Sie sind hier : Startseite →  Hifi Magazine + Zeitschriften→  (30) US Hifi-Magazine→  AUDIO "magazine" (US 1947)→  -(US) AUDIO Magazin 1959→  Werbung in der US-Audio 1959

Die britsche Audio-Industrie war früh am Ball .....

So hatten die Briten eine US-Firma (BIC = BRITISH INDUSTRIES CORPORATION) zur Vermarktung ihrer englischen Produkte gegründet und dafür auch gemeinsame Werbung gemacht.

Ob es klug war, den lokalpatriotischen Amerikanern immer das "british" vor die Nase zu halten, stellte sich im Nachhinein als Bremse dar.

Viele deutsche Firmen wie DUAL, ELAC, PE, Neumann und Grundig und sogar Philips mit NORELCO haben es geschickter gemacht und eine lokale US-Firma mit dem Vertrieb beauftragt.


stellt vor :

"SPECIALLY FOR STEREO" - eine R+J Speaker Werbung

This business of one thing being specifically designed for a particular purpose can often get out of hand. For example, since the advent of stereo records, the phrase "... designed for stereo" has become more and more noticeable in advertising.

Which reminds me of a story that goes back a good number of years. This story has to do with an itinerant pedlar who called on people around the countryside.

On one of his trips to a "source of supply," he was intrigued by a sizeable stock of "antimacassars" - in all shapes, sizes and colors. Since they were handmade and imported from some far-off romantic part of the world, he was duly impressed and bought the entire lot.

Soon ... he was selling them everywhere - as "specially made" for protecting the fine finish of table tops when placed under a lamp, vase or other objet d'art. Or, he offered his wares as ... "delightful" summer chapeaux for "m'lady."

In a short time he was out of stock, with every sale a happy one, without complaint or dissatisfaction. Smart merchandising ... there is no doubt about that. But, that is not the important point.

His wares were of good quality ... and, they filled admirably the various purposes they were sold for. What is important is that actually the "antimacassars" were circular or oval patterns of beautiful delicate lace. They were not superior for one application any more than they were for another!

auf Deutsch :

Dieses Geschäft, das speziell für einen bestimmten Zweck entwickelt wurde, kann oft außer Kontrolle geraten. Seit dem Aufkommen von Stereo-Schallplatten ist beispielsweise der Ausdruck "... designed for stereo" in der Werbung immer deutlicher geworden.

Was mich an eine Geschichte erinnert, die viele Jahre zurückliegt. Diese Geschichte hat mit einem Wanderer zu tun, der die Leute auf dem Land ansprach.

Bei einer seiner Reisen zu einer "Bezugsquelle" wurde er von einem beträchtlichen Vorrat an "Antimacassars" (Tischdeckchen) fasziniert - in allen Formen, Größen und Farben. Da sie handgefertigt und aus einem weit entfernten romantischen Teil der Welt importiert wurden, war er zutiefst beeindruckt und kaufte das gesamte Grundstück.

Bald ... verkaufte er sie überall - als "speziell hergestellt" zum Schutz der feinen Oberfläche von Tischplatten, wenn sie unter einer Lampe, Vase oder einem anderen Kunstobjekt platziert wurden. Oder er bot seine Waren als ... "entzückende" Sommerchapeaux für "m'lady" an.

In kurzer Zeit war er ausverkauft, mit jedem Verkauf ein glücklicher, ohne Beschwerde oder Unzufriedenheit. Smart Merchandising ... daran besteht kein Zweifel. Aber das ist nicht der wichtige Punkt.

Seine Waren waren von guter Qualität ... und erfüllten bewundernswert die verschiedenen Zwecke, für die sie verkauft wurden. Wichtig ist, dass es sich bei den "Antimacassars" eigentlich um kreisförmige oder ovale Muster aus zierlicher Spitze handelt. Sie waren für eine Anwendung nicht besser als für eine andere!

And so it is with high fidelity - und genauso ist es mit HIFI.

What makes a particular product "specifically designed" for stereo? Some components have to be - the cartridge for example, or the stereo amplifier. But, what makes a loudspeaker system "special" for stereo?

The answer ... in a word ... is quality performance - and, the quality of any speaker system's performance depends heavily upon the design and engineering of the enclosure.

Speaking of enclosures, stereo constitutes an extension of the already familiar problem of room space in high fidelity. In its very beginnings, high fidelity was replete with gargantuan speaker enclosures.

People were informed flatly that unless the speaker had at least 10 cubic feet of enclosure ... bass would be lost; the music would be seriously lacking in presence and color. The needs of an ever-increasing market for high fidelity components shouted loudly in protest to enclosures that would not even fit into the doorway of the average apartment or home. Nevertheless the fallacy of the oversized enclosure remained ... until 1951.

Eine schwere Kiste voller ganz normaler Luft

It was then that Edward Tatnall Canby wrote in AUDIO Magazine ... "The heavy box full of plain air is already on the way out." This was the year that the patented R+J enclosure made its debut and was ... in the words of Canby ... "The answer to a hundred thousand dealers' prayers. And a million record owners' insistent dreams."

Now, almost a decade later, the R+J enclosure ... having made high fidelity possible for thousands of people because of its flexibility, adaptability and quality of performance ... is one of the most widely imitated products in the entire field of high fidelity. The many R+J imitations look the same on the surface, but they do not duplicate R+J performance since the R+J design principles are covered by two U.S. patents. And, many of R+J's imitators advertise that they are specially designed for stereo.

Yet, R+J has never made this claim ... for it was designed specifically for quality, for undistorted, uncolored reproduction of music ... monaural or stereo!
Anmerkung : Das war natürlich englisches Wunschdenken, daß keiner der mehreren hundert Wettbwerber R+J überflügeln könnte. Der Chef von AR hatte es vorgemacht, daß eine eue Methode ganz anders funktioniert.

Und natürlich hat R+J auch weiter entwickelt ...

Recently the R+J enclosure was newly styled to conform to the finest decorator requirements. The original patented design wasn't changed, though some improvements were added, for example, triple rigid laminate board, three times harder and denser than wood, was incorporated for front, rear and baffle portions ... to eliminate any possibility of spurious cabinet resonances. The outward appearance was refashioned to blend with any possible interior decor. In five models, the R+J will fit into any furniture setting. So, for your stereo or monaural music system, our advice is insist upon the genuine, authentic R+J ... the first and finest small size speaker enclosure ... still the ideal combination of attractive appearance and superior performance.

  • Auch das stimmte so nur bedingt, denn Goodmans hatte das kleinste Gehäuse vorgestellt, sicher etwas später.

There are 5 newly styled R+J floor and shelf models for 8", 12" and 15" speakers. Shown above, is the R+J/Super 8 which is a complete speaker system. Enclosure is same as R+J/8 with a Wharfedale Super 8/FS/AL 8" full range speaker installed. $50.50 in unfinished Birch Hardwood. $59.50 in Mahogany, Walnut or Blond finish.

California Re-Visited - eine verkappte "Garrard" Werbung

The 1959 San Francisco and Los Angeles High Fidelity Shows have some interesting historic significance.

For one thing, it is a full year since the stereo record was first demonstrated on the west coast. Of course, at that time there was very little in the way of stereo repertoire.

Only a few labels released "samples," and these were "experimental" first pressings ... replete with the sounds of the bowling alley, ping-pong balls, the ferry boat, the railroad engine - and of course, some incidental music.

Actually, this was intentional and the basic consideration in the arrangement of the stereo program was to achieve (for these first pressings 'used to demonstrate the effects of stereo) the greatest auditory perspective ... depth ... dimension.

Das waren eben die Anfänge von "Stereo" 1959

With regard to "timing," these records were a "found blessing" to the few phono pickup manufacturers who had "first" models of their stereo pickups and demonstrated them at the 1958 California High Fidelity Shows.

It may interest you to know that certain of these manufacturers, even without our knowledge, had rewired the Garrard Model RC88 record changer as the ideal instrument for use with their stereo pickups, and then reported to us their complete satisfaction.

Incidentally, by this time Garrard changers, already wired for stereo, were in production. Aside from the "handful" of stereo pickups demonstrated at the California High Fidelity Shows a year ago, there was little else in the way of stereo equipment for the "stereophile."

Musik für "Jedermann"

Of course this will not be the case when the high fidelity industry re-visits San Francisco and Los Angeles for the 1959 High Fidelity Shows. Music will be plentiful - music for everyone - from the deep classics to the exciting tempo of the jazz combo. Today ... the stereo repertoire already amounts to something like 2.000 selections on about 25 labels!

Naturally, BIC (British Industries) will be at the 1959 San Francisco and Los Angeles High Fidelity Shows, and at virtually every other high fidelity show throughout the country in 1959. As in prior years, this year with our stereo demonstrations, we will continue to maintain the feeling of listening within the home ... of enjoying a musical experience.

Wir sind dabei und präsentieren den GARRARD Changer

We will be demonstrating BIC high fidelity components as follows:

We are using the GARRARD Model RC 88 because this changer reproduces stereo music precisely as recorded, without introducing any disturbing or distorting factors such as rumble or wow.

In fact, the Garrard changer performs better than most so-called "professional" turntables, because this changer is actually a superb turntable combined with a scientifically engineered aluminum tone arm which tracks at the correct stylus pressure without undesirable resonances.

You have the added convenience of not only being able to play records simply by hand, but also stacked, with the assurance that they are being handled automatically more gently than by any human hand.

This is true on a Garrard changer and at a price much lower than you may have been led to expect. When considering the claims of changers "specifically designed for stereo," or turntables "to play stereo properly," it is well to remember that for years Garrard changers have had all the qualities necessary for this type of sensitive reproduction. Now more than ever before, it is essential to insist on a Garrard changer, and accept no substitute, if you want the finest Stereo or, of course. Monaural reproduction.

Die LEAK Stereoverstärker

The new LEAK stereo amplifier and preamplifier are being used to control the sound. Leak professional quality amplifiers are unique because they keep distortion down to a trivial one-tenth of one percent (0.1%) at full rated power ... the lowest figure ever achieved! This explains why the Leak stereo sound you will hear is so natural, and why you could enjoy it for hours without fatigue. Low distortion is the key to quality stereo reproduction. Invest wisely. It is important to remember that the amplifier and preamplifier are the very heart of your stereo system.

  • Anmerkung : Das sind aber die gleichen leeren dümmlichen Sprüche, die sämtliche amerikanischen Wettbewerber auch mach(t)en. "Nur sie" hätten mit 0,1% den ultimativen niedrigen Klirrfaktor, der niedrigste, der jemals gemessen wurde. Das war damals bereits völliger Nonsence, denn sowohl McIntosch wie auch Brooks hatten bereits die 0,01%  Grenze erreicht, nicht im vollen Frequenzband von 20 bis 60.000 Hz, aber das spezifiziert dieser LEAK Werbemensch ja auch nicht.


Und natürlich die Wharfedale speakers

You will hear the speaker Wharfedale speaker systems ... integrated combinations of 2 or 3 Wharfedale speakers in enclosures designed by G. A. Briggs. These systems are preferred for stereo because of practical size, moderate price and unusual versatility.

The reason why people so appreciate speakers and speaker systems by Wharfedale is that Mr. Briggs has designed them to reproduce music naturally, without electronic, mechanical or acoustic coloration.

You have only to hear a pair of Wharfedales to realize, that in their performance, they achieve a non-strident musical quality ... a quality of clean, spacious sound that heightens the stereo effect.

Auch ein Paar der R+J Super 8 Speaker werden benutzt

A pair of R+J Super 8's are used as an alternate speaker system. You may well wonder how such splendid sound could come from so small a speaker enclosure. The answer lies in patented RJ design principles, which mean that no other small enclosure can match the RJ in performance. Stereo does create some new problems in room arrangement which are easily solved with versatile RJ enclosures.

We have prepared a series of Comparator Guides covering the various BIC product lines. If you have not already obtained them at the shows, we will be happy to send them to you. Please write, specifying the BIC products which interest you.

Leonard Carduner (vermutlich der Einmann-Manger der BIC)

Quality endorsed products of the BIC group : Garrard • Leak • Wharfedale • R-J • River Edge • Genalex • S. G. Brown • Multicore.

For complete information address inquiries to Dept. AB19

  • Anmerkung : Und diese Art der Adresse finden wir bei ganz vielen Einmannfirmen in den USA, - bitte adressieren sie Ihre Anfrage an Abteilung AB19. Natürlich stand da nirgendwo, daß alle Post sowieso auf dem einen Schreibtisch landete.


BOOK MARKS by G. A. Briggs

... "In the autumn of 1947 I happened to he in London with Mr. A. Smith, our London manager, when we paid a routine visit to Webb's Radio in Soho Street. A man came in and asked for a book on loudspeakers, but none was available.

The assistant came over to us and said: 'Every day somebody asks for a book about loudspeakers. Why don't you write one?' We went upstairs to see the manager, Mr. Pickard, and asked him how many copies he would buy if we brought out such a book. To my amazement he said he would place an order for 72 copies there and then.. "

So wrote G. A. Briggs, England's famous authority on sound reproduction, in his new book, "Loudspeakers". This month's column (in AUDIO magazine 1959 Heft 3) is devoted to that book. It is a book we consider to be so wonderfully complete and well-written that we cannot too strongly urge that you get your copy at once.

Eine 90 Seiten Edition initially published in 1948

"Loudspeakers" was initially published in 1948. A 90-page paperback first edition ... it ultimately ran to four editions and 16 printings, with constant revision updating the text. In these four editions, a total of 50.000 copies was sold! This is an amazing record for a book on the subject of high fidelity. Moreover, "Loudspeakers" was the FIRST book of its kind on two continents.

  • Anmerkung : Das stimmt natürlich auch nicht, denn der Autor kannte weder die Aufsätze von Dr. Klipsch oder dem AR Chef Mr. Villshur oder dem QUAD Chef Mr. Walker oder dem Franzosen George Cabasse. Also da ist damals viel Wunschdenken mit Unkenntnis dabei gewesen.

Now, the new edition contains 336 pages, 230 illustrations, and 31 chapters, so that even those high fidelity enthusiasts who remember having seen "Loudspeakers" before will profit from owning the latest edition.

In a way, we think the title is misleading and does not do the book justice because "Loudspeakers" actually covers so much more territory than its title implies. Since the book has just been published, there has not yet been time for many reviews on it in the press, but we take pleasure in reprinting excerpts of those reviews which have appeared.

Hier ein paar Reviews / Buchkritiken


"The text contains a wealth of practical data, made all the more lively by the personal touch of the author. Among the many topics covered are magnets, housings, cones, coils, impedance, phase angle, frequency, distortion, power, resonance, cabinets, transients, electrostatics, crossovers, feedback and lots more ... For anyone interested in audio, this book is a valuable — and interesting — source."


"... deals exhaustively with all aspects of speaker design and performance. Mr. Briggs is to be complimented on his comprehensive coverage of a broad subject. He writes with authority on the development of the modern speaker, magnets, cones and coils, baffles and cabinets, frequency response and room acoustics. The work is liberally illustrated for clarity and is written in an easily read (at times, most humorous!) style. A 'must' for both audiophile and sound technician."


"Not often are urbanity and humor found among the qualities of technical writing. A notable exception is provided by this book, which now appears in a most welcome updated and expanded revision. It is largely by virtue of his writing style, clear without being elementary, and laced with his native Yorkshire wit, that the author easily brings accurate understanding of the finer points of loudspeaker design even to the relatively non-technical reader.

"Being the designer and manufacturer of the famous Wharfedale loudspeakers, Mr. Briggs speaks with the authority of twenty-five years experience in all aspects of loudspeaker design. From a historic survey of loudspeakers and an amusing autobiographic sketch, Mr. Briggs takes the reader into the intricacies of cones and coils, resonance and vibration, volume and watts, power handling and efficiency, magnet structures and the many other factors determining the sound of a speaker.

"From the detailed discussion of speakers as such, Briggs goes on to several illuminating chapters on different types of baffles (Schallwände). As the designer of many unconventional baffles, including a sand filled corner enclosure, column-type baffles and open-back baffles, Mr. Briggs holds forth on this subject with a depth of knowledge equal to his expertise on loudspeakers themselves.

"Some sections of the book are also devoted to the electrical factors affecting loudspeaker performance, such as negative feedback, output transformers and crossover networks.

"Particularly useful to the hi-fi fan are the chapters relating to room acoustics and speaker placement. Based on years of actual experimentation under a variety of circumstances, these chapters offer valuable points of improving the acoustic situation in almost any kind of room.

"Of great timeliness are chapters on stereo sound and electrostatic speakers, new to this fifth edition of the book. In common with many other British designers, Mr. Briggs favors omnidirectional sound radiation for stereo, a viewpoint now finding increasing support also in America. His fairness in discussing the relative merits of the new electrostatic loudspeakers with the conventional cone designs is exemplary.

"For the serious audio fan, pleasure and profit commingle in the reading of this book."

Here is a book which no one interested in high fidelity can afford to be without. At the approximate cost of one record album ($4.50), it is certainly a wonderful source of profit and pleasure.

Leonard Carduner

P.S. We are pleased to make the following special offer to readers of this column:

British Industries Corporation will send you 50c as a refund for buying a copy of the Fifth Edition of "Loudspeakers" at your dealer. Here's all you have to do:
Snip the corner of the jacket of the book containing the word: "Loudspeakers"
Affach it to this coupon with your dealer's sales slip for the book and mail it directly to us to receive your 50c. This offer expires at April 15. 1959

Questions at the High Fidelity Shows

1959 IS THE 11th YEAR OF HIGH FIDELITY shows ... the 11th year that music lovers have been turning out to see and hear the newest developments in the field of high fidelity.

This year, the attendance at the high fidelity shows in Los Angeles and San Francisco was greater than in previous years, and it is quite evident that it will continue to grow in the years to come.

High fidelity ... and now stereo ... has become a consuming interest to people in quest of quality reproduction of music in the home. The continued growing interest in the subject was clearly indicated by the questions people ask at these shows ... people with new faces and new enthusiasm for high fidelity's newest developments. I noted that the following questions (with our replies) were most-often-asked at this season's high fidelity shows.

People were concerned about their investment in existing monaural equipment evidenced by this question.

Frage 1 :

Q: I already own a LEAK amplifier combination. Is there some way that I can use it for stereo?
A: Yes ... you can retain your power amplifier and trade-in your preamplifier. To keep your investment in stereo as reasonable as possible, LEAK has inaugurated the industry's first manufacturer-sponsored trade-in program. Your LEAK monaural preamplifier, any model, is worth $30.00 toward the purchase of any LEAK stereo preamplifier/amplifier combination. And... LEAK is unconditionally guaranteed for five years on all parts except tubes which carry a standard warranty.

Another important question had to do with the added space stereo required ... this one was concerned with loudspeaker systems.

Frage 2 :

Q: Has Wharfedale done anything about the space problem created by the need for two speaker systems in stereo?

A: Some of the very earliest stereo demonstrations were already using compact integrated combinations of two and three Wharfedale speakers, in enclosures designed by G. A. Briggs. Now, the newest addition to the Wharfedale line is the WS/2, containing a special 8" Wharfedale midrange and woofer, a special 3" Wharfedale and cross-over ... all integrated and matched to the specially compact WS/2 patented enclosure which measures only 11" x 10" x 24".

It is a complete full range speaker system, ready to play. To provide maximum flexibility in fitting the system to existing room arrangements, it is custom finished on all four sides so that it may be placed horizontally or vertically, upright on the floor, or even on its back. Used in pairs, the WS/2's, small as they are in size, reproduce music with a quality characteristic only offered by Wharfedale. And, a single WS/2 is a perfect stereo companion to any other quality speaker system.

Frage 3 :

The one question predominant in every city was from present Garrard owners. Although asked in many ways, it amounted to this:

Q: I now have a conventional high fidelity system using a Garrard Record Changer — do I have to discard it and buy a special changer for stereo? My present Garrard is in excellent condition and is operating satisfactorily.
A: There is no reason to replace your present 9 Garrard Record Changer if it is a monaural model of recent years. You can convert it yourself, in about 20 minutes, and without any special tools or soldering.

Simply install the stereo cartridge of your choice (magnetic or ceramic) and rewire the pickup arm of the changer with one of the two Garrard Stereo Conversion Kits.

If your present Garrard is a Model RC-88, RC-98, RC-121 or T/II you would need the Model SCK-1 Stereo Conversion Kit. If you now have the Model RC-121/11, you would need the Model SCK-2 Kit. Both sell for $4.95.

Other questions indicated that some consumers have been led to believe that a very special mechanism must be used to rotate the stereo record, and support the stereo stylus, in the record groove. Also ... some people seem to regard the stereo record as a highly delicate material that may shatter if dropped a few inches from the record spindle. For example — here are some of the questions:

Frage 4 :

Q: I have heard that you need a special turntable for stereo. What do you recommend?
A: You do not need a special turntable for stereo ... we almost invariably recommend the Garrard record changer. This is no ordinary instrument ... it is, in fact, a precision turntable of advanced design backed by almost 40 years of experience building none but top-quality record players. The wow, flutter and rumble content of the Garrard changer compares favorably with the best in transcription turntables; and is actually superior to many of the so-called "professional" machines ... you can depend on correct performance and dead quiet reproduction with a Garrard changer.

Frage 5 :

Q: But what about the tone arm ?
A: The Garrard changer is equipped with an exclusive aluminum tone arm ... non-resonant, distortion-free, and superior to most separate transcription arms.

Frage 6 :

Q: Will the tone arm of a Garrard changer track correctly without damage to the stereo record? I have heard that stylus pressure has to be very light for stereo.
A: The tone arm on a Garrard changer actually provides professional performance. It tracks all cartridges at the lightest correct stylus pressure recommended by the individual cartridge manufacturer. Every cartridge is designed to track at a specific pressure and should not be played lighter. For example, if the cartridge manufacturer specifies 5 grams you will not get correct performance at 3 grams.

  • Anmerkung : Auch hier kein Wort davon, daß die Rillenbreite von Mono- und Stereo-Platten unterschiedlich ist und eigentlich nicht kompatibel ist.


Frage 7 :

Q: They say the stereo record is more delicate - won't the handling on a changer damage these records?
A: The question, how to handle a record carefully, is the same — whether stereo or monaural. Protection of records has always been one of the key Garrard features, because of the exclusive Garrard pusher platform. After 25 years - this is still the only device that insures positive gentle handling of all records, including stereo. Actually, a Garrard changer protects your records more carefully than even your own hand, and certainly more efficiently than any other record player. And incidentally, laboratory tests have proved that dropping of one record on another, whether moving or still, does not damage record grooves.

  • Anmerkung : Auch diese Antwort ist sehr weit her geholt und einfach falsch. Alleine das Attribut "certainly" relativiert diese obige unterstellende Aussage.


Frage 8 :

Q: What does the Garrard changer offer me over a manual turntable and arm I can buy in the same price class?
A: In addition to greater quality ... it offers convenience and economy. Convenience because it is truly a manual turntable but with the tremendous advantage of automatic play whenever you want it.

You will be pleasantly surprised how often you will want the automatic feature. Everyone plays background music, multi-record albums, and needs the convenience of the automatic features, to avoid having to race to the record player every time.

Also, don't overlook that the Garrard changer comes prewired for stereo, and is easy to install in minutes. It's economical because ... with all of its advantages ... its cost is much lower than a separate arm and turntable. Most important - because it is a Garrard, you are assured of years of perfect, trouble-free performance.

Incidentally, don't you find it especially interesting to see that we are demonstrating with the Garrard changer in all the high fidelity shows? We manufacture every type of record player -the finest in transcription turntables, manual players and changers. This includes a superb new manual player. Nevertheless, we use the changer purposely to prove how excellent stereo sound can be on this remarkable machine.

Nachsatz :

P.S. We have prepared a series of Comparator Guides covering the various BIC product lines and we will be happy to send them to you. Please write, specifying the BIC products which interest you. Address Dept. AD 19

Service and Spare Parts

What that makes Garrard Record Players the finest in the world?

One could say it is the patient attention to detail so apparent in any Garrard design ... or, the painstaking quality control techniques followed in the manufacture of all Garrard products ... but, an equally significant factor would be the matter of Garrard service and spare parts!

Like all other record players, Garrard models are mechanical devices, ultimately requiring some form of service or adjustment. But, unlike all other record players ... a Garrard lasts longer before needing service ... and when the time comes, Garrard owners are taken care of magnificently.

There is a nationwide network of authorized spare parts and service stations ready to serve at all times. Moreover, an all-inclusive storehouse of Garrard parts covering all models is rigorously maintained. Never has a Garrard owner failed to realize continued satisfaction from the Garrard player he purchased. Proof of this is contained in the files of our Service Department ... a department with its own reputation in direct parallel to that of the Garrard product.

  • Anmerkung : Das ist auch wieder von ganz weit her geholt. Unter "nationwide network" von Service Stationen in den USA versteht man mindestens einen Stützpunkt pro State und das ist immens teuer und das viele Geld hatte die kleine englische Firma mit Sicherheit nicht gehabt.
  • Als ich den ehemaligen Technischen Direktor von LEITZ USA Herrn Krüger kennengelernt hatte, erzählte er von den erheblichen Anstrengungen, ein Service Netzwerk mit insgesamt 2.000 kompetenten Mitarbeitern USA-weit aufzubauen. Dazu war Garrard viel zu klein - also auch nur ein in Sprüchen verpacktes werbemäßiges Wunschdenken.


Den Rest ersparen wir uns, weil sich diese einspaltigen "Anzeigen" mehrfach wiederholt hatten.

Gemeinschafts-Und ab dem Juni 1959 war dann Schluß mit dieser Art der B.I.C.Werbung.

- Werbung Dezent -
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