Prof. Dr. Lambertz
Prof. Dr. Lambertz, from Switzerland, brings fifty two years of intensive work on music reproduction, perception research, and the development of arguments in opinion shaping media. This is the philosophical and psychoacoustic half of the foundation. Everything that follows in the APANI Audiophile design language, the insistence on truth over character, the rejection of coloration marketed as flavour, the discipline of measurable evaluation, comes from this half of the partnership.
Dipl.-Ing. Johannes Siegler
Dipl.-Ing. Johannes Siegler contributes more than thirty years of research and development in acoustics, loudspeaker design and studio technology, and is also a musician and mastering engineer. This is the engineering half of the foundation, and the reason that the philosophical claims of APANI can be translated into loudspeakers that actually behave the way the philosophy demands.
The third force
To bring the Music Transformer idea to its full global impact, APANI needed a third force, and found it in Juzheng, JZ, founded in Guangzhou by Derik Shen. JZ operates on a simple but profound credo: reproducing the sound of the soul.
Made in China done right, at this level, is not a compromise. It is the fusion of tradition, technology, and responsibility: precise, reliable, cost conscious, and deeply committed to quality. JZ contributes world class audio and video decoding, 5.1 and 7.1 multi-channel amplifiers, high end cinema processors, sophisticated DSP hardware and software, research and development structures built since 2010, a portfolio of patents, and certifications including HDMI 2.0, DTS-HD and Dolby HD. JZ products power home theatres, dedicated listening rooms, spas, hotels, villas and clubs, anywhere emotion and reliability must coexist.
One uncompromising project
Together, Prof. Lambertz and Johannes Siegler decided to bring their combined knowledge into a single uncompromising project: APANI in cooperation with Backes & Müller, with JZ providing the manufacturing and research force required to bring the Music Transformer idea to the world.
The aim of this cooperation is to bring the often almost neurotically conducted debates about perception, sound descriptions and accessory myths back to their origin: to the music itself and the emotional experience. The endless snake oil talk about mains cables, filters and exotic accessories is meant to be exposed as absurd by putting the focus back where it belongs, on the authentic reproduction of the musical event. At home, it should once again be the music that gives us goosebumps, not the accessories in the rack.
