Yamaha Design “Synapses” ACP-2


Design for Asia Award

An acoustic conditioning panel that conditions the reverberation in a space to produce pleasing sound.


The functions of an acoustic conditioning panel (acoustic resonance tube, hard reflective surface, and aperture to produce the dispersion effect) all condensed into a device with a simple outline. Available in three colors that will harmonize with any interior: basic white, natural, and brown.


The location of the aperture in the panel is determined by the unique acoustic structure of the space. As such, it visually accentuates the "calculated randomness" used to improve the acoustics, thus characterizing the underlying design.


With its functional form, the device will match the room or space in which it is used and will underscore the presence of individual instruments or audio sources.


Notably, it produces a pleasant acoustic field for instruments and audio units by effectively conditioning the reverberation of low- and medium-register notes, thereby honing the sensibilities of the artist.

Eizo Amiya
Eizo Amiya
Yamaha Design Laboratory

Weaving a story from the designer’s point of view.

Due to the device’s unique acoustic structure, simply installing the ACP-2 acoustic conditioning panel enables it to condition the reverberations from instruments or audio sources, and create an environment in which sound can be enjoyed. Since the sound absorption of this acoustic technology extends to bass notes (as well as the treble notes covered by standard systems) and produces a sufficient sound dispersion effect, it yields better acoustics than ever before. The TCH acoustic conditioning panel (the forerunner of the ACP-2) was 90 cm tall. However, this model was chiefly aimed at instrumentalists, while the ACP-2 is designed for use by audio enthusiasts and players of upright pianos as well. The new device has thus been designed as a freestanding panel 120 cm tall.
I joined this project right at the outset, when the technology for this advanced-design product had only just been developed. As the designer, I was engaged in actually incorporating the technology into the product, while at the same time searching for use cases that required this technology—from a viewpoint diametrically opposite to that of the engineers. This process was akin to identifying the who, where, and why of this brand-new technology, and then weaving stories around these elements. The development of this device (unlike that of ordinary products) saw an overlap between the domains of the designer and the engineers, with the roles being reversed on occasion. To my mind, this allowed us to experience the real joy of design in a broader sense.

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