オークションでのJBL出品がついに第100弾に・・・

いよいよ出品されました、好評シリーズ第100弾、記念すべき出品にふさわしく「★JBL4350AWX オールアルニコ・Wウーファー最高峰第100弾 5235付」という内容です。

ぜひとも、43シリーズのファンのみならず、15インチダブルウーファーの魅力を存分に感じていただきたいと思います。誠心誠意を込めてレストアしたスピーカーです。なかなか入手が難しい機種ですので、どうぞご検討ください。もちろん、オンラインショップでもよりお求めやすい価格で販売しています。→こちら

現在、私はアメリカのシカゴから程近い町にきております。近日中にこの場所から非常にレアなJBLスピーカーたちを直接ご紹介・販売する予定ですので楽しみに待っていてください！！

オークションでのJBL出品シリーズ第○○弾がついに・・・

ご存じの方も多いと思いますが、私がこのJBL43系大型スピーカーを取り扱い始めたきっかけは、ヤフーオークションでの出品が先になります。JBLスピーカーは3年ほど前から出品を始め、当時から必ず「第○○弾」のように、それが何番目に出品した物であるか分かるように表記してきました。

こつこつと出品してきて、早いものでいよいよ現在出品しているものが、第99弾（Vo.1）と、第99弾（Vo.2）であります。オークション以外での販売も含めると、実に130余台ものスタジオモニターをクリーニング、レストア、メンテナンスして販売してきたことになります。

そして、ついにシリーズ第100弾を迎えようとしています。どんなコンディション、いくらの価格のものが出てくるのか期待されている方もいらっしゃることでしょう。そんな期待に十分添えるように商品をご用意したいと考えております。もちろん、当ショップ、JBL43Freakでも同時にご紹介予定ですのでご期待ください。

ケンリックサウンド株式会社 代表取締役 細井研志 プロフィール

ケンリックサウンド株式会社(KENRICK SOUND CO.,LTD.)
代表取締役：細井研志(Kenji Hosoi)

事業内容：JBL43XX大型スピーカーの販売、メンテナンス・レストア・リプロダクト製作など。
販売ページ：http://JBL43.com
趣味：四駆自動車カスタム、サーフィン（休止中）、写真
略歴・プロフィール：1978年　東京都生まれ。

テレビ番組出演TOKYO MXバラいろダンディ『スピーカーレストアラーの仕事』
ラジオ番組出演ミュージックバード『オーディオって音楽だ！』

JBL往年の名機『4343』の華々しい誕生とほぼ時を同じくして生を受ける。よって日頃スピーカーたちを先輩と敬い大切に手入れする。

幼少期はレゴブロック遊びや物作りに熱中。小中学校時代の図画工作科目では評価大変良し。絵画作品や造形物は都立展覧会選抜や入賞経験につながる。

東京都立小金井北高等学校在学中、理数系進路を希望し大学受験に備えるが、高校三年の春に無謀にも美術系進学希望へ転向。理数系の授業を受ける傍ら美大受験に向けた予備校での文系履修、デッサンなどの実施トレーニングをこなす。しかし二足のわらじ成就せず、東京藝大を筆頭に軒並み撃沈・受験不合格、浪人を余儀なくされた。

黙々と勉学に励む周囲の同志に触発されて一念発起、悠々自適で怠慢な己と決別、徹底勉強を決意する。実家を離れて新聞配達所へ住み込み、新聞奨学生として新聞を配りつつ奨学金を捻出、受験勉強を行うスタイルに変更。遊び仲間との連絡手段であった携帯電話を突如解約、外界との接点を断ち一切交信不能で孤独な受験生へと変身。5浪、6浪がざらな藝大進学ではなく、一般文系大学を目指す方針を固めた。

一方的に失った数多くの友人らを惜しみつつも、華やかなキャンパスライフを夢見て自転車で朝夕刊を配りまくっては、合間を縫って四畳半の木造部屋で必死に勉強する毎日を繰り返す。

自転車か徒歩かの配達手段しか持たないこの配達所の二軒先には、奇しくもミニバイクで颯爽と配り渡る別銘柄の新聞配達所があった。これがある種の格差を感じさせ、遅々として進まない配達日課を投げ出したくなることに繋がる。とりわけ天候の悪い日には焦燥感でいっぱいに。

やけに雪が多く降り続く冬だった。「さあ、もう辞めよう。」勇んで始めてたかだか半年。志半ばに想いを挫折することになる。

その後実家に戻り、気乗りしないアルバイトをこなしていた頃、かつて知り合ったスチールカメラマンから連絡が入る。暇ならうちで雑用をしないか？との誘い。ちょうどアシスタントが辞めて人手が足りないとのこと。

20歳の夏、かくしてカメラマン事務所に雑用係として採用される。アシスタント経験を積んでから、やがてカメラマンの端くれとして従事。週刊誌のフォト・ルポルタージュ担当として撮影、執筆も。一人暮らしを始めて数年後、所属会社が別事業として始めた医療関係の複写撮影業務ならびに医療関係者専門ウェブサイト制作事業部に移籍することに。立ち上げ時から携わり、システム構築、ウェブ制作、撮影業務を一手に引き受けることになった。

多忙極める日常から解放されるのは、趣味のオーディオに関わっているひととき。中学生の頃、憧れだけで遠巻きに見ていたJBL 4344を、いよいよ3年ローンで手に入れたのが24歳の時分。眺めて磨いて聴いて満足・・・というのもつかの間、傷んだ箱や果たして特性が維持されているものかが気になり始める。そうなればまず研究、そして我流で手入れを施し徐々に本来の姿へと近づける。幼い頃、レゴブロック遊びに機械いじり、電子工作でさんざん鍛え上げられた創意工夫の感覚が唸る。“研究に志す”、“志を研く”ようにと名付けられた「研志」が本領発揮された瞬間であろうか。

27歳の夏、「これで行こう！」と7年間勤めた会社を辞め、趣味を頼りに生業とすることを決定。中野区の自宅10帖ワンルームから始めたJBL修理業務は階下の廃業したカラオケスナック跡を倉庫として流用。当時、部屋改造の極意がメディアでも紹介される。手狭になった半年後に大田区南馬込へと引越し、自宅兼事務所として1年間続ける。取り扱い点数が増え、スペース増設を迫られたため現在の大田区上池台に事務所を分離。それまでヤフーオークションのみで販売していた商品を、新たにオープンさせた自サイトでも取り扱い開始。『JBL43Freak』として始めた屋号は、米国のパートナー、リックと出会い『KENRICK SOUND』に名称変更。

2009年11月、ケンリックサウンド株式会社(KENRICK SOUND CO.,LTD.)設立。上池台の会社事務所は、ショールーム、オフィス、ワークショップ、作業場、スピーカー保管庫、倉庫、の6部屋に拡大。前職を離職して17年、副業時期から数えて始業23年目を迎えた現在に至る。

駒沢〜自由が丘近郊にサロンのオープンを計画中（2010年4月に自由が丘にオープンしました）。また、KENRICK CAFE or BAR（仮称）の、ラウンジバー経営を目標とする。（KENRICK SOUNDのスピーカーシステムを基軸に、日中はスピーカーショールームとして、夜はサウンド・バーとしての機能を有す。）内外装、音響設備ともに、自らの趣向の極みを貫く目論見。

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KENRICK SOUND CO.,LTD.
President: Kenji Hosoi
Business contents: The sale, maintenance, restore, reprography
of the JBL43XX large size monitor speakers,
Sale page: http://JBL43.com
Hobby: Four-wheel drive car custom, surfing (during a stop), photograph

[Profile]
I was born at almost exactly the same time as the celebrated arrival of one of JBL’s most iconic loudspeakers, the legendary 4343. Perhaps that explains why I have always regarded these vintage JBLs as my seniors—machines deserving respect, care, and the very best attention I can give them.

From an early age, I was fascinated by making things. LEGO, mechanical tinkering, electronics, drawing, and building objects occupied much of my childhood. Throughout elementary and junior high school, art and craft were among my strongest subjects, and several of my paintings and three-dimensional works were selected for Tokyo Metropolitan exhibitions and received awards.

At Tokyo Metropolitan Koganei Kita High School, I initially followed a science-oriented academic path and prepared for conventional university entrance examinations. Then, in the spring of my final year, I made the rather reckless decision to change direction completely and pursue art school instead.

While continuing with mathematics and science at school, I attended an art preparatory school, studying humanities subjects and training intensively in drawing and other practical disciplines. Trying to pursue two entirely different paths at once did not end particularly well. I failed every art-school entrance examination I took—including Tokyo University of the Arts—and found myself facing another year of study.

Surrounded by students who were quietly and relentlessly working toward their goals, I decided it was time to part company with my carefree and rather lazy former self.

I left home and moved into the accommodation of a newspaper distribution office, becoming a newspaper scholarship student. I delivered morning and evening papers by bicycle, earned my scholarship through the work, and studied for university entrance examinations in every hour that remained.

For good measure, I abruptly cancelled my mobile phone—the main connection I had with my friends—and effectively disappeared from the outside world. I had transformed myself into a completely isolated examination candidate.

I also abandoned the idea of spending five or six years repeatedly attempting admission to Tokyo University of the Arts, which was by no means unusual among aspiring students at the time. Instead, I decided to aim for a conventional humanities university and start again from scratch.

I missed the friends I had suddenly left behind, but I also imagined the glamorous university life that might eventually await me. So I cycled through the streets every morning and evening delivering newspapers, then returned to a tiny four-and-a-half-tatami wooden room and studied as hard as I could.

Our newspaper office offered only two methods of delivery: bicycle or foot. Two doors away, by some cruel coincidence, another newspaper distributor equipped its staff with small motorbikes. Watching them glide effortlessly through their routes while I struggled along on a bicycle created what might politely be called a certain awareness of social inequality.

On rainy days, and especially in winter, that feeling became difficult to ignore.

It happened to be an unusually snowy winter.

Eventually, one day, I decided: “That’s enough. I quit.”

I had begun with great determination. Six months later, that particular chapter was over.

After returning to my parents’ home, I took a part-time job that inspired very little enthusiasm. Around that time, a professional still photographer I had met previously contacted me. His assistant had left, he was short-handed, and he asked whether I might be interested in helping around the studio.

At the age of twenty, I joined the photography office as a general assistant.

After learning the profession from the ground up, I gradually began working as a photographer myself. I photographed and wrote photo-reportage features for weekly magazines, gaining experience not only behind the camera but also in communicating stories through words and images.

Several years after I began living independently, the company launched a new business providing photographic reproduction services for the medical field, together with a specialist web-production division serving healthcare professionals. I joined the project from its inception and eventually took responsibility for system development, website production, and photography.

The work was demanding, and my days were extremely busy. The one place where time seemed to slow down was audio.

I had admired the JBL 4344 from afar since junior high school. At the age of twenty-four, I finally bought a pair—financed, naturally, with a three-year loan.

At first, owning them was enough. I could look at them, polish them, listen to them, and be perfectly satisfied.

For a while.

Before long, questions began to arise. Were the aging cabinets still structurally sound? Were the drivers performing as they originally had? Had decades of use altered the characteristics that made the system special in the first place?

Once I began asking those questions, there was no turning back.

I researched, measured, experimented, repaired, and refined. What began as simple maintenance gradually became a serious attempt to understand these loudspeakers in depth and return them, as faithfully as possible, to the performance and presence they were meant to have.

The instincts developed through childhood LEGO, mechanical tinkering, electronics, drawing, and making things by hand suddenly found a new purpose.

My given name, Kenji—研志—was chosen with the hope that I would devote myself to study and research, and continually refine my aspirations. Looking back, perhaps this was the moment when that name finally began to make sense.

At twenty-seven, after seven years with the company, I made another decisive change.

“This is what I’m going to do.”

I resigned and decided to build a profession around what had until then been my greatest passion.

The business began in a ten-tatami one-room apartment in Nakano, Tokyo. The former karaoke snack bar downstairs had gone out of business, so I repurposed the space as a speaker warehouse. My rather unconventional approach to modifying the apartment even attracted media attention at the time.

Within six months, the business had already outgrown the space. I moved to Minami-Magome in Ota Ward, where I continued for another year with home and workshop under the same roof.

As the number of speakers, components, and projects increased, more space became essential. The business was eventually separated from my residence and established at its present base in Kami-Ikedai, Ota Ward.

Until then, my restored speakers and components had been sold primarily through Yahoo! Auctions Japan. I subsequently launched my own website and began presenting the work directly to customers under a dedicated brand.

The business had originally been called “JBL43Freak.” After meeting my American partner, Rick, the name evolved into something that combined both of our names and reflected the international direction the business was beginning to take:

KENRICK SOUND.

In November 2009, KENRICK SOUND CO., LTD. was formally established.

What began in a single small room gradually expanded into a dedicated facility comprising a showroom, office, workshop, main production area, speaker storage room, and warehouse.

Yet the philosophy has remained remarkably close to where it began: study the original design, understand why it works, preserve what deserves to be preserved, and improve only where genuine improvement can be achieved.

For me, vintage JBL loudspeakers are not simply old audio equipment. They are industrial design, engineering, craftsmanship, musical instruments, and pieces of cultural history all at once.

Restoration therefore means more than making something look new again. It means understanding what made the original special, recovering what time has taken away, and sometimes applying modern materials and techniques in ways that allow the fundamental character of the design to reveal itself more fully.

KENRICK SOUND has grown from a personal obsession into a workshop serving customers and audio enthusiasts throughout Japan and around the world, but the work remains deeply hands-on. From cabinet finishing and mechanical fabrication to driver restoration, crossover design, system tuning, photography, and presentation, the aim has always been to pursue every detail with the same curiosity that first led me to dismantle, study, repair, and rebuild my own JBL 4344.

A salon was later planned for the Komazawa–Jiyugaoka area, and opened in Jiyugaoka in April 2010.

Beyond the workshop itself, I have long imagined another kind of space: a KENRICK CAFE or BAR—a place built around KENRICK SOUND loudspeaker systems that could function as a showroom during the day and a true sound bar at night.

The architecture, interior, lighting, furniture, and of course the sound system would all be conceived as parts of a single experience.

Because ultimately, KENRICK SOUND has never been only about restoring speakers.

It is about creating the environment in which those speakers can once again become what they were always meant to be: extraordinary machines for experiencing music.
We can ship the speakers to overseas. Please feel free to contact. info@kenricksound.com