Uncategorised Archives – Luxuryradios

Graetz Präludium 23F – fr

6th septembre 202430th septembre 2024
par giovanni

From the Second World War until the 1960s, Graetz was considered one of the most prestigious radio manufacturers, although it never achieved high sales performances due to the high cost and economic conditions of Europe at that time.
Graetz devices have always been appreciated both for their elegant and refined finish but above all, for the constant search for innovative acoustic solutions and the related patents.
The Graetz Präludium 23F was the most prestigious stereo receiver produced by Graetz from 1966 to 1968.
It is the last tube receiver produced by Graetz. It therefore benefited from all the know-how on tube amplifiers developed by the Berlin company since 1932.
In that period every important manufacturer, German or Japanese, offered a model of receiver, "Receiver" in German. Telefunken produced the two models Opus 2430 and 2550, Nordmende produced the Steuergerät 3004 Stereo, Grundig the Stereomeister series, 300, 3000, 15.
With this device, Graetz entered the delicate sector of "High Fidelity" devices as conceived in that period.
The tuner section is equipped with a multiplexer so that stations that broadcast in stereo are received in stereo, a real gem for the time.
The FM converter is equipped with AFC (Automatic Frequency Control) so that when you tune in close to an FM station the Praludium automatically centers itself at the point of maximum emission making listening pleasant and free from disturbances, as far as the reception conditions allow.
The low frequency stage is classic but with some interesting details. The Volume potentiometer for example is equipped with three sockets for a more progressive variation of the Loudness correction level, thus avoiding the annoying variation of the response curve as the Volume of the device increases, typical of simpler devices equipped with only one or in the best of cases two sockets on the potentiometer.
The feedback circuit and tone control are much simplified compared to the previous configurations used by Graetz designers. The feedback level remains low, ensuring a natural and stable sound.
The controls are very soft, simple and intuitive to operate.

The acoustic tests and recordings that we normally publish for each device on the Compilation page were not carried out because the result would depend mostly on the speakers chosen and not so much on the device itself.

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 a factory complex 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.

Uncategorised

Grundig 4055/56 Enhanced – fr

6th février 202428th décembre 2024
par 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 4055/56 was the most prestigious model produced by the German company in 1956.

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

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

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

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

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

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

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

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

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

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

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

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

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

BLUETOOTH

Bluetooth receiver embedn

MULTI PLATFORM CONNECTION

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

– 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

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.

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 - fr

PHILIPS SATURN STEREO 851 – fr

1st avril 20236th avril 2023
par giovanni

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

Uncategorised

Saba Freiburg 3DS – fr

9th mai 202215th mai 2023
par giovanni

Uncategorised

Nordmende Tannhauser 55 – 108 MHz – fr

9th mai 202218th mars 2023
par giovanni

Uncategorised

Philips BX998A – fr

4th mars 202020th mars 2020
par giovanni

La Philips BX998A est le plus grand et le plus important appareil radio à valves jamais construit par la Philips.
Dans sa conception on n’a tenu compte évidemment que des prestations et de l’exclusivité que le publique, auquel elle s’adressait, demandait. Il n’y a pas d’autre radio construite en Europe douée de 16 valves, dont certaines à double, pour un équivalent de 22 valves singles.
Comme j’ai eu déjà façon de discuter dans le passé avec des personnes heureuses qui avaient cet appareil, des valves pouvaient être sauvées, en réduisant le prix total de l’appareil, mais bien évidemment le prix n’était pas le vrai problème, au contraire.

La Philips BX998A est douée des particularités qui lui donnent un caractère d’exclusivité dans le panorama de la production européenne. Celles-ci sont :

- Sélection de gamme motorisée
- Amplificateurs Séparés pour les hauts et les bas
- Amplificateurs des bas couplés sans aucun transformateur en sortie(OTL)
- Double bande FM à haute et basse sensibilité/qualité
- Double bande Ondes Moyennes pour mémorisation de deux stations au même temps
- Deux des trois bandes à Petites Ondes avec Réglage Fin Séparé
- Amortissement élevé en contreréaction
- Woofer à haute impédance.

Toutes ces préciosités sont analysées avec détail dans la page suivante, donc je ne vais pas parler d’elles ici, dans la description générale.

La Philips BX998A a des dimensions vraiment grandes avec un devant de 71 cm de largeur et 44 de hauteur.
Les frises en laiton pur et les surfaces en bois avec des couleurs différentes réduisent considérablement l’impact frontal du meuble, le réduisant mouvementé et agréable. De toute façon le design dans son ensemble est ce qu’il y a de plus classique et conservateur pour son époque. Même dans son design, donc, on met en évidence l’orientation du projet vers un publique d’une classe sociale déterminée.

Les bas sont vraiment très profonds. Cela résulte des amplificateurs OTL séparés et du grand woofer de 26 cm de diamètre.
Le très bon mid-tweeter bicône de 17 cm de diamètre reproduit d’une façon très souple la gamme moyenne et aigue.
La disposition des haut-parleurs favorise l’écoute frontale.

Les sections de Haute et Fréquence Moyenne.
Le groupe FM a une amplification et une stabilité très élevées.
La bande FM Haute Qualité est douée de suppresseur de bruit automatique en présence de signaux sous 1.7 uV la sortie est silencieuse pour éviter d’entendre des bruissements et des troubles pendant la recherche des stations.
Le circuit de de-emphase est sélectionné sur 50 uS valable dans le monde entier à exception des Etats Unis et de la Corée du Sud. Dans ces nations –ci le filtre doit être porté à 75 uS.
La section AM est douée d’antenne tournante pour le bandes OM et OL. On peut contrôler l’antenne grâce à une couronne qui entoure l’œil magique sur le devant.
Les sections de fréquence moyenne sont composées de 9 filtres séparés pour AM et pour FM. Avec ces filtres il est possible de régler avec précision la sensibilité, la sélectivité et l’intervention du sélecteur de bruit.

A’ l’écoute il manque un peu de nervosité dans les aigues, nervosité qui est nécessaire à la production de la musique Jazz, Rock et Post Rock. Cette radio en effet est particulièrement indiquée pour l’écoute di musique symphonique et lyrique et baroque. Les grands chœurs sont exprimés avec un dynamisme étonnant mais au même temps le madrigal est reproduit avec la précision requise.
Mais ce qui m’a surpris a été l’écoute du bourdon dans le prélude de « L’or du Rhin » de Wagner. Il est difficile de faire mieux avec une radio avec ces genres musicaux.

Les chansons qu’on a choisies pour l’écoute sont dédiées aux artiste hollandaises, comme les constructeurs de cet appareil.
La première chanson est la Suite n. 6 en A mineur – Giga de Pieter Bustijn.
Pierre Bustijn (1649-1729) a été un compositeur flamand. Claveciniste, organiste et carillonneur.
Seulement ses deux 9 Clavecin Suites ont survécu à la destruction de l’Archive de Middelburg pendant la Deuxième Guerre Mondiale. On ne connait presque rien de lui mais ses neuf Suites pour clavecin étaient très appréciées à l’époque.
L’influence de Bach envahit ses suites dans leurs mélodies et aussi dans leur forme, qui est évident dans leur élégante construction.
La deuxième chanson de Jan Pieterszoon Sweelinck est tirée du concert KoninginnedagConcert du 2012 qui la reine Béatrice de Belgique avait demandé à l’occasion du 450ème anniversaire de la naissance du compositeur.
Sweelinck avait étudié avec Gabrieli pendant son séjour à Venise. Andrea Gabrieli (Venise 1510-1586), chanteur dans Saint Marco, compositeur de madrigaux et de musiques pour des occasions triomphales comme la Victoire de Lepanto du 7 octobre 1571.
La grande capacité de Sweelinck a été celle de fusionner et renouveler les formes du contrepoint musical anglais avec celles des chorales de l’école italienne et allemande.
Les reflets et la profondeur de l’enregistrement live vous les pouvez percevoir à l’écoute du fichier.

La troisième chanson est dédiée à un constructeur de clavecins hollandaise, Willem Kroesbergen.
Il s’agit d’une œuvre de Bach, English Suites, interprétées par Masaaki Suzuki juste avec un clavecin construit par Kroesbergen.
Le clavecin est le plus grand instrument à cordes pincées avec clavier. Il est très utilisé dans la musique baroque et comme continue pour construire une trame solide de support de la chanson. Le son est brillant et riche en harmoniques.
Les Flandres ont été l’un des centres les plus importants pour la production de clavecins. Les instruments construits par Kroesbergen sont utilisés régulièrement par les solistes comme Ton Koopman et Masaaki Suzuki et par des groupes comme le Bach Collegium Japan et le Musica Antiqua Koeln.
La quatrième chanson est la Symphony No.1 « Pan » (1917) de Willem Pijper (1894-1947).
Il était d’humble origine, il a étudié par lui-même et i l a été étudiant de Johan Wagenaar. Il est devenu directeur du conservatoire de Rotterdam, où presque tous les compositeurs hollandais du vingtième siècle se sont formés.
Il a subi l’influence de Mahler, Fauré,Debussy, il a poussé sa recherche musicale jusqu’à la musique contemporaine, s’inspirant à Stravinskij et Shoenberg.
La chanson qu’on a choisie est tirée de sa première symphoni , qui s’approche aux symphonies de Mahler. Les travaux suivant de Pijper seront bien différents.
La dernière chanson est celle de la chanteuse Anouk Teeuwe. Elle est titrée Nobody’s Wife.
Anouk est une chanteuse hollandaise primée plusieurs fois née à DenHaag en 1975. Ses chansons sont d’une très bonne qualité, d’un rock pur et classique qui s’exprime au maximum dans ses concerts.

BLUETOOTH

Récepteur Bluetooth integré

CLIQUEZ ICI >

PLATE-FORME MULTICONNECTING

Chaque radio est équipé avec un cable special qui permet le lien avec toute source numérique.

CLIQUEZ ICI >

- Récepteur Bluetooh intégré – Cette unité peut etre équipée avec un récepteur BLUETOOH que l’appareil alimente directement. Cela nous permet d’ultiliser l’amplificateur de toutes sources numériques externes, comme tablette,Smartphone, ou d’autres stations multimédia sophistiquées. Vous pourrez écouter vos stations Web ou vos musiques préférées sans avoir des cables dans la chambre. Sur demande il est possible de monter aussi un récepteur Wireless.

– Connection Multiplate-forme – Vous trouverez un cable adapteur qui vous permettra de le relier à toutes sources numériques comme A Iphone, Smartphone,Laptop,CD player etc. Ce cable special vous permet d’adapter l’impédance entre l’appareil et les dispositifs modernes. En outre les deux chaines stéreo se rencontrent dans une seule chaine monophonique sans augmenter la charge de l’unité souce.

En 1891 les frères Gérard et Anton Philips commencent à Eindhoven la production de leurs premières lampes à incandescence.
Plus tard ils vont se spécialiser dans la production d’appareils électro-médicaux, et en 1918 ils ont présenté leur premier tube de radio (X-Ray).
Dans les années à venir Philips commence à se spécialiser dans le secteur de la radiodiffusion, et en 1932 parvient à vendre plus qu’un million d’appareils radio, et il est devenu le premier producteur dans le monde entier.
Pendant la Deuxième Guerre Mondiale l’entreprise a été déplacée aux Antilles Hollandaises, et puis à la fin de la guerre elle est rentrée en Hollande.
Dans l’après-guerre de la Deuxième Guerre Mondiale commence la production des premières télévisions, le lancement des cassettes en 1963, et la production du premier circuit intégré en 1965.
En 1982 il a lancé, joint à la Sony, le premier lecteur cd.
En 1984 il prend le contrôle de l’allemande Grundig.
Dans les années ’90 l’entreprise Philips affronte une crise financière et de chiffres d’affaires.
En 1991 il met sur le marché le vidéo cd, et elle est la première entreprise au monde à développer la télévision à haute définition.
En 1999 Philips crée un partenariat avec la Sony Electronics dénommé LG Display, ce partenariat se termine en 2009.
En 2006, avec la Sony, Philips lance sur le marché le premier Blu-ray.
En 2009 Philips lance la première télévision LCD Full HD taille 21 :9.
Philips détient 48.000 brevets enregistrés.
En ce moment sa production se concentre sur les produits d’éclairage économes en énergie et sur les LED, sur des systèmes et des services de diagnostic et sur la production d’appareils médicaux.

Année de production: 1955
Superetherodyne IF 452/10700
9 AM Circuits
11 FM Circuits
Gammes d'ondes:
Grandes Ondes (150-345 KHz)
Petites Ondes 1 (517-1620 KHz)
Petites Ondes 2 (517-1620 KHz)
Ondes Courtes 1 (1,6-5,2 MHz)
Ondes Courtes 2 (5,1-15 MHz)
Ondes Courtes 3 (14,7-26,5 MHz)
FM 1 (87,5-100 MHz)
FM 2 (87,5-100 MHz)
Haut-parleurs:
1 woofer
1 mid-tweeter
Dimensions (LHP): 710 x 440 x 317 mm / 28 x 17.3 x 12.5 inch
Poids: 28,1 kg / 61 lb 15.9 oz
16 Lampes: 2xEBF80, ECH81, EF80, EC92, EM34, EF89,EF85, EAA91, ECC83, EBC41, 2xPL81, EL84, 2xEZ80

Les stades finaux sont deux, un pour les basses fréquences et un pour celles hautes.

Le premier stade du préamplificateur est unique et il pilote les deux stades finaux. Il est constitué d’une section du double triode ECC83.
Sur cette section on trouve le contrôle du volume avec une double correction physiologique de la réponse en fréquence (loudness). A’ la sortie de cette section on trouve les deux contrôles des tons du type Baxandall. A’ ce point les bas et les aigues sont divisés.

L’amplificateur des tons bas est du type SRPP (shunt regulated push pull), sans aucun transformateur de sortie (question capitale du stade final).
Cette configuration est encore utilisée aujourd’hui dans des amplificateurs de tension HIGH-END.
Le transformateur de sortie réduit la bande passée de l’amplificateur tout entier. Les bas sont limités par la réactance de l’enroulement primaire.
Les deux valves finales PL81 de chaque chaine, sont connectées en série avec l’accouplement DC-DC. Chaque PL81 est configurée comme un triode.
Sa sortie est prise par le cathode de la première PL81. Le haut-parleur a une impédance de 700 ohm, pareille à celle moyenne qui se présente sur le corps secondaire, donc il est possible d’accoupler directement (sans aucun transformateur) le stade final et le haut-parleur.
La Philips BX998A est donc entièrement exonérée de tous les problèmes qui proviennent des transformateurs de sortie.
Cet amplificateur commande un woofer de 26 cm.

L’amplificateur des tons aigues est constitué de la deuxième section du double triode ECC83 et d’un penthode final, EL84, configuré en classe A.
Le transformateur de sortie dans ce circuit n’a plus de grandes criticités ne pouvant pas être saturé par les basses fréquences. En outre ce transformateur a une qualité très élevée, avec ses couches d’enroulement alternées entre primaires et secondaires.
En dernier l’atténuation du haut-parleur est gardée à un niveau élevée par la basse résistance dynamique du circuit en contre réaction.
Cet amplificateur commande un Mid-Tweeter de 17 cm.

Une autre caractéristique de la Philips BX998A est le sélecteur de gamme motorisé.
Dans cette radio il est possible d’écouter à partir de neuf sources possibles.
Des Ondes Longues, deux bandes en Ondes Moyennes, trois bandes en Petites Ondes, deux bandes en bandes FM, entrée auxiliaire (Bluetooth).
Etant donné la complexité mécanique et par conséquent sa fragilité, suffisant pour construire un sélecteur de bande approprié à la Philips, ils ont décidé de diviser le sélecteur en deux sélecteurs divisés, un rotatif et l’autre à glissière. Les deux sélecteurs sont reliés mécaniquement entre eux.
L’interrupteur rotatif est actionné par un moteur, qui, grâce à une série de switch et de cames fait tourner le sélecteur jusqu’à la position prévue par le bouton de gamme qu’on a appuyé. Ce mécanisme assure une régularité dans la rotation et aussi une protection aux contacts pour longtemps.
Bien sûr il faut nettoyer et lubrifier le mécanisme de temps en temps. Il faudrait faire un entretien régulier au moins chaque dix années.
Je comprends que nous vivons dans une époque où un appareil d’huit mois est considéré dépassé, mais pour ces appareils il n’est pas ainsi.

Pendant la rotation du moteur un circuit de Muting intervient par conséquent aucun bruit ennuyeux n’est reproduit sur les haut-parleurs.

Le système de contrôle des tons est très efficace. Sur les grands boutons des contrôles de ton, séparés pour hauts et bas, on trouve deux petites fenêtres séparées pour les tons bas et ceux aigues.
Il est très beau de voir la note qui descend dans le pentagramme au fur et à mesure que les bas dans la petite fenêtre s’accentuent avec la clé de Fa et de voir la note qui monte dans le pentagramme au fur et à mesure que les aigues s’accentuent dans la petite fenêtre avec la clé de SOL.
Le bouton du contrôle des aigues est relié à la ferrite dans les transformateurs MF et il en fait modifier la pente de la cloche du transformateur même. De cette façon quand on est dans les bandes AM, les tons aigues s’accentuent davantage avant le début de l’arrivée dans le stade amplificateur BF.

L’appareil est doté de deux antennes à l’intérieur. Un dipole fixe pour la bande FM et OC et une ferrite tournante pour les bandes PO et GO.
Il y a, bien sur, derrière l’appareil les prises pour les antennes extérieures.
Vous tournez l’ antenne en ferrite avec le grand bouton derrière l’oeil magique.

Pour obtenir une excellente réception des ondes courtes, tournez le contact d'antenne vers le bas (flèche rouge) et insérez l'antenne externe dans la prise appropriée (flèche jaune).

Uncategorised

Westinghouse H389T7 – fr

4th janvier 20191st avril 2019
par giovanni

Uncategorised

Graetz Sinfonia 422 – fr

26th août 20184th février 2019
par giovanni

Dalla seconda guerra mondiale fino agli anni Sessanta, Graetz è stato considerato uno dei più prestigiosi produttori di radio, anche se non ha mai raggiunto performance di vendita elevati a causa del costo elevato e delle condizioni economiche dell'Europa in quell'epoca.
Gli apparecchi Graetz sono sempre stati apprezzati sia per la loro finitura curata ed elegante ma soprattutto, per la ricerca costante di soluzioni acustiche innovative ed i relativi brevetti.
La serie Sinfonia è la più prestigiosa tra produzione Graetz con stadio finale in classe A.
Tra queste la SINFONIA 522 è l'ultima dotata di Raumklang mit Schallkompressor (Surround sonoro con Compressore). I modelli successivi, certamente per questioni economiche, verranno privati di questo geniale, ma costoso, sistema di diffusione del suono.

Lo Schallkompressor verrà descritto approfonditamente più avanti, nella pagina, basti dire per ora che alcuni altoparlanti diffondevano il suono attraverso un percorso appositamente progettato che rendeva impossibile localizzare esattamente da dove arrivasse il suono, rendendo l'ascolto esattamente identico in tutti i punti di una stanza.

I toni medio-alti si diffondono in tutte le direzioni attraverso la griglia, che sembra una semplice decorazione, posta nel lato superiore del mobile.

L'effetto che ne deriva è entusiasmante, una dolcezza dei toni acuti derivante dal tweeter a cono anteriore, unita ad una profondità del basso provocata dai muscoli dei due grossi woofer, con una ampiezza dell'immagine sonora, derivante dal supertweeter compresso a flauto, che non ha eguali in apparecchi monofonici.
Non parlo di alta fedeltà naturalmente, ma di gradevolissimo rapimento sonoro.

La Graetz aveva 4 linee di apparecchi con ShallKompressor:
- la Musica (la più piccola, 1 woofer, 1 mid, 1 tweeter)
- la Melodia (la media, 2 woofer, 1 mid, 1 tweeter)
- la Sinfonia (la grossa, 2 woofer + grandi, 1 mid ellittico, 1 tweeter + grande)
- la Fantasia (come la Sinfonia ma con finali 2 EL95 al posto di una EL84)

Grandi radio, dal suono piacevolissimo, da ascoltare per ore.

ESTENSIONE BANDA FM

La frequenza della banda FM è stata estesa a 88 - 108 MHz

CONTINUA >

BLUETOOTH

Ricevitore Bluetooth integrato

CONTINUA >

CONNESSIONE A DISPOSITIVI DIGITALI

Ogni apparecchio viene dotato di un cavo adattatore per connettere qualsiasi dispositivo digitale.

CONTINUA >

- Banda di Frequenza FM allargata a 88 - 108 MHz. Le radio a valvole prodotte in Germania negli anni 50/60 sono famose in tutto il mondo per la loro eccellente sonorità, la bellezza delle loro finiture, la robustezza ed il loro standard di costruzione senza compromessi.
Purtroppo la banda FM di estende dai 87.5 ai 100 MHz per cui ricevono solo alcune stazioni.
Dopo attenti studi ed un gran numero di provesiamo stati in grado di allargare la banda ricevibile da 88 a 108 MHz.
Naturalmente abbiamo dovuto ricostruire anche la scala parlante, identica all'originale, fatta con gli stessi materiali e le stesse tecniche, ma con il nuovo intervallo di frequenza.
Il risultato è perfetto. Un apparecchio originale ma con la possibilità di ascoltare qualsiasi stazione in qualsiasi parte del mondo.
– Ricevitore Bluetooth integrato – Questa unità può essere equipaggiata con un ricevitore BLUETOOTH alimentato direttamente dall'apparecchio Questo rende possibile usare l'amplificatore da qualsiasi dispositivo digitale esterno, come IPAD, Smartphone, o sofisticate stazioni multimediali. Potrete ascoltare le vostre Stazioni Web o le vostre musiche preferite senza cavi in giro per la stanza. Su richiesta è possibile anche montare un Ricevitore Wireless.
– Connessione Multi-Piattaforma – L'apparecchio viene fornito di un cavo di adattamento che permette di collegarlo a qualsiasi dispositivo digitale come A Iphone, Smartphone, Laptop, CD Player etc. Questo cavo speciale permette di adattare l'impedenza tra l'apparecchio ed i moderni dispositivi. Inoltre i due canali stereofonici vengono fatti confluire in un unico canale monofonico senza incrementare il carico dell'unità sorgente.

La Ehrich & Graetz AG fu fondata nel 1866 a Berlino da Albert Graetz (1831-1901) e dal commerciante Emil Ehrich (morto nel 1887) con il nome di "Lampen-Fabrik Ehrich & Graetz OHG" (E & G).
PetromaxNel 1897 l'azienda passa sotto il controllo dei figli di Albert, Max Graetz, e Adolf Graetz. L'azienda cresce rapidamente, e nel 1899 vengono costruiti nuovi complessi industriali a Berlino, negli Stati Uniti, Francia, Regno Unito, e Bombay.
Intorno 1910-1916 Max Graetz sviluppa la famosa lanterna Petromax. Intorno al 1925 la fabbrica produce anche radio e altri apparecchi elettrici chiamati Graetzor.

Altena Graetz FactoryDurante la seconda guerra mondiale, proprio come nella prima guerra mondiale, la società fa parte dell'industria bellica. Con l'uso di lavoratori forzati da Francia, Russia, e nei Paesi Bassi la società fa enormi guadagni.
Alla fine del mese di aprile 1945 la fabbrica viene rivendicato dall'esercito russo.

Nel 1949 l'azienda entra a far parte del programma del "Popolo", "VEB-VolksEigenerBetrieb" e dal 1950 "VEB Fernmeldewerk, Berlin Treptow (RFT)." VolksEigenerBetrieb, significa che la fabbrica era di proprietà del popolo per il popolo.

Nel 1948 Erich, e Fritz Graetz fonda una nuova società a Altena, in Germania nota con il nome Graetz, come successione della azienda di famiglia persa a Berlino. La nuova società produce principalmente radio e TV.
Nel 1961 l'azienda viene poi venduta a standard Elektrik Lorenz (SEL) AG, e dal 1987 è di proprietà della società finlandese Nokia.

Nella naturale evoluzione del modello Sinfonia alla Graetz hanno iniziato ad usare altoparlanti a tromba.
Gli altoparlanti a tromba hanno il vantaggio di avere una membrana molto piccola e leggera. Questo si traduce in una capacità di raggiungere frequenze molto elevate con una ridottissima distorsione.
Come tutti gli strumenti musicali questo tipo di altoparlanti è composto da generatore del suono e da un risonatore. In un violino le corde vibrando emettono il suono, ma è la cassa armonica che lo amplifica e lo colora.
Negli altoparlanti a tromba la piccola e leggerissima membrana vibra e poi la tromba amplifica, e talvolta modifica, il suono.
La tromba ha lo svantaggio di essere fortemente direttiva. A pochi cm dal suo asse l'intensità del suono cambia notevolmente. Il sistema a tromba, pur essendo molto efficiente e con bassa distorsione non è adatto
Gli ingegneri Graetz hanno preferire una tubazione accordata invece della tromba per le caratteristiche di maggiore direzionalità.
La pressione dell'onda sonora via con il quadrato del rapporto tra diametro e lunghezza del tubo. Per questo motivo alla Graetz parlano di compressore sonoro.
Quindi dalla piccola emissione della membrana del cono si ottiene una grande radiazione sonora all'uscita dei tubi.
Inoltre poichè il rapporto tra lunghezza e diametro del tubo è molto grande si ottiene una propagazione simile alla propagazione su un condotto di lunghezza infinita. Le fessure di uscite sono poste a distanze diverse per ottenere questo effetto di assenza di risonanza. Lo schema equivalente è quello di un ciruito LC dove i fori si comportano come induttanze.
Il risultato di questa caratteristica, unita alla particolare forma e posizione delle fessure di uscita del suono è che la frequenza di risonanza è attorno ai 12 kHz e questo sistema viene fatto lavorare nella fascia che va dai 700 Hz ai 10 kHz, proprio dove si ha la massima sensibilità dell'orecchio umano, e dove si colloca la voce e la quasi totalità degli strumenti musicali.
Oltre ai vantaggi di assenza di distorsione e di efficienza la assenza di risonanze ha come risultato una notevole morbidezza di ascolto.
Da ultimo questo condotto produce un lieve ritardo, di pochi ms che inducendo un minimo riverbero naturale ottiene come effetto finale quella profondità scenica che rende questo apparecchio incredibilmente appagante all'ascolto, pur essendo monofonico.

Come già detto in precedenza Schallkompressor significa Surround sonoro con Compressore.

Faccio notare che questa azienda applicava questi concetti e queste soluzioni (surround, compressione del suono) alle apparecchiature commerciali, e siamo nel 1958.

Come ormai oggi sanno tutti le note basse per loro natura si diffondono in maniera omnidirezionale nell'ambiente, per cui è piuttosto difficile localizzare un subwoofer ad occhi chiusi.
Gli altoparlanti che diffondono le note acute invece sono estremamente direttivi per cui il loro posizionamento rispetto alla posizione d'ascolto è molto critica, per cui basta spostarsi un poco dalla posizione d'ascolto prevista per perdere parte del messaggio e del dettaglio della parte più alta dell'informazione sonora.

Questo problema è stato affrontato nell'evoluzione degli impianti Hi-Fi con i sistemi più diversi.
La Graetz lo risolse all'epoca in maniera estremamente efficace con il sistema 4R nei modelli Sinfonia precedenti e Schallkompressor nei modelli dalla 422 in poi.

A sinistra si trova il comando del volume (con loudness incorporato) ed assialmente a questo il comando di rotazione dell'antenna in ferrite.
Si vede l'indicatore della posizione dell'antenna.
L'occhio magico che indica la perfetta sintonizzazione di ciascuna stazione.
La scala AM per le Onde Lunghe, Medie, Corte e la scala FM.
Sotto da sinistra troviamo nell'ordine la manopola del controllo dei bassi, i tasti di accensione, giradischi, registratore, i tasti per sintonizzarsi sulle Onde Lunghe, Medie, Corte, FM, la manopola del controllo degli acuti.
Sotto ogni tasto è indicata la banda di frequenza interessata.
Vi è infine la manopola della sintonia, il cui movimento è molto piacevole essendo supportata da un grosso volano.
Sotto ancora troviamo le due grosse manopole del controllo dei bassi e degli alti.
Assialmente alla manopola di sintonia si trova un selettore per il controllo della selettività in AM.
I registri ed i tasti di esclusione sono stati visti precedentemente nei particolari.

Catégorie : <span>Uncategorised</span>

GRAETZ PRAELUDIUM 23F

GRAETZ Präludium 23F

BLUETOOTH

MULTI PLATFORM CONNECTION

ELABORAZIONI TUBESOUND

HISTORY

MAIN FEATURES

LOUDSPEAKERS

TONE CONTROL WITH LEVEL INDICATION

ANTENNA ORIENTATION

SEPARATE TUNING CONTROL BETWEEN AM AND FM

TUNING INDICATOR

CONTROL PANEL

REAR SIDE

THE STEPS OF RESTORATION

THE USUAL AMAZING LAST IMAGE

Grundig 4055/56 enhanced

BLUETOOTH

MULTI PLATFORM CONNECTION

TUBESOUND IMPROVEMENT

HISTORY

MAIN FEATURES

MEASURED TECHNICAL FEATURES

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

TONE CONTROL WITH LEVEL INDICATION

AERIALS

TUNING INDICATOR

FERN-DIRIGENT

CONTROL PANEL

REAR SIDE

THE USUAL AMAZING LAST IMAGE

PHILIPS SATURN STEREO 851 - it

PHILIPS BX998A

PHILIPS BX998A

BLUETOOTH

PLATE-FORME MULTICONNECTING

TRAITEMENTS TUBESOUND

L’HISTOIRE

CARACTÉRISTIQUES PRINCIPALES

AMPLIFICATEURS

SÉLECTEUR DE BANDE MOTORISÉ

CONTROLE DES TONS AVEC INDICATION DU NIVEAU

ANTENNES

INDICATEUR VISUEL D'ACCORD

HAUT-PARLEURS

LES COMMANDES

LE COTÉ ARRIÈRE

ÉTAPES DE LA RESTAURATION

COMME D’HABITUDE LA TRÈS BELLE IMAGE FINALE

GRAETZ Sinfonia 522 (88 – 108 MHz)

GRAETZ SINFONIA 522

ESTENSIONE BANDA FM

BLUETOOTH

CONNESSIONE A DISPOSITIVI DIGITALI

ELABORAZIONI TUBESOUND

LA STORIA

CARATTERISTICHE PRINCIPALI

ALTOPARLANTI

CONTROLLO TONI CON INDICAZIONE DEL LIVELLO

ILLUMINAZIONE INDICATORE TONI

ABSCHALTUNG

KLANGREGISTER

ORIENTAMENTO ANTENNA

CONTROLLO SINTONIA SEPARATI TRA AM E FM

INDICATORE DI SINTONIA

COMANDI

LATO POSTERIORE

ÉTAPES DE LA RESTAURATION

LA CONSUETA BELLISSIMA NOTTURNA FINALE

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