''It was interesting to watch how a small team of my son, in an effort to create an unprecedented quality audio system for our private professional recording studio, faced with the lack of criteria for evaluating the quality of music playback. Existing standards on the market are certainly able to assess the quality of electronic components, the degree of amplification of an electrical signal, the sequence and accuracy of its processing, and other laboratory and technical characteristics. But there was no standard for assessing the accuracy of recording and authenticity of music reproduction. These key parameters, determining the existence of the whole industry, were considered by some to be subjective. And the team had no choice but to develop such a standard and implement it in the production of their unique and unprecedented audio systems...''
In the distant 80's of the last century, but in conscious childhood already, I was really interested in music. Born in a family of engineers and musicians, from an early age I knew for sure what a reel-to-reel tape recorder and turntable were, and what incomprehensible spaces of the music world these devices could open for me. The first discoveries were children's fairy tales and musical performances on vinyl records, and at the age of five I became acquainted with the musical heritage of The Beatles, which once and for all changed my inner world.
The era of the music industry of the 50's - 80's of the 20th century was a time of extraordinary design achievements in the field of creating devices, systems, principles and technologies for recording, transmitting and reproducing sound information as a way of preserving and spreading the cultural heritage of society. And even more than half a century later, the technical solutions of the ingenious developers and inventors Georg Neumann, Rudolf Hörike, Ernst Pless, Fritz Pfleimer, Willi Studer, Masayuki Hosoda, Stefan Kudelski and Edgar Wilchur form the basis of modern recording systems and sound reproduction technology.
However, the general development of ''cheap'' digital technologies and, to a greater extent, marketing ideas imposed on the consumer supported by a need for “massification” of musical material, had a negative effect on the qualitative side of musical culture, slowing down the process of technological growth for many years, at the same time pushing music from the sphere of cultural achievements to backyard commercial pop industry.
During the time of magnetic audio recording and analog processing of the audio stream, the ability to spread the results of performer’s work was determined by endless repetitions, talent and experience of the sound producer, and most importantly - the cost of the audio tape and its replication. The musicians had to sharpen their skills to automatism, detail-by-detail, to learn how to work with a microphone. Multi-day repetitions were a necessary norm. The sound engineer worked live, performing correction, equalization and mixing directly in the recording process. Subsequent processing of the recorded material was almost not possible. The work was responsible, serious and painstaking. The digital industry, in its turn, “destroyed” the need to be “quality”.
At the same time, the diversification specificity of the audio equipment industry has led to a break in engineering and research links between key segments of the production chain. As a result, the production of microphones, preamplifiers, audio signal processing devices, analog-to-digital converters, digital signal processing software, decoding systems, systems of amplification and sound reproduction - are carried out by independent companies that have no integrated engineering and technical base.
Over the years the technological gap has multiplied, and as the saying goes: ‘’So many countries, so many customs’’ - and mankind has received an emotionally significant technological industry, the products of which simply do not fit in with each other, destroying music rather than preserving it.
And faced with this once - I decided to change the perception.
The fundamental problem of the modern audio market is that separated manufacturers of various sound components and modules do not have an idea about the principles of each other’s approach to building the audio path and processing and transmitting the musical signal. Manufacturers of sound recording systems do not have a detailed understanding of the operation of sound reproduction systems, and microphone manufacturers do not analyze the process of further audio signal processing.
Universal technical standards suitable for docking industrial equipment components do not meet the needs of music signal processing technologies. The method of testing the product quality and efficiency is based on test calibration signals and measurement of input/output parameters using the same test equipment.
As a result, the market is crowded with various cost and quality audio systems and their components that have identical output and input nomenclature parameters, but fundamentally different in music reproduction. And this is the one distinctive parameter that has acquired the well-known name ''the character of an audio system''.
But high-precision equipment, the task of which is to make a genuine recording, preserve, transmit and authentically reproduce musical material - should not and cannot have ''character''.
We - the LAG Company team - have a unique integrated approach to the development and production principle, that we implement in all our products and systems. Having studied the long-term experience of renowned audio engineers, having analyzed in detail the principles and logic of existing audio signal processing devices on the market, we identified the fundamental errors of the modern industry and developed our own technological and research production process.
The key element of our technology is - music! We take a singer, a musician, an instrument... we record it (or him/her) with a calibrated microphone of our own design, connected to our special preamplifier, we digitize the music with our own ADC, we make absolutely no corrections to the recorded material, we decode it with our special DAC and reproduce it throw our audio system. And we are satisfied with the result only if no one, including the musician and his family can distinguish if the sound is ''live'' or played as a record.
And now we do all our best to create and put into production the full line of our unprecedented audio products - so that everyone, who appreciates the music as we do, can have an opportunity to record, save and listen in a live an genuine form.