My name is Jérôme Marot-Lassauzaie. I met Peter Pfleiderer 20 years ago. When I learned he had invented a new loudspeaker system, I was immediately interested and after a demo, I was immediately sold. I still have these same speakers today.
I am not a real Hi-Fi "fan", I just like music. But I do go to concerts from time to time so that I can compare what I hear live with what I hear at home. Pfleid loudspeakers were undoubtedly a giant step towards a good sound reproduction. When I listen to good pop or even jazz recordings, they sound fantastic. When I listen to a good recording of a small classical ensemble, a duet or chamber music for example, they also sound closest to the original than any other speakers I tried. Recordings of large symphonic orchestras never sounded quite right, however. This has been a bit of a disappointment during all these years.
Peter an I actually started this project filming, the sound came as an afterthought. And I have to tell you: our first recording did not sound that well: camera sound in a small jazz venue is not really Hi-Fi quality at all. This is when we realized that we needed something better AND we could easily afford something better: a bit of research showed us that recording devices had gotten a lot cheaper than 20 years ago. I had read Peter's book 20 years ago, but there was not way we could have afforded to record music using his ideas at the time. But, suddenly, we realized that we could.
It was not quite as easy as we expected, and I should say that we could not have made it without the help of the musicians and technicians we were kind enough to let us film and record. I would like to mention, in no particular order, people like T. De Lates, H. Graf, B. and D. Roberts, K. Edwards, T. Vogler, T. Adedokun, F. Strong, A. Leman, Trio Elf, M. Winckelmann from Enja records, T. and R. Zaneboni, F. Jungnitsch, R. Menapace, and countless others from the bands, the orchestra or behind the scene. I has been a bumpy ride sometimes, but it was fun.