And here the absolute limit for conventional orchestra practice has been reached. This imperatively requires such modern developments of Dynamic Space-Stereophony which then, however, can only be demonstrated to its best advantage during a multi-channel performance in a concert-hall – in contrast to the stereophonic recording on a CD. With such enormous revolutions, the consequences for concert halls, opera houses as well as radio and TV are foreseeable.
A further great benefit of such digital music production technologies lies in the power over interpretation which can now be tackled to a totally different extent than we have known so far.
If you think that the musician can dominate all the finest nuances of his tonal design that are at all audible without any pressure at all from time and circumstances relating to the performance, that he can naturally go beyond the scope of the natural limitations he and his instrument entail – starting with the duration of tone to the speed of playing, the accurate performance of complex rhythmical structures, the expansion of the range, the control over his instrument's overtone mechanics, from the volume to the finest nuances of articulation –, then – besides the great dream of the classical tone creators – that of the musician groaning under the limitations of his instrument as well as his own anatomical obstacles will also come true. The Micro Music Laboratories® therefore want to make sure that the productions of the parts of the different instruments are monitored by excellent artists who use these instruments.
In the way described, the work of the composer Peter Huebner introduced in this publication, was realised in the Micro Music Laboratories® with often more than 1000 polyphonic voices in 1000 tonal spaces developing in a different way – until now an unimaginable thought in musical history and among music experts.
From the pioneering times of the Micro Music Laboratories
