As much as the world has changed at a breakneck pace in the past century, people are still working with music the same way Edison did in the 1800s–-dealing with sound waves recorded in the air. At Zenph, our eureka moment was when we figured out how to translate music into data. We use the power of computer engineering to understand exactly what musicians do as they play: their gestures, their timing, their physicality, their individual imprint on a piece of music. We can now represent this unmistakable signature through an incredibly rich, highly-detailed data set and use it to create new music. These re-performances, as we call them, can be played and recorded again any time, on different instruments, in any venue, in front of any microphones. We’re actually separating musicians’ performances from their original recording medium, and in turn liberating the composer, the artist and the listening audience. In effect, we're bringing to music the power that word processing brought to writing.

Our company’s work was named one of the “Best Ideas of the Year” by The New York Times Magazine and has received multiple GRAMMY® nominations. The astonishing fidelity and nuance of sound heard in the Zenph Re-Performances has earned us accolades from music lovers and critics the world over, including astonishing perfect-10 reviews from The Absolute Sound magazine. Recent Zenph recordings include “Glenn Gould playing Bach’s Goldberg Variations,” “Rachmaninoff Plays Rachmaninoff,” “Art Tatum, Piano Starts Here: Live at the Shrine,” and “Live From Lincoln Center” with Joshua Bell.