“Architecture is frozen music.”

We believe this quote from the poet Goethe applies to the design of audio products as well. There are strong similarities between the compositional elements of music and those of design. The final design of a product is not really static; our sight is sequentially drawn through the collected elements, much like our listening traces the outlines of melodies, harmonies and rhythms.

Element-A-Rhythm is a specific design philosophy of Yamaha Home Audio, coined from the words “element” and “rhythm,” and it also informs the simplicity of Yamaha audio design. In our audio equipment, we focus on the rhythm of shapes and textures and make it the core of our design process. Just as individual notes are carefully arranged on a musical staff, physical elements each play their own role in creating a rhythm, resulting in a thorough audio design.

The concept of Element-A-Rhythm is derived from musical instrument design, with an instrument being a collection of completed elements. Audio components, on the other hand, are basically inorganic, geometric boxes, but they function as tools operated by human beings and with interfaces that provide the point of contact. Although they are composed simply, they are complex in that they are made up of countless parts. In this comparison, consider an individual panel switch as a single musical note. A neat, mechanical layout alone is not enough; Yamaha's simple audio is characterized by a sensory, musical rhythm that reflects subtlety within the sophistication.

Element-A-Rhythm has three basic principles that are common to music and can also be considered indispensable for Yamaha audio: Haku, Ma, and Jikan. Yamaha audio products are characterized by their simple, precise and aligned interfaces. However, even at first glance of the physical arrangement of the mechanical layout, you can sense a pleasing musical rhythm.

Emphasis on a dichotomy between strength and weakness, created by differences in texture, color, shape, and size, as well as consideration of specific elements. Includes continuous repetition of the same element.

Consideration of the distance and proportion of elements, as well as the ratio of elements to the margins, and their overall positional relationship. Among the elements, this includes consideration of the margins and lingering effects created by the overall density and composition.

Creation of a certain order, with sensitivity to continuity, strength/weakness, order, etc. Includes implied directional motion in the layout, such as left/right, up/down, back and forth and circular.