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Grundig 5005W Enhanced- en

21st February 202421st February 2024
by giovanni

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.

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

CONNESSIONE A DISPOSITIVI DIGITALI

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.

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: 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

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

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.

brionvega - en

Brionvega RR126 Alexa – en

30th May 202321st September 2023
by giovanni

This page is the result of an eccentric and courageous request sent to us by a particularly demanding customer.

We were asked to set up a Brionvega RR126 radiophonograph to be managed by voice commands ALEXA.
We studied the problem and made the necessary modifications and inserted actuators so that this RR126 works with voice command.
As you can see in the video, this device turns on and off, adjusts the volume, chooses songs with voice commands, in this case implemented by Alexa.
Although tested with ALEXA this special version of RR126 works with any voice assistant, be it Siri on Apple HomePod, Google Assistant on Nest mini and of course Amazon Alexa on board Echo Dot!
And of course it also works with traditional controls, like a normal Brionvega RR126.

ready for sale - en

Saba Meersburg W4 – en

25th May 202327th May 2023
by giovanni

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.

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

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.

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.

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

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.

german radios - en

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german radios - en

Nordmende Tannhauser 59 – en

15th March 202317th June 2023
by giovanni

Nordmende Tannhäuser 59

Tannhäuser, born into a family of knights in Salzburg, took part maybe in the sixth Crusade of 1228 and led a wandering life as a poet and a bard. He attended the court of Duke Frederick II in Vienna.
According to legend, during his life Tannhäuser found the Venusburg (mount of Venus), the subterranean reign of Venus, and lived with her for one year. He then left the goddess, full of remorse, and undertook a journey to Rome, in order to ask Pope Urban IV for forgiveness. The Pope reminded him that such sins lead to eternal damnation and promised to forgive him only in the event of a miracle: the appearance of flowers on his cane. Three days later Tannhäuser returned to Vienna and the cane bloomed.

The legend was put into music by Richard Wagner in his Tannhäuser.

Nordmende, in its heyday of technological growth, decided to name “Tannhäuser” its best device ever produced.
A device designed to represent the crest of the technical perfection of its time and extreme attention to detail.
The output stage is composed of a pair of EL84 in Push-Pull. The phase inversion is carried out with a section of the double triode ECC82 in Cathodyne configuration. This kind of inverter has an advantage, the possibility to be connected directly to its previous stage. Such stage consists of the remaining section of the double triode ECC82, which provides for the amplification of the signal after the attenuation deriving from the tone control circuit.
The triode contained in the multifunction valve EABC80 constitutes the input preamplifier and receives a signal from a logarithmic potentiometer with 3 intermediate sockets for a complex and very accurate physiological volume control circuit.

The radio section is of the same high quality. An additional medium frequency stage is present, in order to increase the selectivity.
This allows the receipt of transmissions, especially in FM, particularly stable and free from disturbance.

The complex of loudspeakers, moreover, is really impressive. All the loudspeakers are made by Isophon.
The reproduction of low and medium frequencies is ensured by a big elliptic woofer P 2031/19/105 which measures 31 cm in length and 20 in height.
To trebles, instead, are dedicated 5 loudspeakers built with 2 different technologies.
Frontally we have a 13 cm midrange for a soft reproduction, perfectly integrated with that of the woofer.
On each side was placed the famous HM 10/12/70 cone tweeter and an ST HB7 electrostatic tweeter

As Baudelaire wrote, the Tannhäuser represents the struggle between the two principles which choose the human heart as their battlefield, that is the flesh against the spirit.
Nordmende honoured this great piece of work with the realisation of its best product.

Frontally, we can find the famous cone tweeter HM 10/12/70 The trumpet exit of a DKS 6/13/100 and an electrostatic tweeter ST HB7 were put on each side.

BLUETOOTH

Bluetooth receiver embedded

MULTI PLATFORM CONNECTION

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

- Bluetooth receiver embedded - 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.

In 1923 Otto Hermann Mende founded Radio H. Mende & Co. in Dresden. After the bombing of the factory in 1945, Martin Mende (son of the founder) created a new company in Bremen, the "North German Mende Broadcast GmbH" whose name was later changed into NORDMENDE.

In the 50s and 60s it became one of the most prestigious German TV and radios manufacturer.

In the 70s the televisions by NORDMENDE became famous for their frames, cards and for the rigorous testing and quality controls carried out on their finished products. Unfortunately, the high cost involved in such detailed quality determined a competitive disadvantage when the price of color television began to fall.

In 1977 the majority of the shares was sold to the French Thomson. The following year, the family sold the remaining shares. In 1980, the factories of Bremen was closed, NORDMENDE becoming purely a trademark of Thomson.

Thanks Dan Ludington for the image.

The device has been equipped with a frequency response correction system independent of the tone controls.
It is made up of 5 keys which insert predefined equalization curves operating on the feedback circuit (they are not passive filters).

The Bass key emphasizes bass tones.
The Sprache key boosts the mid-range for cleaner listening to spoken broadcasts.
The Expander key (the large central one) inserts a feedback curve that slightly favors the mid-bass tones, increasing the sense of space.
The Solo key slightly accentuates the mid-tones for easier listening to single instruments.
The Jazz key greatly emphasizes the low and high tones to facilitate listening to this musical genre.

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.

Above the dial, in the loudspeakers panel we find the series of buttons of the Bandbreite Schltbar, previously described.
Moving downwards on the tuning-dial, we first find the magical eye, which indicates the perfect tuning of each station. Below, we find the volume control (with integrated loudness).
By pulling the volume knob, the circuit which powers selectivity in the AM bands is inserted.
From the top down are then indicated the AM dial for Long, Medium and Short bands and below we find the FM dial.
Moving further right, we find the indicator of the position of the ferrite aerial.
Finally, there is the tuning knob, which movement is very pleasant as it is supported by a big flywheel.
Coaxial to the harmony knob is the knob which rotates the ferrite aerial.
Below on the left we find the treble control knob set in a nice bakelite casing with ivory effect.

brionvega - en

Brionvega Totem RR130 – en

2nd January 201921st September 2023
by giovanni

Brionvega is certainly the Italian brand of electronic equipment that left the deepest mark in the history of world design.
On this page, one of the most beautiful equipment of the Brionvega is presented: the TOTEM RR130.
It was designed by the architect and designer Mario Bellini in 1970.

Eight times Compasso d'Oro, Bellini counts among his most famous creations the Centro Espositivo e Congressuale di Villa Erba (Exhibition and Congress Center of Villa Erba) in Cernobbio, the Tokyo Design Center in Japan, the America Headquarters of Natuzzi in the United States, the National Gallery of Victoria in Melbourne, the Headquarters of the Deutsche Bank in Frankfurt, the Department of Islamic Arts at the Louvre in Paris, the new Convention Center in Milan.

The Brionvega Totem, along with others of Bellini's works, is exhibited at the MOMA in New York. It is visible on this page of the museum.

When closed it looks like a smooth cube of 51 cm per side.
Once opened, the turntable, the console and the two adjustable and removable speakers are found.
The turntable is a beautiful DUAL 1257 with a magnetic cartridge DUAL DN145E. The turntable and the cartridge will be analysed in detail later.
The central body includes a 22W stereo amplifier, an AM/FM tuner and a muzak receiver.

The Totem project follows the famous RR126 Radiofonografo. The two devices share different circuits, but several improvements and updates have been implemented in the Totem.

The acoustic quality is interesting. Leaving the speakers in their rotating supports, the distance between them is sufficient to guarantee a fair stereo separation, even if the best results are surely obtained by extracting the speakers from their supports and placing them at a distance of more than 1,5 meters.
The power is more than enough to fill medium-sized environments.
Rather than the frequency response, which is still quite linear, the most interesting feature is the kind of musicality the device can express. In fact, the sound is warm and mellow, close to the sound of tube amplifiers. This result derives from the type of circuit with a low negative feedback rate and the use of fair components, in complete contrast to the projects of Japanese derivation that were so fashionable in the 1970s.

A musicality with these features, a brilliant design, such a strong personality have determined its remarkable commercial success.

In our restorations we propose a small modification to the loudspeakers by equipping them with a brighter tweeter, which associated with the insertion of a bluetooth 5.1 circuit or of a wi-fi connection allows the listening of liquid music or any web-station of the world with a satisfying level of pleasantness in the listening.

The aesthetic remains absolutely unaltered but the sound changes significantly, becoming considerably more precise and free of disturbances.

Almost all the devices that are sent to us are stained, yellowed and with damaged edges.
For this reason we have equipped ourselves for the total double repainting (white and anthracite) and the screen printing of all the front and back writings.

These incredible restorations are photographically documented at the bottom of the page in the dedicated section.

BLUETOOTH

Bluetooth receiver embed

CONNESSIONE A DISPOSITIVI DIGITALI

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.

In 1945 in Milan, Giuseppe Brion and the engineer Leone Pajetta founded the B.P.M. (Brion Pajetta Milano), electronic component production company.
At the beginning of the 50s the company specialized in the production of radio devices and becomes the Vega B.P. Radio.
At the beginning of the 60s specialized in the production of Tvs and becomes Radio Vega Television.
In 1963, the company takes the definitive name of Brionvega.

Brionvega since ever had world-known designers and produced objects that are exposed in the most famous international museums.
Among the firsts designers Zanuso and Sapper, 1964, that projected the portable TV Algol 11 (picture on the bottom left) and the radio TS 502, the “cube” (picutre on the bottom right).
In 1965 the Castiglioni brothers (ppicture on the top left) signed then the Stereophonic Radiofonografo RR126.
In 1970 the designer Mario Bellini traces the shape of the stereo system “Totem” (picture on the top right).
In 1992, the company is sold by the Brion family to the Seleco.
In 1997 Seleco goes out of business and Brionvega, controlled, does so.
In 2004 SIM2 Multimedia has acquired the part of the Brionvega company dedicated to the radio production.
In 2010 SIM2 Multimedia acquires also the TV sector of the historical italian brand.

TURNTABLE

The turntable used in the Totem is the DUAL 1257.
This is an excellent semi-automatic equipped with a DUAL 16-pole motor, with belt transmission and a very heavy plate, for an excellent rotation stability; wow and flutter, in fact, remain within a small 0,05%.
The belt transmission and the detachment of all the not necessary mechanisms during operation allow to reach a signal / noise ratio of 68dB.
The 1257 is equipped with stroboscope and fine adjustment of the speed. It is also provided with micrometric adjustment of the bracket weight and separate Antiskating settings for Conical or Elliptical stylus.

VOLUME CONTROLS

The Totem RR130 is equipped with two separate volume controls.
- The first (LOUDNESS) changes the level by automatically changing the frequency response curve according to a physiological criterion (at low volume the bass and treble are enhanced).
- The second (VOLUME) changes the level, leaving the frequency response curve unchanged.
Both commands increase the overall output level.

Listening to LOW LEVEL: turn the volume knob to maximum and act only on the loudness knob to get the desired level.
Listening to MEDIUM LEVEL: turn the volume knob halfway and turn the loudness knob to get the desired level.
Listening to HIGH LEVEL: act on both the volume and loudness knobs to get the desired level.

Each speaker is equipped with three cone speakers, a woofer, a midrange and a tweeter.

Curious is the electrical connections between loudspeakers and amplifier. It is obtained simply by inserting the loudspeakers box into the appropriate support tube, equipped with slide contacts.

The woofer and the mid are quite adequate to the characteristics of the amplifier.
The tweeter is a little silky, soft, it lacks a bit in transparency in the higher frequencies.
This feature was totally irrelevant in radio reproduction, while using the Totem for listening to liquid music or other digital sources we prefer to replace the tweeter with a more modern and brilliant one.
Also the reproduction of vinyls benefits considerably from this.
Of course, in our restorations, the modification leaves the external aesthetics completely unchanged.