual frequency response on the vobulator' screen.

Grundig 5005W

RMS POWER

he lower of the RMS voltages measured at the three sample frequencies divided by the load resistence.
The measurement conditions are the following:
- sample frequencies, 100, 1000, 10,000 Hz
- 8 ohm resistive load
- distortion less than or equal to 1%.
The measuring instrument provides the RMS value directly.

The measured RMS power is 5,3 W

Grundig 5005W

 

Misura IM% a 1000 Hz

Grundig 5005W

 

INTERMODULATION DISTORTION %

The Intermodulation Distortion % was measured with the SMPTE standard and measured at 1W RMS.
The two measurements were carried out by modulating the 50 Hz sine wave with a 1080 Hz sine wave and then with a 10400 Hz sine wave, with an amplitude in a ratio of 1/4 compared to the basic sinusoid.
The output voltage was kept around 2.83V on an 8 ohm carico.

The measured Intermodulation Distortion % (IM%) is 0,11%

 

TONE CONTROL WITH LEVEL INDICATION

The tones control system is very efficient. Above the large tone control knobs there is a band that lights up gradually indicating the emphasis on the band on which it acts.

 

BASS MAX

Grundig 5005W

 

BASS FLAT

Grundig 5005W

 

BASS MIN

Grundig 5005W

 

TREBLE MIN

Grundig 5005W

 

TREBLE FLAT

Grundig 5005W

 

TREBLE MAX

Grundig 5005W

 

Grundig 5005W

TUNING INDICATOR

 

 

The magic eye has of course been replaced.

CONTROL PANEL

Grundig 5005W

1 - Volume control (with automatic loudness curve ) and ON/OFF switch
2 - Bass control
3 - Turntable
4 - Long waves
5 - Medium waves 1
6 - Medium waves 2

7 - Short Waves 1
8 - Short Waves 2
9 - Short Waves 3
10 - FM
11 - Tuning indicator
12 - Treble control knob
13 - Tuning knob

Grundig 5005W

REAR SIDE

Output for external speakers.
Turntable input (Tonabnehmer)
AM and FM aerial inputs and ground socket.

THE RESTORATION WORK

THE USUAL AMAZING LAST IMAGE
Grundig 5005W
4055 - en

Grundig 4055/56 Enhanced- en

Grundig 4055/56 enhanced

Also this reviews will be accompanied by a section with graphs of technical measures of the most important parameters.
There is no such thing anywhere else, as far as I know. Not even the manufacturers themselves detailed the technical features of their own devices at this level.
This new section has been developed for an objective comparison of different devices.
In order to avoid interpreting the measurements incorrectly, it is very important to read the warnings carefully the first time.

The Grundig 4055/56 was the most prestigious model produced by the German company in 1956.

The FM converter stage is particularly interesting. In fact, it is equipped with double amplifier and oscillator circuits that can be selected via two buttons on the front. Furthermore, in the dialglass there are two identical FM bands, FM1 and FM2. Pressing the UKWI button and rotating the tuning knob will move the UKWI scale indicator, pressing the UKWII button and rotating the tuning knob will move the UKWII scale indicator. In this way it is possible to store an FM station in the UKWI band and another FM station in the UKWII band. The Grundig 3055 and 4055 are the only radios in the entire German production of that period to have two FM bands, but the 4055 is the only one to also have a Push-Pull final stage.

Unlike the previous model, Grundig 4055W/3D, the 4055/56 model is equipped with a rear socket for the remote control. The remote control allows you to turn the device on and off, change the volume and choose one of the predefined equalizations on the remote control.

The low frequency stage is an excellent example of a Push-Pull amplifier, with two EL84s with well-known sonic characteristics.
The phase inverter stage is made up of an Ebc41 triode, the preamplifier is made up of the triode section of an EABC80. The circuit is classic and very proven. The high sound quality is given by the excellent quality of the output transformer and its considerable size, which together with the good quality of the air gap laminations and the alternate winding of the copper layers reaches saturation very late.

The feedback circuit as usual, is moderate, and affects the response curve. The resulting sound is very open, with great presence in the mid and high tones and sufficiently damped bass.
The cabinet is very robust and free of vibrations and resonances.

The speakers:
There are five speakers, three on the front and two on the sides.
These is a very bug full-range speakers and two electrostatic tweeters on front. On the sides we find two elliptical widebands.
The entire frequency range is sent to these full-range speakers with a slight cut in the upper part, in reality the actual cut in the high part occurs mechanically.

The front canvas covering the speakers is never completely transparent from an acoustic point of view.
For this reason the only way to obtain maximum performance from the appliance is to eliminate it.
We can build a false frame in which the original canvas is installed. This frame attaches to the speaker panel with magnets.
In this way it is possible to detach it when you want to listen to music with maximum transparency and put it back in its place when the radio is at rest to protect the speakers from dust and to restore the original aesthetic appearance of the device.

All this translates into exciting dynamics, brilliance of sound, lack of canvas oscillations in the presence of low frequencies, making listening to this beautiful device very realistic and pleasant.

Grundig 4055/56

Grundig 4055/56
Grundig 4055/56

The first song is by Pink Anderson, it is Baby Please Don't Go. Pinkney Anderson was born in Laurens, South Carolina on February 12, 1900. At 14 he joined Dr. Kerr of the Indian Remedy Company to sing and dance to the public in the streets while Kerr sold his elixirs which he said had medicinal properties. In 1928 she recorded for the Columbia label. In the 50s and 60s she recorded other albums and performed live. She died in 1974 of a heart attack. The song "Baby Please Don't Go" tell about the anxiety of a recluse over the departure of his lover who is about to leave him to return home to New Orleans.

The second song is by Floyd Council, it is called Looking For My Baby. Council was born in Chapel Hill, North Carolina, on September 2, 1911. At 15 he performed on the streets of Chapel Hill with two brothers, Leo and Thomas Strowd. In the late 1920s and early 1930s he and Blind Boy Fuller busked in the Chapel Hill area. In the 1930s he recorded some songs for ARC but very few Council recordings remain. In a 1969 interview, Council stated that he had recorded 27 songs over the course of his career, seven of them as backing tracks to Blind Boy Fuller. In the late 1960s he suffered a stroke that partially paralyzed his throat muscles and slowed his motor skills. Peter B. Lowry attempted to record it in 1970 but Council was unable to sing or play. Council died in 1976 of a heart attack.

The third song is naturally by Pink Floyd and it is a rare live recording, Live at the Rainbow Theatre from 1972 . Syd Barrett created the band's name by juxtaposing the first names of the two bluesmen Pink Anderson and Floyd Council. Pink Floyd's most famous LP, "The dark side of the moon" was the product of an intense year of laboratory work, tested and perfected thanks to over a dozen live bootlegs such as this recording at the Rainbow Theatre. The arrangements of these recordings often vary greatly from the final LP. Unfortunately the recording is of very poor quality, but for enthusiasts this is certainly not a problem.

The  fourth song is O Tempo E O Lugar by Ana Caram. The song is by Sueli Correa Costa, the talented Brazilian singer-songwriter who died last year. She recorded for EMI with important partners such as Cacaso and Tite de Lamos. She sang about love like few others and left a definitive mark on our music, with songs that had the rare combination of sophistication, elaboration and beauty, fluidity and the ability to reach a wide audience. Her compositions, however, have been interpreted by artists such as Simone, Elis Regina, Fagner, Maria Bethânia, Gal Costa, Beth Carvalho among many others.

The fifth song is Litany by Arvo part. A characteristic of his style is that his songs arise from silence, grow, loading themselves with effect and then descend back towards silence. This technique originates from Part's initial twelve-tone influences, especially from Webern, although Part ideologically abandoned this current, realizing that it carried within itself the seeds of a conflict, in particular against capitalism. Coming to the firm belief that every conflict originates within oneself.
Having been commissioned by the Oregon Bach Festival, Litany Part uses the English language for the first time. The text is by Giovanni Grisostomo, a great theologian born in Antioch in Syria (currently in Turkey). The English terms being short do not allow for a structured musical elaboration, however the initial dialogue between the prayer and the immediate, or rather anticipated, response of the violin indicate the response from heaven. Before man can ask God for help, God is already close to him.

The sixth song  is Il Cielo In Una Stanza performed by Mina. Gino Paoli's most famous song had a very troubled origin. He was judged by Giulio Rapetti (aka Mogol) with phrases like "this is not a song", "it's better for you to change jobs", "it absolutely can't go" and even worse by Miranda Martino who refused to interpret it. Then Mina arrived and wanted her to sing it instead. Arranged by Tony de Vita, Mina, as soon as she finished singing it, started crying and all the musicians stood up moved.
The song talks about orgasm and is dedicated to a prostitute with whom Paoli had fallen in love. In the song the unsaid suggests sensuality with the description of the environment.

BLUETOOTH

Bluetooth receiver embed

READ MORE >

MULTI PLATFORM CONNECTION

Each radio is equipped with a cable for connection to any digital device.

READ MORE >

TUBESOUND IMPROVEMENT

Bluetooth receiver embed – The unit is equipped with a BLUETOOTH receiver powered directly by the receiver power supply. This makes it possible to control the amplifier from any external digital device as an IPAD, a Smartphone, or a sophisticated multimedia station. So you can hear your preferred web station or your lossesless file without cables on the room. Wireless Receiver can be equipped upon requests.
Multi Platform Connection – A customized adaptation cable to connect any digital device as Iphone, Smartphone, Laptop, CD Player etc. will be provided with this radio. This special cable suits the different impedances between the modern equipment and the receiver. Furthermore the two stereo channels flow into one without increasing the load to the input unit.

HISTORY

1930 - At 22 years old Max Grundig begin a radio repair business.

1939 - The II world War start. Grundig works primarily for the Wehrmacht and repair of telecommunication equipment.

1945 - Immediately after the war, the demand for repair work was very great. Max Grundig built the first two Grundig appliances: the Tubatest tube tester and the Novatest testing device.

1947 - Start the sale of a kit radio, the Heinzelmann. The unit is the basis of success, sold more than 15,000 pieces.

1950 - Very high frequency (VHF) is introduced to Germany and places new demands on the industry. Grundig launches the 380 W on the market.

1952 - The first television channel starts up in Germany. After intensive research, Grundig launches the FS 080 onto the market. In the same year the first portable tape recorder Reporter 500 L is created.

1956 - After a lot of radio produced with progrssively high performances was produced the Concert Radio 5080 equipped with an equaliser, which has five controls and a visual display.

1965 - A new factory is established in Braga, Portugal. The Satellit 205 is one of many appliances in the Satellit series. This product marks the beginning of Grundig production of high-quality global receivers.

1970 - The Audiorama 7000 Hi-fi was produced, it has twelve dynamic speaker systems in one speaker.

1976 - The Reel Tape Recorder TS 1000 is equipped for semi-professional use.

1980 - The slim-line Hi-fi Tuner ST 6000 and the Monolith Hi-fi Dynamic Flat Top Antenna, which has 22 speaker systems, are two particularly popular appliances in the new hi-fi range.

1984 - After severe drop in sales Philips increased its stake in Grundig 31.6 percent and takes over the corporate management.

1997 - Philips pulls out of its involvement with Grundig.

2003 - The company files for bankruptcy.

2008 - Turkey's Koç Holding took full ownership of Grundig Multimedia B.V., the parent company of Grundig Intermedia GmbH in Nuremberg.

Courtesy of: Grundig

MAIN FEATURES

Year of production:  1956

Superheterodyne IF 468/10700
9 AM circuits
13 FM circuits

Wavebands:
Medium wave (MW), Long wave (LW),Short wave, FM1 (UKWI), FM2 (UKWII)

Loudspeakers:
1 elliptic wideband
2 electrostatic Tweeter
2 cone Mid/Tweeter

Dimensions (LHD): 706 x 444 x 300 mm / 27.8 x 17.5 x 11.8 inch
Net weight: 17.6 kg / 38 lb 12.3 oz

9 tubes: ECC85 ECH81 EF89 EF80 EM34 EABC80 EBC41 2xEL84

Grundig 4055/56

 

MEASURED TECHNICAL FEATURES

IMPORTANT REMARK
(to be read carefully at least the first time)

  1. The following measures have been carried out in order to compare, from an electrical point of view, the devices that will be reviewed on this site. It is not possible to make comparisons with measurements made by other laboratories on different devices. The instrumentation and measurement conditions are probably very different.
  2. The instrumentation used for the measurements is obsolete and unprofessional. We believe that more precise instrumentation is not necessary due to the tolerances of the human auditory system. Distinguishing a distortion of 1% from one of 1.1% or 1.001% only makes sense from the electrical point of view. Probably no one can hear the difference by ear. Only a child and very few lucky people can perceive the difference between a flat response curve up to 16 KHz and one up to 20 kHz.
  3. The perception of sound depends on many factors, namely the age of the listener, the listening environment, the musical genre that is being reproduced, the listener's expectations, his or her listening habits and knowledge and many other factors, besides of course the quality of the other devices. Therefore, there is no direct and unique relationship between the results of the measurements made and the pleasantness of listening to a specific device.

Grundig 4055/56

Grundig 4055/56

BANDWIDTH

Normally the measurement of the bandwidth is done on a resistive load. Therefore, the deformation caused by the loudspeakers' inductive load and the effect of the mechanical resonance of the speakers themselves on the feedback circuit are not considered. The effects are by no means negligible, the measurements carried out on a purely resistive load are always very linear but they don't coincide with the real frequency response.

On the other hand, this response curve was measured on an inductive laod, that is, with its own loudspeakers.
The frequency response measurements were made with a sinusoidal generator and a 
Wandel & Goltermann WM  20 level meter.
You can see the actual frequency response on the vobulator' screen.

(Foto sotto) Bassi al minimo e acuti al massimo

Grundig 4055/56

(Foto sotto) Bassi al massimo e acuti al minimo

Grundig 4055/56

RMS POWER

he lower of the RMS voltages measured at the three sample frequencies divided by the load resistence.
The measurement conditions are the following:
- sample frequencies, 100, 1000, 10,000 Hz
- 8 ohm resistive load
- distortion less than or equal to 1%.
The measuring instrument provides the RMS value directly.

The measured RMS power is 7,2 W

Grundig 4055/56

Grundig 4055/56

 

Measure IM% at 1000 Hz

 

 

Distortion IM% at 50 Hz at maximum power

Grundig 4055/56

 

 

INTERMODULATION DISTORTION %

The Intermodulation Distortion % was measured with the SMPTE standard and measured at 1W RMS.
The two measurements were carried out by modulating the 50 Hz sine wave with a 1080 Hz sine wave and then with a 10400 Hz sine wave, with an amplitude in a ratio of 1/4 compared to the basic sinusoid.
The output voltage was kept around 2.83V on an 8 ohm carico.

The measured Intermodulation Distortion % (IM%) is 0.23%

 

 

Frequency Response

Below are the images of the linearity of the response at different frequencies. The sinusoid voltage is always the same, around 20 Vpp.

TONE CONTROL WITH LEVEL INDICATION

The tones control system is very efficient. Above the large tone control knobs there is a band that lights up gradually indicating the emphasis on the band on which it acts.

 

BASS MAX

Grundig 4055/56

 

BASS FLAT

Grundig 4055/56

 

BASS MIN

Grundig 4055/56

 

TREBLE MIN

Grundig 4055/56

 

TREBLE FLAT

Grundig 4055/56

 

TREBLE MAX

Grundig 4055/56

 

Grundig 4055/56

AERIALS

Inside the cabinet there is a dipole for FM reception and a ferrite rotating aerial for AM reception.
Ferrite aerial can be rotated from the outside to achieve a perfect tuning of the device in the AM.
In this picture you can see the rotation mechanism, and the aerial position indicator.
The reception sensitivity with internal aerials is very good. This unit was in fact produced when there were not many radio stations, and those available were far from each other.
Using an external aerial sensitivity is further increased.

TUNING INDICATOR

 

The magic eye has of course been replaced.

Grundig 4055/56

Grundig 3035 3D Klang

FERN-DIRIGENT

Connection for remote control (fern-dirigent) which allows you to control the ignition, volume and equalization.
Below, on the right, you can see the "remote control" diagram.
It is not easy to find, very few have been sold in Italy, the price of the (fern-dirigent) ranges from €350 upwards.

Grundig 3035 3D Klang

Grundig 3035 3D Klang

CONTROL PANEL

Grundig 4055/56

1 - Volume control (with built-in loudness)
2 - Ferrite antenna rotation control.
3 - The bass control knob
4 - Switching off
5 - Recorder
6 - Turntable
7 - Long Waves

8 - Medium Waves
9 - Shortwave
10 - FM 1
11 - FM 2
12 - Ferrite antenna for medium and long waves
13 - The treble control knob
14 - Tuning knob

Grundig 4055/56

REAR SIDE

Output for external speakers.
Turntable input (Tonabnehmer)
AM and FM aerial inputs and ground socket.
Remote control socket

THE USUAL AMAZING LAST IMAGE
Grundig 4055/56
Grundig 5050W 5050W - en

Grundig 5050W Enhanced- en

Grundig 5050W enhanced

Also this reviews will be accompanied by a section with graphs of technical measures of the most important parameters.
There is no such thing anywhere else, as far as I know. Not even the manufacturers themselves detailed the technical features of their own devices at this level.
This new section has been developed for an objective comparison of different devices.
In order to avoid interpreting the measurements incorrectly, it is very important to read the warnings carefully the first time.

The Grundig 5050W was the most prestigious model produced by the German company in 1953. The version we present in this review has been modified in order to maximize the performance of this device.

The FM converter stage is particularly interesting. Unlike the usual stages composed of the classic ECC85 double triode (specially designed for this) two separate tubes were used on the 5050W in order to avoid any capacitive interference between the antenna amplifier stage, consisting of a single EC92 triode and the oscillator stage /mixer, consisting of a double ECC81 triode. The stability and silence characteristics of this stage are excellent. It is only recommended to be very careful when replacing the ECC81 due to the differences in interelectrode capacitance between tubes from different manufacturers, which could cause differences in the operation of the stage.

The power output stage is an excellent example of a Push-Pull amplifier, with two EL84s with well-known sonic characteristics.
The phase inverter stage consists of a double triode Ecc81 in "Anode follower" configuration. Also in this case the characteristics of the tube are important. To have correct driving of the two final EL84s, which work in counter-phase, one on the positive half-waves and one on the negative half-waves, it is advisable to check the signal present on the two grids of the final pentodes. A possible correction can be obtained by intervening on the R8-R53 divider but the modification requires a certain amount of expertise and equipment.

The feedback is moderate, and affects the response curve. The resulting sound is very open, with great presence in the mid and high tones and sufficiently damped bass.
The cabinet is very robust and free of vibrations and resonances.

The loudspeakers.

There are four speakers, all on the front.
These are two full-range cones of 25 cm each and two coaxial electrostatic tweeters which are inserted when the TA button or the UKW/FST button is pressed.
The advantage of having two separate full-range speakers is that for the same amount of air moved, the cones and the voice coil support are much lighter to move, so each speaker is much faster and more responsive. All this translates into more responsive and muffled bass and without serious resonances.
The die-cast baskets ensure the mechanical rigidity of the speaker itself, therefore again reduction of resonances  and greater efficiency of the transducer (no force is dissipated in the vibration of the basket).
The entire frequency range is sent to these speakers and the high part is cut mechanically.

The front canvas covering the speakers is never completely acoustically transparent.
For this reason, the only way to obtain maximum performance from the appliance is to eliminate it.
We built a dummy frame into which the original canvas was installed. This frame attaches to the speaker panel with magnets.
In this way it is possible to detach it when you want to listen to music with maximum transparency and put it back in its place when the radio is at rest to protect the loudspeakers from dust and to restore the original aesthetic appearance of the unit.
As an example, we publish on the page a photo of a device previously made with detachable canvas.

All this translates into exciting dynamics, brilliance of sound, lack of oscillation of the canvas in the presence of low frequencies, making listening to this beautiful device very realistic and pleasant. With a pinch of eccentricity.

Grundig 5050W

Grundig 5050W

Grundig 5050W

The first song Elli is taken from Avishai Cohen's album Continuo. The album consists of 10 songs where Cohen's bass is always present. The entire album is inspired by traditional Middle Eastern music with great attention to classical music and with energetic solo cues that make it one of the artist's most interesting productions. Amos Hoffman contributed the characteristic sound of his instrument, an oud, to some songs on "Continuo".

The second piece is the famous "Ave Maria" by Franz Schubert performed by the tenor Luciano Pavarotti. Schubert composed ''Liederzyklus vom Fräulein vom See'' (Song Cycle from the Lady of the Lake) in 1825, inspired by the poem The Lady of the Lake'' by Walter Scott. The third lieder of Schubert's work, it was composed for the female voice but is often performed by baritones or tenors.

The third song is taken from Ana Caram's album "Postcard from Rio". This is Samba Torto, a song by Antonio Carlos Brasileiro de Almeida Jobim. Tom, as Jobim called himself, knew how to blend samba and jazz, giving life to Bossa Nova. Tom then made Bossa Nova known in the USA and around the world. His most famous album, “The Man From Ipanema”, is worth listening to.

The fourth song is the very famous Back to Black by Amy Winehouse. Literally Back to Black actually means returning to a state of depression after the end of a love relationship. She herself specifies that it is a state of despondency in which the pain of loneliness drowns in alcohol and drugs. The reference is to her tormented history with Blake Fielder-Civil, which led to her death after a physically and psychologically toxic marriage, where Amy, already debilitated by eating disorders, did not last long.

The fifth song is Corpus Christi Carol by Benjamin Britten performed by Jeff Beck. Corpus Christi Carol was first performed by Leslie Woodgate. The text appears to be an allegory in which the crucifix is described as a wounded knight, and the knight could be Christ who bleeds incessantly for the sins of humanity. The lyrics of Britten's re-edition were taken from the Christmas carol "In the cold/grey, midwinter" by the English poet Christina Rossetti.

BLUETOOTH

Bluetooth receiver embed

READ MORE >

MULTI PLATFORM CONNECTION

Each radio is equipped with a cable for connection to any digital device.

READ MORE >

TUBESOUND IMPROVEMENT

Bluetooth receiver embed – The unit is equipped with a BLUETOOTH receiver powered directly by the receiver power supply. This makes it possible to control the amplifier from any external digital device as an IPAD, a Smartphone, or a sophisticated multimedia station. So you can hear your preferred web station or your lossesless file without cables on the room. Wireless Receiver can be equipped upon requests.
Multi Platform Connection – A customized adaptation cable to connect any digital device as Iphone, Smartphone, Laptop, CD Player etc. will be provided with this radio. This special cable suits the different impedances between the modern equipment and the receiver. Furthermore the two stereo channels flow into one without increasing the load to the input unit.

HISTORY

1930 - At 22 years old Max Grundig begin a radio repair business.

1939 - The II world War start. Grundig works primarily for the Wehrmacht and repair of telecommunication equipment.

1945 - Immediately after the war, the demand for repair work was very great. Max Grundig built the first two Grundig appliances: the Tubatest tube tester and the Novatest testing device.

1947 - Start the sale of a kit radio, the Heinzelmann. The unit is the basis of success, sold more than 15,000 pieces.

1950 - Very high frequency (VHF) is introduced to Germany and places new demands on the industry. Grundig launches the 380 W on the market.

1952 - The first television channel starts up in Germany. After intensive research, Grundig launches the FS 080 onto the market. In the same year the first portable tape recorder Reporter 500 L is created.

1956 - After a lot of radio produced with progrssively high performances was produced the Concert Radio 5080 equipped with an equaliser, which has five controls and a visual display.

1965 - A new factory is established in Braga, Portugal. The Satellit 205 is one of many appliances in the Satellit series. This product marks the beginning of Grundig production of high-quality global receivers.

1970 - The Audiorama 7000 Hi-fi was produced, it has twelve dynamic speaker systems in one speaker.

1976 - The Reel Tape Recorder TS 1000 is equipped for semi-professional use.

1980 - The slim-line Hi-fi Tuner ST 6000 and the Monolith Hi-fi Dynamic Flat Top Antenna, which has 22 speaker systems, are two particularly popular appliances in the new hi-fi range.

1984 - After severe drop in sales Philips increased its stake in Grundig 31.6 percent and takes over the corporate management.

1997 - Philips pulls out of its involvement with Grundig.

2003 - The company files for bankruptcy.

2008 - Turkey's Koç Holding took full ownership of Grundig Multimedia B.V., the parent company of Grundig Intermedia GmbH in Nuremberg.

Courtesy of: Grundig

MAIN FEATURES

Year of production:  1953
Superheterodyne IF 468/10700
11 AM circuits
11 FM circuits

Wavebands:
Long wave: 150 - 310 KHz
Medium wave: 515 - 1620 KHz
Short wave 1: 5,9 - 8,6 MHz
Short wave 2: 8,6 - 12,5 MHz
Short wave 3: 12,5 - 18 MHz
FM: 86,5 - 100 MHz

Loudspeakers:
2 x 24 cm Fullrange
2 x coaxial electrostatic tweeters

Dimensions (LHD): 720 x 462 x 312 mm / 28.3 x 18.2 x 12.3 inch
Net weight: 21 kg / 46 lb 4.1 oz

10 tubes: EC92 ECC81 2xECH81 EM35 EAF42 EABC80 ECC81 2xEL84

Grundig 5050W

 

MEASURED TECHNICAL FEATURES

IMPORTANT REMARK
(to be read carefully at least the first time)

  1. The following measures have been carried out in order to compare, from an electrical point of view, the devices that will be reviewed on this site. It is not possible to make comparisons with measurements made by other laboratories on different devices. The instrumentation and measurement conditions are probably very different.
  2. The instrumentation used for the measurements is obsolete and unprofessional. We believe that more precise instrumentation is not necessary due to the tolerances of the human auditory system. Distinguishing a distortion of 1% from one of 1.1% or 1.001% only makes sense from the electrical point of view. Probably no one can hear the difference by ear. Only a child and very few lucky people can perceive the difference between a flat response curve up to 16 KHz and one up to 20 kHz.
  3. The perception of sound depends on many factors, namely the age of the listener, the listening environment, the musical genre that is being reproduced, the listener's expectations, his or her listening habits and knowledge and many other factors, besides of course the quality of the other devices. Therefore, there is no direct and unique relationship between the results of the measurements made and the pleasantness of listening to a specific device.

Grundig 5050W

BANDWIDTH

Normally the measurement of the bandwidth is done on a resistive load. Therefore, the deformation caused by the loudspeakers' inductive load and the effect of the mechanical resonance of the speakers themselves on the feedback circuit are not considered. The effects are by no means negligible, the measurements carried out on a purely resistive load are always very linear but they don't coincide with the real frequency response.

On the other hand, this response curve was measured on an inductive laod, that is, with its own loudspeakers.
The frequency response measurements were made with a sinusoidal generator and a 
Wandel & Goltermann WM  20 level meter.
You can see the actual frequency response on the vobulator' screen.

Grundig 5050W

RMS POWER

he lower of the RMS voltages measured at the three sample frequencies divided by the load resistence.
The measurement conditions are the following:
- sample frequencies, 100, 1000, 10,000 Hz
- 8 ohm resistive load
- distortion less than or equal to 1%.
The measuring instrument provides the RMS value directly.

The measured RMS power is 6,7 W

Grundig 5050W

Grundig 5050W

 

Misura IM% a 1000 Hz

Grundig 5050W

 

INTERMODULATION DISTORTION %

The Intermodulation Distortion % was measured with the SMPTE standard and measured at 1W RMS.
The two measurements were carried out by modulating the 50 Hz sine wave with a 1080 Hz sine wave and then with a 10400 Hz sine wave, with an amplitude in a ratio of 1/4 compared to the basic sinusoid.
The output voltage was kept around 2.83V on an 8 ohm carico.

The measured Intermodulation Distortion % (IM%) is 0.23%

 

TONE CONTROL WITH LEVEL INDICATION

The tones control system is very efficient. Above the large tone control knobs there is a band that lights up gradually indicating the emphasis on the band on which it acts.

 

BASS MAX

Grundig 5050W

 

BASS FLAT

Grundig 5050W

 

BASS MIN

Grundig 5050W

 

TREBLE MIN

Grundig 5050W

 

TREBLE FLAT

Grundig 5050W

 

TREBLE MAX

Grundig 5050W

 

Grundig 5050W

AERIALS

Inside the cabinet there is a dipole for FM reception and a ferrite rotating aerial for AM reception.
Ferrite aerial can be rotated from the outside to achieve a perfect tuning of the device in the AM.
In this picture you can see the rotation mechanism, and the aerial position indicator.
The reception sensitivity with internal aerials is very good. This unit was in fact produced when there were not many radio stations, and those available were far from each other.
Using an external aerial sensitivity is further increased.

Grundig 5050W

Grundig 5050W

TUNING INDICATOR

 

 

The magic eye has of course been replaced.

CONTROL PANEL

Grundig 5050W

1 - Comando di rotazione dell'antenna in ferrite.
2 - Comando del volume (con loudness incorporato)
3 - The bass control knob
4 - ON/OFF
5 - Aux
6 - Long waves
7 - Medium waves 1
8 - Medium waves 2

9 - Short Waves 1
10 - Short Waves 2
11 - Short Waves 3
12 - FM
13 - Ferrite antenna for MW and LW
14 - Treble control knob
15 - Tuning knob
16 - Tuning indicator

Grundig 5050W

REAR SIDE

Output for external speakers.
Socket for recorder (tonbandgerat).
Turntable input (Tonabnehmer)
AM and FM aerial inputs and ground socket.

THE RESTORATION WORK

THE USUAL AMAZING LAST IMAGE
Grundig 5050W
Saba Meersburg W4 enhanced ready for sale - en

Saba Meersburg W4 – en

Saba Meersburg W4 enhanced

Also this reviews will be accompanied by a section with graphs of technical measures of the most important parameters.
There is no such thing anywhere else, as far as I know. Not even the manufacturers themselves detailed the technical features of their own devices at this level.
This new section has been developed for an objective comparison of different devices.
In order to avoid interpreting the measurements incorrectly, it is very important to read the warnings carefully the first time.

The Meersburg is one of the most prestigious models produced by Saba. The version that we present in this review has been modified in order to maximize the performance of this device.

The low frequency stage is an excellent example of a class A amplifier, with an EL84 with well known sonic characteristics.
The feedback is moderate, so the resulting sound is very open, with great presence in the mids and trebles and sufficiently damped bass.
The cabinet is very robust and free from vibrations and resonances.
There are no equalizers or filter circuits that could introduce distortion or blurring of the sound.
In short, the first models of Saba Meersburg represent an ideal basis for an upgrade.

The weak point is represented by the loudspeaker system, and it is precisely the section on which we have worked around.

The speakers:
The larger of the two, a huge SABA 1675U10 with TIGGES Permadyn magnet in Alnico measures 35 x 24cm.
It is a loudspeaker built starting from 1953, with a magnet with a flux density of 8000 Gauss, an impedance of 4.1 Ohm and a voice coil of about 25 mm.
It has a frequency response that extends from 55 to 10,500Hz within +/-3dB.
The entire frequency range is sent to this loudspeaker and the high part is cut mechanically.
The cone, despite being very large is relatively light, this property allows you to have bass that are very ready, really powerful and without tails.

In our opinion, the original 5330F15 electrostatic tweeter is too inefficient compared to the large oval mid-woofer and above all it has a too high cutoff frequency. It begins to feel starting from 9600 Hz, and at a level that is too low anyway. It works therefore as a supertweeter rather than a tweeter.
This loudspeaker is placed in front of the full-range, almost in the centre. This arrangement (if it were placed right in the centre) would in our opinion be the ideal arrangement, see Goodmans Triaxiom, Altec Lansing Duplex and so on, because it allows very precise focusing of the sound image. However, since the mid-high frequencies emitted by the full range are concentrated right in the central part of the cone, the treble is mechanically hindered by the electrostatic loudspeaker placed in front.
The end result is a sound that tends towards gloom and with some unpleasant reflections as the electrostatic tweeter is not placed exactly coaxially with the mid-woofer.

We fixed these issues with two essential changes:
1 - Replacement and correct placement of the original tweeter with a Saba 5238U8 cone tweeter
2 - Made the frame with the front canvas removable

1)  The Saba 5238U8 cone tweeter has a diameter of 112 mm, is equipped with a 7500 Gauss magnet, a very light 12 mm voice coil and an impedance of 5.1 Ohm.
The frequency response starts already regular from 1500 Hz and rises up to about 13 kHz, and then returns to decrease towards 20kHz.
Remember that all acoustic musical instruments that reach higher are the cymbals (Cymbals) that reach just over 10 kHz.
The efficiency of the tweeter and its low cut-off frequency compensate for the mids and trebles generated by the central part of the rear mid-woofer which are absorbed by the shadow cone of the tweeter itself.
The tweeter is positioned exactly in the center of the mid-woofer, in a perfectly coaxial position, thus avoiding the annoying reflections generated by the misalignment of the original electrostatic tweeter, maintaining the invaluable advantages of coaxial speakers.
Finally, the crescendo response curve up to 13 kHz means that the treble is really very bright.

2) The front canvas covering the speakers is never completely acoustically transparent.
For this reason, the only way to obtain maximum performance from the appliance is to eliminate it.
We built a dummy frame into which the original canvas was installed. This frame attaches to the speaker panel with magnets.
In this way it is possible to detach it when you want to listen to music with maximum transparency and put it back in its place when the radio is at rest to protect the loudspeakers from dust and to restore the original aesthetic appearance of the unit.

All this translates into exciting dynamics, brilliance of sound, lack of oscillation of the canvas in the presence of low frequencies, making listening to this beautiful device very realistic and pleasant. With a pinch of eccentricity.

Saba Meersburg W4 enhanced

Saba Meersburg W4 enhanced

Saba Meersburg W4 enhanced

Saba Meersburg W4 enhanced

The first track is Nobody Knows You When You're Down and Out performed by Bessie Smith. At the end of the WWI, the United States economy restarts strongly, a period of abundance begins, the Roaring Twenties. Written by pianist Jimmie Cox in 1923, after several interpretations and modifications to the original text, it was interpreted by Bessie Smith in 1929. The text speaks of the fortunes made by someone during the Prohibition era and highlights the precariousness of material wealth and interested friendships that result. On October 24, 1929, the collapse of the New York Stock Exchange will bring about the greatest depression that the United States and parts of the rest of the world have known.

This year Napoli won the Scudetto, so there was bound to be happy Neapolitan music. The second piece written by Umberto Bertini and set to music by Vincenzo Di Paola and Sandro Taccani Chella 'llà was one of Renato Carosone's fortes. The song tells of the joy of a man who manages to free himself from a relationship that caged him and who is savoring freedom. The song begins with a speech to become playful and catchy as only the Neapolitans can do.

The third piece performed by Dizzy Gillespie, the famous Tin Tin Deo was composed together with Gil Fuller and Luciano "Chano" Pozo. A thunderous opening that later transforms into a Latin rhythm and then returns explosively with the trumpets sliding towards swing. His style that combined entertainment and musicality has encouraged the spread of bebop. Gillespie's solos were breathtaking. Certainly a giant of Jazz.

The fourth piece is the Adagio for oboe in D minor by Alessandro and Benedetto Marcello. It is an interesting piece because it is a classic example of baroque with a musical theme adorned with flourishes. The flourishes are recognized above all in the repetition of the opening motif where the virtuosity and musical sensibility of the singer or performer could be expressed. Johann Sebastian Bach transcribed a harpsichord version of Marcellus' Adagio (BWV 974)

The fifth song is the very famous The River by Bruce Springsteen. Springsteen himself called this song "a revolutionary song". He himself also stated that he drew inspiration, in the lyrics, from a 1950 song by Hank Williams "Long Gone Lonesome Blues". The song recounts a conversation between him and his wife's brother. After losing his construction job, he worked hard to support his wife and young son, but he never complained. In Pittsburgh on September 22, 1984, he dedicated the song to Pennsylvania union leaders.

BLUETOOTH

Bluetooth receiver embed

READ MORE >

MULTI PLATFORM CONNECTION

Each radio is equipped with a cable for connection to any digital device.

READ MORE >

TUBESOUND IMPROVEMENT

Bluetooth receiver embed – The unit is equipped with a BLUETOOTH receiver powered directly by the receiver power supply. This makes it possible to control the amplifier from any external digital device as an IPAD, a Smartphone, or a sophisticated multimedia station. So you can hear your preferred web station or your lossesless file without cables on the room. Wireless Receiver can be equipped upon requests.

Multi Platform Connection – A customized adaptation cable to connect any digital device as Iphone, Smartphone, Laptop, CD Player etc. will be provided with this radio. This special cable suits the different impedances between the modern equipment and the receiver. Furthermore the two stereo channels flow into one without increasing the load to the input unit.

saba meersburg W4 enhanced
Saba Factory - Villingen - 1960

saba meersburg W4 enhanced

 

 

THE HISTORY

SABA is the acronym for Schawarzwälder-Apparate-Bau-Anstalt meaning engineering institute of Technological appliances of the Black Forest.

The company was founded back in 1835 by Joseph Benedikt with the initial name of Jockele-Uhren, but only in 1923 the production of radio devices began and the company went under the name of SABA.
Toward the end of the 20s SABA became famous with the well-known S35 and in the following years it became the second German producer after Telefunken. During the war SABA produced military equipment and in 1945 the company was completely destroyed by a bombing.
In 1947 the production of radio devices began again and SABA distinguished itself immediately for ist avant-garde and high- quality production.

hey also began to produce TVs (the first PAL color TV is a SABA), house appliances and medical equipment. Many Italians used to work there. The Alnico Greencone loudspeakers became popular for their linearity, power handling, constant impendence that would be employed in each Hi-Fi devices of that time.

The radio devices with motorized tuning became popular as well and SABA became the representative German brand meaning quality, reliability and detailed precision. In the 1970s the decline began. According to specialized magazines of that time not having a Japanese device at that time meant not having Hi-Fi. In the 80s Thompson took over SABA. In the 90s the other way around, having a Japanese device of the 70s meant not having Hi-Fi. They found out that they functioned with a 96% counterreaction and that a device with 0.001 db from 1 to 100 KHz extension did not necessarily sound good.

We do not trust our ears and we do trust what other people say not necessarily with a good purpose.
2007: due to insolvency SABA disappeared from the TLC (Chinese) and Thompson (French) joint venture, and SABA ceased to exist.

MAIN FEATURES

Year of production:  1954
Superheterodyne IF: 472/10700
8 AM Circuits - 11 FM Circuits

Wavebands:
Medium Waves (MW),  Long Waves (LW), Short waves (KW), FM (UKW)

Loudspeakers:
a 9" x 14" woofer
a 4" tweeter

Dimensions (LHD): 610 x 385 x 276 mm / 24 x 15.2 x 10.9 inch
Peso netto: 14.5 kg / 31 lb 15 oz

Tubes 11: EF80 EC92 ECH81 EF41 EM71 EAF42 EABC80 EL84

Saba Meersburg W4 enhanced

MEASURED TECHNICAL FEATURES

IMPORTANT REMARK
(to be read carefully at least the first time)

  1. The following measures have been carried out in order to compare, from an electrical point of view, the devices that will be reviewed on this site. It is not possible to make comparisons with measurements made by other laboratories on different devices. The instrumentation and measurement conditions are probably very different.
  2. The instrumentation used for the measurements is obsolete and unprofessional. We believe that more precise instrumentation is not necessary due to the tolerances of the human auditory system. Distinguishing a distortion of 1% from one of 1.1% or 1.001% only makes sense from the electrical point of view. Probably no one can hear the difference by ear. Only a child and very few lucky people can perceive the difference between a flat response curve up to 16 KHz and one up to 20 kHz.
  3. The perception of sound depends on many factors, namely the age of the listener, the listening environment, the musical genre that is being reproduced, the listener's expectations, his or her listening habits and knowledge and many other factors, besides of course the quality of the other devices. Therefore, there is no direct and unique relationship between the results of the measurements made and the pleasantness of listening to a specific device.

Saba Meersburg W4 enhanced

BANDWIDTH

Normally the measurement of the bandwidth is done on a resistive load. Therefore, the deformation caused by the loudspeakers' inductive load and the effect of the mechanical resonance of the speakers themselves on the feedback circuit are not considered. The effects are by no means negligible, the measurements carried out on a purely resistive load are always very linear but they don't coincide with the real frequency response.

On the other hand, this response curve was measured on an inductive laod, that is, with its own loudspeakers.
The frequency response measurements were made with a sinusoidal generator and a 
Wandel & Goltermann WM  20 level meter.
You can see the actual frequency response on the vobulator' screen.

 

Saba Meersburg W4 enhanced

RMS POWER

he lower of the RMS voltages measured at the three sample frequencies divided by the load resistence.
The measurement conditions are the following:
- sample frequencies, 100, 1000, 10,000 Hz
- 8 ohm resistive load
- distortion less than or equal to 1%.
The measuring instrument provides the RMS value directly.

The measured RMS power is 3.8 W

Saba Meersburg W4 enhanced

Saba Meersburg W4 enhanced

 

Misura IM% a 1000 Hz

Saba Meersburg W4 enhanced

INTERMODULATION DISTORTION %

The Intermodulation Distortion % was measured with the SMPTE standard and measured at 1W RMS.
The two measurements were carried out by modulating the 50 Hz sine wave with a 1080 Hz sine wave and then with a 10400 Hz sine wave, with an amplitude in a ratio of 1/4 compared to the basic sinusoid.
The output voltage was kept around 2.83V on an 8 ohm carico.

The measured Intermodulation Distortion % (IM%) is 0.14%

 

TONE CONTROL WITH LEVEL INDICATION

The tones control system is very efficient. Above the large tone control knobs there is a band that lights up gradually indicating the emphasis on the band on which it acts.

 

BASS MAX

Saba Meersburg W4 enhanced

 

BASS FLAT

Saba Meersburg W4 enhanced

 

BASS MIN

Saba Meersburg W4 enhanced

 

TREBLE MIN

Saba Meersburg W4 enhanced

 

TREBLE FLAT

Saba Meersburg W4 enhanced

 

TREBLE MAX

Saba Meersburg W4 enhanced

 

Saba Meersburg W4 enhanced

AERIALS

Inside the cabinet there is a dipole for FM reception and a ferrite rotating aerial for AM reception.
Ferrite aerial can be rotated from the outside to achieve a perfect tuning of the device in the AM.
In this picture you can see the rotation mechanism, and the aerial position indicator.
The reception sensitivity with internal aerials is very good. This unit was in fact produced when there were not many radio stations, and those available were far from each other.
Using an external aerial sensitivity is further increased.

Saba Meersburg W4 enhanced

Saba Meersburg W4 enhanced

TUNING INDICATOR

 

 

The magic eye has of course been replaced.

CONTROL PANEL

Saba Meersburg W4 enhanced

1 - Rotation command of the ferrite antenna
2 - Volume control (with loudness built-in)
3 - The bass control knob
4 - OFF
5 - Aux
6 - Long waves

7 - Medium Waves
8 - Short Waves
9 - FM
10 - Treble control knob
11 - Tuning knob AM
12 - Tuning knob FM

Saba Meersburg W4 enhanced

REAR SIDE

Output for external speakers.
Turntable input (Tonabnehmer)
AM and FM aerial inputs and ground socket

THE USUAL AMAZING LAST IMAGE
Saba Meersburg W4 enhanced
Philips Saturn 851 Stereo philips - en

PHILIPS SATURN STEREO 851 – en

PHILIPS SATURN STEREO 851 - it

Philips Saturn 851 Stereo

Anno: 1966/1967
Valvole ECC85 ECH81 EAF801 EF184 EM87 EM87 ECC808 ECC808 ECC83 ELL80 ELL80
Semiconduttori 4× AF126
Principio generale Supereterodina (in generale); ZF/IF 460/10700 kHz
N. di circuiti accordati 6 Circuiti Mod. Amp. (AM) 12 Circuiti Mod. Freq. (FM)
Gamme d'onda Onde medie (OM), lunghe (OL), corte (OC) e MF (FM).
Tensioni di funzionamento Alimentazione a corrente alternata (CA) / 110-125; 220 Volt
Altoparlante 2 altoparlanti / Ø 21 cm = 8.3 inch
Dimensioni (LxAxP) 730 x 240 x 250 mm / 28.7 x 9.4 x 9.8 inch
Stereo-Decoder
Potenza d'uscita 2 x 9 W
Peso netto 10.5 kg / 23 lb 2 oz (23.128 lb)