As guitarists and bassists, fond of electronics, we began asking ourselves the reason why innovative answers don't derivefrom the biggest firms in the industry.

 

 Granted that:

 

1. the original circuits are not submitted to modifictions and the noble components are not substituted (since they are responsible of the "characterization", or the "timbre dress" of the amplifier);

2. the identity of the amplifier, alias the recognition plus the quality, that together makes the greatness, is not lost in the process;

3. in the era of sound digitizing (read Kemper, Axe, etc), there is a consequent negative repercussion on the enthusiasts' and the professionals' interest of physically owning more than one amplifier, each one dedicated to a different musical genre; so why not push the acceleratore to it's limit and improve the superiority of the analogical valves sound?

 

At the end of our research, thanks to the construction of the first prototype, the conclusion we came to is uniquely related to the extremely high costs of realization and to the complexity of the subject, which in this field had never been deeply examined before.

 

The result, is a literal explosion of harmonics: the notes are played right with warmth and clearness; the true sound of the instrument emerges together with the timbre pureness of the chosen amplifier; when played in the digital domain these notes would become flat, making an unreal shadow, void of emotions.

 

 This complex process of "harmonization" of the amplifier, transforms the coldest and anonymous distortions into shiny and explosive charges of energy, full of pathos.

 

 Therefore, professionists live personal experiences in the emotion of finding sounds "physically" unique and not reproducible, at all levels, whether by valves, digital or at the solid state.

 

The timbre articulation of the bass notes together with a musicality unknown so far, put the bassists within the band, into the foregroundand even amateurs discover the pleasantness of listeningand the note identification, otherwise never experienced until now.

 

Terms used, sometimes in contrast, for the description of the amplifiers - like warmth, shine, presence, body, timbre precision, intelligibility of the low frequencies - here serenely coexist.

 

Every time we finish the creation of a "sacred giant", an amplifier which carves it's place of honour in the history of music, a ritual comes to the end: "the initial fear and the craving to hear the result of our work....the presentation to the staff of musicians...playing hour after hour while we try not to bicker over the newcomer like children...and often, after wives and girlfriends retire for the evening, at the break of dawn, satisfaction and joy are admist our feelings, for having improved what in every musicians' immagination was considered an absolute legend".

 

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A new era of sound quality