Bozak CMA-10.2-DL Below you will found our manuals on the Bozak CMA-10.2-DL. The owners manual is used as an reference guide, instruction manual and instruction book. The schematic is a technical drawing or diagram of your system, a perfect supplement to the Service Manual. 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 further developments by Rudy and Bob, to include equalizers, high power amps, and specialized mixers.
Bozak Cma 10 2dl Manual Transmission
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
at their best with listeners closer than 20 feet away. In 1965, a pair of B-410 Concert Grands cost US$2000. Such a high price limited ownership to a small number of hi-fi aficionados and audiophiles. The
his Mark VII Productions listening room.
In 1961, Bozak introduced the B-4000 Symphony. This was sort of ' half='' a='' concert='' grand,'='' using='' two='' 12'='' woofers,='' one='' midrange='' and='' the='' same='' vertical='' array='' of='' eight='' tweeters='' as='' the='' concert='' grands.='' it='' was='' the=''>
The backbone of the Bozak line was the B-302A system, the beginning of the systematic growth program, offered in several cabinet styles over a period of years. The 302A systems consisted of one 12' woofer,=''>
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
teamed up to demonstrate loudspeakers at Hi-Fi events and audio engineering conventions, a sizable crowd would form. Bozak shifted from using McIntosh amplifiers for powering his loudspeakers to using
1962. The new design echoed earlier changes to the B-209/B-800 midrange design philosophy: the standard tweeter cone shape was modified into a curvilinear shape. The new design became the B-200Z. Its
The Lab Standard systems were especially designed for recording studio mix-down applications and off-air monitors. Each loudspeaker was shipped with a machine run response curve and exhibited ultra flat
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
Today's Bozak range is inspired by the DJ's who themselves were inspired…Bozak is truly Audio For The Soul. Tales from space: mutant blobs attack download for mac osx.
Bozak CMA-10-2DL (silver) Bozak CMA-10-2DL (black) In mid '70s the CMA-10-2DL had already reached the quote of the standard club mixer status. It was all discrete unit built up from the ground using resistors, capacitors and transistors. Before the internal summing, the signal path was keep fully passive with unbuffered volume channel controls. For latest news follow us. Featured Products.
Rudy Bozak was one of the all time great audio pioneers spanning the 1930's to the 1970's. During the 50's and 60's the musical map was changing forever, from Rock n Roll to RnB and in the 70's, RnB then went up-tempo and Disco was born. The rest is pure club land history. The Bozak CMA-10-2DL was the first commercially produced DJ mixer, ground breaking by being larger than life in stereo, but the single fact that finally the DJ had a mixer designed for their requirements. Engineers and DJ's alike fell in love with the mixers functionality and the unique smoothness and warmth! Featured for so long in so many DJ booths, Nicky Siano's Gallery, Studio 54 and Larry Levan's booth at The Paradise Garage, the original Bozak mixer earned its unique place in DJ history. The legacy of the Bozak lives on today, in fact most of the modern manufacturers have copied Bozak's original mixer in some shape or form but have never quite matched its unique sound.
Bozak's use of discrete components gave the mixer a unique sound that cannot be re-created with today's integrated op-amps. Analog Development has designed to the same exacting topology that made that early audio sound so warm, exciting and made the stereo image so dynamic. All the Analog Development products use high performance analogue control circuits using individually selected discrete components.
Analog Developments have faithfully reproduced the feel of the classic rotary controls with its simple but intuitive layout. Every care has been taken to faithfully reproduce the warmth and stereo separation that has made the Bozak name what it is today.
Functionality has been improved where necessary to accommodate today's DJ's and sound system engineers with special attention being paid to the connectivity and tactile feel of the product. The superior dynamic response makes the control smooth and predictable whilst the Bozak frequency-dividing technology gives individual tone control, allowing the user to isolate beats, vocals and the high hat as well as adjusting the overall tonal quality. The crossover points of the EQ have been carefully selected to yield a more natural sound and to emphasise the artistry in the musical production.
The producers and musicians, having spent so many hours perfecting their productions, would love to hear them played back in a club so the tracks can be heard to their fullest potential. The natural warmth of the Bozak brings out the dynamics of the sound as never heard before, precise and without the aural irritation and listening fatigue common to so many DJ mixers.
Although often imitated but never surpassed, the Bozak mixer was born in a golden era when sound was pioneered by engineers keen to discover new boundaries. The new Bozak products remain true to the design topology of those times, add in today's engineering technology and we have achieved a unique sound as only dreamed of by its clones.
The original Bozak mixer was available in a few different guises and it is commonly felt that the product's life was cut short and never reached its full potential for the DJ.
Today we utilise the original CMA-10 circuits as the bedrock of all the new Bozak products ensuring parity with the Bozak sound and quality but carefully updated to perform in tandem with modern players, system controllers and amplifiers and constructed to current safety standards.
Bozak Cma 10 2dl Mixer
All our products are hand built in our UK factory. All the Bozak products are fitted with the highest quality components selected for the best possible audio performance. Fitted with ALPS RK27 Blue Velvet pots, carbon resistors, environmentally sealed switches, polyester mylar capacitors and ultra low noise hi-fi grade worldwide toroidal power transformer all culminating in Bozak's signature rich warm sound.
