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Company - Philosophy
Products
Company - Philosophy
I
Ako sagledamo zvuk iz perspektive mehaničkog produžetka muzičkog snimka, možemo se prema njemu odnositi logičnim razvojem kao prema zvučnoj kutiji -
snimaču iz ere fonografa.
Ipak audio je više od mehaničke alatke ili izvora za reprodukciju električnog signala. On mora obnoviti sa visokom vernošću emocionalni sadržaj i pražnjenje žive muzike. Iz tog razloga audio pojačalo ima ključnu ulogu.
Bez obzira na to koliko god su dobri zvučnici, ako je pojačalo nesavršeno, nikada nećemo biti u mogučnosti da izdvojim veličanstveni zvuk uhvaćen za potomstvo studijskim snimačem. Ova činenjica je dokazana. U kontekstu toga, pojačalo se može posmatrati kao srce audio sistema. Uočio sam važnost ovoga i rešio da posvetim sebe ovoj težnji - da postanjem ekspert u dizajnu pojačala.
I
Audio, if we view it from the perspective of being the mechanical extension of musical records, we could also regard it as a logical development from the sound-box type recorder of the SP era. However, audio is more than a mechanical tool or device for the reproduction of an electrical signal. It must recreate, with high fidelity, the charge and emotional content of
live music. Consequently, the audio amplifier is playing a pivotal role.Regardless of how good the speakers are, if the amplifier were imperfect, we would never be able to extract the glorious sounds captured for posterity by the studio recorders. This fact has been proven. In this regard, the amplifier could rightfully be viewed as the heart of the audio system. I realized this importance and decided to dedicate myself to this pursuit - of becoming an expert in amplifier design.
II
Rešio sam da usavršim elektroniku i dizajn elektronike na univerzitetu kako bi ostvario svoju želju da razumem čak i najsitniju nijansu rada audio pojačala. Posvetio sam više od 30 godina vremena i truda ovom razvoju. Za vreme tog perioda bavio sam se ne samo sa tehnologijom već i kao kordinator koncerata klasične i Jazz muzike.
Sa preko 500 koncerata iza sebe, stekao sam
iskustvo iz prve ruke kako se razlika izmedju živog izvodjenja i njene reprodukcije
može pojaviti kao na izgled mala ali u suštini velika.
Bio sam u mogućnosti da potvrdim kako se ovo čudno osećanje razdvojenosti javlja kod ove razlike. Osetio sam i video kako delim to mišljenje sa mnogim ljubiteljima i uživaocima muzike. Ovo je nalagalo brzu realizaciju da se kao audio inžinjer posvetim premošćenju ove razlike.
U želji da ostvarimo ovaj cilj moramo sam prvo razumeti razloge postojanja ove razlike. Proveo sam dosta vremena na istraživanju ove stvari. Otkrio sam povezanost izmedju realnog balansa muzike i fazne komponente ugradjene u audio signal.
Primeri iz stvarnog života uključuju nesklad u snimku ekvilizacione krivulje (prestavljene kao RIA) za analogne stereo LP ploče i efekte digitalno nisko šumnog filtera koji prouzrukuju fazno izoblićenje na višim frekvencijama. Ukratko, osim ako nismo u mogućnosti da uzmemo u obzir ove odnose, mi nećemo moći da ostvarimo realizaciju
pravog zvuka, ćiji je cilj reprodukcija muzike sa potpunom vernošću.
II I decided to major in electrical and electronic engineering at the university to fulfill my desire of fully comprehending even the finest nuance of audio amplifier operations. I devoted more than 30 years of time and effort to this research. During this period, I have been dealing with not just technology, but also classical and Jazz live concerts as a coordinator.
From this involvement with over 500 live performances, I experienced first-hand how the gap between the live performance and its reproduction might appear to be small but was actually very wide.
I was able to confirm this strange feeling of disconnect which arises from this gap.
I felt it and saw it shared by many other listeners who love and enjoy music. This prompted the realization that, as an audio engineer, I had the sacred mission to bridge this gap. In order to accomplish this goal, we must first understand the reasons for the gap's existence. I spent a lot of time to research this matter. I discovered correlations between the realistic balance of music and phase components embedded in the audio signal.
Real-life examples include the inconsistencies in the recording equalization curve (represented by RIAA) for analogue stereo LPs and the effects of digital low-pass filters that cause phase distortion with rising frequencies. In short, unless we can fully account for these correlations, we won't achieve the realization of real audio, which aims to reproduce music with utmost fidelity.
III
Proizvod koji je nastao iz takvog ubedjenja i razvoja je Zanden. Za vreme svog razvoja i komercijalizacije, tradicionalna tehnologija cevnih pojačala je preispitana kako bu uključila u sebe poslednje dostupne moderne izvore. Krajnji rezultat je naša jedinstvena tehnologija pojačala. Stara poslovica nas uči da
nemožemo otkriti nova znanja bez posete starim knjigama.
Slično, ako ignorišemo prošlost i zavisimo samo na poslednjim tehnologijama, nemoguće je u potpunosti shvatiti i ceniti tradicionalnu umetnost muzike. Ovo prosvećeno razumevanje je dokazano performansama našeg revolucionarnog na izgled antikvitetnog D/A konvertora koji je postavio vrh digitalnog audio dizajna. Ova tehnologija će imati glavnu ulogu u digitalnim pojačalima u skoroj budućnosti. Vlasnik i Tehnički direktor
Kazutoshi Yamada
III
The product that outgrew this conviction and research was the Zanden brand of fine audio components. During its development and commercialization, the traditional vacuum tube amplification technology was reexamined to incorporate the latest suitable modern devices. The end result is our own unique amplifier technology.
An old saying reminds us that we can discover new knowledge by revisiting old books. Similarly, if we ignore the past and rely solely on the latest technologies, it is impossible to fully comprehend and appreciate the traditional arts of music. This enlightened understanding is proven by the performance of our revolutionary while seemingly antiquated D/A converter which has been touted as the pinnacle of digital audio design. This particular technology is poised to play a major role in digital amplifiers in the near future. Owner & Technical Director
Kazutoshi Yamada
