“Freedom !

Progressing
is in the world of art
as in the mighty creation
the purpose.

There is no rule in art
that could not be superseded by
a higher one.

Continue to
further reveal
the higher and true field of art
and to transfer yourself further
and further up
into art’s heaven!

There is no more undisturbed
more unmixed, purer joy
than that which arises from there.

That which we acquire from art
is from God, divine inspiration,
which sets human abilities
a target that he achieves.

Continue,
do not practise art alone,
but penetrate its interior,
which it deserves, as only art
and science elevate man
to divinity!

Modern scientific technologies allow musical processes to be analysed, produced and reproduced much more precisely than was possible in the past.

Thus, scientists, engineers and technicians work under the direction of the classical composer and musicologist Peter Huebner on concepts of systematic research and specific utilisation of the microcosm of music, as well as the fine powers it possesses and – on the basis of the knowledge thus gained – on a new methodology of classical composing, on new creative technologies of tonal design, on new recording and reproduction techniques, as well as on new computer-controlled methods of analysis and synthesis. The Micro Music Laboratories hope that these will enable them to put the creation and production of classical music on a sound, scientific-artistic basis.

The former role of the instrument builder who provided the sound with his instrument is taken over by large digital data banks which have outstanding sound material at their disposal. This ranges from the sound of African drums, Chinese sound dishes and gongs, excellent Russian choirs and singing soloists, flute-playing techniques of the native Americans and overtone singers from Mongolia to the sound potential of large symphony orchestras.

Nowadays, this technology is internationally very far developed. There are entire industries which are dedicated to the specific construction of such digital data banks – with an incredible diversity of expressive playing techniques from all over the world. For this, everywhere famous artists and outstanding scientists, conductors, musicians, singers, even whole orchestras are involved in further developing such large-scale sound libraries.

And the most successful electronic companies, software companies and chip manufacturers in the world are developing and building the equipment which deals with this sound material more and more successfully, at the same time refining the diverse digital sound making and processing techniques. In principle, all this is not new, and more or less familiar to the active creative music professionals in all parts of the world from their own practice. More than 90% of the music that is broadcasted nowadays is produced including these digital techniques.

What is new, however, is the consistent use of these very modern music production technologies of our time in the classical sector – as this requires an incomparably greater extent of scientific-technical and artistic know-how. The advantage, on the one hand, is the possibility to produce work of sheer unlimited compositional and tonal complexity – whereby the invention and inclusion of Dynamic Space Stereophony^® is undoubtedly of great importance.

On the other hand, compositional ideas can be put into concrete terms and musical degrees of difficulty, for which even the best interpreters in the world are no match, can be overcome.

But since Karajan at the latest, digital  techniques  have  been   used

any incompetencies the players might have when playing their instruments, but also the conductor’s incompetencies, by inserting new passages and digitally editing in the rest – both, entire orchestra passages as well as individual soloist’s passages.

The fierce international competition in striving for the highest possible artistic perfection and technical precision, practically forces every orchestra to employ digital technology to produce CD recordings to achieve the highest degree of accuracy for the musical work. However, in classical music so far, only a maximum of 3% of such great digital possibilities which are today internationally available are being utilised.