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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 is a masterpiece in Italian precision engineering! It was introduced in the mid 1950s as a portable echo and reverberation effect. At the time, use of echo effects were restricted to recording and broadcasting studios possessing a special echo chamber room. The key to the Echorec’s success is the “memory disc”, a magnetic drum that stores an electronic signal so that it can be played back a short time later to create a delayed echo effect. The principle of operation is the same as that of a magnetic tape recorder, however Binson’s memory disc is more durable and stable than any plastic magnetic tape.

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

Binson’s machine represented ‘The hallmark’ of technical perfection for the time and became the standard by which all other echo-delay machines would be measured. Its compact size, reliability and versatility—especially the capability for connection to existing amplifier systems—ensured the Echorec’s success. Further, the Echorec came to define the sound of many artists, including Italian singer and actor Joe Sentieri, rock guitarists, David Gilmour (Pink Floyd) and Jimmy Page (Led Zeppelin), and electronic musicians Delia Derbyshire (BBC Radiophonic Workshop) and ‘The Chemical Brothers’.

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! Maugein accordions were fitted with an array of three carbon (or crystal) element microphones to allow connection to an audio amplifier, and effects. 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’ and “G.B.C.” radios from the same era, the mid 1950s. The knobs were manufactured by G.B.C., Milan, and were available in clear, cream and brown with silver or gold caps. In 1962 G.B.C. ceased production and Binson had to stop using those gorgeous curvy knobs. From this point onwards Echorecs came fitted with a less elegant, chunkier-looking knob.

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 machines to generate lush sweeping echoes and preset 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’.

In the late 1960s Bini made a decision to abandon the rotary head selector switch and replace it with a bank of radio push-buttons, and the PE603 was born. The push-button head selector made the PE603 even more flexible than the ‘T7E’ as it could playback on one selected head and feed back on another. This “electronic jewel” (Binson’s own words) could generate an extremely ample range of simple and multiple echos, single and compound repetitions (flutter echos), breathtaking cathedral swells and reverberation, giving musicians and recording engineers access to an unparalleled effect palette. Stereo units—essentially the circuitry of two complete PE603s crammed into one enclosure—were also manufactured, with one motor, two jockey wheels, and two drums. These stereo PR603s are a very rare find with no more than fifty ever made.

The PE603 was available with four or six heads. The 6 head model (7 heads total including the record head) was introduced in 69/70. The machine was a rack-mounted unit and part of Binson’s beautiful P.A. ‘T Series’ rack system, comprising mixer and power amplifier.

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 A 601 TR, A 602 TR, and A 605 TR models had 4 playback heads. A smaller Guild unit was available at this time and a full size transistor 603. Later, in 1973 came the A 606 TR, A 605 TR-6 and A 606 TR-6 with 6 playback heads.

The Echorec TR series: models A 601 TR, A 602 TR, A 605 TR, and A 606 TR

Solid-state transistorised 603M, 603T and 603TU models with 4 playback heads were introduced in 1971. Then a year later in 1972 there followed the 603T6 and 603TU6 models featuring 6 playback heads..

As the years rolled by, Bini squeezed as much mileage as he possibly could from his patented rotating disc magnetic memory technology. The Echorec memory system was installed in the Binsonett electronic organ and integrated into several generations of Binson mixers. In 1974 they introduced the EM6, a unique solid-state 6 channel mixer with Echorec. This was then followed by the EC series echo machines in 1975 with 4, 6, 8 and even 10 playback heads!. And later there came the sleek and stylish PM10 (and PM16), an “All-in-one 10 (and 16) channel mixer and Echorec“. All these new products sported a beautiful two-tone pale-blue and silver livery and chrome-effect knobs.

Binson even built customised machines for specialist applications. Their model ‘H7’ “Electronic Memory” time correction unit was installed in San Siro football stadium in Milan to eliminate echoes produced by delays in the speakers along the ring of the stadium. The diameter of the drum installed in this machine was approximately 25 – 30 cm! And then there was the model ‘G7’, “Dispositivo per la voce ritardata” (which translates as “Delayed voice device”) made for Amplifon, a hearing-aid manufacturer, also located in Milan. There’s more on this strange beast, as well as a comprehensive list of the different Binson Echorec models, in AudioExMachina’s Echorec Bible.

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

Dr Bini insisted that no noise reduction or gate circuitry should be installed in any of the Binson Echorec models, even though the technology existed and was widely utilised in the audio industry. Noise gates suppress low-level signals, such as delay repeats and would kill the echos—Bini wanted his Echorec reverb to “breathe”. Further, none of his machines possessed the capability to control motor speed to allow adjustment of the delay time. The reason for this being that altering the velocity of the drum messes with the bias equalisation characteristic, and this adversely affects the audio fidelity.

On a final note, despite developing other Echorec models, Binson still continued to manufacture the tube ‘T7E’, right up until 1979. They introduced a transistorised version too, which retailed at £333-00 in 1975—for comparison, the tube ‘T7E’ retailed for £388-00. See ESE Music’s (Binson UK distributor) price list for more details.

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 factory 1970s — Binson Amplificatori Hi Fi S. p. A., Via e. Fermi 37, Settimo Milanese, Milano, Italia [Photo taken from Binson's PE 603-TE and 603-TU User Manual].

Sales of Binson audio products continued to grow and diversify over the 1960s. These were the zenith years for Binson. To cope with the increased turnover and sales, Bini relocated all administration and manufacturing departments to a single larger premises situated on the outskirts of Milan in Settimo Milanese—a small town 8km west of the Duomo Di Milano—in 1971, and closed both Milanese factories on Via Padova. The photo on the left shows the exterior of the new factory.

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)”.

The End of the Line

After a dazzling and innovative era spanning four decades the mighty Binson engine was running out of steam. The advent of cheap, reliable, compact BBD and digital delay technology made their bulky and expensive analogue echo-delay machines seem archaic. Tube gear fell out of fashion, even in the guitar amplifier world, as the audio industry shifted towards the transistor.

In a last-ditch effort to stay relevant, Binson began building their own solid-state echo, the ‘Electronic Echo’ EL20, based on an MN3005 BBD chip. The EL20 bears an uncanny resemblance to the German Monacor EEM-2000, which in turn, bears an uncanny resemblance to the Evans Echopet EP-100 (made in Japan). The Monacor and Binson echo units both feature the same number of control knobs, same inputs and outputs, same gain switching and style as the Evans Echopet. Japan were now setting the pace—leading the edge in electronics. And Western manufacturers were desperately trying to stay in the game, by copying hi-tech Japanese products.

Binson EL20 Electronic Echo [Photo courtesy of Luigi Amaglio]

But rebadging a Japanese echo machine sold back in 1978 and installing it in a different box was a far cry from Binson’s innovative halcyon days. Far too little, far too late. Only a handful of EL20s were made, and it’s not even clear if these went to market. Soon after Binson’s manufacturing operations ceased. Completely. By 1986 the show was over.

Two years later the company went into liquidation. Towards the end of 1988, an attempt was made by Echo City UK Ltd to buy Binson out. 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. Echo City’s bold 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 busy factory, that once employed over two hundred workers, had dwindled to just two old guys—two old guys who were once young, and dreamed of doing something big. And they had.

Echorec Nostalgia

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 savvy 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, empty and derelict. They’re located at the intersection of Via Fermi and Via Albert Einstein (the roads are named after famous scientists) in Settimo Milanese, Milan, Italy. There’s an estate agent’s board outside, and the site is surrounded by overgrown orange trees. The once sleek and futuristic Binson main office buildings look tired and tatty now, but this place is surely hallowed ground for any Echorec enthusiast.

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 1968 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.

Eric Snowball retired in 2011 and passed away a few years later in 2014. His passing marked the end of Binson’s official presence in the UK. Technical support for the Echorec went into freefall. Few amp techs possessed the expertise, specialised tools and resolve to deal with the mechanical complexities of these problematic old echo machines. Working on an Echorec is a whole new ballgame compared to tube guitar amplifier servicing; 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 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, Luigi Amaglio, David Bozzoni and Henry de Souza for kindly supplying additional material.

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History of the Binson Amplifier HiFi Company