The Way to the Geijutsu Audio. Pioneer: Shozo Kinoshita

Shozo Kinoshita at Masterfonics Studio(Nashville)⇦ TAD TD-4001 with beryllium dia phragm compression driver. It enables
20 kHz even from 10 cm
diameter dia phra gm.
There's no other compression driver whic h goover this performance up
to now after 20 years past.

Let me intr oduce M r. Shozo Kinoshita who is presiding o ver Rey Audio L td.,.
I think this will help y ou under stand the Geijutsu A udio whic h he is ad voca ting and theworks crea ted thr ough R ey Audio . Shozo was bor n in Oob u, Aic hi pref ecture , in 1946.
He w as fascina ted b y b uilding a cr ystal r adio a t f ive years old. And he has been impressed b y sound and its w orld up to no w since then.
He cannot sa tisfy himself unless he stands a t the top of wha tever he par ticipa tes. Hisc haracter as suc h made him de velop "T AD TD-4001," compression dri ver in 1979. His
idea is not tha t maniac as y ou usuall y expect. He r ather thinks tha t thing whic h man ypeople accept is g enuine . As developing TD-4001, av oiding to accomplish the high-end
responsibilities b y adopting ber yllium whic h he had been str ong ly attac hed and tried
making pr actica ble, instead he w orked very hard on " overwhelming pla ybac k ener gy" in
mid-r ange where an ybod y can f eel better . He has str ong ly belie ved tha t real dr ama tic
scene of sound w orld w ould a ppear in tha t w ay.
Development of the TAD were accomplished cooper ated with Bar t Locanthi (1919- 1994), the leading e xper t in the US pr o-audio industr y. He made e xcellent ac hievements in thefields of speak er, amplif ier, and digital audio while esta blishing the speak er simula tion
tec hnology b y using computer ar ound 1950. He also once w as the president in A udio
Engineering Society as one of top engineer s in the US . Shozo and Bar t intr oduced T AD
in the US pr o-audio industr y. And people recogniz ed the real v alue in it soon after it w as
introduced. It spreaded out studios and concert sound systems in the US . This popular ity reac hed to J apan, and some industr y people went to purc hase it o ver the US after heheard its reputa tion. Of cour se, they belie ved it w as made in US .
People hear d the sound f irst in the west coast a t the concer t of the big ar tists lik e theEagles, the G rateful Dead, and Neil Y oung . The ① Eagles system was designed based
Shozo's idea and b uilt b y Nor th West Sound. Its astounding lo w sound under 30 Hz, 130dB a t 30 m aw ay shoc ked the people in the SR industr y and the y had to realiz e theimpor tance of the lo wer sound. It is no doubt the T AD made the trend of the system
thereafter .
On the studio monitor , it w as a bout to go more comple x system with 3 - 4 w ay, built in
multi-amplif iers and EQ' s. But after T AD appeared with its remar kable perf ormance , it
made people recogniz e the 2 w ay system a gain. The ② is Electric Lady Studio in NY
around 1979. It w as just the moment tha t we had a str ong presentiment of the recur rence of 2 w ay system. And the amaz ement in the US of those da y was embodied b ythat monitor . The ③ is the noteworthy KenDun Studio in west coast. The monitors here
used be 3 w ay, but it c hang ed to 2 w ay after T AD intr oduced. And T om Hidle y (1931˜)
was there , who br ought the R ey Audio def initi ve inf luences la ter.
②

⇧ Shozo and Bart (1983)⇧Electric Lady Studio (NY) around 1979. Handmade 2 way monitor by TAD.
The Electric Lady Studio was the legendary studio opened by Jimi Hendrix.

③①⇧ NWS Sound System（TAD TL-1601a + TD-4001) 2
way + TL-1601a Super Woofer in the Eagles USA Tour
'79. It showed epoc h-making performance in soundquality, power, wide range frequency responsibility, highrelia bility, and everything.

⇧TL-1601a + TD-4001 2 way with Marantz-500
amplifier in Eagles Japan Tour '79. This system brought in Japan by chartering a Jumbo
Jet were used 4 days straight in Budokan, andtoured to Osaka, back to Budokan for an additional stage, through Hawaii, and then backto the US.

Rey Audio Ltd., 1556-13 Kamitome, Miyoshi, SAITAMA,354-0045 Japan
TEL: 81-492-58-5490 FAX: 81-492-58-9226⇧KenDun Studio (CA) around 1983.
Designed by Tom Hidle y. Monitor is of course byHidley made. They used to be 3 way, and changed
to 2 way after TD-4001、TL-1601a were introduced.

http://www.reyaudio.com
e-mail info@reyaudio.com
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In 1984, Shoz o esta blished R ey Audio wishing more liber alized and crea tive acti vities . Cooper ating with T om Hidle y at the sametime , Kinoshita Monitor were installed one after another into the studios designed by him. Tom Hidle y is admired b y engineer s allaround the w orld. Not onl y he made more than 600 studios b ut also he' s been famous as an in ventor of the moder n studio with thesound tr ap. After he w as acti ve as a jazz pla yer and recor ding engineer , he esta blished W estLake Audio designing studio monitor
and studio itself . Then after E astLake Audio , he cur rentl y is a president of Tom Hidle y Design, and de voted himself to designingstudio onl y after he met with Shoz o. This is sho wing ho w muc h he relies on the tec hnology behind the Kinoshita Monitor . Kinoshita
Monitor is al ways highl y evalua ted and its sta tus has been assured b y man y studio engineer s and musicians , and it e ven becomeslegend, whic h is especiall y in o verseas because it easil y of fered the best en vironment b y Tom Hidle y. Now it is used as man ystudios as 18 countries .

⇧ Shozo and Tom are tuning the sound. (from left) Studio Platform (Sete, France), Bop Studio (Mabatho, South Africa), and Masterfonics (Nashville, USA).
Kinoshita Monitor is certainly deserved to be called the World Music Reference.

By the time esta blished R ey Audio , everything w asgoing to digital. And there were r ash of studio b uilding and refurbishing . Rey Audio then one after another accomplished its monitor perf ormance higher
and more po werful. F ollo wed v ertical twin de velopment in 1984 and it g ained f irm sta tus b y utilizing 20
Hz Monitor RM- 7V in 1986.
About the same time , Kinoshita monitor were spreading out almost 80% of newl y installed monitor s inJapan. Then the pr oblem along with the studio acoustics were br ought up . There were man y installa tioncases in acoustic en vironment were seen in J apan
and those were not al ways suf ficient as y ou thought.
Then Shoz o star ted researc hing arc hitecture fr om thepoint of acoustics and made the most out of
his kno wledge of sound, and f lung himself into acoustic design of studios and listening r ooms . Abo ve all,
Hitokuc hizaka Studio is kno wn as one of leading studios in the w orld with its design and sound quality .

20 Hz Vertical Monitor RM-7V developed in 1986 was installed first in Studio Pan in Yokohama.
And it got very popular, then also installed in Masterfonics (Nashville, USA), Studio Des
Dames (Paris), Nomis (London) within the year.
⇧This photo is Studio Des Dames installed RM-7V. It is closed now but many are missing
the sound that they never can listen in any other places in Europe.

⇧ Shozo Kinoshita / Rey Audio was introduced in
Revue Du Son, 1999 May (France)⇧Shozo was making Audio Room and 20 Hz Monitor at the same time since 1981. Then hefound the precise way of approac hing properly to general audio room with limited space .
His studio design was made the best out of its experience since. This photo was on an
extra issue of Radio Technology magazine. Brand new 20 Hz Monitor was on the cover.

Audio r oom whic h Shoz o designed.
⇧Hitokuchizaka Studio (Tokyo)(left) Tokyo Keizai U niversity, Studio of
Communica tion Dept. (Tokyo)(center) Mazda audition room (Hiroshima)(right) Magical Super Studio (Tokyo)
Magical Super Studio was club owned by
Rey Audio from 1991 to 1994. It installed
the infrasonic monitors first in Japan andrealized 8 Hz playback. The sound zone
people never experienced before were
become very popular among the people
and selected as tec hnical tour in 1992 by
AES. It must have deeply impressed many
people visited there.
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Good sound should not be monopol y onl y of the audio maniac . Emotion tha t mo ving and touc hing when music is crea ted, and
inf inity when it touc hes soul is f or nobod y else . Audio is under standa ble to e verybod y and it is the ar t with full of c harm.
Shozo wants e verybod y to kno w a bout it. So he made muc h more ef fort to b uild the concer t system. Sur prising ly it beg an with theEagles' concer t at Budokan in 1979. The sound people listened there at the time still remain fresh in their mind and they even star ttalking enthusiasticall y about it. This w as the deb ut of TAD and Kinoshita as a sound designer in pr o-audio industr y in J apan. Since
then, he f lung himself into the hug e concer t for Of f Cour se 10 da ys at Budokan in 1985, T omita-Na gaoka in 1986, Li ve Under the
Sky 1987-88, J apan Splash 1987-92, F ukuoka Dome O pening in 1993, and on the other hand man y tour systems f or Hibari M isora,
Chiyoko Shimakur a, Miyuki Nakajima, Princes Princes .

⇧ Completed setup of Reggae Japan Splash '92 Sound System. No doubt about that monster size!!
20 ME1800Vs. 72 sets of RB3 + RH6 or RH1. Speaker weight 20 tons. Max Power Amplifier output 80 kW.
⇧ Exciting Japan Splash '92 at Yokosuka Portland. 100,000 audiences enjo yed the best sound.

⇧Selected Live Under the Sky '87 and '88 was
the first show whic h adopted the nation's first
outdoor flying system planned by Shozo. 8 tonsof system including speakers and amplifiers
on eac h side were hang by cranes.

⇧ Fukuoka Dome Opening Ceremony '93
There was a certain presence of Rey Audio's
clear and powerful sound right in front of people
even in the troublesome en vironment in a dome.

⇧ TOMITA-NAGAOKA '88
5 ch 3D Sound System aiming away to the audiences on the both side of the Shinano River
from its riverbed created a subtle and profoundworld there. Sound surprisingly reached 600
to 1000 m from the source. It was drizzling, butlaser beam and fireworks glowing on it maderather magnificent sight. The refined soundmade very impressive concert.

RH-3 on manufacturing process

Shozo has kept hand making procedure after esta blishing Rey Audio. That is his way ofmaking products knowing that repeating detailed work carefully by his own hand can only
attain the real sound world. Especiall y his close examining of pair match is very severe.

This Kinoshita Monitor' s unique sound quality made him decide to develop the amplif ier e xclusi ve for his speak er. Shozo cooper ated with J MF in France de veloped the po wer amplif ier and g ave them Kinoshita- JMF brand in 1990. The amplif ier whic h isdesigned f or the speak er b y Shoz o who kno ws it well enough is pr oud of its e ver-changing dri ving po wer.
Shozo has been acti ve in the pr ofessional audio f ield thr ough TAD and R ey Audio . But he is not thinking tha t the pr ofessional audio
needs special sound quality f or it. He r ather thinks tha t the most na tural and ric h expressi ve quality of sound should gi ve the best
result. So he has been sing le-mindedl y pur suing the good sound he belie ves. That is wh y Shoz o could g ain the man y professional
people' s suppor t. Theref ore it is na tural tha t enthusiastic music lo vers have an ear nest desire f or his pr oducts . It w as consider ably
welcomed when K M1V, near f ield monitor w as announced in addition to a lar ge monitor in the beginning . Pre-amplif ier MS P-1, on
the other hand, in addition to po wer amplif ier w as manufactured as an ultima te amplif ier and became wha t music fans has been
yearning f or.

Kinoshita-JMF MSP-1

Kinoshita-JMF HQS2500UPM

K-Monitor KM1V
（1994)REYAUDIO TBE-001-0

Micro Monitor MM-10（1999)
MM-10 was designed by
Rey Kinoshita
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Future Vision by Rey Audio
The aw akening of audio came along with 20th centur y, and has been e volved as high tec hnology . What is in question coming 21st
centur y is whether the audio can con vey the tr uth in music or not, in other w ords whether the audio can succeed as an art. Shoz ohas put f orw ard "Geijutsu A udio" and gone into action as its pioneer .
Music in recor ding , and also in pla y bac k can' t be e xplained b y tec hnology . It is r ather in question of the domain of wonder be yondtha t. Theref ore the audio will be in question its tr
ue value as an ar t. Audio whic h can touc h soul, is meant eter nal v alue . It isnecessar y to ask wha t the concept of good sound f irst f or it. Touc hing the hear t of music , then the soul will be shak en and someemotion will arise . Good sound mak e it realiz e. The w orld where we can f eel tha t something will be bor n or we can f eel the sign of
it. This is impor tant.
Shozo has spent the most of his time on repr oducing 3D sound f ield. The in vention and design of Vertical T win, V-4, Phase Tuned
Hi-level Crossover, etc . are f or it. Then he tac kled with pla ying bac k of infr asonic be yond the limit of human hearings to step into anarea of an indica tion or a sign, and the f loating sense of sound. And he pur sue wha t the monitor should be to wards the future soundplaybac k era cooper ated with T om Hidle y.
A man is bor n with the a bility to sense where the sound comes fr
om. It originall y g rows and shar pen up along with his e xperiences .
That sense , however, may get dull because tha t too muc h sound ar ound y ou no wadays mak es you unconsciousl y tr y to pr otect
yourself and rest y our mind. Human beings originall y should be a ble to enjo y everything with all of his senses . It seems na tural toopen y our mind to sound and accept e verything . To leav e everything in na ture is to pla ybac k the sound in na tural w orld and f eel it.
Not audio adjusted to human' s ability after all, It should be the audio whic
h question ho w muc h you can f eel and tak e it fr om thenature . One good e xample of wha t we're tr ying are infr asonic and sur round.
The both Shoz o and Tom' s basic idea of the sound is tha t all of the speak ers should be identical, and of cour se so is acoustic
condition. Moreo ver, eac h speak ers should be la youted on the concentric circ le centered listening point. By onl y accomplishingcomplete phase ma tc hing , it can mak e walls of the r oom disa ppear and mak e it possible to crea te the ne w space .

⇧ Bulldog Studio ☆（Franklin Tennessee, 1998)
The DVD music studio first build in the world by Kinoshita/Hidley. It has
RM-5BC monitors in front and back. And it has different concept from thesurround system for theater up to now. All of 5 monitor speakers werelayouted very carefully on the concentric circ le. Only even main monitor
can play 24 Hz 〜 20 kHz in well-ordered phase. Sub woofer were only
installed for coping with some thea ter formats. It is not necessary to be
there originally.

Mentioned here are the histor y of Shozo/Rey Audio , and its aw areness , and intr oduced the vie w of the "Geijutsu A udio" f or us to hav e in
21st centur y. The repr oduction of 3D sound put f orw ard by Shoz o reac hes the summit b y ar rival of WARP type monitor . This v alue g ets
big ger and big ger after it became sur round, and e ven 2 c hannel stereo star t insisting the big possibilities without an
y limit. The Geijutsu
Audio is here alread y.
⇦AVATAR STUDIO-D (NY. 1999)
Main monitors are WARP-7's. WARP-7
is the largest speaker within the V-4（Vertical Quad ）and plays flat between 20 Hz 〜 20 kHz. Driving amplifier is HQS4200UPM which is the biggest among the Kinoshita-JMF. Small
monitor is KM1V. This is a 2 ch stereo
recording studio, however we see therecurrence of acoustic recording there
from its large scale of sound and stimulated by 3 dimensional c lear soundima ge. It must give big influence onmusic from now on.
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4/5JUN. 2000 COPY RIGHT REY AUDIOThe Geijutsu Audio

Kinoshita/R ey Audio is going to wards the Geijutsu A udio .
Geijutsu will be in question of an eter nal lif e.
Not sta ying onl y in pla ying sound bac k,
there is the di vide where it w arps to the spiritual w orld.
Impor tant thing there is the deepness ofthe music brea th.
Many famous perf ormances come to ali ve, star t talking eloquentl yand pull those audiences inside .
Rey Audio has ascer tained the meanings of audio
by being na tural and b y the scene to the inf inity .
And no w it seems reac hing the point where we can f eel
the ar t w orld Rey Audio headed f or, up to where we can belie ve f irml y tha t
audio has an eter nal lif e as its o wn ar t.
Charm of combina tion and an interest pur suing the self way of soundare talk ed often no wadays, however it ma y seem e verything to ma tc h with y our concept.
That disa bles f or us to admit the g reat features within music .
The c har m of music is tha t our spirit can f loat even in the w orld
where we hav en't had the real e xperiences .
After all, the standar d isn' t yourself, and the na ture is
the onl y subject whic h you can put y ourself into ,and the onl y way to share the inf inity with.
Rey Audio is brea thing deepl y.
Many excellent perf ormances respond, with deep sensa tion.
Here we can be sure a bout the bir th of new ar t,
beyond the er a of experiments .
The g reat ar t appeared in the last 20 th centur y.
That is the "Geijutsu A udio"⇧ Luxury liner ASUKA(1991)⇧ Soundville ☆ (Luzern, Switzerland 1988) A beautiful studio with European taste.
Main achievements (name without title)
Recoding Studio, Mastering Studio
AVATAR(New York), MUSIC PALACE(New York), EMERALD(Nashville),
MASTERFONICS(Nashville), SILVER CREEK(Nashville),
BULLDOG(Franklin), KIVA(Memphis), RECORD PLANT(LA),NOMIS(London), TAPE ONE(London), WAREHOUSE(New Castle),
DAMES(Paris), DEVOUT(Paris), DU PARC(Chesney), POLYGONE(Toulous)
GUILLAUME TELL(Paris), CAPRI DIGITAL(Capri), SOUNDVILLE(Luzern),
GREENWOOD(Nunningen), POLDERWIEG(Amsterdam),
CINAR FILM(Montreal), MOSFILM(Moscow), BOP(Mabatho, South Africa)
SEOUL(Seoul), SONY HK(Hong Kong),
AOI(Tokyo)、AVEX(Tokyo)、POLYGRAM(Tokyo)、
TOSHIBA TERRA(Tokyo), HITOKUCHIZAKA(Tokyo),
YAMAHA EPICURUS(Tokyo), SONY MUSIC(Tokyo), KIM LAB(Tokyo),
NTT ICC(Tokyo), TOKYO GEIJUTSU UNIVERSITY MUSIC HALL,
VICTOR AOYAMA(Tokyo), etc.
More than 300 studios in 18 countries
Post-Production Studio:
CRAWFORD(Atlanta),TBS MIDORIYAMA(Tokyo), TVC YAMAMOTO(Tokyo)
VIDEO SUNMALL(Tokyo), etc.
Broadcasting Sta tion
TBS-TV, RADIO all studios(Tokyo), NIPPON HOSO(Tokyo),
TV AICHI(Nagoya), TV SHIZUOKA(Shizuoka),⇧BOP STUDIO (Mabatho, South Africa 1991) is proud of its world leading scale and perforAB PRODUCTION(Paris), etc.
mance. Its noise level is at 8 dB (A) and lower prepared by infrasonic (9 Hz) first in the world.
Clubs, Live Houses, Shop (Sound System)
YELLOW(Tokyo), CHICKEN GEORGE(Kobe), OTO(Tokyo),
MUTEKI RECORDS(Tokyo), ONE-EIGHT DANCE STUDIO(Tokyo)
Luxur y liner
CRYSTAL HARMONY, ASUKA
Acoustic Design (Studio and Listening r oom):
HITOKUCHIZAKA STUDIO 1st, STUDIO SOMEWHERE, KIM LAB, MAZDA,AIWA, TOKYO KEIZAI UNIVERSITY COMMUNICATION DEPT's STUDIO,MAGICAL SUPER STUDIO, etc.
Sound Quality Evalua tion System
MATSUSHITA ELECTRONICS PARTS, SONY, YAMAHA, PIONEER, AIWA,
TDK, SANYO, KAO, AUDIO TECHNICA, TOYOTA, MAZDA, etc.
Concer t, Musical, (SR)HIBARI MISORA, CHAGE & ASUKA, TOMITA-NAGAOKA,
LIVE UNDER THE SKY, JAPAN SPLASH, GESSHOKU (AMON MIYAMOTO)
CHOYOKO SHIMAKURA 40 TH MEMORIAL RECITAL, etc.
Researc h System:SANGYO IGAKU LAB., OOBAYASHI R&D, etc.
Audio Room:
Except professional system above, many audio room uses Kinoshita's system.
⇧Masterfonics J ☆ (Nashville, USA 1996) 20 Hz Control Room was designed symmetrical also in v ertical way with floor trap. It has extreme sound image by that.
◆ All photographs and contents herein are copyrighted by Kinoshita/Rey Audio. The design drawings of Bulldog Studio are copyrighted by Tom Hidley.
Photographs with ☆ mark are supplied from its studio. Reproduction or use of these materials without any permission is prohibited.
◆ Various developments shown here can not possibly be accomplished by myself alone. I appreciate my family's great help especially by support from the result of their spirit not
avoiding to make any sacrifice themselves. I report here that there is a lot of effort to reach this point.
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