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Italian Version | Shelley Katz  1 | 2 | 3 | 4 


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?
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.

How many years did it take to complete and test your loudspeakers?
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.

Do you believe that this idea could impose a new way of listening, something nearest to reality?
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

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