Richtige Fernseher haben Röhren!

Richtige Fernseher haben Röhren!

In Brief: On this site you will find pictures and information about some of the electronic, electrical and electrotechnical technology relics that the Frank Sharp Private museum has accumulated over the years .

Premise: There are lots of vintage electrical and electronic items that have not survived well or even completely disappeared and forgotten.

Or are not being collected nowadays in proportion to their significance or prevalence in their heyday, this is bad and the main part of the death land. The heavy, ugly sarcophagus; models with few endearing qualities, devices that have some over-riding disadvantage to ownership such as heavy weight,toxicity or inflated value when dismantled, tend to be under-represented by all but the most comprehensive collections and museums. They get relegated to the bottom of the wants list, derided as 'more trouble than they are worth', or just forgotten entirely. As a result, I started to notice gaps in the current representation of the history of electronic and electrical technology to the interested member of the public.

Following this idea around a bit, convinced me that a collection of the peculiar alone could not hope to survive on its own merits, but a museum that gave equal display space to the popular and the unpopular, would bring things to the attention of the average person that he has previously passed by or been shielded from. It's a matter of culture. From this, the Obsolete Technology Tellye Web Museum concept developed and all my other things too. It's an open platform for all electrical Electronic TV technology to have its few, but NOT last, moments of fame in a working, hand-on environment. We'll never own Colossus or Faraday's first transformer, but I can show things that you can't see at the Science Museum, and let you play with things that the Smithsonian can't allow people to touch, because my remit is different.

There was a society once that was the polar opposite of our disposable, junk society. A whole nation was built on the idea of placing quality before quantity in all things. The goal was not “more and newer,” but “better and higher" .This attitude was reflected not only in the manufacturing of material goods, but also in the realms of art and architecture, as well as in the social fabric of everyday life. The goal was for each new cohort of children to stand on a higher level than the preceding cohort: they were to be healthier, stronger, more intelligent, and more vibrant in every way.

The society that prioritized human, social and material quality is a Winner. Truly, it is the high point of all Western civilization. Consequently, its defeat meant the defeat of civilization itself.

Today, the West is headed for the abyss. For the ultimate fate of our disposable society is for that society itself to be disposed of. And this will happen sooner, rather than later.

OLD, but ORIGINAL, Well made, Funny, Not remotely controlled............. and not Made in CHINA.

How to use the site:

- If you landed here via any Search Engine, you will get what you searched for and you can search more using the search this blog feature provided by Google. You can visit more posts scrolling the left blog archive of all posts of the month/year,
or you can click on the main photo-page to start from the main page. Doing so it starts from the most recent post to the older post simple clicking on the Older Post button on the bottom of each page after reading , post after post.

You can even visit all posts, time to time, when reaching the bottom end of each page and click on the Older Post button.

- If you arrived here at the main page via bookmark you can visit all the site scrolling the left blog archive of all posts of the month/year pointing were you want , or more simple You can even visit all blog posts, from newer to older, clicking at the end of each bottom page on the Older Post button.
So you can see all the blog/site content surfing all pages in it.

- The search this blog feature provided by Google is a real search engine. If you're pointing particular things it will search IT for you; or you can place a brand name in the search query at your choice and visit all results page by page. It's useful since the content of the site is very large.

Note that if you don't find what you searched for, try it after a period of time; the site is a never ending job !

Every CRT Television saved let revive knowledge, thoughts, moments of the past life which will never return again.........

Many contemporary "televisions" (more correctly named as displays) would not have this level of staying power, many would ware out or require major services within just five years or less and of course, there is that perennial bug bear of planned obsolescence where components are deliberately designed to fail and, or manufactured with limited edition specificities..... and without considering........picture......sound........quality........

..............The bitterness of poor quality is remembered long after the sweetness of todays funny gadgets low price has faded from memory........ . . . . . .....
Don't forget the past, the end of the world is upon us! Pretty soon it will all turn to dust!

Have big FUN ! !

©2010, 2011, 2012, 2013, 2014 Frank Sharp - You do not have permission to copy photos and words from this blog, and any content may be never used it for auctions or commercial purposes, however feel free to post anything you see here with a courtesy link back, btw a link to the original post here , is mandatory.
All sets and apparates appearing here are property of
Engineer Frank Sharp. NOTHING HERE IS FOR SALE !

Monday, June 27, 2011

LOEWE CT1170 (Art.No 57410L) YEAR 1997.

A top set from  LOEWE.

The LOEWE CT1170 (Art.No 57410L) is a 28 inches digital television with stereo sound even digitally processed.

Multistandard capability + 2 AV SCART SOCKETS + CVBS INPUTS + advanced OSD + Teletext.
Furthermore introducing more features not present in previous models.

 This models series was introducing the E3000 DIGITAL CHASSIS GENERATION with new developed circuitry.

It was phasing out the previous models series featured with the C9000 DIGITAL CHASSIS SERIES.

The DIGITAL Colour television receiver or set , are known in which the majority of signal processing that takes place therein is carried out digitally. That is, a video or television signal is received in a conventional fashion using a known analog tuning circuit and then, following the tuning operation, the received analog television signal is converted into a digital signal and digitally processed before subsequently being converted back to an analog signal for display on a colour cathode ray tube.
In a conventional television receiver, all signals are analog-processed. Analog signal processing, however, has the problems at the video stage and thereafter. These problems stem from the general drawbacks of analog signal processing with regard to time-base operation, specifically, incomplete Y/C separation (which causes cross color and dot interference), various types of problems resulting in low picture quality, and low precision of synchronization. Furthermore, from the viewpoints of cost and ease of manufacturing the analog circuit, a hybrid configuration must be employed even if the main circuit comprises an IC. In addition to these disadvantages, many adjustments must be performed.

In order to solve the above problems, it is proposed to process all signals in a digital form from the video stage to the chrominance signal demodulation stage. In such a digital television receiver, various improvements in picture quality should result due to the advantages of digital signal processing.
Therefore digital television signal processing system introduced in 1984 by the Worldwide Semiconductor Group (Freiburg, West Germany) of International Telephone and Telegraph Corporation is described in an ITT Corporation publication titled "VLSI Digital TV System--DIGIT 2000." In that system color video signals, after being processed in digital (binary) form, are converted to analog form by means of digital-to-analog converters before being coupled to an image displaying kinescope. The analog color video signals are coupled to the kinescope via analog buffer amplifiers and video output kinescope driver amplifiers which provide video output signals at a high level suitable for driving intensity control electrodes of the kinescope.

The entire video processing and controlling for a color TV has been developed on a single chip in 0.8µ CMOS
technology. Modular design and submicron technology allow the economic integration of features in all classes
of TV sets.

Open architecture is the key word to the new DSP generation. Flexible standard building blocks have been defined that offer continuity and transparency of the entire system.
One IC contains the entire video and deflection processing and builds the heart of a modern color TV. Its performance and complexity allow the user to standardize his product development. Hardware and software appli-
cations can profit from the modularity as well as manufacturing, system support or maintenance. The main
features are:

– low cost, high performance
– all digital video processing
– multi-standard color decoder PAL/NTSC/SECAM
– 3 composite, 1 S–VHS input
– integrated high-quality AD/DA converters
– sync and deflection processing
– luminance and chrominance features, e.g.
peaking, color transient improvement
– programmable RGB matrix
– various digital interfaces
– embedded RISC controller (80 MIPS)
– one crystal, few external components
– single power supply 5 V
– 0.8µ CMOS Technology
– 68-pin PLCC or 64-pin Shrink DIL Package

Present-day, so-called digital television receivers generally contain at least two A/D converters ("analog-to-digital converters"). One of the A/D converters serves to convert the video signal from analog to digital form and is commonly located after the so-called sound trap, which keeps the sound-carrier signal out of the remaining signal. This first A/D converter is operated with a sampling signal whose frequency is usually four times the chrominance subcarrier frequency. Typically, this first A/D converter is a flash converter.
The second A/D converter is located at the beginning of the audio channel and, unlike the first-mentioned A/D converter, is generally a delta-sigma converter.

 During the further development and refinement of the current principle of a digital television receiver, it has turned out that each of the various current television standards, and also expected future television standards, require suitably designed subcircuits which lead to a great number of different types of integrated circuits. This is disadvantageous, particularly with regard to the mass production of integrated circuits.
It is, therefore, the object of the invention as claimed to provide a circuit principle for television receiving sections having at least one interface between the analog signal processing circuitry and the digital signal-processing circuitry which permits considerably simpler adaptation to different television standards and reduces the number of A/D converters required.
The main idea underlying the invention is to use a single A/D converter already at the output of the intermediate-frequency stage (i.e., where the signal, still in its analog format, lies in a frequency range between about 30 MHz and 40 MHz). The clock signal of this A/D converter has a frequency approximately equal to twice the bandwidth of the received signal (e.g., a frequency of about 20 MHz). After this A/D converter, the received signal is divided into a video-information-processing channel ("the video channel"), and an audio-information processing channel ("the audio channel"). Compared to the conventional solution described above, the need for the separate audio-channel A/D converter is eliminated, so that in a currently marketable system, a complete integrated circuit is saved.

Furthermore it adds for first time a  digital sound processor for processing multistandard sound signals which are fed as analog or digital signals from at least one source to the sound processor at baseband or higher frequencies.
Such sound processors are suitable for processing sound signals of various transmission standards for entertainment electronics, such as sound signals of different television standards, satellite receivers, video recorders, radios with traffic information message decoders, etc., but also sound signals which are generated by means of specific personal computer sound cards. Via control inputs, the processing in the digital sound processor is adapted to the respective transmission standard or sound source, and via internal processors, the desired sound impression (treble, bass, volume, stereo effect, etc.) is adjusted.
One example of such a digital sound processor is the MSP 3410D Multistandard Sound Processor of Micronas Intermetall, a commercially available module used in entertainment electronics equipment. A detailed description of this flexible sound processor can be found, for example, in the relevant data sheet, Edition Jan. 15, 1998, Order No. 6251-422-3PD.

Features a PHILIPS CRT TUBE with improved focus and EHT allowed up to 29KV /  :)

Needless to say that pictures are simply stunning and bright and even the sound is far superior.

No modern LCD toys can beat this set.

A SCART Connector (which stands for Syndicat des Constructeurs d'Appareils Radiorécepteurs et Téléviseurs) is a standard for connecting audio-visual equipment together. The official standard for SCART is CENELEC document number EN 50049-1. SCART is also known as Péritel (especially in France) and Euroconnector but the name SCART will be used exclusively herein. The standard defines a 21-pin connector (herein after a SCART connector) for carrying analog television signals. Various pieces of equipment may be connected by cables having a plug fitting the SCART connectors. Television apparatuses commonly include one or more SCART connectors.
Although a SCART connector is bidirectional, the present invention is concerned with the use of a SCART connector as an input connector for receiving signals into a television apparatus. A SCART connector can receive input television signals either in an RGB format in which the red, green and blue signals are received on Pins 15, 11 and 7, respectively, or alternatively in an S-Video format in which the luminance (Y) and chroma (C) signals are received on Pins 20 and 15. As a result of the common usage of Pin 15 in accordance with the SCART standard, a SCART connector cannot receive input television signals in an RGB format and in an S-Video format at the same time.
Consequently many commercially available television apparatuses include a separate SCART connectors each dedicated to receive input television signals in one of an RGB format and an S-Video format. This limits the functionality of the SCART connectors. In practical terms, the number of SCART connectors which can be provided on a television apparatus is limited by cost and space considerations. However, different users wish the input a wide range of different combinations of formats of television signals, depending on the equipment they personally own and use. However, the provision of SCART connectors dedicated to input television signals in one of an RGB format and an S-Video format limits the overall connectivity of the television apparatus. Furthermore, for many users the different RGB format and S-Video format are confusing. Some users may not understand or may mistake the format of a television signal being supplied on a given cable from a given piece of equipment. This can result in the supply of input television signals of an inappropriate format for the SCART connector concerned.
This kind of connector is todays obsoleted !

This models series was introducing the E3000 DIGITAL CHASSIS GENERATION with new developed circuitry.

Technical specifications:

with micro digital chassis E 3000 / 8 bit
Picture tube: Super Flat Line 28”, picture diagonal length: 70cm (visible 66cm),
deflection angle 110°, heating voltage 6.3 Vrms (28Vp-p)/310 mA,
degaussing each time the set is switched on
Power requirement: 200 to 260 V~, 50 or 60 Hz
Power consumption: 145 W (SB mode 5 W)
Vertical frequency: 50 Hz ,60 Hz NTSC-M #)
Horizontal freq.: 15625 Hz, 15750 Hz NTSC-M #)
Dimensions: 80 x 57.5 x 48.5 (W x H x D)
Weight: 40 kg
(front): Headphones jack with separate setting, Front AV: two cinch jacks
for sound input, hosiden jack for video input
(back) EURO jack 1: for RGB, Y/C input signals, RC 5, CVBS and sound
input/output, EURO jack 2: RC 5, CVBS, Y/C and sound input/
output, two cinch jacks for sound output (regulable), (jacks programmable
via dialogue control system), AV through antenna jack
Features: TV Timer programming with VPT, Video Copy function, Dialogue
control system IDC, dual-sound decoder, tuning and memory
system digital, digital channel selector ACP, 1OO programme
locations in memory 00 to 99, OSD indication, Sharpness Control
System (SCS), DTI Plus, Automatic Volume Control AVC, Child
Lock, Photo CD, electronic alignment with the remote control,
#) hyperband tuner Multi Standard 8 MHz:
47 MHz - 861 MHz
PAL B/G/D/K/L/I/M/N + 60Hz • SECAM B/G/D/K/L
NTSC-VIDEO (4.43) • NTSC-M (3.58)
hyperband tuner Standard 8 MHz:
47 MHz - 861 MHz
PAL B/G + 60Hz • SECAM B/G/D/K • NTSC-Video (4.43)
*) SAT tuner: 914 MHz - 2154 MHz
Standard selection by means with the remote control, teletext
decoder as standard feature (TOP/FLOF)
Audio system: Rated power at an audio modulation frequency of 1 kHz: 2 x 20 W
for an impedance of 4 ohms, harmonic distortion less then 1 per
cent, 2 loudspeakers, base broadening for stereo, spatial sound for
Retrofit kit: Stereo Satellite Tuner

One more comment about digital in 2000..............

Over the years we have learnt that one of the most important things in video/ TV technology is selecting the best system to use. We have also seen how difficult this can be. Prior to the start of the colour TV era in Europe there was an great to-do about the best system to adopt. The US NTSC system seemed an obvious choice to start with. It had been proved in use, and refine- ments had been devised. But alternative, better solutions were proposed - PAL and Secam. PAL proved to be a great success, in fact a good choice. 
The French Secam system seems to have worked just as well. Apart from the video tape battles of the Seventies, the next really big debate concerned digital TV. When it came to digital terrestrial TV (DTT), Europe and the USA again adopted different standards. 

One major difference is the modulation system used for transmission. Coded orthogonal frequency   division multiplexing (COFDM) was selected for the European DVB system, while in the USA a system called 8VSB was adopted. COFDM uses quadrature amplitude modulation of a number of orthogonal carriers that are spread across the channel bandwidth. Because of their number, each carrier has a relatively low bit rate. 
The main advantage of the system is its excellent behaviour under multipath reception conditions. 8VSB represents a rather older,  pre phase modulation technoogy: eight  state amplitude modulation of a single carrier, with a vestigial sideband. The decision on the US system was assigned to the Advanced Television Systems Committee (ATSC), reporting to the FCC. The system it proposed was approved by the FCC on December 26th, 1996. The curious date might suggest that there had been a certain amount of politicking. In fact there had been an almighty row between the TV and computer industries about the video standard to adopt, the two fearing that one or other would gain an advantage as the technologies converged. It was 'resolved' by adopting a sort of   "open standard"  we are talking about resolution and scanning standards here - the idea apparently being that the technology would somehow sort itself out.

 There seems to have been rather less concern about the modulation standard. 8VSB was adopted because it was assumed to be able to provide a larger service area than the alternatives, including COFDM, for a given transmitter power. Well, the USA is a very large place! But the US TV industry, or at least some parts of it, is now having second thoughts. Once the FCC had made its decision, there was pressure to get on with digital TV. In early 1998 there were announce- ments about the start of transmissions and broadcasters assured the FCC that DTT would be available in the ten areas of greatest population concentration by May 1999. Rapid advances were expected, with an anticipated analogue TV switch -off in 2006. So far however things have not gone like that. At the end of 1999 some seventy DTI' transmitters were in operation, but Consumer Electronics Manufacturers Association estimates suggest that only some 50,000 sets and 5,000 STBs had been sold.

 There have been many reports of technical problems, in particular with reception in urban and hilly areas and the use of indoor aerials, also with video/audio sync and other matters. Poor reception with indoor aerials in urban conditions is of particular concern: that's how much of the population receives its TV. The UK was the first European country to start DTI', in late 1998 - at much the same time as in the USA. The contrast is striking. ONdigital had signed up well over 500,000 subscribers by the end of 1999, a much higher proportion of viewers than in the USA. Free STBs have played a part of course, but it's notable that DTT 's reception in the UK has been relatively hassle -free. In making this comparison it should also be remembered that the main aim of DTT technology differs in Europe and the USA. 

The main concern in Europe has been to provide additional channels. In the USA it has been to move to HDTV, in particular to provide a successor the NTSC system. There have been plenty of channels in the USA for many a year. For example the DirecTV satellite service started in mid 1994 and offers some 200 channels. Internationally, various countries have been comparing the US and European digital systems. They have overwhelmingly come down in favour of the DVB system. There have been some very damaging assessments of the ATSC standard. The present concern in the US TV industry results from this poor domestic take up and lack of international success. Did the FCC make a boob, in particular in the choice of 8VSB? Following compara- tive tests carried out by Sinclair Broadcasting Group Inc., the company has petitioned the FCC to adopt COFDM as an option in the ATSC standard. Not only did its tests confirm poor reception with indoor aerials: they also established that the greater coverage predicted for 8VSB failed to materialise in practice. Could the USA have two DTT transmission standards? It seems unlikely. It would involve dual standard receivers and non  standardisation of transmitters. In the all important business of system selection, it looks as if the FCC got it wrong.
              ....................................   It is obviously wasteful to duplicate terrestrial TV transmissions in analogue and digital form. Sooner or later transmissions will all be digital, since this is a more efficient use of spectrum space. The question is when? It would suit some to switch off the analogue transmitters as soon as possible. 2006 has been suggested as a time to start, with ana- logue transmissions finally ending in 2010. All very neat and tidy. Whether it will work out in that way is another matter. Strong doubts are already beginning to be aired. 
 The government has, quite properly, laid down conditions to be met before the switch off occurs. Basically that the digital signal coverage should equal that achieved for analogue TV, currently 99.4 per cent of the population, and that digital receiving equipment should be available at an affordable price. The real problem is that there is a difference between a coverage of 99.4 per cent and 99.4 per cent of the population actually having digital receiving equipment. Why should those who are interested in only free - to -air channels go out and buy/rent a digital receiver? It is already becoming evident that this represents a fair chunk of the population. 
The ITC has warned the government that the 2006-2010 timetable is in jeopardy. Peter Rogers, the ITC's chief executive, has said "we need to persuade people only interested in watching free -to -air television to switch to digital. "
Unless we do, there will be no switch - over." Well not quite, because the analogue receivers will eventually wear out and have to be replaced. But that could take a long, long time. Meanwhile many people will expect to be able to continue to watch their usual TV fare using their existing analogue receivers. 

Research carried out by Culture Secretary Chris Smith's department has established that between forty and fifty per cent of the population expects the BBC licence to cover their TV viewing, which means what they get at present in analogue form. A substantial percentage of the population simply isn't interested in going digital. In fact take up of integrated receiver -decoders, as opposed to the free digital set -top boxes, has so far been very slow. 
Of five million TV sets sold in the UK year 1999 , only 10,000 were digital. There are important factors apart from overall coverage and how many people have sets. There is the extension of coverage, which becomes more difficult to achieve eco- nomically as the number of those not covered decreases. There is the problem of reception quality. And there is the question of domestic arrangements and convenience. Extending coverage to the last ten fifteen per cent of the population by means of conventional terrestrial transmitters will be expensive. Mr Smith's department seems to have conceded that other methods of signal delivery may have to be adopted - by satellite, by microwave links or by cable. The latter has of course never been economic where few households are involved. 
The frequency planners have been trying to find ways of increasing coverage even to well populated areas. There are so many areas where problems of one sort or another make the provision of DTT difficult. Satellite TV is the obvious solution. 
The time may well come when it is wondered why anyone bothered with DTT. Signal quality is becoming an increasingly important factor as the digital roll out continues. In areas where the signal is marginal, viewers could experience the extreme irritation of picture break up or complete loss like even todays. This is quite apart from the actual quality of the channel, which depends on the number of bits per second used. There is a maximum number of bits per multiplex, the total being shared by several channels. The fewer the bits, the poorer the picture in terms of definition and rendering. 

There have already been complaints about poor quality. The question of domestic arrangements is one that has not so far received adequate public attention. Most households 2000 nowadays don't have just one TV set that the family watches. They have a main one, probably, almost certainly one or more VCRs, and several other sets around the house to serve various purposes. What 'the percentage of households that have digital TV' should really mean is the percentage willing to replace all this equipment. It will be expensive, and people would not be happy if they were told to throw away their other equipment when they get a single nice new all  singing all dancing widescreen digital TV set. It fact there would be uproar. The move from analogue to digital is not like that from 405 to 625 lines, which went fairly smoothly.

In those days few people had video equipment or a multitude of sets. The transition to digital is not going to be smooth, and the suggestion of a switch off during 2006-2010 already looks totally unrealistic. Unless the government subsidises or gives away digital TV sets - and why should it? - people will expect their existing equipment to continue to be usable.  

So it's likely that analogue TV will be with us for many years yet. But that would be the end of analogue too. 



If you want to impress your friends with your sleek, sophisticated, state-of-the-art home multimedia system, you'll want the lowdown on Loewe. A European leader in entertainment electronics, the company makes high-end TVs, DVD recorders, and audio components, including speakers. Loewe's products are sold through company galleries, certified dealers, and retailers in more than 50 countries. Germany is Loewe's most important market, accounting for more than 50% of sales. The company is concentrating on LCD technology and has stopped making plasma TVs. Through a joint venture with Sharp, Loewe develops an ultra-flat, large-screen, LCD TV. Loewe (pronounced lur-ver) was founded in 1923 in Berlin.
Key numbers for fiscal year ending December, 2009:
Sales: $464.3M
One year growth: (11.9%)
Net income: $11.6M
Income growth: (56.3%)
Chairman, Supervisory Board: Rainer Hecker
Public Relations: Roland Raithel
Public Relations: Elke Sachs

Loewe AG (pronounced [ˈløːvə]) is a German electronics manufacturer founded 1923 by Dr. Siegmund and his brother David Loewe in Berlin. The company now is located in Kronach. It is a Germany-based supplier of electronic entertainment products.
The main business are TVs, followed by DVD players/recorders, Blu-ray players and HiFi-equipment. In 2005, about 80% of the company's profit was earned through flatscreen TVs. Its product range primarily consists of television sets aimed at the luxury end of the market. It also produces a range of peripheral video and stereo products, including home cinema systems and digital recording functions.

Its television set brands are offered across five segments:
  • Loewe Reference, which includes the Spheros products
  • Loewe Individual, which includes I Selection and I Compose products
  • Loewe Art, which includes Xelos products
  • Loewe Light, which includes the Concept and Modus products
  • Loewe Connect, composed of the Company's newest TV sets which are able to stream videos, photos and music from a media server within home networks.
Loewe also manufactures LCD television sets for Sharp Corporation, which owns a 29% stake in the company.

The Loewe brand values have been shaped consistently over a long period of time. It all began in Berlin in 1923, with the brothers Dr. Siegmund and David Ludwig Loewe. Since then, one principle has always been adhered to: setting new standards with innovation for the senses.

Loewe established an impressive level of quality as early as 1931, with the first public television transmission worldwide. Loewe has been producing quality made in Germany at its location in Kronach since 1948. In the last 20 years, in addition to the Art 1 from 1985 becoming a design classic, Loewe has received numerous national and international awards.

In 2005, Loewe became the leading premium flat screen television provider. It made its breakthrough with the Loewe Individual: the first flat screen television with individualised housing versions, set-up options and inset colours. In 2008, with the Loewe Connect, Loewe heralded a new, digital television age where non-system end devices could be connected to a flat screen television set. One year later, Loewe combined uncompromising ultraslim design with leading state-of-the-art technology in the Reference range. In 2010, Loewe ultimately introduced the Mediacenter, which provides perfect entertainment networking throughout the home. Another step towards the future.

Loewe AG (pronounced [ˈløːvə]) is the parent company of the German Loewe group. The Loewe group develops, manufactures and sells a wide variety of electronic, electrical and mechanical products and systems, and specialises in the field of consumer and communication technology. The company was founded in Berlin in 1923 by brothers Siegmund and David L. Loewe. The company has its headquarters and sole production facilities in Kronach, Franconia. Today, the range has expanded to include televisions, Blu-ray players, DVD recorders, hard disk recorders, multiroom systems, speakers and racks. The trend is shifting from individual products to complete home entertainment systems. Loewe AG is also represented internationally by sales partners and subsidiaries. These include subsidiaries in the Benelux countries, France, Italy, Austria and the UK. There are exclusive Loewe Galeries acting as flagship stores in many cities around the world, including Madrid, London, Paris, Amsterdam, Rome, Copenhagen, Vienna, Moscow and Hong Kong.

LOEWE Company history
It all began in 1923 in Berlin, when Dr Siegmund Loewe and his brother David Ludwig Loewe established a radio manufacturing company called Radiofrequenz GmbH. Their work with the young physicist Manfred von Ardenne in 1926 led to the development of the triple tube, which was first used in the Loewe OE333 radio receiver. This tube prompted Loewe’s multi-tube production and is today lauded as the world’s first integrated circuit.

Television development began at Loewe in 1929. The company worked together with British television pioneer John Logie Baird. In 1931, Manfred von Ardenne presented the world’s first fully electronic television to the public on the Loewe stand at the 8th Berlin Radio Show.

When Hitler came to power in Germany, Siegmund Loewe had to emigrate to the USA in 1938, where he developed friendship with yet another forced emigrant, Albert Einstein.

In 1949, Siegmund Loewe regained possession of company property and took over as chairman of the supervisory board. In the 1950s, Loewe began producing the Optaphon, the first cassette tape recorder, and manufacturing televisions in Kronach. 1961 saw the first European video recorder, the Optacord 500, enter mass production.

In 1962, the family company tradition ended with the death of Siegmund Loewe. Subsidiaries of the Philips group took over the majority of shares. Under this management, which continued until 1985, the company increasingly specialised in the development and production of televisions.

In 1963, the first portable television, Loewe Optaport, was launched. It had a 25cm screen and built-in FM radio. The first Loewe colour televisions were launched along with the introduction of colour television in Germany. Loewe revolutionised television production in 1979 with a fully integrated chassis (everything on a single board). The first European stereo television followed in 1981.

In 1985, management made Loewe a privately owned company again after Philips sold its shares. In the same year, Loewe created the Art 1, a new generation of TVs with a focus on design.

The CS1 represented another international first in 1995 as the world’s first fully recyclable television. At this time, the course was also set for systematic further development as a multimedia specialist.

1998 marked two more milestones in the company history: the launch of the Xelos @ media, the first television with internet access, and that of the Spheros, the first Loewe flat-screen television. In the following year, Loewe AG became a publicly listed company.

With the Individual, the first flat-screen TV with individual housing options, set-up solutions and inset colours, Loewe took a decisive step and became a premium flat-screen TV manufacturer.

Loewe Connect, the world's first smart TV with fully integrated network capability for wireless access to picture, music and video files on a computer or external hard drive followed in 2008.

LED technology was adopted at Loewe in 2010 in the new Individual. In the following year, Loewe introduced 3D picture display to its Individual range.

Loewe war und ist immer ein besonderer Betrieb - und bis ins 21. Jahrhundert aktiv und in privatem Besitz. Nicht nur «das erste IC», die Röhre 3NF ist da zu erwähnen, sondern auch die Mitentwicklung des elektronischen Fernsehens in Deutschland.

1923: Radiofrequenz-GmbH und Loewe-Audion GmbH, Berlin-Friedenau;
1926: Aktiengesellschaft D.S. Loewe, Berlin-Steglitz;
1930: Radio-Aktien-Gesellschaft Dr. S. Loewe;
1933 (nach): Löwe-Radio AG;
1942: Opta-Radio AG;
1949: Loewe-Opta AG;
1965: Loewe Opta GmbH, Kronach.
Radios: 1923 bis 1926, Loewe 1927 bis 1978. TV-Fabrikation danach.

Nach Studium der Physik und Elektrotechnik promoviert Siegmund Loewe (Berlin 6.11.1885-28.5.1962 USA) unter Max Wien mit magna cum laude zum Dr. phil. Er tritt bei der Firma Telefunken ein und wechselt 1915 zur Firma Huth, wo er die Leitung der Laboratorien und der Patentabteilung übernimmt. 1918 mietet Loewe in Berlin SW61 eine 7-Zimmer-Wohnung und erstellt mit einer kleinen Entwicklungsgruppe einen Telefonie-Röhrensender, dessen Sendungen in dem nicht weit entfernten Haus des Scherl-Verlages von Otto Kappelmayer zu empfangen sind. Um seine Kenntnisse zu erweitern, begibt sich Loewe in die USA. Einen ausführlichen Bericht von und über Loewe finden Sie in [1-99], woraus Sie erkennen können, dass Loewe das treibende Element für den Rundfunk in Deutschland war. Wie er gegen den Monopolanspruch von Telefunken/Lorenz/Huth (Funkkartell «Rundfunk GmbH») kämpfte und weitere Details finden Sie in [6-121].

Nach seiner Rückkehr aus den USA wird das Versuchslabor von Loewe zum Kristallisationspunkt der jungen Funktechnik. Im Dezember 1921 erhält Loewe Besuch von Lee de Forest, und sie verbessern gemeinsam Röhren. 1921 entstehen auch zwei grundlegende Patente für den Konus-Lautsprecher. Loewe eröffnet ein zweites Laboratorium und gründet 1923 die Loewe-Audion-GmbH für die Herstellung von Radioröhren sowie die Radiosender GmbH.

Im Dezember 1921 lernt der Realschüler Manfred von Ardenne den Radiopionier Loewe in einem Elektrikergeschäft kennen und ist darauf häufiger Gast in den Laboratorien von Loewe. Ein Autor schreibt, dass Loewe zum «Ziehvater» des jungen von Ardenne wird und er in der Familie aufgenommen ist, doch von Ardenne beschreibt dies in seinem Buch «Eine glückliche Jugend im Zeichen der Technik» (DDR) nicht.

Die wahrscheinlich 1923 gegründete Loewe Radio GmbH führt der jüngste Loewe-Bruder Bernhard. Das D bei D.S. Loewe steht für den älteren Bruder, David (Teilhaber).

Radiofrequenz GmbH und Loewe-Audion GmbH (1923-27):
Am 22.1.23 erwirbt Dr. Siegmund Loewe die seit 1918/19 bestehende Mechanische Werkstatt Grüttner & Lütgert in Berlin-Friedenau und gründet die Radiofrequenz GmbH. Die ersten Geräte sind für den Export bestimmt. Davon sind mir die Typen EA51, EA52 und EA54 bekannt. EA steht für «Empfangs-Apparat».

Im Jahr darauf stellt der Betrieb die Ziffer 9 vor die laufende Nummer. Der Sprung von EA958 auf EA980 deutet auf andere Artikel hin (z.B. Trichterlautsprecher und kombinierte Geräte etc.). Nachher ist keine Nummernsystematik mehr zu erkennen, ausser den Buchstabenkombinationen wie OE (Orts-Empfänger), FE (Fern-Empfänger), KV (KW-Vorsetzer), RO (Rückkopplungs-Ortsempfänger) etc.
1927 gibt Loewe den Namen Radiofrequenz auf und verwendet seinen eigenen Namen. Die drei Geräte OE333, 2H3N und NVG gibt es unter beiden Namen, da sie Loewe 1927/28 ohne neue Modelle weiter produziert. Mehr als eine Million dieser Geräte lassen sich zum Stückpreis von 39.50 RM verkaufen, und die Tagesproduktion erreicht zeitweise 2000 Einheiten.

Im Oktober 1923 gründet Loewe eine weitere Gesellschaft zur Herstellung von Rundfunkröhren mit dem Namen Loewe-Audion GmbH, ebenfalls an der Niedstrasse 5 in Berlin-Friedenau gelegen. Zuerst entstehen dort Wolfram-, dann Thoriumröhren als «Sparröhren». Im September 1924 meldet Loewe die grundlegenden Patente zur Dreifachröhre mit integrierten Bauteilen an, die 1926 als 3NF mit dem «Loewe Ortsempfänger OE333» einen legendären Ruf erreicht.

Loewe, Löwe, Opta, Loewe-Opta
Die Schrift «Loewe-Story» aus dem Hause Loewe-Opta zeigt die Abbildung eines «Detektor-Empfängers» mit zwei Steckspulen, der angeblich zur Eröffnung des Rundfunks bereitstand. Es ist aber ein umfunktionierter Sperrkreis für den Empfänger 2H3N, Baujahr 1927, was auch aus dem Firmenschild mit «Berlin-Steglitz» hervorgeht.

1926 entsteht die Aktiengesellschaft D.S. Loewe, Berlin-Steglitz. Als zweites Gerät unter der neuen Marke Loewe bzw. Loewe Radio gilt der auf der Funkausstellung im September 1926 gezeigte Fernempfänger 2H3N zu RM 150. Auch Lautsprecherboxen mit Loewe-Konus-Lautsprecher und Stoffbezug im «Südsee-look» sind nun erhältlich. Wegen der steigenden Anzahl Rundfunksender treten Trennschärfeprobleme auf, so dass die Dreifachröhre für den Einbezug einer Rückkopplung einen siebten Anschluss erhält. Diese «3NF7» baut Loewe ab 1928 in alle OE333, 2H3N und in das dritte Gerät, den RO433 ein. Die elektrische Schallplatten-Abtastdose LR150 erregt Aufsehen; Gewicht 260 g! Die Dose verlangt einen Abspielwinkel von 55 Grad. Die 3NF gibt es nun auch mit Oxydkathode als 3NFB mit einem Verbrauch von 0,13 statt 0,34 A Heizstrom - zudem beträgt die Verstärkung etwa das Doppelte. Weitere Details zu Firmengründungen von Loewe siehe [638967]. Es sind dies z.B. die Eudarit-Pressgut GmbH für Bakelitgehäuse etc. und die Ortophon-Apparatebau GmbH für den Lautsprecherbau.

1929 bringen die Loewe-Firmen den «Vollnetzanschluss-Empfänger R533» heraus, der mit einer nochmals verbesserten Dreifachröhre, der 3NFW mit indirekter Heizung, ausgestattet ist. 1929 entsteht Loewe's Berliner-Radio-Handels-Aktiengesellschaft. Die Baird Television Company Ltd., London, bietet Loewe die Auswertung und Entwicklung ihrer Schutzrechte und Entwicklungsarbeiten auf dem Fernsehgebiet in Deutschland an. Da dieses Angebot die finanziellen Möglichkeiten von Loewe übersteigt, regt Dr. Loewe eine Beteiligung von Zeiss Ikon, Dresden, und Robert Bosch, Stuttgart, an. Es kommt Mitte 1929 zur Gründung der Fernseh-AG in Berlin, die 1939 im Firmenverband Robert Bosch aufgeht.

1930 fasst Loewe verschiedene seiner Firmen unter dem Namen Radio-Aktien-Gesellschaft Dr. S. Loewe zusammen und mit dem EB100W (1931 EB100G) beginnt die Reihe der Empfänger mit integriertem Lautsprecher.

Im Auftrag der Loewe-Firmen bringt von Ardenne aus seinem eigenen Labor 1930 erste brauchbare Vorschläge zur Helligkeitssteuerung, um auf einem Bildschirm ein gut modulierbares Bildraster zu schreiben. Meine gasgefüllte Braun'sche Röhre aus dem Labor von Ardenne zeugt für die Forschung um 1926.

Auch auf der Senderseite entwickelt Loewe elektronische Medien auf der Grundlage des «Flying-spot-Abtasters», um Filme elektronisch übertragen zu können. Am 25.4.31 veranstalten Dr. S. Loewe und M. von Ardenne in den Lichterfelder-Laboratorien eine Vorführung vor der Fachpresse. Bald darauf kann Loewe die Qualität der mechanischen Systeme erreichen und übertreffen. Siehe [1-127f]. 1932 geht von Ardenne eigene Wege. 1933, ein Jahr vor den Mitbewerbern, erkennt Dr. Loewe die Notwendigkeit von Allstrom-Apparaten und bringt den 1-Kreis-Empfänger «Edda» auf den Markt. (Ganz so richtig ist das nicht: zumindest Emud kommt 1931 mit «Allstrom», EE). Zu der Zeit halten sich Wohnungen mit Gleich- bzw. Wechselstrom etwa die Waage und eine Familie, die umzieht, kann den transformatorlosen Apparat weiterverwenden. Der Apparat führt die Allstrom-Dreifachröhre WD33. Das Allstromkonzept führt Loewe auch für Mehrkreis- und Superhet-Empfänger mit den Röhren WG34, WG35 und WG36 fort.

Auf dem in England bestellten Sattelschlepper mit einer Fernseh-Sendereinrichtung steht anlässlich der Premiere vom Juli 1934 in London gross der Namenszug Radio A.G. D.S. Loewe. Das Regime in Deutschland lässt die Firma jedoch bald in Löwe-Radio AG umtaufen und 1942 in Opta-Radio AG. Loewe wandert 1936 in die USA aus und gründet dort die Loewe Radio Inc. Er hat 1938 aus dem Vorstand in Deutschland auszuscheiden.

1941-44 fertigen die Opta-Betriebe ausschliesslich Rüstungsgüter; Opta-Radios sind dann Fremdtypen [638966-19]. Man gliedert Grassman in den Opta-Betrieb ein. Es entstehen Auslagerungsbetriebe, z.B. in Oberlungwitz in Sachsen. In Berlin-Weissensee entsteht während des Krieges ein Betrieb für Röhrenbau [DRM94].

Noch im März 1945 verlagert das Unternehmen eine wichtige Kriegsfertigung nach Küps bei Kronach. Dies ist die Keimzelle der neuen Firma, denn 1948 kann S. Loewe seine Wiedergutmachungsansprüche durchsetzen und erhält das Sagen beim demontierten Hauptwerk in Berlin und der Auslagerungsstätte in Küps bei Kronach. In Küps fabriziert Loewe ab 1946. Gemäss «Loewe-Story» gibt es vor November 1947 den «Kronach», wahrscheinlich 547W, in einer Auflage von zwei Geräten pro Tag. Ein getrenntes Werk in Düsseldorf-Heerdt offeriert als Firma Opta-Spezial GmbH von 1950 bis 1954 Opta-Spezial-Radios [6-124]. Konsul Bruno Pieper wirkt als Generaldirektor.

Jedenfalls: Auf der Leipziger Messe von 1947 sind wieder Loewe-Entwicklungen zu sehen. Die Firma erzeugt 1950 mit dem «Optaphon» das erste deutsche Kassetten-Tonbandgerät. 1961 ist Loewe mit dem «Optacord 500», einer für den privaten Gebrauch konzipierten Video-Anlage, führend beim Bildschirmtext und baut vor allem modernste TV-Empfänger - ein Steckenpferd von Dr. S. Loewe. Er stirbt 1962.

Bis 1978 fertigt die Firma Radios in Berlin, löst diesen Betrieb aber auf. Der Mitarbeiterbestand bei Loewe beträgt Ende der 80er Jahre ca. 1500. Die Loewe Opta GmbH, Kronach, gehört in den 90er Jahren zu 51,9 % der Management GBR (Gesellschaft leitender Mitarbeiter der GmbH) und zu 48,1 % zu Matsushita (Panasonic), wobei eine gute gegenseitige Befruchtung für das Hauptprodukt, TV, zum Tragen kommt.

Loewe in Ostdeutschland:
Opta Leipzig, ab 1950 VEB Stern-Radio Leipzig genannt, geht 1952 im VEB Fernmeldewerk Leipzig auf. Die Radioproduktion endet 1950/51.

Nach dem Krieg versuchen Loewe-Mitarbeiter des Zweigwerkes in Oberlungwitz in Sachsen, Maschinen und Vorrichtungen nach West-Berlin zu transportieren, doch die Sowjets verlangen, dass diese Güter in die Röhrenfabrik Berlin-Weissensee gelangen.

Dieser Loewe-Betrieb arbeitet mit der Röhrenfabrik in Berlin.

Loewe hat auch in anderen Ländern Produktionsstätten, so z.B. in Grossbritannien. Vor allem aber auch Handelsniederlassungen, wie Loewe Radio S.A., 3 quai de Willebroeck, Bruxelles (adress in 1932).

German technology manufacturer Loewe declares bankruptcy:

 On October 1-2013 , Loewe, a producer of entertainment and communications technology, declared bankruptcy at the Cobourg district court.

The long-established company was founded in Berlin in 1923 as Radiofrequenz Gmbh by physicist and electronic technician Sigmund Loewe and his brother Ludwig David Loewe. The firm was one of the first in Germany to produce electronic tubes for televisions, loudspeakers and resistors. The well-known physicist Manfred von Ardenne participated in the development of televisions by Loewe from 1929, which led to the first-ever electronic television broadcast in 1931 at the radio exhibition in Berlin.

As they were Jewish, the Loewe brothers were forced into exile after the assumption of power by the Nazis in 1933. Ludwig emigrated to the United States in 1934, and Sigmund in 1938. The company was subsequently “Aryanised” and reorganised for war production in 1939 for the German air force. At the end of the Second World War, in March 1945, the company moved to Kronach, although the main plant in Berlin Steglitz continued in existence until 1979.

Sigmund Loewe returned to Germany in 1946, took over the leadership of the firm and developed the first cassette recorder in the 1950s as well as the first European video recorder in 1961. In 1963, Loewe produced the first portable television.

Loewe was the head of his firm until his death in 1962. The majority shareholding subsequently went to concealed subsidiaries of the Phillips group, which sold their entire stake in 1985. Since 1999, Loewe AG has been listed on the stock market.

The orientation to customers with buying power was the basis of the company’s production for decades. Loewe developed the first television with Internet access in 1998. In 2005, the firm produced its first flat-screen model.

A crisis in 2004, caused by the firm’s failure to respond quickly to the development of flat-screen technology, was overcome with a capital injection from the Japanese firm Sharp and a drastic programme of budget cuts. This was worked out between the IG Metall trade union, the works council and company management.

Of the 1,250 employees, 300 were laid off, and those who remained had to work longer without any corresponding wage increase. In addition, they had to give up half of their monthly salary or a whole monthly wage. In this way, costs were reduced by 25 percent. In 2007, the company registered a surplus of €6.5 million and the workers received a one-off premium of €3,000.

“That was of course great for the people there,” said Christopher Schmitz from the Verdi union, as Verdi agreed to wage cuts at the Karstadt department store chain three years ago. “But Loewe is a complete one-off.” The workers would never normally see any of their money again.

The crisis at Loewe, which has been ongoing for five years, is a consequence of the global economic crisis that broke out in 2008. During this period, total sales have fallen from €374 million to €250 million. The groups that Loewe had targeted for a long time, such as skilled workers and specialists, who could afford to concern themselves with quality, have been rocked by the effects of the crisis with the loss of their jobs and wage cuts, or at least the permanent threat of this possibility.

At the end of 2012, there were still close to 1,000 employees working at the Kronach facility. In April 2013, after “constructive discussions with the works council and IG Metall,” 180 jobs were cut, including 130 in production. With the further announcement of 150 redundancies in September, Loewe has laid off around 35 percent of its workforce in less than six months with the support of the trade unions and works council.

Loewe’s competitors in the high-end sector are also suffering due to the crisis. The Danish entertainment and electronics concern Bang & Olufsen reported heavy losses. The firm is the second largest European company in the industry and registered a shortfall of €9 million in the last quarter.

On October 1, Loewe, a producer of entertainment and communications technology, declared bankruptcy at the Cobourg district court.

Two weeks previously, the company, which is based in Kronach, announced that it would make 150 of its 800 workers redundant as part of a restructuring process to take “measures to adjust the cost base.” The ailing company was seeking new investors by laying off the workers. The measure was “an essential precondition for the intervention of an investor and the maintenance of the whole company,” said Matthias Harsch, the chief executive of the board of Loewe AG.

Earlier this year, in July, Loewe applied for bankruptcy protection, which involved the establishment of a restructuring plan that was supervised by an administrator appointed by a court. The company was thereby granted three months’ protection from its creditors, and it introduced restructuring measures. The expiration of the period of bankruptcy protection has now led to actual bankruptcy proceedings.

In the middle of the Bavarian election campaign in August, state president Horst Seehofer of the Christian Social Union (CSU) pledged state guarantees for the company if an investor could be found.

Then in September, Loewe announced a partnership agreement with Hisense, a Chinese producer of televisions and kitchen appliances. The company is the fourth largest producer of televisions globally, has its headquarters in Kingdao in eastern China, and was considered a possible investor. According to Spiegel Online, both companies had recently begun joint distributions in Austria, which was viewed as a test market.

However, Hisense had not committed to any financial assistance, as the Frankfurter Allgemeine Zeitung ( FAZ ) reported. FAZ went on to explain that there was also “a group of British financiers who want to give Loewe a new strategic direction.” If the company does not find an investor by the end of October, it will be dismantled.

Loewe reported losses in August of close to €15 million (US$20 million), after three loss-making years in a row. The company’s liquidity fell from €27 million to just €8 million, while its capital shrank from €48 million to €25 million. The bankruptcy announcement at the beginning of October caused Loewe’s stock to drop immediately by 50 percent.

Loewe specialised for decades in expensive televisions and high-end entertainment equipment. It has now changed its sales strategy and wants to open up to “the mass market” of cheap televisions and loudspeakers, because “the specialised trade only accounts for 25 percent” of the market, as Harsch told Der Spiegel in an interview.

In order to sell goods cheaply in major stores, production was to be outsourced to Asia. A facility would continue in Kronach for the manufacturing of “high-end appliances.” However, in future, it will not be production in Germany that is important, but rather the label “engineered and designed in Germany.” “We are not a producer of appliances any more, and that’s what I’m trying to persuade the firm,” Harsch said in the same interview.

21/03/2014: Münchener Investor übernimmt Loewe:

Kronach Nach langem Bangen hat der traditionsreiche Fernsehgerätehersteller Loewe einen Investor gefunden und hofft nun auf eine bessere Zukunft. Das Münchner Finanzunternehmen Stargate Capital übernimmt das oberfränkische Traditionsunternehmen, hieß es in einer am Freitagabend veröffentlichten Mitteilung. „Wir sind sehr froh, dass es nach den Turbulenzen der letzten Wochen gelungen ist, einen starken Partner für Loewe zu finden“, erklärte Vorstandschef Matthias Harsch. „Loewe kann nun endlich neu durchstarten.“

Ein notarieller Kaufvertrag über den gesamten Geschäftsbetrieb sei bereits von beiden Seiten unterzeichnet worden, hieß es. Der neue Eigentümer führe den Geschäftsbetrieb am Standort Kronach einschließlich der Produktion fort. Zudem übernimmt Stargate Capital auch die internationalen Tochtergesellschaften. Von den aktuell rund 525 Mitarbeitern dürfen jedoch nur 430 bleiben. Von der Börse will sich Loewe verabschieden.

Durch die Übernahme von Stargate Capital blieben mehr Arbeitsplätze erhalten, als es bei den Erwerberkonzepten aller anderen Kaufinteressenten vorgesehen war, betonte Loewe-Finanzvorstand Rolf Rickmeyer. Die 95 Mitarbeiter, die nach dem Einstieg des Investors nicht übernommen werden sollen, stammen vor allem aus der Produktion und sollen bis Ende September weiterbeschäftigt werden. Von Oktober an sollen sie dann in eine Transfergesellschaft wechseln können. „Dass nicht alle Arbeitsplätze gerettet werden können, bedauere ich umso mehr, als es nicht zuletzt das Verdienst der Mitarbeiter ist, dass Loewe diese schwere Zeit überstehen konnte“, sagte Rickmeyer.

Seit einem Jahr war Loewe inständig auf der Suche nach einem Retter. Im Frühjahr 2013 schockte der Hersteller von Premium-TVs mit der Nachricht, dass die Hälfte des Grundkapitals bald aufgezehrt sei. Im Herbst folgte der Antrag auf Insolvenz in Eigenverwaltung. Mitte Januar dieses Jahres schien es so, als sei mit dem Investor Panthera bereits ein Retter gefunden. Doch vor einem Monat trat die private Investorengruppe völlig überraschend vom Kaufvertrag zurück.

Nach dieser erneuten Hiobsbotschaft für die bei Loewe verbliebenen Mitarbeiter trat Stargate Capital auf den Plan. Das Finanzunternehmen aus München ist auf Investments in mittelständische Unternehmen spezialisiert. „Mit Stargate Capital haben wir vor allem einen Investor gefunden, der eine langfristige Strategie verfolgt mit dem Ziel, Loewe wieder zu alter Stärke zurückzuführen“, erklärte Vorstandschef Harsch.

Über den genauen Kaufpreis schwiegen beide Seiten. Er liege „im oberen einstelligen Millionenbereich“, hieß es lediglich. In den kommenden Jahren seien Investitionen im mittleren zweistelligen Millionenbereich geplant.


  1. Hi Frank - your blog is fantastic.

    If I can ask a question - I'm about to buy a Loewe Calida 5063. This has a Blackline S tube.

    Do you know how these tubes compare in quality to the Super Flatline tubes mentioned above?

  2. Both are PHILIPS CRT TUBE. Both Excellent pictures.



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