german radios - en Archives – Page 3 of 8

Graetz 162W – en

27th March 202028th December 2020
by giovanni

The review of the Graetz 162W is different from all the reviews ever published.

Starting from this one, the 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.

When it was decided to restore and test the Graetz 162W, expectations were quite high. Actually, the 162W differs from the 163W, top model of the Graetz production in 1952, only for the output tube, one of the two speakers and some other minor details. Moreover, both of these devices have very interesting circuit choices which provide them with a very peculiar sound.
First of all, they are both equipped with an electromagnetic coil loudspeaker and a permanent magnet loudspeaker. The permanent magnet loudspeaker, with a smaller diameter, has a greater extension towards medium and high frequencies. The electromagnetic coil loudspeaker has a considerable extension towards the medium-low frequencies. The two speakers are connected in series, there is no a crossover network between the two, the separation of frequencies is entrusted to the mechanical characteristics of the speakers themselves. Both of them will be examined in detail in the specific section.

The FM section is also very peculiar. The HF section is entrusted to an EF80 Variable transconductance . The same tube is used simultaneously as a audio preamplifier. In the diagram here, the HF circuit is highlighted in blue and the audio stage one, instead, is highlighted in red.

The Audio Section is entrusted to a EL41 pentode EL41 working in A Class.
The Volume potentiometer is equipped with a loudness pinout. It is known, in fact, that when listening at very low volume, the low and acute notes are not perceived with the same sound intensity as the medium notes, which clearly prevail.
The loudnes circuit changes the curve response of the preamp section specularly to the Fletcher–Munson curve. This allows to keep the perception of the extreme sounds of the audible audio spectrum constant even at low volume levels. The Tone Control, separate bass and treble, is inserted in the feedback network.

Conclusions: a warm and mellow sound was what one would expect from the Graetz 162W, and this is even its most evident feature. The absence of a real tweeter makes it necessary to emphasize the treble to get a balanced response. The treble control effectively solves the problem. The efficiency of the two loudspeakers and the very contained distortion give this radio a powerful voice, despite the limited power available. The tuning is very stable. The interfacing with external sources, CD players, bluetooth etc. is free of any problem. Its graceful shape, the choice and the processing of the wood and its musicality make it a very enjoyable and reliable device.

The recordings made with the Graetz 162W are all dedicated to the dawn of Jazz. Listening to such songs with this device was particularly exciting, given the dominance of medium tones and voices. The old recordings have shown an unusual charm and it is worth listening to them.

The first song is one of the first and most peculiar Negro-American ballads, Frankie and Albert in the famous interpretation of Huddie Ledbetter.

Leadbelly, stage name of Ledbetter, that derives from a bullet never extracted from his belly, had a very busy life. From 1910 to 1930 he was arrested several times, in Texas and Louisiana, for fighting, attempted murder, for getting some girls pregnant.
In the last years of his turbulent life finally came a good success in the music field, which even got him to a tour in Europe.
http://www.leadbelly.org/
The ballad talks about Frankie, a good and devoted woman, and about her lover, Albert, a deadbeat and violent, who betrays her. The long ballad talks about Frankie's revenge who kills him by shooting him and who, after asking for Albert's mother's forgiveness, is sentenced to the the electric chair.
The story refers to a real fact that happened in 1899 in Missouri between Frankie Baker (22 years old) and Allen (Albert) Britt (17 years old).

The second song is a Pianola Roll recording of the very well-known Maple leaf Rag, played by Scott Joplin.
This recording on Roll for piano, thought to be lost, was found on Ebay mounted on a wrong player. The perforated roll has been restored and recording is freely available on Youtube.
The American Civil War has been over for three years, misery, hunger, rebellions, they are tough years in the States. There is a need for cheerful music to lift the spirits and Ragtime comes at the right time. Born as art music, difficult to perform, it finds in Joplin its greatest exponent. Born in Texas, he started playing in the infamous clubs of Missouri and then moved to New York.
The Ragtime develops in four themes of sixteen themes according to the AABBACCDDL scheme. The beauty of the songs here proposed lies in the syncopated rhythm played with the right hand accompanied by the 2/4 not syncopated time played by the left hand. For M.Stearns, in “The story of Jazz” the left hand is inspired by the rhythm of the European school march, the right by the way of playing the Banjo proper to the black musicians of the South.

A white New Orleans musician who deserves to be remembered is Paul Mares.
The third and fourth tracks proposed are his famous foxtrot “She's Cryin' For Me” in Mares' original version and in the Au Brothers Jazz Band's interpretation.
Paul Mares moved to Chicago in 1919, created the famous New Orleans Rhythm Kings. The orchestra was mainly formed by white immigrants from New Orleans, they played at Friar's Inn, in the heart of white Chicago, a place frequented by gangsters such as Al Capone. Mares is to be credited for bringing New Orleans' musical soul to Chicago.

The Au brothers owe their musical talent to their uncle, a High Sierra trombonist, Howard Miyata. The quality of the execution and the arrangements restore the freshness and panache that characterized this last century music at its beginnings. The proposed recording has both the strengths and weaknesses of live recordings.

BLUETOOTH

Bluetooth receiver embed

MULTI PLATFORM CONNECTION

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

- 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.

The Ehrich & Graetz metalworks was a factory established in 1866 in Berlin by Albert Graetz (1831–1901) and the tradesman Emil Ehrich (died 1887) under the name "Lampen-Fabrik Ehrich & Graetz OHG" (E&G).
By 1897 the firm was controlled by Albert's sons, Max Graetz, and Adolf Graetz. The company grew rapidly, and in 1899 factory complexes were built in Berlin, in the United States, France, the UK, and Bombay.
Around 1910-1916 Max Graetz developed the famous Petromax Lantern. Around 1925 the factory also produced radios, and other electrical appliances under the name Graetzor.

In the Second World War, just as in the First World War, the company was part of the war industry. With the use of forced laborers from France, Russia and the Netherlands the company made huge gains in production.
At the end of April 1945 the factory was claimed by the Russian army.

In 1949 the firm became part of the "peoples" program, "VEB-VolksEigenerBetrieb" and since 1950 "VEB Fernmeldewerk, Berlin Treptow (RFFT)." VolksEigenerBetrieb, means that the factory was owned by the people for the people (Communism)

In 1948 Erich, and Fritz Graetz founded a new company in Altena, Germany known by the name The Graetz Firm, which was successor to the lost family company in Berlin. The new company produced mainly radios and televisions.
In 1961 the company was then sold to Standard Elektrik Lorenz (SEL) AG, but since 1987 has been to the present owned by the Finnish company Nokia.

MEASURED TECHNICAL FEATURES

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

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.
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.
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.

BANDWIDTH

The frequency response curve was detected on resistive load by measuring the RMS voltage at different frequencies and converting the results into DB.

The BLUE line indicates the bandwidth with the tone potentiometer in a flat position.
The RED line indicates the bandwidth with the tone potentiometer in the position of maximum exaltation.

The bandwidth was measured on resistive load. Therefore, it does not take into account the deformations deriving from the inductive load of the loudspeakers and their mechanical response.

RMS POWER

We consider as Maximum Power the square of the 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 3.4 W

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 0.8%

IM% at 1000 Hz

IM% at 10.000 Hz

The speakers of this radio are one of the most interesting and peculiar characteristics of such device.

The larger of the two measures approximately 24 cm in diameter and is electrodynamic. Instead of having a Permanent Magnet, like all modern cone loudspeakers, the static part called field coil, inside which runs the moving coil that drives the cone, is made up of an electromagnet. A winding of very fine wire which, when traversed by electricity, becomes a magnet.
In this speaker, branded Graetz BV8191 model, the winding consists of 11,000 coils of 0.18 mm copper wire. The static resistance of the winding is 950 ohms.
Being the winding of the field coil connected between the two power supply filter capacitors it also works as an inductor of the LC filter, thereby significantly reducing the ripple at the output of the second filter capacitor.
Finally, it can be seen in the photos that this speaker has a concentric fold in the cone. This has two functions. The first one is to reinforce the cone, for which a thinner and lighter membrane can be used allowing a more prompt response and less inertia. The second is a mechanical insulation between the central part of the cone and the external part.
The central part of the cone is the one that reproduces the high tones, which in this way is more elastic than the entire cone, allowing an upward extension of the frequency response.

The second speaker is an Isophon P18 / 19/105 with permanent magnet, 18 cm in diameter, and a frequency response that extends from 90 to 10,000 Hz within 3 dB.
Connected in series to the bigger loudspeaker, it reinforces the whole band in general and, above all, it extends upwards the extension of the entire system.
It is a speaker with a fairly light cone, with an Alnico magnet and a magnetic flux density of 10,500 Gauss. The speaker is very dynamic and efficient. The complete features are indicated in the chart.

By pulling the knob, a switch is activated which halves the anode voltage of all the tubes. In this way there is a decrease in the brightness of the magic eye and a decrease in the wear of all the tubes. The power supplied is also decreased and this allows a better management of the volume control at low levels. In fact, with the same angular rotation that normally allows to go from the lowest to the highest level, with the anode volatge and therefore also the power halved, the potentiometer allows to go from zero to about half the volume, becoming easier to adjust. This function is especially useful for night listening.

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.

5010 - en

Grundig 5010 – en

17th March 202025th November 2021
by giovanni

The Grundig 5010 is the most powerful monaural device ever built by this brand.
Grundig used to produce different classes of devices. Those in the 1xxx series are the cheapest, those in the 2xxx and 3xxx series are middle class, those in the 4xxx and 5xxx series are high class.
Clearly, the 5010 belongs to the higher class series, and it shows.
The electronic circuit of the 5010 is the most elaborate one could imagine in a commercial device built in 1952. The output stage consists of a pair of powerful EL12 push-pulls. No other manufacturer has used of these expensive tubes in a couple.
The output transformers are two, separate, one for the bass and one for the mid-high.
The first is equipped with a double secondary winding, one for the mid-woofer and one for the feedback circuit.
The mid-high transformer is also equipped with a double secondary winding, one for the cone mid-tweeter and one for the electrostatic tweeter.
The crossover consist of capacitors and coil networks. Really remarkable.
The tone controls are applied on the feedback network, further reducing the distortion, but risking instability when the potentiometer are in their extreme positions.
The Push/Pull phase reversal is provided by a dual triode ECC40, where each section drives one of the two EL12s.
The preamplifier is composed of the triode of an EABC80.
The power supply filter consists of a Pi filter of capacitor and inductor.

The FM antenna circuit consists of an EF80 pentode and the local oscillator consists of an EC92 triode.
As it is the only one, the variable capacitor is composed of many sections, for the AM and FM bands.

The tracks chosen for the test are only two. They are quite long as they have not been cut, they have been kept in all their duration. This is because they are both tracks that develop in different ways, alternating moments of pianissimo with areas of big explosion. In the case of the Overture 1812 this last statement must be taken literally.

Binker and Moses have recently emerged in the London jazz scene in the last few years and have the great merit of having aroused in young people an authentic interest in this musical genre, often followed by a more mature audience.
The song “Fete By The River” was recorded live at the Total Refreshment Center in London on June 26th 2017. This excellent recording recreates all the freshness and warmth that are typical of the duo's performances. The video, which is very well done, is also on Youtube, and it is worth seeing.
Drummer Moses Boyd can keep two different rhythms simultaneously, as if there were two drummers playing next to each other.
Binker Golding uses the entire excursion of the saxophone alternating very low and warm notes with disruptive and impressive high-pitched sounds . Binker alternates in a very instinctive way some pianissimo that are almost whispered and explosions of very colorful notes that fill the environment and manage to draw the listeners' attention.
A sequence of syncopated rhythms that has you on the edge of your seat until the end of the track and then bursts into a liberating applause of heartfelt participation.
There is a scent of jazz of the great masters.
The Grundig 5010, with its power and dynamics manages to convey all the expressive capacity of the duo with a realism that makes it hard to believe that it comes from a 1952 radio.

P.I.Tchaikovsky - 1812 Overture: one of the most controversial tracks, but certainly one of the most loved by the public was written to commemorate the Russian success in the battle of Borodinó on September 7th 1812, fought during Napoleon's campaign in Russia.
It was commissioned for the inauguration of the huge Cathedral of Christ the Saviour in Moscow, built by the will of Tsar Alexander I as a memorial for the Russian victory of 1812 over the Napoleonic army.
The overture begins with the orthodox song “Spasi, Gospodi, Lyudi Tvoya” (“God, preserve your people”). It then continues with the popular melody, “U vorot” (“At the gates”). This first part is meant to convey the joy of popular and religious life before the arrival of the Napoleonic troops, represented by the Marseillaise (which however was not used as a national anthem at Napoleon's time).
The decreasing that follows represents the withdrawal of the French troops from Moscow and the arrival of cannon shots marks the military advance of the victorious Russian army. The tolling of bells marks the end of the conflict and the Russian imperial anthem “Bóže, Carjá chraní!” (“God save the Tsar”) is heard in the background (this hymn was not in use at the time either, just like the Marseillaise!).
Even in this very difficult track, the muscles of the 5010 and its excellent speakers have allowed an exciting and distortion-free listening, even at rather high volumes. The engraving is the famous one by Telarc, and you can hear it.

BLUETOOTH

Bluetooth receiver embed

MULTI PLATFORM CONNECTION

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

- 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.

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

Year of production: 1952/53
Superheterodyne IF 468/10700
9 AM circuits
10 FM circuits

Wavebands:
Long wave: 150 - 310 KHz
Medium wave 1: 515 - 945 KHz
Medium wave 2: 935 - 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:
1 elliptical wideband
1 electrostatic tweeter
1 elliptical Mid/Tweeter

Dimensions (LHD): 706 x 414 x 305 mm / 27.8 x 16.3 x 12 inch
Net weight: 20 kg / 44 lb 0.8 oz

10 tubes:
EF80 EC92 EF85 ECH81 EM34 EAF42 EABC80 ECC40 2xEL12

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.
Interesting the high-tone control knob linked to two thin ropes. One of them is for the position indicator of the control itself, whereas the other changes the position of the ferrite in the MF transformers modifying the inclination of the transformer’s curve.
By doing so high tones were attenuated/accentuated even before getting to the BF stage. Tone control was usually put into effect with the potentiometer on the voltage amplifier stage

There are three loudspeakers, all produced by Grundig.

The main wide band measures 13.8 in of width for 7.9 in of height. It covers a part of the radio’s width ..... that is so big.
A very interesting feature is that they are equipped with an adjustable basket.
This allows me to centre the cone movement with respect to the magnetic system.

The electrostatic tweeter is mounted in front of the main wideband. This gives a considerable presence effect to the musical reproduction.
The coaxial lodspeakers allow to locate the position, the depth with respect to the listener, of the various instruments or of the voice with significant precision.
It is a solution that I have always appreciated and that is found in the best radio devices.

The mid-tweeter has an oversized magnet. It has to tolerate considerable power peaks because it is cut very low.
The acute are unexpectedly crystalline whilst remaining very sweet.

The cones are cellulose treated and they are to this day in perfect condition, without any deformation or structural failure.
Objects built when they had to last “at least” the life time of the owner.

bx998a - en

Philips BX998A – en

3rd March 20202nd June 2020
by giovanni

The Philips BX998A is the largest and most important radio a valvole device ever built by Philips.
It appears clear that only the performance and exclusivity required by the public to whom such device was addressed were taken into account in the design. There is no other commercial radio built in Europe which is equipped with 16 valves, some of which are double, for an equivalent of 22 single valves.
As I had the opportunity to discuss in the past with some lucky owners of this device, some valves could be saved, reducing the overall price of the device, but, clearly, the price was not the problem, on the contrary.

The Philips BX998A is equipped with some special features that make it exclusive in the context of European production of the time. These are:

- Motorized band selection
- Separate amplifiers for treble and bass
- Ironless Amplifier for the Bass (OTL)
- Double FM band with high and low sensitivity/quality
- Double Medium Wave band to store two simultaneous stations
- Two of the three shortwave bands with separate fine tuning
- High damping with feedback circuit
- High impedance woofer

All these precious things are analyzed in detail in the next page, so I won't talk about them here, in the general description.

The Philips BX998A has considerable dimensions with a front of 71 cm in width and 44 cm in height. The friezes of pure brass and the wooden surfaces of different colors significantly reduce the frontal impact of the cabinet, making it pleasant. The overall design is however the most classic and conservative that could be found at the time. Also in the design the orientation of the project to an audience of a specific social class is evident.

The bass are really deep. This is determined by the separate OTL amplifiers and the 26 cm diameter big woofer.
The excellent 17 cm diameter dual-cone mid-tweeter reproduces the medium and high range very softly.
The arrangement of the speakers favors frontal listening.

The High and Medium Frequency sections.
The FM group has high amplification and stability.
The FM Haute Qualité band is equipped with a automatic noise reduction in the presence of signals below 1.7 uV, the output is muted to avoid rustling and noises when searching for stations.
The deenphasis circuit is set to 50 uS, valid all over the world except for the USA and South Korea. In these countries the filter must be brought to 75 uS.
The AM section is equipped with an orientable antenna for the OM and OL bands. It can be controlled by the crown that surrounds the magic eye on the front.
The medium frequency sections are composed of 9 separate filters for AM and FM. With these filters it is possible to precisely adjust the sensitivity, selectivity and intervention of the noise suppressor.

The listening lacks the nervousness in the trebles which is necessary for the reproduction of Jazz, Rock and post Rock music. In fact, this radio is particularly suitable for listening to symphonic, lyrical and baroque music. The great choirs are expressed with incredilbe dynamism but, at the same time, the madrigal is reproduced with the necessary precision.
But what surprised me was listening to the bordone in Wagner's prelude to "Das Rheingold ". It is unlikely that a radio could do better with these musical genres.

The tracks chosen for the listening are dedicated to Dutch artists, such as the manufacturers of this device.
The first track is Pieter Bustijn's Suite N.6 in A min – Giga.
Pierre Bustijn (1649-1729) was a Flemish composer. Harpsichordist, organist and music box player.
Only his 9 Cembalo Suites survived the destruction of the Middelburg Archive during the Second World War. Almost nothing is known about him, but his nine harpsichord Suites were very popular at the time.
Bach's influence pervades the suites both in their melodies and in their form, clear in their elegant construction.
The second track, by Jan Pieterszoon Sweelinck, is taken from the 2012 KoninginnedagConcert requested by Queen Beatrice for the 450th anniversary of the composer's birth. Sweelinck studied with Gabrieli during his stay in Venice. Andrea Gabrieli (Venice 1510-1586), singer in San Marco, composer of madrigals and musics for triumphal occasions, such as the victory of Lepanto on 7 October 1571.
Sweelinck's great ability was to merge and renew the English counterpoint forms with the choirs of the Italian and German schools.
The reverberations and depth of live recording are noticeable when listening to the file.

The third track is dedicated to a Dutch harpsichord maker, Willem Kroesbergen.
It is a work by Bach, English Suites, interpreted by Masaaki Suzuki with a harpsichord built by Kroesbergen.
The harpsichord is the largest pluck and keybord instrument. It is used a lot in Baroque music as a continuum performer to build a solid sustenance plot for the piece. The sound is bright and full of harmonics.
Flanders were one of the most important harpsichord production centers. The instruments built by Kroesbergen are regularly used by soloists such as Ton Koopman and Masaaki Suzuki and by groups such as the Bach Collegium Japan and the Musica Antiqua Köln.
The fourth track is the Symphony No.1 "Pan" (1917) by Willem Pijper (1894-1947).
Of humble origin and self-taught, he was a pupil of Johan Wagenaar. He became director of the Rotterdam Conservatory, where practically all the Dutch composers of the 1900s were educated.
He was influenced by Mahler, Fauré, Debussy, up to evolve his research to contemporary music, inspired by Stravinsky and Schönberg.
The chosen track is taken from his first symphony, close to the Mahlerian symphonies. Pijper's later works will be very different.
The last song is by singer Anouk Teeuwe. The song is titled Nobody's Wife. Anouk is an award-winning Dutch singer, born in Den Haag in 1975. Her songs are of good quality, a pure and classical rock that is best expressed in concerts.

BLUETOOTH

Bluetooth receiver embed

PIATTAFORMA MULTICONNESSIONE

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

– 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.

In 1891, the brothers Gerard and Anton Philips, started to produce the first incandescent bulbs in Eindhoven.
Later, Philips specialized in the production of electro- medical equipment, and in 1918 introduced the first X-ray tube.
In the following years, Philips began specializing in the broadcasting industry. In 1932 the company succeeded in selling over one million radio equipment and became the world’s first producer.
During the Second World War, Philips transferred to the Netherlands Antilles, and returned to the Netherlands at the end of the conflict.
In the second post- war period, began the production of the first televisions, then the launch of the music cassettes in 1963 and the production of the first integrated circuit in 1965.
In 1982 Philips launched with Sony the first compact disc player.
In 1984 Philips acquired the control of the German Grundig.
In the 90's Philips faced a financial crisis.
In 1991 it inserted on the market the Video CD and it is one of the first companies in the world to develop high definition television.
In 1999 Philips established a joint venture with LG Electronics, named LG Display, which ends in 2009.
In 2006 together with Sony launched the first Blu-ray.
In 2009 Phillips launched the first full-HD LCD TV in 21:9 format.
Phillips holds 48,000 registered patents.
Currently, the production is focused on low- energy lighting products and LED systems and services for diagnostics and production of medical devices.

Year of production: 1955
Superetherodyne IF 452/10700
9 AM Circuits
11 FM Circuits
Wavebands::
Long Wave (150-345 KHz)
Medium Wave 1 (517-1620 KHz)
Medium Wave 2 (517-1620 KHz)
Short Wave 1 (1,6-5,2 MHz)
Short Wave 2 (5,1-15 MHz)
Short Wave3 (14,7-26,5 MHz)
FM 1 (87,5-100 MHz)
FM 2 (87,5-100 MHz)
Loudspeakers:
1 woofer
1 mid-tweeter
Dimensions (LHP): 710 x 440 x 317 mm / 28 x 17.3 x 12.5 inch
Net weight: 28,1 kg / 61 lb 15.9 oz
16 Tubes: 2xEBF80, ECH81, EF80, EC92, EM34, EF89,EF85, EAA91, ECC83, EBC41, 2xPL81, EL84, 2xEZ80

The output stages are two, distinct, one for low and one for high frequencies.

The first stage of the preamplifier is unique and drives both the output stages. It consists of a section of the ECC83 double triode.
On this section is the volume control with two physiological corrections of the frequency response (loudness). At the output of this section are the two Baxandall type tone controls. At this point the bass and trebles are divided.

The bass tone amplifier is of the SRPP (shunt regulated push pull) type, with no output transformer (known to be the critical point of the stadio finale).
This configuration is still used today in some HIGH-END voltage amplifier.
The output transformer limits the frequency response of the entire amplifier. The bass are limited by the primary winding inductance.
The two PL81 output tube of each channel are connected in series with DC-DC coupling. Each PL81 is configured as a triode.
The output is taken from the cathode of the first PL81. The speaker has an impedance of 700 ohms, identical to the average impedance that occurs on the cadhode, so direct coupling (without transformer) between the output stage and the speaker is possible.
Therefore, the Philips BX998A is totally free from all the problems deriving from the output transformers.
This amplifier controls a 26 cm woofer.

The treble amplifier consists of the second section of the ECC83 double triode and a output pentode, EL84, configured in class A.
The output transformer in this circuit has no critical issues anymore since it cannot be saturated by low frequencies. Moreover, this is a high quality transformer, with the winding layers alternating between primary and secondary.
Finally, the damping of the speaker is kept high by the low dynamic resistance of the feedback circuit.
This amplifier controls a 17 cm Mid-Tweeter.

Another feature of the Philips BX998A is the motorized band selection.
On this radio you can hear from nine different possible origins.
Long waves, two bands in medium waves, three bands in short waves, two bands in FM, auxiliary input (Bluetooth).
Given the mechanical complexity, and therefore the fragility, that would have been necessary to build a band selector suitable for Philips, they decided to divide the selector into two separate selectors, one rotating and one slide. The two selectors are mechanically connected to each other.
The rotating switch is operated by a motor which, thanks to a series of switches and cams, rotates the selector to the position determined by the band button that has been pushed.
This mechanism ensures regular rotation and protection of the contacts for a long time.
Of course, the mechanism must be cleaned and lubricated from time to time. Regular maintenance should be done at least every 10 years.
I understand that we live in an era where an 8-month device is considered obsolete, but for these machines it is not like that.

During the rotation of the motor, a Muting circuit start, therefore no annoying noise is reproduced on the speakers.

The tone control system is very efficient. Above the large knobs of the tone control, separate for highs and lows, there are two separate windows for low and trebles.
It is very nice to see the note that goes down in the pentagtam as the basses are accentuated in the window with the FA key and see the note that goes up in the pentagtam as the trebles are accentuated in the window with the treble klef.

The treble control knob is connected to the ferrite in the MF transformers and makes it vary the curve slope of the transformer itself. In this way, when in the AM bands, the trebles are accentuated even before the arrival in the amplifier stage.

german radios - en

Telefunken Opus 55 TS – en

10th November 201920th March 2020
by giovanni

Designed and created in 1954, the OPUS 55 TS was the flagship model of the entire Telefunken production for the years 1954-55.
Since 1949, Telefunken decided to distinguish by the name “OPUS” the radio models at the top of their production. In fact, the first Opus model is the 1949 OPUS 49. This denomination remains until 1978, when the last Opus model, the 7050 HI-FI, is produced. In the following years the different models will be distinguished by alphanumeric abbreviations, such as TR550 and such.

The restoration of this device was very challenging, as the chassis had been cannibalized. As a matter of fact, potentiometers, tube sockets, many components, wires were missing and the HF coils had been torn. In short, the device was in terrible conditions. But a machine like this deserved a much more glorious end and the final result proved us right.
The amplifier stage has been literally rebuilt, the very fine wires of the high frequency coils have been reconnected through a very meticulous work.
The phases of this challenging restoration are documented with photographs, which can be seen at the end of the page in the dedicated section.

The declared output power was 15W but judging by the scheme and the voltages it must deliver about 10.
The good amount of power delivered and the high efficiency of the 6 loudspeakers allow the Opus 55 to successfully sonorize large rooms.
The double medium frequency stage, the complex feedback network, the push-pull output stage make it a classy and elegant radio. The configuration of this device will remain pretty much unchanged also in the following models, until the transition to the production of stereophonic models.
The devices of the Opus series are still among the most wanted by collectors for their extremely high quality standard.

The songs in the playlist highlight the incredible virtuosity of the performers. All these tracks were chosen specifically to put the device to the test. Below is a brief description.

- The first song proposed is a flamenco. Inspired by Playa la Barrosa in Cadiz, Spain, it was composed and interpreted by Paco de Lucia. The talent of the Spanish Maestro makes flamenco enjoyable even for those approaching this peculiar musical genre for the first time.
- With the second track we fly to Paris to meet the Russian-Israeli trumpet player, Sergei Nakariakov. Known as “the Paganini of the trumpet”, Nakariakov's work is fascinating because it continuously experiments with transcriptions of songs composed for other instruments, such as the song proposed here, “Moto perpetuo”, written for violin by Paganini himself.
- The third song, known as “Vento d'inverno”, ranked as op.25 no.11 is a technical study written by F. Chopin in 1836. This study was specifically written with the purpose of developing technique and endurance. It deserves to be seen played live, as it is truly disconcerting. However, Chopin did not mean to impress his listeners with the demonstration of his skills, but he believed his fingers to be “handmaidens of his soul” and with his soul he wanted to be heard, not with ears (H. Heine).
- The fourth track is a 1987 song taken from the album “Surfing with the alien” by guitarist Joe Satriani. An album that was recorded on the cheap, with a very limited budget, the three guitars used by Satriani were modified by him and electronic instruments were used to simulate many drum effects. However, the album was extremely successful thanks to Satriani's skills and creativity. The proposed song is a remastered edition of 2014.
- The last track, “Drum solo”, is a live recording of a performance by Daniel John Erlandsson (Malmö, 1976). Erlandsson is a Swedish drummer, who became successful with the metal band Arch Enemy. It is characterized by a very precise ritmica suono that mixes classic metal passages with the death-metal typical of his band. The song is undoubtedly exciting even for the non-lovers of the Metal genre.

BLUETOOTH

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MULTI PLATFORM CONNNECTION

Each radio is equipped with a special cable that connects with any digital source.

DETAILS >

- Built-in Bluetooth receiver - This unit can be equipped with a BLUETOOTH receiver powered directly from the device. That makes it possible to use the amplifier from any digital device, IPAD, Smartphone, or sophisticated multimedia station. You can listen to your wireless Web Stations or favorite music around the room. On request, we can also mount a Wireless Receiver.

- Multi Platform connections - Along with the device, we can also provides you an impedance adapter cable to connect any digital source, such as iphone, smartphone, computer, CD player, etc. This purpose-built cable adapts different impedances of modern digital equipment. Also the two stereo channels are collected into a single flow without increasing the load input unit.

1903 To prevent the English Marconi Company from having a monopoly on wireless transmissions,,Kaiser Wilhelm II orders the company AEG and Siemens to set up a joint venture to develop wireless telegraphy in Germany. It was established under the name of Gesellschaft für drahtlose Telegrafen mbH.

1923 The company name is changed to Firmierung in Telefunken, Gesellschaft für drahtlose Telegrafen mbH. Abbreviated as Telefunken, where Tele means Telegraph and Funken means "Lightning" in the sense of being fast and immediate.

1930 Production gradually moves from military and Government equipment to the production of consumer appliances. During this period, Telefunken enters the market of radio-television, recorders and etching of records.

1930 As radio transmissions are now needed not only to transmit telegraph messages, but also true music and speech broadcasts, it becomes necessary to introduce the concept of sound compression, to avoid continual volume level changes of the radio. Telefunken designs and produces the U3, the first compressor for transmitting stations in the world,. TheU73b, as seen in the picture, represents the evolution of previous models—it allows you to change the compression level, the release times and the attack times.

1941 All Telefunken’s actions are transferred to AEG, which effectively becomes the sole owner of the trademark Telefunken, its factories and patents.

1948 Germany is not invited to the Copenhagen Conference, where the division of Medium and Short Wave radio frequencies of Central Europe is decided. The war has just ended, and officially Germany isn't considered as a technologically important nation. Because of this, Germany decides to develop FM broadcasts even if the quality of the transmissions is considerably higher than those in the AM. At this time, Telefunken develops the V72 microphone/amplification system and its evolutions, intended to be used in all German broadcasters and most European ones too, as well as at the most important recording studios, such as EMI, Decca, Telefunken, etc.

1955 The company becomes Telefunken GmbH.

1967 Telefunken is joined with AEG and the company becomes ‘’AEG-Telefunken’’.

1970 Poor management causes the company to lose market shares. AEG begins to outsource entire business segments and make constant rearrangements.

1985 Daimler-Benz AG buys what remains of AEG-Telefunken.

1996 The name Telefunken is cleared and all activities related to audio products stop.

Today The company name has been renewed in Telefunken Holding AG. Telefunken and its use worldwide are responsible for the name. In United States Telefunken USA buys the rights to build and market worldwide original microphones and some audio equipment under the brand Telefunken Elektroakustik.
The original company that helped spread the music throughout the world doesn’t exist anymore.

This device is equipped with a set of 6 loudspeakers.
Only the Saba Freiburg 14, the Nordmende Tannhauser 59 and some later models of the Opus series are equipped with the same number of loudspeakers. All other German radios, even top-quality ones, have 5 loudspeakers at most.
In the front we find two wideband loudspeakers and two electrostatic tweeters. These loudspeakers are very directional so they are fixed to a prism structure that directs them so that the resulting spread angle is as wide as possible.
Two 10 cm cone tweeter are placed on the sides, cut with a 6 dB/oct filter so that along with the treble they also reproduce medium-high frequencies. The whole audible spectrum is then spread evenly in all directions, granting the listener a complete freedom of movement.

The frontal loudspeakers visible in these photos are not Telefunken originals. All the other loudspeakers are original.

Inside the Cabinet there is a dipole to receive FM bands and Shortwaves. A ferrite rotating antenna is for long and medium waves reception. The ferrite antenna can be rotated from the outside to collect the maximum possible signal while receiving two AM bands.

In the picture you can see the entire mechanism of the antenna’s rotation. Using the internal antennas, the sensitivity is very good. Of course, under some conditions, using an external antenna further increases the receiver’s sensitivity.

german radios - en

Imperial J406W Stereo – en

9th May 201928th October 2019
by giovanni

Like all the Imperials, the Imperial J406W Stereo is also very beautiful.
The cabinet has an unusual shape, slightly wider at the top. This peculiar stylistic choice gives the device a majesty that is not common to most of other radios.
The golden vertical streaks, of different length and thickness, placed in the rounded front corners, remind of the grooves of the columns, increasing the impressiveness of the cabinet.
The particular manufacturing of the lateral canvases, where the weft intertwines with the warp in order to highlight some vertical lines, contributes to further hurl the silhouette of the cabinet.
The peculiar coloring of the wood, tending to red, and the shading adopted in the dyeing of the lower layer give further movement to the cabinet.
The final glossy painting completes the manufacturing.
The result of such stylistic choices and accurate workings is a slender, important and very elegant cabinet, easy to match with different types of furniture.

The sound is what I would call the “Family Sound” of the Imperial, clean trebles thanks to the electrostatic tweeter and very fast bass, without resonances, as they are reproduced by two elliptical speakers rather than just a very large one.
This device is particularly suitable for the reproduction of vocal music and electronic instruments.

Also on this model the name “stereo” is inappropriate. The device is monophonic. The use of two loudspeakers placed in an angled position does not make it stereophonic, the purpose is to allow a more uniform sound distribution in all directions.

Examining the circuit, an interesting peculiarity can be noticed, the polarization of the EL84 control grid is made by a negative voltage obtained from the power supply. The interesting thing is that a trimmer was inserted in the bias circuit, which allows to fix with precision the operating point in order to minimize the buzzing.
Of course, a feedback network is provided to linearize the frequency response.
The loudness circuit is obtained by tapping the preamplifier section from two taps on the volume potentiometer.

Also interesting is the equalizer controlled by the large central knob visible between the speaker panel and the display.
The use of the equalizer is explained later in the page.
The electronic section was clearly designed with the same care used for the cabinet.

The choice of the tracks of such a Teutonic brand was almost a judgement call. All the songs chosen in the playlist are dedicated to the music of German authors.

We are at the beginning of the 1200s. Art in Europe opens up to a noticeable internationalist impulse. The Minnesingers (love singers) in Germany, like the Trouvères in France, sing the beauty of love, nature and material happiness. Epic legends resemble each other, copy themselves, are adapted to one's own language. The exploits of the Christian Cavalry, composed of nobles from different nations, encourage this osmosis. It is in Germany, in this favourable climate, that the Ring of the Nibelungs appears. The Wartburg Castle was at the center of the German lyric and the reference to Wagner in his Tannhauser is clear here.
The first song is by Oswald von Wolkenstein, a late but highly refined Minnesinger. At this time the Nobility, with its values, is giving power to the bourgeoisie. The folk song is mixed with the Gregorian. The track in the playlist (A good noble man) is a good example of this.
From this series of artistic and cultural upheavals, the movement of the Cantor Masters was born.

With the second song we take a 600-years leap forward, we go visit the German opera with Carl Maria von Weber's Freischütz. This score made him the father of German musical Romanticism. The psychological research and the evocative drive are very strong in Weber's works, especially in this one. In the Freischüt we find prints of Beethoven and Mozart and this work will also serve as a stimulus for the French operatic school. Weber's numerous Lieds will also deserve a listening, in the near future.

With the third track we come to 1912. The listening here is more difficult at first, I am talking about Arnold Schomberg's Pierrot Lunaire, for speaking voice and instruments. Born in Vienna in 1874, Schomberg breaks with the sound of his predecessors, and that of his contemporaries like Strauss, experimenting abstract melodies without tonal supports, dissonances, to arrive to dodecaphony (compositions with 12 notes). The feature of music classified as “Expressionist” is the detachment from nature, tending towards more abstract productions, without material references. The connection with Expressionism and Cubism in painting appears clear. The difference between the Polytonality of some of Stravinski's works and the Atonality of those of Schomberg is also big.
The Pierrot Lunaire is based on a selection of tracks by the Belgian poet Albert Giraud.

With bold irreverence with the fourth song we get excited, without asking ourselves too many questions, with the beautiful Helene Fischer, who plays a great success of hers, Atemlos durch die Nacht (Breathless Through the Night). Helene Fischer is a singer, dancer and showoman, very popular in Germany. Her music is popular with young and old people, in the most modern cities as well as in the most conservative towns. Eclectic and reckless, yet extremely pragmatic personality, Helene is also involved in an association against child prostitution (roterkeil).

We close the playlist in peace with a beautiful track by Marcus Loeber, a German composer and pianist with a great experience and a generous artistic sensibility. From a strictly experiential point of view, together with Hildegard von Bingen's compositions, Marcus' piano songs are among the pieces that most realign me, when needed.
Below is his biography, entirely taken from his website.

BLUETOOTH

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

In 1923, long before the official launch of broadcasting in Germany, a little crew of specialists began AG in Staßfurt the development and production of radio devices.
At that time, workforce barely reached 20 people, but soon after the introduction of broadcasting in Germany, the number of employees grew to 400.
In 1927, more than 25.000 radios and a lot of components had been produced.
In 1928 it was the first German company to launch the superheterodyne receiver into the market.
The production of IMPERIAL receivers, which become known by the name “"Staßfurter Imperial", is started.
The products of this company quickly gain excellent reputation and sales increase to such an extent that the number of employees rises up to 600 in 1932.
In 1938 a more modern factory is built, of about 7000 square meters besides administration buildings and laboratories.
In 1939 the production increases and the number of employees rises up to 850.
During the war, the production of civil radio is interrupted, to make room to that of communication devices for Wehrmacht.
Another warehouse of 6000 square meters is built and the number of employees increases to 1700.
After the end of the War the company is expropriated but, thanks to the staff's strong persistence, the production is restarted.
In 1947, another company is created in Osterode / Harz under the name Continental Rundfunk GmbH.
In 1955 the number of employees rises up from 100 to over 500.
In 1958 the company is taken over by Gerhard Kubetschek, owner of KUBA, to whom the know how of the Continental Rundfunk are transferred.
The story of Kuba... is another story.

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 see the rotation mechanism and the position indicator of the aerial.
The reception sensitivity with internal aerials is very good. This unit was in fact produced in a period when there were not many radio stations and those available fairly apart from each others.
Using an external aerial sensitivity is further increased.

Two beautiful Isophon elliptical loudspeakers are located on the front, in a reclining position towards the sides.
On the sides there is an opening.
In this way the sound is perfectly audible both frontally and laterally.
Put to the test, this solution is better than the classical lateral positioning of the tweeters, as in this way the whole audible band is reproduced laterally, not only high frequences.

The loudspeakers are supported frontally by an efficient electrostatic loudspeaker.

The result is a very clean sound, especially in the listening of liquid music through bluetooth.

meistersuper 843w - en

Siemens Meistersuper 843W – en

8th March 201911th February 2021
by giovanni

The Siemens Meistersuper 843W was produced between 1954 and 1955 and had a good sales success, even though the lion's share was taken by the models of the Schatulle series.
The most interesting feature of this device is the unusual combination of the two large elliptical loudspeakers (26x18 cm) and the class A output stage.
The two large loudspeakers, equipped with a 10.000 Gauss magnet, can easily withstand the power developed by the final EL84. From the musical point of view, the quality of these speakers correspond to a very extended and rich bass frequency response. At the same time, the linearity of the class A amplifier provides soft and bright mid and high tones.

The cabinet is very refined.
The large size needed to include the two big loudspeakers are mitigated by some stylistic solutions that were later adopted on many models.
The side walls are, in fact, raised compared to the front side. The corners are rounded with different radii of curvature between the lower and upper sides. The streaks of the coating, moreover, are placed orthogonally to those of the front. Besides, the streaks of the edges are very pronounced. Finally, two thin golden lines interrupt the front edges in width.
All these expedients slim down the large cabinet, making it very pleasing to the eye as for its overall balance.
Moreover, the coatings were chosen and combined with ancient mastery, making the most of the contrast created by the streaks.
In this restoration we have tried to bring this cabinet back to its lively original character, without softening it nor hiding anything.

The tuning stability allows to find again a perfectly centred station, even if the radio has not been switched on in a few days.
The mechanics are “simple” and sturdy. The electronic parts are quite complex, but they have been completely restored, so no fear.

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MULTI PLATFORM CONNECTION

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

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 see the rotation mechanism and the position indicator of the aerial.
The reception sensitivity with internal aerials is very good. This unit was in fact produced in a period when there were not many radio stations and those available fairly apart from each others.
Using an external aerial sensitivity is further increased.

There are two loudspeakers, actually very large. In the long side they measure 26 cm and 18 cm in the short side.
Apart from being large, they are equipped with an alnico magnet that guarantees a 10.000 Gauss magnetic flux density.
The resulting efficiency is noticeable, so very little power is enough to produce a very high sound pressure.
Moreover, the profile of the cone is slightly trumpet-shaped, so that the high frequencies are effectively reproduced in the central part of the cone and the rest of the profile contributes to adapt the acoustic impedance between the membrane and the surrounding air.
The result is a very extensive reproduction, both at low and high frequencies.

It is no coincidence that this is one of the few devices with a single-ended amplifier that easily support the bass of the Area's track Luglio, Agosto, Settembre (Nero).

5080 - en

Grundig 5080 – en

21st February 201925th June 2024
by giovanni

The Grundig 5080 Hi-Fi Zauberklang is one of the most powerful devices produced by this brand.
Grundig used to produce different classes of equipment. Those of the 1xxx series are the cheapest, those of the 2xxx and 3xxx series are middle class, those of the 4xxx and 5xxx series are high class.
Of course, the 5080 Hi-Fi Zauberklang belongs to the best series, and it shows.

It is the most gifted of the Grundigs. Only the 4055 can compare, as for the power stage and the loudspeakers set, but without having the 5 bands equalizer, but having two FM dials.
All about the 5080 is designed for the best performance. The power stage with two EL84s in push-pull.
The 5 bands equalizer, even in this case no radio device has ever had more. (highlighted in yellow in the diagram).

Loudness circuit (highlighted in green in the diagram) on the feedback circuit (highlighted in red in the diagram), for an effective emphasis and contemporary distortion reduction.
An extra preamplifier stage to make the most of the actual capabilities of the push-pull to receive double the input signal.
A Medium Frequency stage more for a perfect tuning even in the most difficult situations.
The radio section is clearly at the highest level for the time, but listening to liquid or vinyl music is impressive.

Everyone remembers the famous Bose 901 box with 9 mini-woofers of 10 cm. With that many speakers they stimulated the imagination of us all when they were launched on the market.
Well, the Bose 901 had a radiant surface of 700 cm2. The sum of the surface of all the speakers together covered an area of 700 cm2.
The speakers of this Grundig cover an area of about 1100 cm2 ... excluding the two tweeters from the calculation!!!
The radiant surface is not everything, of course, but this extreme simplification can already give an idea of the performance this machine is capable of.

BLUETOOTH

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MULTI PLATFORM CONNECTION

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

- Bluetooth receiver embedded - The unit can be 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. can 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.

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

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 see the rotation mechanism and the position indicator of the aerial.
The reception sensitivity with internal aerials is very good. This unit was in fact produced in a period when there were not many radio stations and those available fairly apart from each others.
Using an external aerial sensitivity is further increased.

As indicated in the initial description, there are five speakers. They are placed on the three sides of the device.

The main cone is a huge elliptical broad-band measuring 31 x 19 cm. It is made of sturdy alloy and has an Alnico magnet.
The dimensions of the magnet are considerable and also the weight of the speaker reveals its sturdiness.
In fact, it has to support the energy given by two EL84s.
The curve of the cone is of the exponential type, as befits a very high quality broad-band.

The two electrostatic tweeters in front cover the highest audible frequency range.
On both sides there are two 25 x 17 cm broad-bands of Grundig production, also very efficient.

The final result is clearly a powerful sound, with very deep and fast bass.
The mid is also very clear and the voices are credible and highlighted, never mixed up.
The treble are bright but sweet, not strident.

An important musicality to be a radio.

german radios - en

Graetz Melodia 14F – en

4th February 201925th February 2019
by giovanni

The Graetz Melodia 14F immediately distinguishes itself from the other devices produced in the mid-60s by the prestigious brand of Berlin for the very modern look, which used to make large use of metals and plastics.
This interesting design experiment is found, apart from the Melodia 14F, only on the Stereo Unit 250 model.
Comparing, in the pictures on the right, the Melodia 1118 model – the production of which was only finished the year before – and the Melodia 14F, it is impossible not to be impressed by the incredible stylistic evolution of the two devices.

Graetz products have always been characterized by a meticulous and refined design, but in the 1960s there was a real acceleration, which anticipated one of the greatest creative movements of the 1970s, known as the "Space Age".
From the famous "Ball Chair" of the great Finnish designer Eero Aarnio to the Eclisse Lamp of the Italian Vico Magistretti.
The Space Age experiments with new materials and this allows to explore new shapes, previously difficult to build.
In those years, many companies realized some unsurpassed technological “objects”, in great demand nowadays.
Among the producers of technological equipment I mention only – apart from the Graetz with the Melodia 14F Stereo Unit 250, of course – the Grundig with the series of spherical HI-FI speakers AudioRama and the Italian Brionvega with its Algol TV and the Radio Cubo.

In '64, Charles Mingus left the contrabass to record the album “Mingus Plays Piano”, “The Velvet Underground” and “The Who” made their debut, in Italy the group “The Giants” was formed and I conclude the review stealing their battle cry - “Put flowers in your cannons ..."

The Amplifier Section consists of an EL84 in A class for each channel, driven by a section of the doppio triodo ECC83.
The Volume potentiometer is equipped with loudness terminal (Yellow). As known, in fact, when listening to very low volume the basse and the acute notes are not perceived with the same sound intensity as the medie notes, which seem to be clearly predominant.

The Balance (Blue) is inserted between the two channels at the output of the preamplifier.

The Feedback network (Red) was designed to reduce distortion and equalize the risposta in frequenza of the device. In fact, the device is equipped with independent loudspeakers for each channel. Although these loudspeakers are broadband and of excellent quality, they cannot faithfully reproduce the entire audible band. Their frequency response, in fact, decays at the extremes, in particular the low one. The feedback network compensates for the efficiency drop of the loudspeakers at the two ends of the frequency. The result is a surprisingly linear response on a very extensive frequency band. You do not expect a sound like that from such small loudspeakers, and this is how it was obtained.

The Radio Section is very refined, too.
The most interesting feature is the high selectivity of this device, due to the double IF amplifier. In fact, the two EF89 and the numerous MF transformers are visible in the photos.
In FM was even implemented an additional transformer tuned into the converter, in order to make the reception of these frequencies even more stable and insensitive to disturbances.

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MULTI PLATFORM CONNECTION

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

The loudspeakers are two Lorenz LP 1318/19/105 AF with alnico magnet. They are very efficient. So, the 4 watts of each of the two channels is transformed into a noticeable acoustic pressure.
For a “normal” volume listening, not annoying, the knob is positioned at 11 o'clock.
The sound power is therefore more than enough to sonorize also medium-sized environments.

In this way the dynamic response is very prompt, and the lows are slowed down but very present.
This feature allows to take full advantage of the AUX input with lossesless digital files or CDs providing a brilliant and dynamic reproduction.

german radios - en

Saba Studio I Automatic – en

8th January 201911th December 2020
by giovanni

Saba Studio I is the latest Saba receiver built entirely with tubes, apart from the multiplexer. The next devices will have tube tuner section but solid state amplifier stage. A few years later the devices will be completely solid state.
This receiver constitutes an element of break in Saba's production. It sanctions the transition from a design that had remained unaltered from 1953 to a modern, essential and functional idea of industrial design.
The classic canons in the front panels of the German receivers are abandoned, like the windows with the tone controls indication, the tone knobs placed on the keyboard, the knobs symmetrically arranged on the sides of the dial glass etc.
The commands are grouped in the right side of the front panel. They are essential and simple to understand and use. They are also simple to build, which leads to a reduction in the risk of failure.
All the following devices will adopt this rationalization of the front, whose design philosophy will remain valid until the introduction of touch-control displays.

A second break with the past is the engineering oriented to the compaction of the elements.

Everything on this machine has been designed to reduce its size. This is a result that is difficult to obtain on a top range device.
Unfortunately, the restoration of this device was particularly complex due to the need to dismantle many components and entire schede in order to access the circuit sections in question.

The final stage uses excellent ECC808 double triode as preamplifiers and ECLL800 double pentode and triode as final tubes.
Also the radio section uses all multiple tubes, in order to contain the overall dimensions.

The Automatic Frequency Control is very efficient, in fact the frequency stability of this device is well known.
The sound is sweet and well defined, especially thanks to the large output transformators that do not saturate even at high levels of listening.
But the most important advantage is the use of separate loudspeaker boxes. First the cabinet is much more compact, and this makes it easier to place it in the room, second because it is possible to pair the device with the most suitable loudspeakers and place them in the most appropriate way for ideal listening.

These possibilities that the receivers offer, including the Saba Studio I, are very important. If well used they can radically change the sound of a system.
I quote the indication I gave in the description of Saba Freiburg Studio A, as I consider it very important.

Do not place the electronics between the two loudspeakers.

In the pictures the receiver is in the middle of the two loudspeakers, are exclusively for photographic needs.
In a real configuration it must be placed on one side.
Listening to music is a total experience and captivates other senses beyond hearing. Try to listen to a track in the dark and then listen to the same track in the light in your home. Also, listen to the same track used as a soundtrack watching a film. Lastly, try to listen to the same track once more watching the video of the concert.
In all these cases, and in many other situations, the brain will detect and develop sound in different ways. It will create different feelings even though we are listening to the same track.
Placing the electronics in the middle of the loudspeakers distorts our perception of the sound.

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MULTI PLATFORM CONNECTION

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

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.

Most of the radios and receivers do not have a stereo decoder, so listen in stereo is only possible when the phono input is selected.
Saba Studio I Automatic, instead, is equipped with the Saba E1 stereo decoder, so actual stereo listening is also possible in FM.

When pushed, the stereo button allows the listening and reception of FM stations in stereo.
If you are listening to an FM station that is broadcasting in stereo, this button inserts the stereo decoder, and the left and right channels work separately.
If the button is not pushed (mono) the input of the two channels is shorted, then the left and right channels process the same signal.

162w - en

Graetz Fantasia 922 Luxus – Stereosuper – en

11th October 20188th March 2022
by giovanni

Graetz is one of the most prestigious German radio manufacturers. The Graetz Fantasia 922 Luxus - Stereosuper was the flagship model in 1960.
Graetz devices have always been appreciated for their refined and elegant finish, as much as for the innovative acoustic solutions and their respective patents.
In designing the line of their flagship model, Graetz designers chose a classical and statuary kind of elegance.
The cabinet is in dark wood and the paint is very shiny. The sides with their variable width make the profile look slimmer. The base looks wide and solid, without making cabinet look heavy.
The strongly embossed texture of the canvas covering the speakers, the golden lines highlighted on the dark display and the light knobs make the visual impression even more pleasant and lively.
The stylistic attention, as in Graetz's tradition, is very accurate.

The Amplifier Section is the best that could be imagined at the time.
The Volume potentiometer has two sockets for loudness (red). As known, in fact, when listening at a very low volume the bass frequencies and the treble are not perceived with the same sound intensity as the mid, which appear to be predominant.
The loudness modifies the response of the preamplifier stage specularly to the Fletcher-Munson curves. This allows to maintain the correct perception of the sound, even at low volume levels.

The Tone Control was designed using the complex Baxandall circuit (green). The advantage of such circuit is its high precision, while the disadvantages are its cost and construction complexity. Much simpler and cheaper circuits were normally used. But not in this device.

The Balance (pink) is inserted into the feedback circuit. It works by changing the percentage of signal that is downgraded/relegated to each of the two channels. This signal is in inverted phase compared to the main signal. In this way, by acting on the balance, the level of one channel is lowered in comparison with the other and, at the same time, the distortion is reduced.
By turning the knob at the ends, this type of balance does not cause a reset of the volume of the channels as in the modern balance control, but it is to be considered a “fine” adjustment of the level between the two channels.

The Phase Inverter (blue) is of the Catodina type. As an advantage, it is very well-balanced. This circuit is still used in hi-fi amplifiers.

The Push-Pull section (blue) uses two separate tubes (EL95) for each channel. The EL95 are pentodi expressly designed for audio use.
In the receivers, even high-class, provided with Push-Pull output power, bulbs were normally used, which enclosed multiple valves (ELL80, ECLL800). In this way, space and components were saved. But if one of the pentods inside thei complex tube decays differently, the reproduction is altered, with an exponential increase in the crossover distortion. These multiple tubes, once common, are rare and expensive today, so the replacement can be economically significant. The use of separate pentods, as in the Graetz Fantasia 922, eliminates this problem, and it is possible to select pairs of EL95 with the same characteristics.
Only the Graetz Fantasia 922 and 1022 and the Telefunken Opus 2430/2550 use 4 x EL95 in the stadio finale.

The Tuner Section is also very well taken care of.
The most interesting feature is the high selectivity of this device, due to the twin IF stage. The two EF89 pentods and the numerous IF transformers, in fact, are visible in the photos.
In FM an additional transformer has been implemented, accordato all'interno del convertitore in order to make more stable and insensibile ai disturbi the reception of such frequencies.

Finally, the L0udspeakers set.
The Graetz 922 Luxus features 6 loudspeakers. Four are placed frontally and two on the sides.
The four front loudspeakers are two tweeters and two oval wideband. The tweeters are placed in front of the wideband, on the same axis. This particular arrangement has the great advantage of making the origin of the sound close to that produced by a point source.
This characteristic corresponds to a very linear scatter diagram, and therefore to a much more regular realistic sound image than if the tweeters and the woofers were placed side by side.
The two loudspeakers placed on sides are, at such power level, the mid / tweeters, and allow a balanced listening from any position with respect to the radio, frontally or sideways.

This last feature makes the device very enjoyable as for daily listening. You will no longer want to turn on the HI-FI system ...

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

As previously mentioned, the most luxurious model produced by Graetz in 1960, the Fantasia 922, features 6 permanent magnet speakers.
The low and middle notes are reproduced by two large conical speakers, elliptical 26x17 cm.

High-pitched notes are reproduced by four cone loudspeakers. Two measuring 10 cm and two 6cm.

From the acoustic point of view, the interesting thing is not only the number of loudspeakers, but also their placement. The two 6 cm tweeters, in fact, are attached to the frontal Mid/Woofer, in a concentric position.
This is always my favourite placement and it is used in many of the best modern diffusers, such as KEF, TAD and Tannoy and many more.
The main advantage of a coaxial is the linearity of the off-axis response, both on the horizontal and vertical plane.
With the traditional positioning of the loudspeakers, the mid/woofer next to the tweeter, the off-axis listening is consistently disturbed by the phase cancellations caused by the length differences of the route between the two drivers.
The 3D graphics on the side display the measurements off the vertical axis of a box with coaxial loudspeaker KEF LS50 and one with traditional positioning of the YG Anat III. The difference is noticeable. (source: www.acousticfrontiers.com )

While frontally such an excellent configuration was used, what was done laterally is no less. In fact, on each side was installed a cone tweeter, protected by a metallic dome, Isophon HS10.
This loudspeaker has a very wide frequency response, from 1.000 to 20.000 Hz. So that all frequencies with pretty strong directivity features are reproduced also laterally.
The response to low frequencies is entrusted to the big frontal elliptics. In fact, low-frequency waves – as they are not directive by nature – do not need lateral loudspeakers in order to be perceived.

With this set of loudspeakers placed as described, the response is clearly quite linear from all angles, frontally, laterally and three-quarter.

As they are loudspeakers with an Alnico magnet, they are very efficient. The 7 Watts of each of the two channels are transformed into a noticeable acoustic pressure.
To provide a reference, during the listening at “normal” volume, not bothersome, a 0,2 Watt power delivery on the loudspeakers is measured.
The sound power is thus amply sufficient to sonorize even large environments.
The use of two separate Mid/Woofers has another advantage. The cones have less inertia compared to a larger single cone. In this way, the dynamic response is quick, and the lows are curbed and without resonance.
This feature allows to make the most of the AUX-in with lossesless digital files or CD, providing a brilliant reproduction rich in dynamism.

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.

By pushing any of the Klangregister buttons, the tone-controls are excluded, since the frequencies connected with the chosen button are enhanced.
For this reason, the lights that enlighten the scale which indicates the tone-control position are turned off, too. They can be turned on again by pushing the Raumklang button and switching back to the manual setting of the favourite response curve.

Left from the top:
- The Magic Eye that indicates the perfect tuning of each station.
- The antenna position indicator.

- The volume control (with built-in loudness)
- Axially this balancing.
- The rotation command of the ferrite antenna is still in axis.

- The bass control knob

In the center:
The AM display for long, medium, short waves and the FM display.

Right from the top:
The BANDBREITE indicator (High / Low selectivity in AM)
The tuning knob, whose movement is very pleasant being supported by a large flywheel
On the same axis there is a selector to control the selectivity in AM.
-The treble control knob.