It is difficult to know exactly how a product will be used until it has been launched. Depending on where and by whom a product is used, the product will either function well or encounter difficulty. Those who design a product have little influence on its success once launched.
For example, there were a number of complaints from people, who used the PCM-1 in combination with various audio units, including FM tuners. They found that it produced an unpleasant electronic humming noise. An increase in dynamic range caused the machine to pick up noise unless the unit was operated in a quiet, soundproof room. This gave rise to complaints of poor sound quality. With any new product, problems that cannot be foreseen in the laboratory are bound to occur, and Nakajima received a continuous stream of complaints.
Eventually, Nakajima and his colleagues moved to stem the tide of criticism, sorting through and analyzing the various grievances. A large number of the problems had occurred because R&D efforts had not been sufficiently thorough because of the haste to create a finished product within one year. Also, the group discovered that the operating instructions supplied with the machines were not sufficient and resulted in misuse.
Thus, Nakajima and his colleagues ascertained the reasons for the grievances. It was a difficult time for the engineers, but the experience of sorting and analyzing claims was a valuable lesson for developing the next digital audio system.
The PCM-1 engineers who had borne the brunt of so much criticism did receive some encouragement. One person who praised the PCM prototype processor as a master recorder for use in studios was the world-renowned Austrian conductor Herbert von Karajan. Maestro Karajan was a longtime friend of Morita. One day in September 1978, when Karajan was visiting the Morita home, Morita asked Nakajima,  Since Mr. Karajan has come here, isn't there something we can play for him? Let's play him something on the PCM recorder, replied Nakajima, happily carrying the prototype into the room.
They played a performance of Karajan's that had been secretly recorded during a rehearsal in Salzburg. Rather than scolding them for this unauthorized taping, Karajan was profoundly moved. This is a new sound, he said. Extremely interested in machines in general and in new recording technology in particular, Karajan had his own recording studio and often edited recordings himself. He was interested not only in the quality of sound, but in future recording systems as well. He claimed to prefer the sound of the PCM system over that of analog recordings, which he was more accustomed to. The engineers were extremely happy and felt much encouragement with the approval of Maestro Karajan.
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