Bozak AR-6 Mixer Bozak AR-6 Squared Condesa Carmen Condesa Carmen EQ Condesa Lucia E&S DJR400 Omnitronic RRM-502 5-channel rotary mixer Omnitronic TRM-202MK2 2-channel rotary mixe Rane MP2014 2-channel Rotary Mixer Rane MP2015 Rotary Control DJ Mixer Superstereo DN70 Superstereo DN78 Taula4 CDS. Vintage Rotary Mixers Rane MP 2016 Bozak CMA 10.
Today’s Bozak range is inspired by the DJ’s who themselves were inspired…Bozak is truly Audio For The Soul.
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.
ClamXAV is an anti-malware solution for macOS which uses the popular ClamAv antivirus engine, and designed to detect and quarantine all kids of threats (for both Mac and Windows) such as viruses, trojans, phishing and spyware. Robust antivirus solution with a clear-cut user interface and real-time notification engine. The user interface is quite straightforward and provides access to all. Setting up ClamXav 2 on my MacBook Air was quick and easy. The installer, available at clamxav.com, walks you through downloading the antivirus engine (which contains the malware detection). ClamXAV is a popular virus checker for OS X. Time to take control. ClamXAV keeps threats at bay and puts you firmly in charge of your Mac’s security. Scan a specific file or your entire hard drive. Set it to scan automatically or run instant checks on suspicious files. It’s entirely up to you. Silent and deadly. Setting up ClamXav Antivirus for Mac OS X Open an Assist ticket if you would like a CSMT member to configure ClamXAV for you. We are happy to do this, and can typically configure it in less than 5 minutes while you wait, as long as you schedule a time in advance via the Assist system. ClamXAV is an anti-malware solution for macOS which uses the popular ClamAv antivirus engine and designed to detect and quarantine all kinds of threats (for both Mac and Windows) such as viruses, trojans, phishing, and spyware. Robust antivirus solution with a clear-cut user interface and real-time notification engine. The user interface is quite straightforward and provides access to all. Setting up clamxav antivirus for mac.
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.
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.
This really isn’t a bio. It’s just some of my recollections over the almost 17 years I was associated with Bozak. As time and space, as-well-
predict or control. In time, I’ll add some photos from back in the days that we called “The Golden Age of Audio.”
I had just graduated from tech school where I studied electronics for 4 years. All through the late 1950s, and during the time in tech
equalizers, compressor/expanders, and played around with analog noise reduction, but this day in June of 1963 was to be different than
job as technician/draftsman and asking all sorts of questions about my hobby activities. I was expecting to be grilled about my technical
me that ever since his employment with Cinaudagraph Corporation, where he served as chief engineer, that audio experimenting had
component and hand it to me, asking, “…and do you know what this is?” By the time we returned to his office, I was feeling pretty proud
convertible crossover designed to be strappable for various impedances and crossover frequencies, a foundational requirement the
inductors and the three sets of output terminals and immediately responded, “Well, it looks like a 3-way crossover … probably 6 dB per
handshake and a promise to call me after he interviewed some other applicants.
It wasn’t too many days later that Rudy’s sales manager (and production monitor), Phil, called me to tell me to report to work after the
speakers, the upcoming concept in public area sound, columnar loudspeakers. I was shown the entire operation which consisted of the
self-contained, and the final assembly area where the speakers met the cabinets. The entire facility kept about 60 people very busy. I
axial response and polar curves in the anechoic chamber. The Bozak lab was a very complete laboratory, having several areas of
prototyping various circuit designs, and a section for spot checking crossover components such as the “Q” of crossover chokes and
was the physics section where we routinely weighed driver components … down to the milligram level, spot tested magnets for gap
under a microscope, and specified driver parameters in terms of linear travel, BLI product, compliance, and all the other factors
job, I elected to attend college nights. My days were about 18 hours long, so I got to sleep 6 hours … minus the homework time. This is a
only 6 weeks, and getting to work with all this great equipment.
It was sometime around Thanksgiving, I had been with the company about 3 or 4 months when I arrived one Monday morning to discover
“…you are in charge now – you answer directly to me.”
I was, at once, elated, frightened, and sad. I really felt bad for the guy who was my mentor and friend during those all too short months.
very industry I had longed to be a part of – my brain was in overload.
But it gets better. Sometime that fall I attended my first IHF audio convention. Wandering the booths of the Hotel New Yorker with Rudy
crews, some guys from Utah Speakers, Electro-Voice, Jensen, ESL, Shure Brothers, Bogen, JBL, Altec Lancing and other notables whom
forget – My gawd, and I was only 18 years old!
The World's Fair
One morning Rudy came to me and asked me to travel to Brewster, New York and pick up some plans. When I returned to the office, he
notably, the Vatican Pavilion. My first assignment was to help him develop a ceiling mounted loudspeaker that would provide a full
were dealing with 8 or 9 of the 10 audio octaves, and knowing the physics of dealing with wavelengths from 30 feet to fractions of an
the CM-109-2 was born.
I just had my first lesson in physical acoustics and the nature of reflected sound. Another lesson he unwittingly taught me was that “the
and racks for the Vatican Pavilion. We used McIntosh amplifiers, Altec mixers and several hundred feet of interconnect patch panel
nightmare-in-the-works. But the angels were with me … errr us – the NYWF ’64 was a great success for Bozak.
Lots-o-R&D
Over the next 2 years, we took on many special projects. Rudy loved to experiment and put our brains through some serious exercises.
by taxpayer’s money, since these were usually governmental requests.
One of the more challenging was the requirement for an ultra sonic radial compression horn driver that was flat (+0/-6 dB) from 10 kHz
microphone that was flat out there for our R&D program. Each voice coil, of 40 gauge aluminum wire, was hand wound by me in the lab. It
highway noise gave false readings at the receiving transducer. It was a futile plan as Rudy anticipated, but business is business. It’s
found that by sweeping through various frequencies, up there in that ultra sonic octave, that I could variously make the subject fly very
was shrouded in secret veil so I can only imagine the other uses. It turned out to be a 12-inch aluminum cone epoxied to a 3-inch voice
were either anodized aluminum, plated steel, or stainless steel. The center net (spider) and edge suspension (surround) were bakelite
compliance-to-mass ratio was very high and on a half-space baffle it was fairly flat from 90 Hz down to below 30 Hz. Of course, under
coil. Picture an ice cream cone sticking out of a speaker basket. The apex of this cone has a small platen to which various miniature
predetermined G-forces. Again, I don’t know much about the end user … it was Uncle Sam again.
Vietnam Interruption
Speaking of which, President Johnson’s Vietnam situation was escalating and at the age of 20, I had the draft breathing down my neck. I
Signal Corps and Air Defense Command under NORAD and CONAD. The third year I decided to volunteer for Vietnam rather than take pot
just in time for the Tet Offensive. All during that time I corresponded with Rudy, his wife Lillian, and a few of the office folks. It was nice
Back Home: Chief Engineer
Upon my discharge in the summer of 1968, I visited the factory at 587 Connecticut Avenue in South Norwalk, Connecticut. Rudy
“Bozak, Inc.” But other things had changed, too. In my absence there had been a couple of other chief engineers, none of which were
line of mixers, power amplifiers, and integrated units.
Eventually we built another department for electronics assembly and testing and CM Labs was phased out of the picture. From there we
50, 80, 120, and 150 watt versions, then later in stereo configurations. One product that we never dreamed would become so popular,
silver and black panel designs. The engineering was all so matter-of-fact, since the technology already existed in previous products,
The Thumper
Sometime around 1970, a well known American car maker called us looking for a transducer that was reasonably flat from 20 Hz to 20 kHz
rattle). They would roll the vehicle on to a net of aircraft cable with the speaker below it, facing up. Then they’d subject the car to
would probably meet their spec and measured +/- 4 dB from 11 Hz to about 19 kHz. This was Rudy’s famous 8-woofer “Thumper” (called
and a more robust B-200y array. They immediately ordered two of them. Rudy cautioned the chief engineer of the testing facility that high
of acousto-physiology that they should understand. He cautioned that when the Thumper was in use, no one should be allowed in the
time. His muscles were definitely affected by the high energy audio. Luckily it wasn’t his heart muscle, but rather his bowel muscles. The
Quiet!
Chambers! If you have never been in a true anechoic chamber, then you have never heard “quiet.” For some people, it can be a bit
18’ x 12’ as I recall. It was a room within a room with a 3” barrier of air between. The wedges were 3-foot thick fiberglass. The room was
One BIG speaker!
Right next to my lab desk was a speaker that would never see the inside of our new chamber. It was just too big and heavy to get up the
speakers always released a little extra serotonin in my head—this was no exception. That behemoth was actually a 450-pound
a 30” basket mounting the 27” cone. The voice coil was 8” diameter, as I recall. That speaker was delivered just days before. My
that thing, and I could see why. We did play it once. I forget the DC power supply requirements, but it was high voltage and considerable
it blasted out “Muskrat Ramble” from an LP I had on my desk. Hi Fi? Nope. Loud? Yup. That was fun. Every time I mentioned that
My Favorite Cabinet Design
The early 1970s were a very busy time. In 1968 and 1969, I designed the Mediterranean line of furniture. I was quite proud of that and
produced), Italian Provincial, French Provincial, Century, Modern, Moorish, and Urban, which all were professionally designed. I cannot
But I did get to document all the bits and pieces of those earlier styles, on the drafting table. Most of my creative contributions to them
configurations.
We finally got into ROCK 'n' ROLL
Somewhere along the way, my never-ending needling caused Rudy to give in to my rantings and allow us to design products for the
every show, demo, and exposition we ever did involved the playing of classical music – concert music. 'It's the distinguished thing to
get to demo jazz and some mild-ish rock. This immediately led me, with free reins, and Rudy's personal blessing, to scurry to the drafting
very happy that he was so pleased with the new product.
Two Giants
It was sometime in the mid-70s when Saul Marantz joined us as a consultant. Saul and I became quite good friends. Saul was not an
day from his home in Queens New York. I really can’t tell you his resume at Bozak except for his guidance and advice in many of the
Can you Dance?
With the increased interest in club activity and the threat of early disco we designed the still famous CMA-10-2DL and the CMA-6-2S.
course the venerable B-302A, B-4000A, and B310A (and ‘B’), B-410, and B-4005 remained in various configurations and furniture styles.
A New Tweeter
We had been experimenting with a curvilinear tweeter diaphragm for more than a year. It was to be the model B-200Z. The conical
black latex. As a diaphragm, it was critically damped and produced a true mass-controlled response curve which resonated at about 1.8
voice coil dome became active, resonating at about 12 kHz. The problem with the potentially superior B-200Z was manufacturing a
somewhat problematic, but in time we fixed that as well. The new “Z” tweeter, as it was called, was vastly superior to discerning ears
finished. But the manufacturing change over wasn’t as fast as expected and the “Z” didn’t get (officially) released until around the end
My Own Business
But I’ve gotten ahead of myself. By the fall of 1974 the disco movement had gotten serious. I had received offers to design systems for
of products we had developed over the past 12 years, and how they were naturals for this “new disco thing.” He agreed. I told him that I,
This was a first for Bozak. I was to be a free-lance dealer with no geographical restrictions. Whatever I sold to a club got shipped to the
freely. I returned to Bozak as a full timer. Another chief engineer came and went in the meantime. I don’t know the circumstances – nor
My Job Changes (The Beginning of 'Not So Much Fun Anymore')
Since the product line now included the 900-series of home electronics, a very well rounded home speaker lineup and a very
la the disco venture. He reinstated me as Chief Engineer, but wanted me to travel and visit the reps and dealers part time. The products
venue installations of our commercial products. When I was in town, my job was to entertain visitors. We had really expanded our market
lot of work. By now, Saul Marantz had left - both gents were senior citizens anyway. Rudy had openly confessed that I, and who ever was
midnight. I had one foot on the slope … and I knew it.
Empires come and go.
Bummer!
In less than half a year, I learned that Rudy was planning on selling the business. In early 1977 I organized a committee consisting of one
raise enough money to do the buy-out. But the process lagged and our combined capital became questionable to make the buyout. In
Beginning of the End for Me
The new guys (no names) released many of the original employees, including some Bozak family, having brought their own with them,
partly as a hobby and partly to advise the new guys, He mentioned to me that he hoped they wouldn't 'screw up the place.' They kept
probably because Rudy put in a word for me. The same responsibilities held for me as before. Lots of travel, late nights, and martinis
insomnia (another story), turned me into a machine. I functioned, but not with my head and heart – it was all so mechanical. I was
supposed to be doing, designing audio stuff!
Later in 1977 I left the company and pursued a more reasonable life-style—back to consulting. My health returned to normal in short time.
Rudy Calls
Then, in about 18 months, early 1979, I received a call from the new owner asking me to return. He wanted to “freshen up” the consumer
this have gotten better.”
It didn’t.
A Real Downer
Entering the same old building that captured my heart 16 years earlier was a dismal experience. The lab, my wonderful lab, was gone. All
somewhere offshore. The test equipment outside the anechoic chamber was in disrepair .. some of it just plain missing. The new
and he was assigned as my assistant, but the corporation wasn't playing the old game .. not like Rudy did. Over the next few weeks, I
once giant of all things good and holy in the audio business had melted into a corporate money mill. It became capitalism first, Bozak
Eventually the other shoe dropped, when I was asked to do some more of the old stuff; traveling, entertaining, sales, and morphing
1979.
Caveat to other Employees
I have seen blogs of certain individuals who came after me, in those dark years after the 1977 takeover and on into the early 1980s. I
in the eye of the beholder, I suppose reality can likewise suffer subjective distortions - especially when they didn't know how it was
them tried .. they really did, and I could see that.
I certainly would not disparage any of my successors. I know that most of them—especially the technical few, under the influence of the
ability, experience, and expertise. But designing Bozak products was not something you could just step into. I certainly will not tell you
compact and bookshelf systems. There was one gentleman that I met in those last days who was very sincere and working in earnest for
fortitude and the many honest and sincere coworkers I had all those years.
I lost track of Bozak Inc. once the company moved from Norwalk, to upstate Connecticut, and then with the tooling being acquired by
It Was a Great Ride..
Well, not all stories have to end sadly, and it was not my intention to paint this one as such. The Bozak empire was just that – an empire –
not like may be just fine for someone else.
Am I bitter? No, not at all. The one thing I always remember is that nothing stays the same. Things change. I love capitalism; I think it’s
tarnished in the eyes of the purist.
So where am I now? Well, I’m a survivor. At 65 (2010), I’m still in the audio business, 47 years later, happily designing commercial audio
Thank you R.T.B, from R.W.B. -- thank you for everything you taught me Rudy -- you were the best friend a guy could ask for.
I would also like to thank all those individuals who keep the memory of 'The Very Best in Sound' alive, through all their hard work here