Interview with Ken Ishiwata
KI: “I suppose you could say it started when I was 10 years old - that’s when I made my first amplifier and I had built quite numbers of amplifiers since. When I was in high school I had a friend whose father was an audiophile. When he found out that I was a violinist and loved listening to records he invited me to his listening room. He said “Ken, you must hear to this. It will change you.” He placed an LP on the turntable and cued the pick-up arm. The sound from the speakers that I was already familiar with was very different that day. The voice of Julie London was much more alive, closer, and sexier. I had never before experienced recorded vocals in such a warm and intimate way. I was extremely moved by the event. I looked at his system and noticed a curious champagne-gold face plate with a brand name I had never heard of. It was ‘Marantz’ and the amplifier was the Model 7C. I didn’t know an amplifier could make such a fundamental difference. The music that came through it moved me so much that even today I can vividly remember the emotion and exhilaration of that special moment.
That was my first encounter with Marantz, and I became very curious about the Model 7C. It was obviously too expensive for me, so I persuaded my friend’s father to lend me his. I took it home and investigated every detail, and then started to create a copy of it. That was the day I entered the fascinating world of HiFi design. A world of minute intricacy but one also of holistic wholeness.”
Q: What were the main challenges of copying original Marantz Model 7c?
KI: “At that time, Marantz designs were very tricky and what I found most challenging were the sophisticated circuitry designs. The thing with the Saul B Marantz Model 7C is that if you are not careful, it oscillates. The oscillations happen at much higher frequencies and that was the main challenge. I also began exploring my wiring technique, and how all the components were best be soldered. I studied these, and many other elements, using the Model 7C as my blueprint. It was the start of my conceptual design technique. Eventually, I came to appreciate how all the different elements work together to interpret the sound signal not just as an electronic function but in a much rounder, complete and beautiful way.”
Q: You say “not just as an electronic function but in a much rounder, complete and beautiful way.” How do you measure quality?
KI: “Of course we have instruments. But these can only measure ‘sonic parameters’ in a static way. Instruments can only measure instantaneously – it’s like taking a still photograph of a dancer: it is precisely accurate but shows nothing of the dynamism, speed and rhythm of the dancer. Music is also dynamic. Its tone, volume, pitch and intensity continuously change. That’s why every time I work on a product I measure its quality by referencing a piece of music that I absolutely know sonically and perceptually from its original source. Only then can I relate the character of each component as part of a whole.
It is essential to understand what quality in original music really means. I believe this is the only way to reference the design process. You can’t just take a commercial CD as a reference point, because you can’t know the authenticity of its origins. At Marantz, we understand this importance as an absolute necessity.”
Q: So assessing quality (and improving it) all depends on your understanding of the relationships of the sonic characteristics.
KI: “In principal yes, but in reality the characteristics are never the same. The context changes our perceptions of sound in relation to our environment. Of course we have documented methodologies in approaching and developing our designs but sometimes we have to use completely different components in order to get the results we want. There is no ‘set formula’ for design. For example, if someone referenced my tweaking on one unit as a guideline for the design of another, they will fail. Because the sensitivity of the component combinations produce the unique characteristics that make the product interesting. Take a football team in this instance. You may put together 11 of the best players in the world but that doesn’t mean that they are going to win. It is exactly in the elements of these players that a true sense of harmony must be sought and in the same way. A good Hi-Fi engineer must be able to understand this.”
Q: You obviously love designing audio sets – do you love it more than music?
KI: “No. I love music more than anything. I believe music is the greatest form of art that humanity has ever created. Music communicates directly with your heart. It connects with your emotions. Creating a lasting impression. Music is timeless.”
Q: You have created the KI Pearls to celebrate your 30 years association with Marantz. What makes them so special?
KI: I’d like to be able to tell you that it’s such-and-such a component combination, or the copper plated chassis, or something else. But as I’ve explained it is how all the different elements work together – as one holistic system. Why were the Beatles so special? Was it John and Paul’s song writing? Or was it Ringo’s earthiness or George’s mysticism? Or something else? No it was all of these characteristics – and the fact that they all worked together as one. If you changed one element the whole of the band would have been affected.
Q: Finally, what do you think the future of High-End audio will bring?
KI: It will bring what it has always brought: emotion.
Because music matters