Bozak Cma 10 2dl Manual
Portions of this article have been extracted from Wikipedia (a public interactive encyclopedic forum) with many facts, errors, and omissions corrected.
I begin this brief synopsis with feelings of gratitude and appreciation from the many friends and coworkers I was associated with at Bozak, Inc.
I worked for Rudy Bozak over a span of about 17 years – from 1963 to 1979. During that time, I joined, and rejoined, the company four times: First in 1963 when Rudy hired me as a college student freshly
systems as my own company, Audio Consultants, and again after another 18 months in 1979 after the company buyout, to consult for the “new” owners of Bozak, Inc. – Bob Betts
Loudspeakers
Fresh out of college in 1933, Rudy Bozak began working for Allen-Bradley, an electronics manufacturer based in Milwaukee, Wisconsin. Bozak would later employ Allen-Bradley components in his own
During World War II, Bozak worked with Lincoln Walsh at Dinion Coil Company in Caledonia, New York developing very high voltage power supplies for radar.
Bozak joined C. G. Conn in 1944 to help them develop an electronic organ. While in Elkhart, Indiana, he noticed that the human sense of hearing was unpredictable at best. Years later, Bozak recounted this
The general sales manager, who was a pianist and played organ, sat down and played the thing and said it was great, just what we were looking for. A week later he was invited back into the laboratory and sat
.'
In 1948 Bozak moved his family to North Tonawanda, New York to develop organ loudspeakers for Wurlitzer. While there, Bozak experimented at home in a loudspeaker laboratory he housed in his basement.
speaker system. Though these sold reasonably well, McIntosh did not develop the design further. This experience led him to form his own company, Bozak Loudspeakers, in Stamford, Connecticut.
Bozak met Emory Cook in the early 1950s; the two hit it off and began working in a shared warehouse basement facility in Stamford. Cook and Bozak thrilled the audio world in 1951 with Cook's ground-
By the mid-1950s, Bozak had expanded into new quarters at 587 Connecticut Avenue in South Norwalk, with an export office in Hicksville, New York.
The foundation of Bozak bass loudspeakers unique design was the exclusive Bozak cone. The woofer cone was molded from a slurry containing paper pulp, lamb's wool, and other ingredients in a secret
the cone was pressed to uniform thickness. The result was a cone with “variable density” – greatest at the center to very acoustically inert at the rim – which allowed for minimal transmission reflections and
strength from its curvilinear profile along the radius. The cone received a thin coating of latex on both sides, with through-holes for binding the sandwich, in order to dampen the surface reflections that otherwise
speaker system originally contained four B-199 12' woofers, one 8 Ohm B-209 6' midrange driver and eight tweeters. The B-310 and B-310A were the mono versions in which the tweeters were arranged as a
program in the Bozak labs. All Concert Grand models starting from the B-310A contained two 16 Ohm B-209 midrange drivers. The Concert Grand loudspeakers were designed to fill large spaces and were not
model line continued to be manufactured by Bozak until 1977. Henry Mancini and Benny Goodman, good friends of Rudy Bozak, owned Concert Grand speaker systems. Jack Webb put two pair (four B-410s) in
Acoustic suspension arrived in the loudspeaker marketplace in 1959, making it possible to get the apparent low bass from a small, bookshelf-sized enclosure. This somewhat affected the sales of 'big box'
obtained with the heavier, gimmicked, reinforced woofer cones necessary for acoustic suspension. Bozak began offering smaller speaker systems to answer consumer demand. Bookshelf speaker systems
factory.
In 1963, at 18 years of age, Bob Betts was hired as technician but was put in charge of the Acoustics Lab a few months later – under Rudy’s watchful eye. Betts became chief engineer in 1968. Bob traveled
division was employing about 60 people dedicated to manufacturing the columnar models which were proving a great success.
For the 1964 New York World's Fair, Bozak put forward a new loudspeaker design; this time in the Vatican Pavilion. Rudy and Bob worked tirelessly to develop an omni or hemispherical coverage ceiling-
40 KHz, and a vibration platform that Bozak employees called 'The Shaker' which was meant to test the G-force integrity of electronic assemblies.
The company name changed from 'The R.T. Bozak Manufacturing Co.' to 'Bozak, Inc' in the mid-late 1960s.
Electronics
Power Amplifiers, Mixers, Equalizers, and DJ mixers
Bozak is often remembered today for his advanced designs of DJ mixers which allowed the development of the concept of disc jockey mixing and 'discotheques', but with exceptional sales to churches, arenas,
CMA-10-2DL; a unit that was very quickly accepted as the standard of its day. The Bozak CMA mixers were very expensive: they used high-grade Allen-Bradley components, hand-selected transistors, and were
reinforcement; it was produced in small quantities. C/M Labs also designed and built amplifiers and other integrated electronics for Bozak and used Bozak speakers to test their gear.
Eventually, Bozak brought these electronic products into the Bozak brand and developed them further. The CMA-10-2DL mixer was designed at Bozak. Bozak set up its own electronics production line, with
The Bozak brand is now owned by Analog Developments Ltd.
Home Systems
In the mid-1970s, Bob Betts designed the face plates and chassis for a series of home entertainment stereo equipment. These were to be known as the “900-series” of electronics. The 919 preamp and 929
poweramp.
Saul Marantz joined Bozak as consultant in the mid 1970s. He helped with esthetic details of certain products, but mostly served as sales consultant and good-will emissary. When both Bozak and Marantz
his own home entertainment models, late in the 1960s.
One of the last major Bozak projects that Rudy Bozak himself was an integral part of involved a thorough redesign of the B-200Y tweeter which had been a staple of Bozak loudspeakers since its introduction in
basic curvilinear configuration was settled by Betts in 1974 and put into limited production, but full production didn't get underway until 1975/1976 where it saw extensive use in the “Monitor-C”, and several of the
response, with very low harmonic, phase, and inter-modulation distortion. The “LS” would later be corrupted by the new owners to the “Listener Series” of systems – some quite good, but some not worthy of the
would take a few months to transact with the company’s bank. Bozak didn't wait for the employee buy-out; but with a handshake promise to retain certain crucial employees, Rudy sold the rights to his
remained as chief engineer.
But things began to change, Quality was seen to go quickly downhill; the new owners appeared to longtime employees as being interested only in pulling money out of the operation. Betts and other company
times: Newington, Bristol and New Britain but management was unable to sustain the effort. Finally, the company's assets were put into truck trailers to await final disposition. The company tooling was sold
NOTES:
Rudolph Thomas Bozak
* Born: 1910, Uniontown, Pennsylvania
* Died: February 8, 1982
* Residence: Milwaukee, Wisconsin, Stamford, Connecticut, Caledonia, New York, Elkhart, Indiana, North Tonawanda, New York, Buffalo, New York, Darien, CT
* AKA: Rudy Bozak, R. T. Bozak
* Occupation: Engineer, designer, entrepreneur, owner
* Employers: Allen-Bradley, Cinaudagraph, Dinion Coil Company, C. G. Conn, Wurlitzer, The R. T. Bozak Mfg. Co., Bozak, Inc., N.E.A.R.
* Spouse: Lillian Gilleski
* Children: Lillian, Mary and Barbara
Rudolph Thomas Bozak (1910-1982) was an audio electronics and acoustics designer and engineer in the field of sound reproduction. His parents were Bohemian Czech immigrants; Rudy was born in
Recognitions
* In 1938, Bozak was elected to Associate Grade membership with the Institute of Radio Engineers.
* By 1963, Bozak was on the Board of Governors of the Audio Engineering Society for two years.
* He served in the same capacity again for two years starting in 1970.
* Bozak was awarded an AES Fellowship in 1965 for 'valuable contributions to the advancement in or dissemination of knowledge of audio engineering or in the promotion of its application in practice.'
* In 1970, Rudy T. Bozak won the AES John H. Potts Award (now the Gold Medal), their highest award for outstanding, sustained achievement in the field of audio engineering.
Patents
* Switch: electrical musical instruments. US patent 2567870. C.G.Conn Ltd., 1951.
* Metallic diaphragm: electrodynamic loudspeakerss. US patent 3093207. R.T.Bozak Mfg. Co., 1963.
* Compliant annulus: loudspeaker and related circuit. US patent 3436494. R.T.Bozak Mfg. Co., 1969.
* Edge-damped diaphragm: electrodynamic loudspeakers. US patent 3837425. Bozak, Inc.
Author's Timeline: (Robert (Bob) Betts)
7-63 to 8-65 Bozak, Acoustics Lab Tech, Draftsman/designer (driver components, wood cabinetry, acoustical development.
8-65 to 7-68 US Army, Army Air Defense, Signal Corps, Vietnam (4th ID)
7-68 to 5-75 Bozak, Products Engineering Manager
5-75 to 1-77 Bozak system design and sales (own consulting Business)
1-77 to 7-77 Bozak, Chief Engineer
7-77 to 1-79 Bozak system design and sales (own consulting Business)
1-79 to 5 79 Bozak, Chief Engineer
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Bozak Cma 10 2dl Manual Transmission
Beginning with the Bozak CMA-6-1 and CMA-10-1, 6 and 10-input monaural units of the mid 1960s, the peak of development was reached with the stereo Bozak CMA-10-2DL; a unit that was very quickly accepted as the standard of its day. The Bozak CMA mixers were very expensive: they used high-grade Allen-Bradley components, hand-selected transistors. Bozak model cma-10-2dl 2dls. Bozak model cma-10-2dl 2dls stereo mixer preamplifier owner's manual $ 13.59.
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