Our original aim was to create an amplifier for grand pianos. If you’re familiar with the world of pianos you must know that the piano has the most complex and complicated sound of all musical instruments. Since it is impossible to amplify and record its original sound, it is not surprising that they do not amplify the sounds of a grand piano during a classical music performance in a concert hall.

The most frequent solution to this problem to date is to use larger pianos in larger concert halls. This method has its limitations: the size of a grand piano cannot be limitlessly increased.

The largest Steinway grand piano is 274 centimeters (8’ 11 3/4”).

On the other hand, here comes the challenge: as the size of concert halls is unlimited the greatest obstacle is to build a virtual grand piano that is perceived as if it were 16 meters (52’ 5 92/100").

The goal was obvious. We wanted to create a sound system which gives the best experience, better to say, delivers the best seat in the best concert hall. Setting expectations so high, it already coded the success. The investor trusted engineers who were successfully developing projects in different fields, putting the team together was already forecasting results. The team included electrical engineer, mechanical engineer, mathematician, physician, sound engineers, acoustician, painters, carpenters, and musician, and tuning specialists, with excellent ears. The leader of the engineering team simply became to be the person who fine-tunes the final product, who had the “ears”.

It’s generally difficult to achieve enormous goals. The team has broken the process down into smaller and smaller tasks and goals to complete. When they reached the smallest task - which was to have the bass and kick drums projected at the same time - they realized it isn’t that easy.

Our goal was obvious from the beginnings: we wanted to create a high-end audio equipment that could provide the listener with an experience as if sitting at the best place in the world’s best concert hall. The human capital present in the engineering team already breathed an air of success: 7 years ago the investor commissioned an engineer - who already had successfully managed international projects - to lead the workflow. The new engineer with “the best ear” became the professional leader.

The only way to conquer such an overwhelming challenge is to break tasks into smaller and even smaller parts throughout the engineering process. That is just what the new leader did, until arriving at the “simple” goal of getting kick drums and bass to sound at exactly the same time - in real-time. This may seem an easy task - but it isn’t. Just think of the situation when you are talking to someone. You wait until the other person finishes or takes a breath - and that is the moment when we start talking as you want to maintain the integrity and make the dialogue comprehensible.

This is precisely the same challenge we face when we want two musical instruments to sound at the same time while maintaining distinctness and intelligibility. We had to face the fact that this could not be reached by any audio-system known to mankind. At this very moment, we instantly felt that we will have to forget everything we have learned in sound-engineering and not only that. We will have to question all the assumptions of electric engineering, as well if we are to solve this problem.

At that point, we knew how the task could not be solved. Yet we still did not know even where to start solving this seemingly simple, but almost impossible challenge. After many sleepless nights a revolutionary new invention opened the way how to maintain the distinctness of two dominant musical instruments sounding at the same time, in spite of them being on the same track.

This invention opened up a new realm of opportunities for the team enabling them to meet a host of requirements like:

1. Kick-drums and bass to be heard real-time.
2. Hear and understand the vocalist singing with an open throat.
3. In the case of symphonic orchestras, every section and every musical instrument can be heard in its own right with its unique sound.
4. The soloist is in the forefront and truly leading the orchestra.
5. The musical phrases of the artist can be identified and enjoyed.
6. Piano sounds can be distinctly differentiated and 100% original.
7. In the unisolo of the string section violins can be heard individually, as well.
8. In the case of vocalists, each person can be heard on their own right.
9. The uniqueness of double-bass sound is distinguishable.
10. Bass and double-bass have their own melody.
11. Dynamics are original and unlimited.
12. Drums have their own individual and distinctive sounds, just as every breath the vocalists and winds take becomes a part of the music.
13. Every minute detail has a life of its own: you can hear that the brass instruments are made of brass and the wood-winds from wood.
14. Every musical instrument has its own life in the musical piece - from the beginning to the end.
15. Cymbals are proportionate with their ratio.

Just imagine when you close your eyes you won’t be able to decide whether you’re listening to a sound system or a real person singing. Tonality and slides of vocalists and their emotional expressions are life-like. This high-end audio equipment will fill a smaller living-room - or even a concert hall seating 300–400 with all these exceptional sounds while only using 96W.

With its revolutionary and unconventional problem-solving, the StradiSound Set System created a novel approach to add a new standard in audio systems, above the previous subjective debates, it objectively won the battle against existing high-end difficulties.

While new inventions took shape through the engineering process, this revolution also opened up an entirely new dimension in sound making. These inventions are fully usable for fields where an understandable speech is relevant, such as conferences, or car audio systems, as well as for example, piano amplification.