If we view audio 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 LP 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.
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 missionto bridge this gap.
In order to accomplish this goal, we must first understand the reasons for the gap's existence. I spent a lot oftime 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.
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