Save Bozak CMA-10-2DL to get e-mail alerts and updates on your eBay Feed. BOZAK MODEL CMA-10-2DL STEREO MIXER PREAMPLIFIER OWNER'S MANUAL REPRODUCTION.

Died ( 1982-02-08)February 8, 1982 (aged 72) Residence Other names Rudy Bozak, R. Bozak, Rudi T. Bozak Occupation Engineer, designer, entrepreneur, owner Employer Cinaudagraph Dinion Coil Company R. Spouse(s) 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 Czech immigrants; Rudy was born in. Bozak studied at; in 1981, the school awarded him an honorary doctorate in engineering.

Bozak married Lillian Gilleski; the two had three daughters: Lillian, Mary and Barbara. Contents • • • • • • • • • • • • • Loudspeakers [ ] Fresh out of college in 1933, Rudy Bozak began working for, an electronics manufacturer based in. Bozak would later employ Allen-Bradley components in his own electronic designs. Bozak moved to the in 1935 to work for Cinaudagraph out of. Two years later he was chief engineer.

At the, a tower topped with a cluster of eight 27' Cinaudagraph loudspeakers in 30' frames with huge 450 lb. Magnets covered low frequency duties for a 2-way PA system at.

The loudspeakers were mounted into horns with 14' wide mouths and were each driven by a 500 watt amplifier derived from a high-power radio broadcast tube. In June 1940, Electronics magazine published an article that Bozak had written about the design of the 27' loudspeaker. During, Bozak worked with at Dinion Coil Company in developing very high voltage power supplies for radar. Bozak joined in 1944 to help them develop an. While in, he noticed that the human sense of hearing was unpredictable at best. Years later, Bozak recounted this story about the Conn electronic organ project: '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 down and played the instrument again.

He didn’t play ten or fifteen bars when he said, This goddamn thing doesn’t sound right. What did you guys do to it?’ We said we hadn’t done anything. Well, he didn’t believe us.

‘You did something to it. You messed it up here,’ he said. ‘Restore it back to the way you had it.’ So what we did was let the damn instrument sit there for another week, and he comes back and plays it again.

‘Now this is the way it should be,’ he says.' In 1948 Bozak moved his family to to develop organ loudspeakers for. While there, Bozak experimented at home in a loudspeaker laboratory he housed in his basement.

One design of his featured a shell as the loudspeaker enclosure. In 1950 Bozak was hired as a consultant by to develop a square loudspeaker driver unit but it was not an engineering success. In 1952 he was making driver units for the McIntosh F100 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.

Bozak met 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-breaking stereo recording of train sounds at night: Rail Dynamics.

Together, Bozak and Cook implemented a stereo loudspeaker system that would be able to show Cook's stereo recordings to best effect. By the mid-1950s, Bozak had expanded into new quarters at 587 Connecticut Avenue in, with an export office in. The foundation of Bozak loudspeaker design was the unique Bozak cone. Lotus notes. The woofer cone was molded from a slurry containing paper pulp, lamb's wool and other ingredients in a secret process. The cone was made thicker at the center, becoming progressively thinner toward the periphery.

An additional doping of the inner area further strengthened the cone center. The result was a cone with 'variable density' from center to rim with virtually no breakup or standing waves, the major sources of distortion in more conventional paper cones. The original midrange and tweeter cones were paper.

In 1961 the B-209 midrange cone was changed to a radical new design. The material was very thin spun aluminum which took much of its strength from its curvilinear profile along the radius. The cone received a thin coating of in order to the surface reflections that otherwise would occur on a metal surface which is vibrated rapidly. The design was patented and was largely responsible for the superb transient response of the Bozak B-209B and B-209C midrange. In 1961 the original B-200X paper-cone tweeter re-appeared as the B-200Y, using the same basic cone design of the midrange. The Concert Grand was the crown jewel of Bozak speaker systems since its introduction in 1951.