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History of the Binson Amplifier HiFi Company

The Early Years

Binson factory of Via Padova — Binson's first factory was located on Via Padova a few hundred meters N.E. of Piazzale Loreto Square in Milan—the factory roofs can be seen in the distance, just above the black billboard.

The story of the Binson Amplifier Hi-Fi company begins many years ago in the Italian city of Milan, not long after the end World War II. Milan has long been a focus for scientific and artistic endeavor, from the time of the Renaissance up until more modern times in the early 1900s. It was at this point that a technological revolution, catalysed by the Great Wars, led to new, large factories springing up across its industrialised quarters.

These factories attracted workers from the city and beyond, transforming Milan into a lively, vibrant, multicultural city. It was in this expansive climate that young engineer and entrepreneur, Bonfiglio Bini established Binson’s first work premises on Via Padova, 39. In the mid-1940s his company initially began manufacturing vacuum tube radios under the brand name Roberson and later extended it’s product range to include television sets under the brand name Mirason. But in the space of just a few years the enterprising Bini had already set his sights on new horizons, redirecting Binson’s research and development effort onwards, and upwards to greater things: this time, electric guitar amplification.

Towards the late 1940s Ing. Bini, along with his long-standing senior production technician, Gaetano Nicola Scarano, began to build small guitar amplifiers. The company began to fly in 1952 when they lanched their first big seller, a beautiful little amp, they named the Binson 3°, which means Binson third; in Italian the small “o” or “a” is the equivalent of English “nd” or “rd” after a number (so, Echorec 2° really means Echorec 2nd). This amp even came with a three switch foot-controller to enable the user to remotely change volume and tone settings—advanced stuff for the time. Over the course of almost half a century Bini and Scarano (aka “Mayor of the Company”) contrived an incredible array of technically innovative audio products for musicians including reverb effect units, guitar amplifiers, mixers, P.A. speakers, keyboards (the ‘Binsonett’) and even wireless microphones (light years ahead of its time) and, of course, their world renowned delay-echo machine, the ‘Echorec’. The scanned pages from the Binson catalogue below give an indication of just how diverse their product portfolio was.

Binson Echorec 2

Binson Echorec Export

Binson Hi-Fi Microphone

Binson Hi-Fi Preamp Mixer

Binson Hi-Fi Sound Columns

Binson Hi-Fi Speakers

Binson Hi-Fi Stereo Amplifier

Binson Instrument Amplifier

Binson Mixer Amp PA

Binson Standbooms

Binson Telemicro

Binsonett Electronic Organ

The Binson Echorec – the World’s Finest Delay

The Echorec was introduced to the market in the mid 1950s as a portable echo and reverberation effect—at the time use of echo had been confined to recording and broadcasting studios possessing a special echo chamber room. The Echorec’s compact size and capability for connection to existing amplifier systems soon established it as ‘The hallmark’ of technical perfection worldwide, defining the sound of many players, such as rock guitarists, David Gilmour (Pink Floyd) and Jimmy Page (Led Zeppelin) and electronic musicians such as Delia Derbyshire (BBC Radiophonic Workshop) and ‘The Chemical Brothers’. The key to the success of the Binson Echorec was the “memory disc”, a superlative instance of Italian precision engineering that was more durable and stable than the magnetic tape transports utilised by other delay effects units of the day.

golden_panel_echorec_1962_320px — Early Echorec 1° with golden front panel (1962)

The earliest batch of Ecorec machines (spelt without an ‘h’) were fabricated sometime during 1953/54. The name ‘Ecorec’ is made up from the Italian word ‘eco’, meaning echo, and the first syllable of the word ‘record’. It’s believed that no more than thirty machines were made on this first production run. Bini purposefully moved on to iron out a few of the wrinkles in machine’s design, altered the name slightly and the first true Echorec 1° (spelt with an ‘h’) was born: the model ‘T5E’.

Now this model number ID isn’t arbitrary; it actually tells us something about the machine. The letter ‘T’ is short for the Italian word ‘Testa’, which means ‘Head’ in English; the letter ‘E’ is short for ‘Eco’; and the number ‘5’ indicates the number of heads fitted on the machine. The model number literally means five head echo, where one head records audio signals entering the Echorec’s input and the other four heads play it back, a few tens or hundreds of milliseconds later in time, creating an artificial echo effect.

The ‘T5E’ Echorec featured an illuminated gold ‘Plexiglas’ front panel, cool looking retro space-age knobs and a cluster of three old-style, cream-coloured ‘car radio’ push-button switches to enable selecting between different audio sources connected to its inputs. Further, the folded steel enclosure was painted in a beautiful hammered metal effect gold paint and the machine housed in a 2-Tone tan and brown ‘Tolex‘ birch plywood carry-case—the overall effect is wonderfully pleasing to the eye, giving the machine a classy and stylish appearance.

The ‘T5E’ was manufactured from 1955 up until 1962/63. It was during this period that the ‘Baby’ Binson was born (sometime around 1958, although the scheme is dated March 1960). Being a more compact machine, the Baby was primarily aimed at guitar players. The machine was fitted with a silver Plexiglas front panel, finished in silver hammer tone paint and came with a lovely 2-Tone red and cream carry case. It possessed a smaller diameter magnetic drum, was less bulky and came with a less hefty price tag than the ‘T5E’. The retail price of the ‘Baby’ was £140 in 1962 (£3,200-00 in today’s money). For comparison, a Vox ‘AC30′ tube amp was priced at £119 and Fender ‘Stratocaster’ guitar at £160.

Although the ‘Baby’ was a budget echo machine, it performed almost as well as its big brother, the T5E. The Baby didn’t only find use on guitar though. This compact machine was also distributed by French accordion manufacturer Maugein. That’s right, even accordions were going electric, and were fitted with an array of three carbon (or crystal) element microphones. The Maugein Babies featured a black front panel inscribed with “MAUGEIN BABY ECHOREC par BINSON”. The Maugein Echorec Baby is a rare find.

The Binson 'Baby' was introduced as a compact, low budget 'Echorec'.

The ‘Baby’ was manufactured up until 65/66 when Bini took the decision to standardise the Echorec product range in an effort to keep their production costs as low as possible. Manufacture of the smaller drum and compact chassis parts ceased and from this point onwards the ‘Baby’ was replaced by the ‘B1S’; the ‘B1S’ was essentially ‘Baby’ electronics installed in a ‘T5E’ chassis with the larger diameter ‘T5E’ drum. The unique gold and silver front panels were abandoned and all Echorecs were fitted with plain black Plexiglas front panels and painted in the same gold hammer finish paint. The appearance of the curvy space-age knobs changed too; the transparent plastic knobs with silver caps were superseded by black knobs with gold caps on which the “Binson” name was printed.

Incidentally, these knobs are also often to be found on old Italian ‘Geloso’ radios from the same era, that is, the mid to late 1950s. Only a few years later those gorgeous curvy knobs were ditched in favor of less elegant, chunkier looking control knobs.

Like the ‘Baby’, the ‘B1S’ featured just one channel, which means the ‘car radio’ selector buttons are conspicuously absent from the front panel. The panel layout has a sparse and pleasing simplicity about it. However, it wasn’t long before Bini altered the design to reinstate those cream push-button switches and the ‘B1S’ became the ‘B2’ (and this later became the ‘Export’). The ‘Baby’ and its successors were the only “classic” models with four knobs, all the other models were six knob designs with twelve separate echo selections from one head alone to complex multi-tap effects with all four playback heads. Record level, playback and regeneration (feedback) was also adjustable. This was the standard layout for the ‘B1S’, ‘B2’ and ‘T5E’ models.

Echorec 2° aka model ‘T7E’ — The Echorec 2°, aka model ‘T7E’ is capable of short/delays, slapback echo, multi-tap delays and reverberation effects; in short, the ultimate echo machine.

Then came the most iconic Binson Echorec of all: the model ‘T7E’ or Echorec 2°. The ‘T7E’ was introduced in 1960 and was the first of their echo units to offer reverberation effects, not just delay. The convenience and versatility of the ‘T7E’ made it a highly desirable tool to have around in the recording studio or for live work, and the machine rapidly became Binson’s flagship product. In fact the new ‘T7E’ and ‘B2’ models were so successful that Binson even manufactured branded versions of the machines for Sound City (England), Guild (U.S.A.) and the Italian company, EKO Guitars. Sound City’s Echorec was branded as the ‘Echomaster’ and Guild’s was the model ‘T6E’.

dr_bonfiglio-bini_320px — Dr Bonfiglio Bini—founder of Binson. (photo probably taken in the new factory in the early 1970s)

Bini was insistent that there was no noise gate circuitry in the Echorec as this would it cut off the tails of the last, low level delay repeats—he wanted the reverb to “breathe”. Additionally there was no variable speed motor because it would have adversely affected the equalisation. The next generation of machines started with the ‘T7E’, which made it possible to obtain lush sweeping echoes and preset reverbs. This facility was available on the ‘Echomaster 2’, most of the Guild series, and the larger 19″ sized studio machines, notably the PE603 TU, which was available with tube or transistor circuitry.

These units also had the capability to playback on one selected head and feed back on another. This, coupled with the breathtaking reverbs, gave an unparalleled effect palette to the musician or engineer. A smaller Guild unit was available at this time and a full size transistor 603. Stereo units—a very rare find with no more than 50 ever made—were also manufactured, with one motor, two jockey wheels, and two drums, with four or six heads per drum and many of their mixers had a built-in Echorec. The rack units were introduced around 1967/68 to complete their beautiful P.A. rack system. The first machines with 6 playback heads (7 heads total) were introduced in 69/70 and with the EC series, introduced in 1975, they had machines with 4, 6, 8 and even 10 playback heads!

In 1969 the elegant slim red transistorised models arrived. These machines utilised a mechanical level indicator in place of the magic eye and featured small chrome-effect plastic knobs. The A601TR, 602TR, and 605TR models had 4 playback heads. Later, in 1973 came the A606TR, A605TR-6 and A606TR-6 with 6 playback heads.

Solid-state transistorised 603M, 603T and 603TU models with 4 playback heads were introduced in 1971, but Binson continued to manufacture the tube Echorec 2° until 1979. Then a year later in 1972 there followed the 603T6 and 603TU6 models featuring 6 playback heads. A comprehensive list of the different Binson Echorec models can be found on AudioExMachina’s Echorec Bible.

The Binson Factory

In the late 1950s Binson was a small company employing just half a dozen staff. Machines, such as the model ‘T5E’ or the ‘Baby’, were assembled and wired-up entirely by hand. It was time-consuming work; a T5E would take a day to complete. This meant the factory was capable of producing thirty Echorecs per month absolute maximum with the staff working flat-out around the clock. Additionally, Binson’s product portfolio was growing and international sales were on the increase. To meet the demand for their products Binson needed to grow, and to do that it became necessary for them to find larger premises.

Manufacturing was relocated from Via Padova in 1963, leaving head office and admin departments there, to larger premises just a few hundred meters south-west on Via Guido Guinizelli, 4 (street named after the Italian poet). The number of assembly staff more than doubled to fifteen and Franco Avona became tester and quality supervisor of the production line.

Binson Research & Development dept. — The Binson research and development department at Via Guido Guinizelli in the 1960s. An Echorec can be seen on the right hand side of the picture.

Although no pictures of the Guinizelli factory’s exterior exist, there are photographs of the interior. The large arched windows, iron support pillars and volume of the spaces within suggest early 1900s construction; it’s likely that Binson’s Guinizelli premises resemble old red brick factories, such as the ‘Olivetti’ typewriter manufacturing factory.

Just a few years later another small factory was opened nearby on Via Predabissi in which they built their ‘Binsonett‘ electronic organ.

Binson Amplificatori Hi Fi S. p. A., Via e. Fermi 37, Settimo Milanese, Milano, Italia. (early1970s)

Sales of Binson audio products continued to grow and diversify over the 1960s. These were their zenith years. As the 60s came to a close they took the decision to close both Milanese factories and relocated all departments from Via Padova to a single larger premises situated on the outskirts of Milan in Settimo Milanese—a small town 8km west of the Duomo Di Milano—around 1971.

At this time Binson employed around 250 staff, including design, mechanical and production engineers, acoustic specialists, carpenters, assemblers, purchasing, admin and sales staff. Binson even owned a pair of Alfa Romeo ‘Autotutto’ (all purpose) vans with the company’s name boldly emblazoned on the side; a sure sign that the Binson Amplifier Hi-Fi company had made it big!

Although Bini relocated Binson to a new site he retained ownership of the old premises on via Guido Guinizelli and several years later, in 1978, made the space available for use by an independent radio station, Radio Diffusione Lombarda (RDL). RDL’s Radio studios were based on the first floor, whilst the ground floor was utilised by “Phonosound” C.A.E. as a professional music recording studio. Ever the entrepreneur, and music enthusiast, Bini became a partner and first director of RDL.

Bini was to change the company name several more times during it’s long history, next to “Bini Valenti Amelia” (two surnames followed by a female name, Amelia). This later became “Construzioni Radio Eletttroniche Bini (C.R.E.B.)”, then “Binson S.p.A. (Società per Azioni—Italian corporate company)”, “Construzioni Apparecchiature Elettriche (C.A.E.) [Electrical Devices Manufacturing in English]” and finally “Binson S.R.L. (Società a Responsabilità Limitata—Italian limited liability company)”.

Time To Bow Out

Echo City UK fax — One of several faxes between Binson and Echo City UK discussing a potential buyout.

After a dazzling and innovative era spanning four decades the mighty Binson engine finally ran out of steam and ground to a halt. The company went into liquidation in the early 1980s and manufacturing operations ceased completely in 1986—the show was over. A couple of years later, towards the end of 1988, an attempt was made by Echo City UK Ltd to buy up the company. Echo City sought to purchase stock, the Binson drum patent and “good will” for a figure of £25,000 (around £70,000 in today’s money). They were genuinely enthusiastic about Binson’s products and over the coming months there were numerous fax exchanges and phone calls between the two companies.

However, as the year grew to a close a deal still hadn’t been struck. This was in the main because Echo City were a new company and were struggling to raise the necessary capital. Further, the advent of cheap, compact BBD and digital delay technology meant there was a diminishing market for Binson’s relatively bulky and expensive analogue echo-delay machines. And, tube gear was falling out of fashion, even the guitar amplifier industry was shifting towards solid-state gear at the time. The odds were against it: Echo City’s bold, last-ditch rescue attempt was in vain.

But that wasn’t quite the end. Bini would still open the factory store from time to time so that musicians and enthusiasts could bring their Echorecs in for servicing and repair. And there were deals to be had on new old stock spare parts, Binson amplifiers, mixers and Echorecs—still boxed and sealed in their original factory packaging! What’s more, he and Mr Scarano occasionally gave historic tours around the closed factory buildings in their free-time in the evenings. The once bustling factory that employed over two hundred workers had been reduced back down to just two old guys: two old guys that were once two young guys with big dreams of doing something astounding. And they had.

Bini closed his factory doors for the last time in 1996. Another company later took over the premises and the contents of the buildings. The new owners didn’t fully appreciate the value of what they’d inherited and had the buildings cleared and the contents disposed of in local landfill. Not quite everything was lost though: some astute enthusiasts saw an opportunity to salvage the last remnants of Bini’s legacy. Keyboards, microphones and other precious, vintage Binson audio equipment were saved from being hopelessly buried with Milan’s garbage in the ground.

The old factory buildings still stand today. They’re located at the intersection of Via Fermi and Via Albert Einstein (the roads on this industrial estate are named after famous scientists) in Settimo Milanese, Milan, Italy—hallowed ground for Echorec enthusiasts. There’s an estate agents board outside and the site is surrounded by overgrown orange trees. Now, the once sleek and futuristic Binson main office buildings look a bit tatty, and are empty and derelict.

Echorec Nostalgia

Even though Binson had ceased operations it was still possible to obtain technical support for servicing, repairing and modifying Echorecs through their UK representative, Eric Snowball. Eric was Binson’s UK distributor since the late 1960s and before that had worked at ‘Vox‘ as an engineer, so he knew something of audio electronics. His small workshop was based at ESE music in Maidstone, Kent, England where he and a couple of technicians possessed the capability to refurbish, restore and repair Echorecs to a high level—completely refurbished units looked (and had the aromatic tang of new paint) just as if they had rolled off the Binson factory production line back in the 60s. They also had the expertise to rebuild and restore the Echorec memory system, cleaning and electroplating old and corroded metal parts, refacing the heads and drum so it was as new. They could even construct new Tolex covered wooden carry cases that housed the Echorec.

84_binson_bits — New old stock Echorec parts such as these heads and idler wheel are a dwindling resource and are becoming increasingly difficult to obtain and more expensive.

Eric Snowball retired in 2011 and passed away not long after in 2016. His passing marked the end of Binson’s official presence in the UK. Technical support for the Echorec was in freefall as few amp techs possessed the expertise, specialised tools, resolve and determination to deal with the mechanical complexities of these problematic old echo machines. Working on an Echorec is a whole new ball game compared to guitar amplifiers and not to be taken lightly.

But there are a handful of bona fide Binson gurus out there. For instance, Franco Avona still has a music and repair shop located on Via Guicciardini in Milan, although he must be well into his eighties now. And then there’s John Hamley (owner of Brunswick Amplifiers) who, by his own admission, is a, “Lunatic willing to repair Binson Echorecs and other old stuff nobody wants to touch.” These guys are carrying the torch for an archaic technology that would otherwise have become a lost art years ago.

So, perhaps the Binson story will never end, well at least not while there are men in sheds tinkering with Echorecs and keeping these magnificent old echo machines alive. And before I finish, let me add just one more thing: For Dr Bini super-quality was an absolute must. The Binson company manufactured every single component in house apart from tubes, heads and bolts. When asked if it would not have been cheaper to have the chassis, wooden cases and moulded parts made by third party manufacturers, Bini replied, “Sure it would have been cheaper, but then it would not be Binson stuff anymore!”. So there you have it—there really is nothing quite like a Binson.

Sadly, Bonfiglio Bini passed away two or three years ago at the time of writing this article (2013). Although Binson products are no longer manufactured, his daughter still owns the rights to the original “Binson” trademark.

Special thanks to Eric Snowball, David Bozzoni and Henry de Souza for kindly supplying additional material.

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History of the Binson Amplifier HiFi Company