Award Audio

High Fidelity Recording & Audio Equipment


Welcomes you to our new updated page!

We are pleased to announce the release of our new CD!


Finally, we have a new page with exciting news about our new CD  and what we have been up to.

We are thrilled to bring you our first CD released under our own label.


From the discovery of new and wonderful music, to the beautiful, rich High Fidelity sound, this has been a work in progress for the past 3 years.

This CD features world premier recordings of two composer's work, Henri Dallier and Ermend Bonnal, along with music of Louis Vierne. 

You  will find this music lusciously lyrical, but witty, and yet full of passion and color. 

"Beautifully played music that delights the ears."


CD's in stock ready to ship!





NEWS! The Detroit Chamber Trio is now on tour in France

Audio samples coming!



You can purchase this CD directly from us for $12.00 + 1.95 s/h we accept PayPal or personal check

Email us and we will send you information on how to make the purchase.


Visit again, as we add more information about the performers, music and the recording!


 Email us for purchasing information!
Click, to see the Detroit Free Press article -> 


Our idea behind making this recording was to introduce listeners like you to three little known treasures from the French repertoire.  

Although the Vierne Sonata has been recorded before, it is seldom performed and certainly deserves to be heard much more often. 

The other two works on this CD had never been recorded and the music for one is out of print and the other was never published.  It was an unexpected delight to discover the Trio by Henri Dallier. This is a marvelous work that we hope will become a part of the standard piano trio repertoire. The parts were copied from microfilm furnished by the New York Public Library. 

The manuscript for Bonnalís Sonata for piano and violin was graciously given to us by the composerís daughter, Marie-Elizabeth Bonnal. Eduard Perrone edited and transcribed our parts for this charming piece. We hope you enjoy discovering this music as much as we enjoyed recording it.

Velda Kelly




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Through a combination of technical advances, unique to the Digital Lens, the full potential of digital audio replay can finally be realized.

If music is your aim, then focus it with the Digital Lens. Until you have heard music through the Lens, everything else sounds like a blur.                                 

It is commonly accepted that by separating the CD Transport from the D/A Converter, the level of performance of each of those components can be maximized. Additionally, it is understood that the full advantage of the increase in accuracy is certainly limited, and even obscured, by the problems which are associated with the usual interfacing of those two components with each other.

The Genesis Digital Lens is placed between the output of a digital source and the input of a D/A Converter or Digital Recorder. The Digital Lens has the revolutionary capability to eliminate the jitter inherent in all digital sources, to correct for transport speed anomalies, and to be programmed to increase the perceived resolution of the digital signal.

Using the Digital Lens in your system, you will realize an increase in the speed of transients, achieve a more powerful and defined bass, improve the front to back depth, and while the overall sound will become more spacious, individual instruments and voices within that space will simultaneously become more specific in their location.

The SPDIF format (Sony-Phillips-Digital-lnter-Face) is the standard by which all data are transmitted from one component to another. Encoded in a single stream of data are many separate pieces of information including music, timing data (the elapsed time of each track), and the master clock signal which, just like a musical metronome, keeps all of the electronics operating together. The decoder's function is to separate the many pieces of information from the single SPDIF data stream.
Digital Lens

The Digital Lens has the same type of memory as your home computer. The Lens employs half a megabyte of a type of memory referred to as RAM (Random-Access Memory). Once separated from all the other information necessary to run a digital audio system, the music is stored in the memory of the Lens in pure form. The memory is necessary for several reasons.

First, because all CD Transports run a little fast or a little slow, the music must first be stored so that it can later be released at a correct speed. If a transport is too slow, the Digital Lens' master clock will wait for enough data to accumulate in the memory until it can be synchronized with the Digital Lens' master clock. Conversely, if the transport is too fast, the memory will output the first information immediately and will continue to hold the overflow until it can be synchronized with the Digital Lens' master clock.

The Digital Lens is capable of correcting for all transport speed anomalies which are likely to occur in a system into which it is placed.

Once the musical information has been stored in the memory, the computer has enough time to examine each "word" or piece of the music and decide where and when the DSP circuit should add the extra "bits" or information to extend the digital word from 16 bits to 20 bits.

The logic that controls all the complex operations necessary to operate the Digital Lens is shared by two computers where over two thousand instructions are necessary to perform all the tasks demanded by the various functions that make up the Lens.

In digital audio, the left channel information is first presented to your D/A Converter and then the right channel information is presented. The two channels never co-exist simultaneously. Switching back and forth between left and right happens so quickly that it sounds like they are present at the same time. Because the Lens discards the original left and right channel status information in order to eliminate jitter, it must ultimately replace them in proper order.

Once in memory, there is enough time to make decisions about how to proceed with digital signal processing. The Digital Signal Processing section is a complex circuit. Here, the standard 16 bit word (which simply means that the music's signal is divided by a number equal to 2 to a power of 16) is increased to 20 bits (2 to a power of 20, a larger number and hence a finer division). The choice of a 16 or a 20 bit word can be made by the user via the remote control. The word length can be increased (16 to 20 bits) by the addition of triangulated dither, which is a mathematical function. Without DSP processing, similar to that provided by the Digital Lens, the sound shuts off completely when the musical signal drops below a certain volume level, and the D/A Converter ceases operation. This is very unnatural to the human ear and the DSP circuitry of the Digital Lens solves this audible problem.


The Digital Lens will accept the digital output from any CD Transport, Laser Disc player, DAT machines and digital satellite broadcasts. Digital inputs on the Lens include AES/EBU (XLR), Coax (RCA), Coax (BNC), Toslink and ST (glass).

The Lens signal is then sent to your D/A converter or digital recorder via one of its three outputs (ST, RCA, and XLR).