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LE GRANDI ESCLUSIVE DI HI-FIGUIDE
PRIMA MONDIALE!
INTERVISTA A SHELLEY KATZ
IDEATORE DIFFUSORI PODIUM
DI ROBERTO RUBINO
Shelley Katz (S.K.)
Dear Mr Rubino, thank you for your questions.
Roberto Rubino (R.R.)
How did begin your idea to develope this project?
S.K.
The Podium loudspeakers developed out of the need for a loudspeaker which is incoherent in its method of propagating sound, and which sounds good. There are, as you know, several other manufacturers who make loudspeakers that are based on a similar technology, and many who have developed similar loudspeakers over the last 50 years. However, as far as I know, mine are the only ones that sound good.
R.R.
How many years did it take to complete and test your loudspeakers?
S.K.
I've been working and playing with panel loudspeakers since 1996, so although this was long before the company was established, it certainly is part of the knowledge and experience I used when I finally decided to make a pair of loudspeakers. In addition, I must emphasize that I have not worked in a vacuum, and I have benefitted from the knowledge and experience of many other people who were kind enough to help me with guidance, comments, suggestions, and in some cases, even come and help build some of the bench-top models. The actual development of the first model, the P1, from first concept to final production model when all modifications were finalized, and the product was stable, took well over a year, from the spring of 2006 through to the summer of 2007.
R.R.
Do you believe that this idea could impose a new way of listening, something nearest to reality?
S.K.
A very "deep" question, and in fact, two questions.
First, in terms of the the "new way of listening", the short answer is, yes!
If an idea, a concept or an event has sufficient character and strength, then within the human mind, it will distinguish itself from previous knowledge and experience, and create a category for itself. Listeners, without even being aware of it, automatically compare the sound of the Podium loudspeakers with other loudspeakers and with their experience of sound in general. This is understandable because humans always approach everything new based on previous experiences, comparing the new with whatever it is that seems closest. It is our only way of categorizing what we encounter.
You are right, in the sense that the Podium Sound loudspeakers are a completely new presentation of recorded music, and therefore unquestionably provide the opportunity for people to experience a "new way of listening" - a new way of listening to the same thing. The difference between Podium loudspeakers and conventional loudspeakers is similar to lighting: it it is possible to do excellent and dramatic photography only with spot-lights (ie with conventional loudspeakers), and there is a lot of merit in doing photography using ambient lighting as well (which is similar to the sound of Podium loudspeakers).
Consequently, it seems to me that you are actually asking whether the new experience of listening to Podium loudspeakers has sufficient differentiating, useful and valid characteristics for it to create an independent position of its own. And I definitely believe that to be the case; the Podium loudspeakers are certainly good enough and different enough to be considered on their own merits.
Regarding Podium loudspeakers being nearer to reality, I won't even touch the question of how to define "reality", because there are much better minds than mine that have tried to deal with that one over the centuries.
But to give some response within the context of the Podium Sound technology (a diffuse and incoherent sound radiator), I must first reply with the question: is an image using only ambient lighting closer to reality? Sometimes, it certainly is. But I would never say that it is the only reality.
In my opinion, loudspeakers are like the lighting in an art gallery of translucent paintings that are lit from behind, as well as from the front. In this strange gallery, the light is not only there to permit the viewer to see the objects, it's actually part of what provides the colour and definition in the works of art. So I must ask, is the lighting implied by artists in their paintings, from Rembrandt to Monet, closer to reality, or is it a way of directing our perception? Loudspeakers (and for that matter, the entire audio system) are a priori, and for better or worse, a functional part of a system which creates the experience of electrically powered sound for human perception. Listening to music is unquestionably an art - the drama of art is always best brought into relief using many different perspectives, and we always benefit from having our perspectives challenged and changed. It widens our awareness. So if you will permit me to adjust your question, I would like to rephrase it as: do Podium loudspeakers provide an effective experience of sound which is totally different, perhaps challenging to some, but still completely legitimate for human experience?
Absolutely!
Of course, I am also delighted that the Podiums are also strong enough to demand that previous and more conventional technologies be re-considered, in light of the performance of the Podiums. For example, the Podium .5 has an efficiency which is conservatively measured at 93 dB. It is completely stable, will not be affected by humidity or dust, will not degrade over time, has excellent power-handling, very high efficiency (so it can operate with a 5W amplifier), needs no external power, has a tremendous dynamic range, and truly fills an acoustic space with sound. I don't know of any other flat loudspeaker that can make all of those claims, and few conventional loudspeakers.
R.R.
What can you say about the technology you improved? (I know it“s patented, but listener wants to know something more...)
S.K.
Patents are actually not important, except to indicate the significance of the technology in terms of originality. What is more important is whether the patented technology is of any use. Many individuals file patents on ideas or even finished prototypes without knowing whether there is any need or desire for the technology they patent. Then they try to sell it and to their great disappointment, discover that in the world market-place, there is little or no real use for their invention. The patent offices around the world are full of technologies like that and it might be seen as sad, except for the simple fact that if we did not have the dreamers in our world, who actually tried to make the human condition better than it is, we would all still be living in caves. I was fortunate to begin with the question: "how can I build a digital piano that will sound like a real acoustic instrument?" The need is simple: many professional pianists like myself would love to own one of the top concert grand pianos, but we generally cannot afford one, nor would the neighbors appreciate it, but all digital pianos are frankly terrible.
What I finally achieved, after many years, was to build a digital piano which did indeed sound as good as a top concert instrument. That was done using the first and main technology I have patented, now being licensed under the "Enlayered" brand name. But to enable the Enlayered technology to be commercialized, one needs a good, incoherent sound source, and none existed. So the method I used to develop a good incoherent sound source was exactly the same I used to discover the original Layered Sound technology in the first place: ie to throw away all preconceived ideas, and to let myself be guided entirely by my ears. Thus, I was not interested in doing iterations of prediction and test, using mathematics and analysis. Rather, I went directly to the final goal, and first kept building models until I found a product that sounded good - then I analyzed and measured it until I understood what I had done.
The Podium loudspeakers are relatively simple because I always seek simplicity. I try to work with the nature of materials, rather than to force them into doing things that are not natural - I try to let materials and structures do what they do best and naturally, merely balancing them a little, so their behavior ends up guided and disciplined, rather than crushed or tied down. The P.5 is an excellent example - it has no cross-over, no electronics at all, just the drive units, and the mechanical tuning I call "Sound-Bridges" which allows me to bring the entire system into balance. Even the beautiful Seal filters inserted into the backs of the loudspeakers are elegant in their simplicity and effectiveness, because they work with the nature of the loudspeaker, with the acoustic environment, and most importantly, with the desire of the listener who uses them however they wish.
R.R.
How many years, using your panels two hours a day, do you think they can guarantee music?
S.K.
Assuming the loudspeakers are not physically abused, tests indicate they simply will not deteriorate with time. The materials I use are completely inert. The loudspeakers can be used in a shower-room or in a desert. They will be equally happy in the cold of the Canadian north, in the humidity of Hong Kong (where we just had a wonderful review), and in the heat of the Sahara desert. The only moving parts are voice coils, and the spiders are not likely to fatigue within my lifetime. The panel material is a totally inert, very strong material, exactly the same as used in aircraft. The loudspeakers simply will not fail unless abused.
R.R.
Can They be revisioned in your factory?
S.K.
Yes, absolutely. And one by one, I am also training our distributors so the customers can have a quicker turn-around, should it be necessary to repair anything.
R.R.
What cares must be used by customers?
S.K.
Company policy is to state that the loudspeakers must be kept out of direct sunlight, for many reasons (it will bleach some woods, and darken the cherry wood at the very least, and frankly, I would not leave a Stradivarius or an Amati in the sun either).
Due to their tremendous efficiency, we recommend using moderate amplification at the most (under 250W). One simply does not need much amplification with a pair of loudspeakers that can truly sing with 20W or 30W.
The loudspeakers are very light and easy to move, so a customer is sometimes tempted to move them more quickly and with less attention than if they weighed 250Kg.
Like all fine furniture, it is very easy to keep the loudspeaker clean, which is explained in our new user manual. And if by chance the loudspeaker is drenched with water or the fabric of the loudspeaker is stained with wine or coffee (because a party is a little more fun than expected), it is also absolutely no problem. The cloth can be cleaned, or at the worst, replaced (the loudspeaker will still be fine).
R.R.
Where does hi-end go?
S.K.
"High-end" must one day provide an experience which is so totally convincing and overwhelming in its effectiveness at touching the human heart, soul and mind, that it simply leaves room for no further questions.
R.R.
What future in this world of Mp3?
S.K.
There have always been a relatively few exclusive, high-end products among the very large numbers of mass products. For me, the advent of Mp3 is no more of a problem than the simple fact that there are today many people who have never really listened to an acoustic instrument, and whose only experience of performed music is either from recordings over conventional loudspeakers, or amplified voices and instruments, again over conventional loudspeakers. Moreover, much of the music composed today is being written entirely via some form of electronics, which of necessity implies the use of conventional loudspeakers or headphones. It seems to me that we are swimming in a vast sea of readily available music, most of which although possibly entertaining, does not seem to me to be pushing any limits of the musical envelope. Although I enjoy much of the "popular" music, I admit I am more at home with the world of "classical" music. Consequently, rather than being concerned about the limitations of a given technology, I have been frankly more concerned about the appreciation of, and the future of western music composition and of course, performance. Happily, I believe that we might now go through some very exciting times.
I was recently in China where I was deeply moved and impressed with some of the compositions I heard there, and which have not yet crossed over into the west. Compositions in which gifted Chinese composers, skilled in western music, have integrated traditional Chinese instruments and musical styles with traditional western instruments and musical styles, creating something that I believe is truly new and exciting. It is not the only source of music in which traditional musical values and elements of a particular culture are being blended with traditional western music, and historically, it is not the first time this has happened. But every time it did happen, it enriched western music tremendously, and I do believe it may be indicative of the impact the far east is likely to have on western music - frankly, I am excited about it, and really looking forward to hearing the new compositions of the next twenty years.
R.R.
And, finally, do you prefer listening Cd or Lp?...
S.K.
Neither! Both technologies have their strengths and weaknesses. Both attempt to provide a listener with something that was only available to the extremely rich 150 years ago - performances of music in your own living-room - and when both are of truly superior quality, combined with excellent matching components and of course, the Podium loudspeakers, the right recording can sound absolutely magical.
Thank you
R.R.
Best regards
Roberto Rubino
© copyright 2008 - All right reserved.
© ® 2008 - HI-FIGUIDE - Francesco S. Piccione.
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