Atelier 33 was created by Bernard Byk in 1980. The company has become since one of the top names among the audio professionals. Atelier 33 pioneered reusable packaging in France, and is now the first French flight-case maker, historically and in terms of production volume.
Atelier 33 was a pioneer in the domain of acoustic development too. Created in 1980, its Acoustics Research and Development Department was managed by Alain Demion for more than 10 years. This collaboration gave birth to several PA systems, among which the first long-throw line source system. Atelier 33’s Zenith was the first horn system applying a vertical coupling principle to high-power sound reinforcement systems. In its time, this system was already based on a loudspeaker loaded by a phase piece mounted behind a hyperbolic horn. This first incarnation of the line source concept gave the Zenith a multi-miles throw, combined with an extraordinary efficiency. Thousands of Zenith systems were sold during the 80s, and some famous sound companies like Blue Square or Texen still use them on tour ! At the beginning of the 80s, the Atelier 33′s Definition model was praised for its sonic transparency. This high-power speaker was the first to be used at the famous Acoustical Musical Research and Coordination Institute in Paris. It was chosen after some comparative listening tests managed by composer Pierre Boulez himself.
After 10 years spent in Research and Development, Atelier 33 widened its activities by creating an innovating product line, sold under a new commercial brand : Amadeus. This high-end brand was born in 1992, from the collaboration between Bernard Byk and Michel Deluc.
Amadeus is positioned as a high-end brand. Since more than 20 years, its main differentiation vector has been its specialization in sound architecture. This hybrid and innovating concept ties architectural fundamentals to acoustic research, to offer products and installations perfectly adapted to the spaces they’re in.
« I have been trained as an architect, and this training surely influences both the products we develop and the projects we work on. I think that for an architect, the starting point is to decrypt the space and to think of the way to put one’s work in a cultural, social or environmental context. That’s the way we design our sound systems… We think about their integration in different places, and we supervise this integration. Each space has its own acoustical characteristics and above all its own architectural properties. Our work is to take these phenomena into account to increase the transparency of our sound systems. We were the first manufacturer to adapt the materials and the colours of our systems to the architectural properties of the places we equip. »