Head Shot 11

Another response to various comments seen online…

I have great respect for sound designers working in the digital realm. The whole evolution of analog and digital music synthesis that became known and popularized through Bob Moog’s pioneering work is the foundation of everything. Acoustic Synthesis borrows from and builds on those accomplishments.  But I do think I’m adding something new into the mix.

I’m making this slightly hyped statement to underscore a real objective distinction: Digital sound design synthesis takes place in the realm of real-time mathematics, an abstract re-re-representation of the actual sound vibrations. In contrast, with my acoustic synthesis method the actual combining-synthesizing process occurs mechanically within the physical medium – in the case of the Vo-96 it occurs on the guitar string itself. It’s not just that the sound is acoustic. The actual synthesizing process is physical, not mathematical. The DSP and control systems of the Vo-96 operate completely in the background, adding and subtracting harmonic motions from the string by modulating the magnetic field around the string. Synthesis occurs on the string, in directly perceivable reality. That’s not some tiny hair-splitting distinction, it’s radical and fundamental.

Oh – and the sounds you have heard so far just scratch the surface of what is possible. The size of the pallet will be similar to the pallet afforded by traditional synthesis techniques, in the long run. We are just getting started.

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