TSX-130

Tanaka："As a youngster, I wanted to become an archaeologist!"

— so Soichiro Tanaka of the Product Design Laboratory (the "PDL" for short) tells us. Behind the solemn expression and penetrating gaze, one gets a sense of warmth and humour from

Tanaka："The Osaka where I grew up is dotted with many Imperial tombs. Now, I'm no Schliemann but I did have a feeling that there was something behind it that would be worth exploring. Probably I just was born with a sense of wonder, of liking to explore for exploration's sake."

— 20 years ago, Mr Tanaka joined Yamaha as a designer. Since 2008 , he has served as manager of the Audio Design Group, being involved in a wide range of products, including home-use AV equipment, hi-fi components, and professional PA systems. He holds a key position for shaping the overall design policy of Yamaha audio products.

Tanaka："I originally didn't think of becoming a designer, but I always liked to draw pictures. Since my mother was an art teacher, we often went out sketching things, but what I loved most was drawing robots and space ships, imitating those I'd see on popular animated TV shows."

— The period when Mr Tanaka grew up, namely the 1970s, were indeed a revolutionary time for Japanese animation. In the robot genre, soft caricature type lines gave way to a more angular, dynamic style. A kind of "simulated realism" that depicted every detail was all the rage among young boys of the time.

Tanaka："I particularly liked giant robots such as 'Mazinger-Z', which had a great ending theme. After each episode, over the credits, they would show a kind of exploded perspective drawing of Mazinger-Z. Within this smooth, striking outline were all these complex mechanical details which fired my imagination. I loved picturing in my mind how these parts that you normally could not see from the outside were functioning and all working together. If I think back on it now, that might have been the trigger that eventually caused me to end up as a designer" says Mr Tanaka with a mischievous smile.

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— In the faculty of art at university, Mr Tanaka majored in industrial design. But as he says, he was in fact more interested in the graphics side of things. This was the second half of the 1980s, just around the time when a new kind of editorial design style using Macs became prominent. A case in point is Neville Brody, based in London, then Art Director of the magazine "The Face". Using radically new typography throughout the magazine, Brody's designs could be seen as an expression of the contemporary vibe of the era.
Mr Tanaka was also very fond of music. As a student he played drums in a band, but beyond that, he wanted to work on "design in tune with music". After graduating, he chose Yamaha as an employer: "I felt that this company, rather than just making instruments, takes music as a starting point for creating various new things of value, something that is pretty rare."

Tanaka："What makes Yamaha unique ( or uniqueness ) is the fact that its business activities cover almost every aspect of 'getting people in touch with music and sound'. The foundation for this of course is the field of building musical instruments in which Yamaha has been active for more than a hundred years. While measuring the sound produced by these instruments and accumulating the know-how of controlling it, the company entered the field of acoustic design for concert halls and the creation of various PA systems in the 1960s. And its long-time involvement with audio started through the desire to faithfully reproduce not only the sound of instruments but also recorded sound. So I thought that in such an environment, I would be not be limited to a narrow genre. Trying various designs dealing with music in a kind of crossover approach, that was what attracted me."

— Putting what he does into neatly labelled categories is not something Mr Tanaka is keen on. When working on the design for a certain product, he does not simply want to shape its outside, dabbling at the surface. "I aim for design that communicates the true value of a product to the person who might want to buy it." According to Mr Tanaka, this should include making suggestions for the best way to use it, thereby creating a certain usage style. Already since his days at university, he had this vision, and Yamaha with its wide scope of genres and universal emphasis on inherently beautiful design seemed like the place to be.

Tanaka："Some of the various products handled by Yamaha may seem a bit diverse at first glance, but they all share a common element at the core. They are born out of the determination to 'deliver good sound'. The audio sector of course is a prime example. While sporting different visual styles, the aesthetic sense honed over a long period of time provides the underpinning for each product. Being firmly grounded in this heritage, PDL at various stages in the company's history delivered the distinct Yamaha flavour for its time. This approach remains the same, then and now."

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— The Design Institute was established about 50 years ago, as one of the first in-house design departments in a Japanese company. The institute comprises four sections, one of which is the Audio Design Group to which Mr Tanaka belongs. The Instruments Design Group handles musical instruments in general, and the Communication Design Group deals with tasks ranging from product promotions to event staging. Finally there is the Advanced Design Group which works on forward-looking concepts in cooperation with the research department.
Remarkably, PDL does not belong to any company division but rather is organized as an independent entity. The designers in the Audio Design Group for example are commissioned by the AV and PA Division on a product by product basis and will work on these projects as equal partners. This keeps designers from being trapped in a particular genre, giving them a more comprehensive perspective from which to approach a particular product.

Tanaka："The staff roster of the institute, including designers from overseas, is close to 25 people. As an organization this is pretty compact, and one might say that we even have a kind of family atmosphere. We are always aware of what people in the other groups are doing, and we often get new ideas and inspiration that way. Because of the small scale of the organization, designers get lots of chances to share ideas. This kind of environment may be partly responsible for creating that special 'Yamaha feel' that informs our work."

— The policy is to respect the creativity and personal intent of the individual designer as much as possible. Whether veteran or newcomer, it is customary at the institute that one designer is entirely put in charge of a given product. The fact that the characteristically simple and clean Yamaha design is maintained nevertheless stems from the fact that there is plenty of lateral communication within the institute, and all members have some overriding goals in common.

Five Philosophical Concepts：(Integrity) (Innovative) (Aesthetics) (Unobtrusiveness) (Social Responsibility)

These five words can be taken as indicative of the Yamaha design philosophy. They all have an intricate relationship with musical instrument making, an endeavour that has shaped the Yamaha design identity. The same aesthetic sense also deeply pervades design creativity in audio.

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— Mr Tanaka places special emphasis on the first of these keywords, namely "Integrity". He interprets this as design that gets the essentials right.

Tanaka："Musical instruments are the perfect example. Their shape has evolved over many years, arriving at a form that is most suitable for playing. Superfluous elements have been eliminated, and there is very little that can be changed for the better. The design represents the essence of the thing, which is 'a tool to play music'. There is an attractive, almost human quality about it. In a way this can be regarded as the ultimate accomplishment from a product design viewpoint. And what about audio products then? For example, simply giving a speaker the appearance and glossy finish of a piano does not turn it into one."

— Pursuing the essence of what a speaker really is differs fundamentally from mere window dressing. A designer has to think about the context in which the product is placed, what its role is and what it requires to best fill that role. He program she has to go right back to the starting point and start consider again. This kind of thought process, this basic stance, Mr Tanaka believes, is what creates integrity in an audio product.

Tanaka："In the Audio Design Group, we often say 'let's invent this thing once more'. Sometimes this results in a return to the basic form, and sometimes in a new, very different kind of shape. But when we have gone back to the archetype, so to speak, we are bound to discover a certain universality. That is what we need if we want to design a product that can stand the test of time and will provide long-term satisfaction to the user."

— Mr Tanaka often reminds his fellow staff members that "design means looking for solutions. If we are not clear about what we are trying to solve, there won't be any good answer." Mr Tanaka himself says that about half of the entire process of designing a product is taken up by just thinking about it. "An outsider might get the impression that we are simply staring into space. But unless we are clear about the essence of the product, the design will remain mere window-dressing on the surface."

Tanaka："The fact that Yamaha is a company where this kind of thought processing is encouraged and shared probably derives from its musical instrument background. Take for instance a piano. For latecomer Yamaha to be accepted in Europe with its long history of instrument building, they needed to add something to the tradition established by the likes of Steinway and Bösendorfer. They could do so only by re-examining the essence of what a piano is, and at the same time being creative and innovative. I think that this kind of DNA is typical for the organization, not only in the design department but also among engineers and craftspeople."

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— First and foremost are the humans. Products must be their ultimate tools. This philosophy that underlies Yamaha audio products derives from the instrument building tradition. Audio equipment should not draw undue attention to itself. Rather it should blend into everyday life, with an unobtrusive design that serves its function.
Driven by factors such as portable music players and networking, the way music is being enjoyed is undergoing a rapid change these days. There is a need to rethink audio design in general, to examine how it fits into the framework of our daily life. Mr Tanaka sees this as a major challenge to be answered. The desktop audio system TSX-130 with its top panel of natural wood represents one attempt along these lines.

Tanaka："The concept of providing an iPod/iPhone dock on a CD player is not such a new one. But in adapting this to the lifestyle of modern users, we wanted to move away from the simple "audio = playback equipment" way of thinking. When an iPod or iPhone user returns home, he or she will first want to charge their device. They will also put their wristwatch or keys somewhere, and I for one will take off my glasses. By having a top of natural wood, we thought that the component could also fulfil the function of a side table."

— This is very different from just slapping on a "retro" look. By thinking about audio in a different context, and bringing it closer to other aspects of the user's life, a new kind of value can be created. Mr Tanaka sees this as a process that leads to a new standard for our times.

Tanaka："That was one of the reasons why we went for natural wood in the TSX-130. Using imitation wood made out of plastic of course would have been cheaper, and modern technology actually gets the look pretty close to the real thing. But the sound that you hear when you place something on it, and the feel when touching the surface are a far cry from real wood. And of course the sound quality is influenced by the material used for the body of the component. We consulted with the engineers of the division in charge from an early stage, and the design was pursued in a cooperative way."

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— While also being iPod/iPhone compatible, the model MCR-040 for example springs from a totally different approach. It is a micro system that has proven wildly popular, offering simple operation and a tough exterior. Products in this category commonly use a steel enclosure with a separate front panel made of extruded aluminium. The MCR-040 by contrast has a front and top made from a single steel plate bent at a right angle. This method which has already proven its worth in other applications conveys a feeling of strength and robustness.

Tanaka："Simple, long-lasting design is easily said but much harder to actually realize. It must be placed in a context that makes immediate sense to the user. For Yamaha, this is an essential consideration. We want something that, rather than losing its appeal over time, becomes more cherished through extended use. When musing about this, I suddenly thought of guitar parts. Things such as an old, battered guitar head or a well-worn old guitar amp, these have an irresistible appeal to music lovers. This kind of context should be a natural for Yamaha who is also an instrument maker."

— The tangible image that the designers pursued was a guitar effects pedal. Well known to Rock fans, these devices are often operated roughly with the guitarist's foot during play to create a wide range of sounds. The steel enclosure of the MCR-040 is of the same sturdy material as used for example in mixing consoles designed for use at outdoor concerts. To retain the rugged touch and feel, the steel seams were left as is. This gives the MCR-040 the ambience of a well-worn tool. In keeping with the guitar effects image, the product is available in ten striking colours. "In five or ten years, if the paint flakes a bit and the unit has some scratches here and there from extensive use, this should only increase its appeal to the owner, or so I'd like to think..." says Mr Tanaka with one of his mischievous smiles.
In a different way, the NP-S2000 introduced in Autumn of last year is another representation of unobtrusive design that blends perfectly into the environment of daily life while being characterised by a smart, authentic beauty. It is a hi-fi component for our times, allowing the user to stream music content from a computer as well as from other sources on a network in outstanding sound quality. The front panel does away with superfluous control elements and presents an uncluttered appearance that complements the slim body of the unit. Its elegant, refined aesthetics are worthy of being regarded as the standard for a new era.

Tanaka："What we wanted to express with this design is a new sense of values for the networked age. Until recently, I felt that streaming music reproduction could be considered as 'convenient, sure, but certainly lacking in quality'. But both the infrastructure and the technology have made rapid progress. An authentic hi-fi component that would enable the user to access the ever widening range of music sources, and to do this in an environment geared for high sound quality, was eagerly awaited by many people. The NP-S2000 is the answer to these wishes. Featuring latest technology and materials while presenting a clean, uncluttered look gives it a quality feel that is right for our times."

— Expressing audio values through design that is firmly rooted in our daily lives, this kind of approach is bound to continue. Mr Tanaka aims to foster a distinctive and natural Yamaha image also in future.

Tanaka："There are still many things and products that people want but that have not yet been realized. Yamaha is a manufacturer more deeply involved with music and quality sound than most others. We are determined to explore these latent needs and continue to create products that can only come from us. They will be unique and have an appeal that makes them hard to put down. Through our design we want to continue working towards the realization of new standards.

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