Over the years questions have been asked about the company history and besides what I knew first hand and with a little help from Shelly Glick who shared joint ownership of the company during its final years as Bozak in Connecticut I can finally share it with you.
First off in regards to the question "I've heard that other audio companies shared workshops with Bozak is this true." Story's of other audio company's shared workshops with Bozak might be do to several reasons. First off Chou Morris had their own shop and produced a couple units similar to some of their early Bozak designs right down the street from the Bozak factory. To my knowledge and Sheldon Glick who was involved with Bozak prior to myself from the early years, none were produced in the 45,000 square foot Bozak New Britain factory in Connecticut.
Bozak was already split up when everyone involved with ownership decided to close it. Much of the machinery was sold off or removed without permission prior to relocating. The marketing manager Bill Kieltyka had purchased the speaker side and opened up shop in his home state of Maine but not using the Bozak name. Bill operated under another brand name NEAR that I believe stood for New England Audio Resource. All of the original equipment from the speaker division remaining was sold to him so he could be faithful to Rudy and the original speaker design. I was told Bill closed up shop years later but I believe he was bought out by Bogen Communications.
Don Bowers the majority owner of Bozak in 1988 later sold the Bozak name rights and nothing else in 1996 to a company in Europe producing small phono preamplifiers. They continued putting the Bozak name on their few produced products but never had access to any of the Bozak electronic designs. Because they only got the name it would not be accurate to say the company was sold to them. The electronics division died in 1988 when the 45,000 square foot plant in New Britain Connecticut was official closed.
Technical Acoustics was formed long before the 1988 move to Florida while Bozak was still in Connecticut. Technical Acoustics products were geared to microphones, sound reinforcement systems, and audio teleconference equipment. Around 1996 Don sold Technical Acoustics and the name became Conference Technology Group. Don Bowers and Sheldon Glick were partners until 1996 and involved in many business ventures, owned the largest portion of the original Bozak company, and had controlling power for all decisions made during the final 10 years. Shelly at one time stated to me that "I walked in today and told Don I was fed up with the cold weather and was moving to Florida. We can split everything up or move the company." Obviously what remained from Bozak and all the new material being developed and produced for Technical Acoustics was packed up and moved to Florida. Production of actual Bozak products ended quite some time before the decision to relocate.
Shelly arrived a couple months before the actually moving of the company in order to set up the new Florida plant. At Shelly's request all machinery, furniture, and remaining material was to be packed along with files and records of all sold Bozak products and shipped to the new Florida plant. Some how all files, original hand written test records of every product ever built, and all Bozak product schematics were never shipped do to the excuse of misunderstood communications. To my knowledge most was never packed, destroyed, or thrown out, and once realized it was to late to attempt to recover. At the time so much material to ship would have involved another truckload of an already very large and expensive move. Until Shelly's death in 2018 he believed that Don Bowers his long time partner was actually responsible for the decision to not ship material requested in order to save money during the move. The schematics and drawings I have shared over the years with everyone are ones I originally retained or files Shelly shipped early on to me at my request before the move.
Most Bozak products had been sold off to dealers or individual customers long before the move. During the last year in Connecticut all that was being done with Bozak was customer repairs and elimination of shelf stock inventory. Most of the machinery, lab test equipment, and parts were being used for Technical Acoustic products several years prior to relocating. What remained of the Bozak only electronic repair parts that made it to Florida were used for a few customer repairs and later ended up in my personal inventory.
This has been stated many times over the years but now might be a good time to bring facts not assumptions or speculation to light for some of the newer audiophiles. It is a know fact that the human ear is analog and like snowflakes or leafs no two are alike. When designing an audio sound reproduction piece of equipment you will never please everyone so you make an attempt to appeal to the mass population.
Rudy Bozak elected to bring broadcast flat engineered specifications into his products built during the 1950s in an attempt to appeal to the mass market place and let the consumer make adjustments to the listing curve to their personal preference. Broadcast flat was carried over through the years with the line of BOZAK professional products and reached the point of highest reproduction ability with the discreet circuitry components. The DL series mixers were the final result of years of technical design, engineering and laboratory experimenting. Even though tone controls are present the audio signal remains true to broadcast flat specifications in the front end of the mixer with the operator having the ability with the later internal stages to tailor the output to their personal listening enjoyment.
Many people feel the original BOZAK mixer sounds better because they are tailoring the ability of reproduction to their personal taste. The BOZAK DL series mixers (unlike most mixers produced that exhibit their own personality many refer to as colorizing) is a true flat responsive signal that is as close to what the original studio engineers produced and wanted you to hear. It is stated by many that certain mixers have certain sound characteristics and this is true due to many variables in design and components used. When using a BOZAK DL series mixer you are shaping the sound and not the mixer shaping it for you.
The reason the BozakAlps RK40 came to being was because the original Allen Bradley potentiometers used in all products were in fact premium grade carbon controls but they could not withstand the constant rotation of disc jockey use in club applications. So many early mixers were returned for potentiometer replacement do to the wear factor on the carbon and becoming scratchy sounding.
The Allen Bradley's were premium potentiometers but were designed basically for set and forget level controls. Something had to be done so the new owner and head engineer went to Alps in Japan sometime around 1979 and had the RK40 designed with special audio slope characteristics from the then available Alps standard military RK40 potentiometer offered.
The Bozak/Alps RK40 (known as the black beauties) is a custom potentiometer with specifications at the time licensed and available to Bozak only. The agreement was for 5 years with the custom specifications and expired sometime in 1983. At that point Bozak was no longer buying quantities of 5,000 or more so Alps approached UREI and offered UREI a deal on the potentiometer. Bozak owned the exclusive custom specification rights and was still purchasing smaller quantities but the potentiometer specifications were returned to original military specifications, had the mounting changed, and Alps produced large quantities for UREI. UREI removed the early Noble brand potentiometers from the 1620 mixer and changed the boards to support the Alps pin style RK40s.
The UREI style RK40 pots are premium but are not the same specifications as the custom Bozak/Alps RK40 potentiometer. Specifications for the licensed Bozak/Alps potentiometers were never published or advertised by Alps and to this day are only know to lost records. The Bozak/Alps black beauty RK40 potentiometers were superior to any potentiometer manufactured at the time by any company but are in fact different in characteristics and specifications than the ones produced for UREI.
Sent to Buzzy Beck from Shelly Glick
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