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My personal philosophy is that
it’s absolutely crucial to
use some of those coloring technologies. That the search towards transparency
is not what really achieves optimal artistic result,
and that is not just only in the field of say, acoustics or music recordings.
Say, if you compare
the art of film or cinema. There is an interesting book called ‘Film as Art’,
written almost 80 years ago,
in which the then German philosopher of aesthetics/ or art critic
analyzes how the camera lenses and how the uses of black and white
are actually distortions…
that are not realistic, and departure from realism is what creates an art form.
You can, kind of, see it applied to modern-day. We now have
great cameras, video technology that can get all the colors as brilliant as you want,
as realistic as you want,
but a documentary film
has a different effect than a staged film that uses the lenses that distort
the perspective.
So, skillful use of distortion,
of modification, of non-realism
contributes to things looking
better than real. Sometimes just
realistic reproduction doesn't achieve… people think it looks fake, or it doesn't
look good.
So, in music as well you have to use a lot of effects, things like compression,
EQ-ing and so on. So, these are deliberate departures from realism.
And so, my philosophy on the whole thing is: I think that those effects are
necessary, otherwise
sound recording and post production is never going to get anywhere. While these
things are absolutely necessary, I believe that in order to skillfully
apply them, you need the technology that guarantees you complete non-distorted,
accurate reproduction. Right now, I’m focusing on providing the technology
that gives as clear, as non-affected, non-colored sound as possible,
so that one day, hopefully soon, I will also start making things that would
be used to artistically alter the sound.
So, that’s sort of my philosophy: to be able to control both
ends of the spectrum and to know what you're doing.
When the base should be as solid as possible, as clear as possible - by
- by ‘base’, I don’t mean the musical ‘bass’ - the base of the technology.
Everything should stand on a clock that gives you a very very nice
reproduction that is not
colored artificially, that doesn’t have digital sound to it.
And that's what our clocking technology is about, starting out
with a sound that's accurate yet not medicinal,
that uncovers the detail, other than smudges it or
blows it over. So, that's what we've been focusing on providing,
things you can ‘hang your hat on’ or step upon
so that you can build from there.