Some history today – without much tech-talk. I just finished restoring my 42VF and I thought I’d spend an hour or two taking some photos next to my BG1000.
According to the beoworld.org website, the Stereopladespiller was in production from 1960 to 1976. Although Bang & Olufsen made many gramophones before 1960, they were all monophonic, for 1-channel audio. This one was originally made to support the 2-channel “SP1 / SP2” pickup developed by Erik Rørbæk Madsen after having heard 2-channel stereo on a visit to the USA in the mid-1950s (and returned to Denmark with a test record).
Sidebar: The “V” means that the players are powered from the AC mains voltage (220 V AC, 50 Hz here in Denmark). The “F” stands for “Forforstærker” or “Preamplifier”, meaning that it has a built-in RIAA preamp with a line-level output.
Internally, the SP1 and SP2 are identical. The only difference is the mounting bracket to accommodate the B&O “ST-” series tonearms and standard tonearms.
There were 4 variants in the ST-series of tonearms:
Name, Pivot – Platter Centre, Pivot – Stylus, Pickup
ST/M,190 mm, 205 mm, SP2
ST/L, 209.5 mm, 223.5 mm, SP2
ST/P, 310 mm, 320 mm, SP2
ST/A, 209.5 mm, 223.5 mm, SP1
(I’ll do another, more detailed posting about the tonearms at a later date…)
Again, according to the beoworld.org website, the Beogram 1000 was in production from 1965 to 1973. (The overlap and the later EoP date of the former makes me a little suspicious. If I get better information, I’ll update this posting.)
The tonearm seen here on the Stereopladespiller is the ST/L model with a Type PL tonearm lifter.
Looking not-very-carefully at the photos below, you can see that the two tonearms have a significant difference – the angle of the pickup relative to the surface of the vinyl. The ST/L has a 25º angle whereas the tonearm on the Beogram 1000 has a 15º angle. This means that the two pickups are mutually incompatible. The pickup shown on the Beogram 1000 is an SP14.
This, in turn, means that the vertical pivot points for the two tonearms are different, as can be seen below.
The heights of both tonearms at the pivot are adjustable by moving a collar around the post and fixing its position with a small set screw. A nut under the top plate (inside the turntable) locks it in position.
The position of the counterbalance on the older tonearm can be adjusted with the large setscrew seen in the photo above. The tonearm on the Beogram 1000 gently “locks” into the correct position using a small spring-loaded ball that sets into a hole at the end of the tonearm tube, and so it’s not designed to have the same adjustability.
Both tonearms use a spring attached to a plastic collar with an adjustable position for fine-tuning the tracking force. At the end of this posting, you can see that I’ve measured its accuracy.
The Micro Moving Cross (MMC) principle of the SP1/2 pickup can easily be seen in the photo above (a New-Old-Stock pickup that I stumbled across at a flea market). For more information about the MMC design, see this posting. In later versions of the pickup, such as the SP14, seen below, the stylus and MMC assembly were attached to the external housing instead.
This construction made it easier to replace the stylus, although it was also possible to do so with the SP1-2 using a replacement such as the one shown below.
Just to satisfy my own curiosity, I measured the tracking force at the stylus with a number of different adjustments on the collar. The results are shown below.
As you can see there, the accuracy is reasonably good. This is not really surprising, since the tracking force is applied by a spring. So, as long as the spring constant hasn’t changed over the years, which it shouldn’t have unless it got stretched for some reason (say, when I was rebuilding the pivot on the tonearm, for example…) it should behave as it always did.