Since 1995, a team of committed craftsmen in the Audio Engineering department of Sanjannagar Institute, have been continuously working to design and construct a range of high-end audio reproduction and monitoring equipment—Power Amplifiers, Pre-Amplifiers, Phono Pre-Amplifier and Speakers. Recently we also started working on making our own Bhulley Microphone and Microphone Pre-Amplifier. During this time, the department has invented designs and technologies that are a radical departure from the existing amplifier and speaker design concepts and construction methods. All the components (except for vacuum tubes, resistors and diodes) of our systems are designed and made through our indigenously developed machines and techniques. At present we have four models of amplifiers and speakers. There are two integrated amplifiers, ‘Bhulley Boy’ (copper) and ‘Baby Bhulley’ (copper) and two Bi-wire, ‘Bhulley Boy’ (silver and copper) and ‘Bhulley’ (Silver). The top of the line is the Bhulley Bi-wire silver.
The main drive for undertaking this work was the inadequacy of the best existing reproduction and monitoring equipment to accurately reproduce and convey the unquantifiable nuances or delicacies of music generally and particularly South Asian Classical music, wherein these are critical considerations. And the main concern behind this work has been a faithful reproduction of what we call ‘musical reality’. The object has been to achieve musical fidelity for any genre rather than ‘Hi-Fi’, so as to connect fully the listener’s mind to the artist’s intent. In our view, when sound reaches the listener’s ear, it should be a relaxed musical sound, which retains its musical integrity qua the source. This task has involved translating the understanding of the elements of musical sound such as timbres, resonances, body (in sound), harmonics, etc., and how they are put together to produce musicality in musical sound into the science and engineering of audio amplifier, and speaker systems. Thus, continuous work has been taking place in philosophizing, theorizing and developing new concepts and then testing them experimentally in the design and construction of these systems.
We have been using it in three areas:
For a critical analysis by artists of their work for further evolving and improving their own work and also as an aid to higher level teaching in music.
We have used this system with advantage as monitors in our own recording studio. Since we avoid using equalization, sound shaping, compression, etc in our full-track stereo 15 ips tape recordings which we mix down directly without going through multi-tracking so we need these as monitors to ensure precise positioning and polar pattern settings for highly accurate and sensitive tube condensers such as Brauner VM1s, Neumann M-149s, etc.
We have found these very useful for sensitive music listeners for any music of their choice from any country or period.