The tech­nol­ogy of the Dy­namic Space Stereo­phony is like nour­ish­ing the root, re­sult­ing in a sub­stan­tial, ho­lis­tic enliv­en­ment of the tree of mu­sic.

In con­ven­tional mu­sic, the char­ac­ter of an in­stru­ment ap­peared as an ex­plicit timbre – which re­sulted from the fixa­tion of the spec­tra of over­tones in our con­ven­tion­ally limp use of the in­stru­ment. To­day, with the tech­nol­ogy of the Dy­namic Space Stereo­phony, the most di­verse timbres now appear in multi-di­men­sional forms.

As if stretched out in space, the spec­trum of over­tones moves as if breath­ing, and dis­plays a life of its own, thought im­pos­si­ble so far.

Imag­ine a bouquet of flow­ers, com­pres­sed al­most to a point. One could hardly dis­tin­guish the col­ours, let alone rec­og­nize any spa­tial struc­ture. This cor­re­sponds to the con­ven­tional in­stru­ment sound.

The vir­tual op­po­site takes place in Dy­namic Space Stereo­phony. The so-called in­stru­ment char­ac­ter­is­tic, the in­di­vid­ual sound of the in­stru­ment, for ex­ample the fixed sound of a vio­lin, is stretched out in space in its in­di­vid­ual over­tones. This is ac­com­plished by dividing the tone of the vio­lin into its over­tones and assigning them their re­spec­tive places at vari­ous points in the acous­tic space.
This tech­nique alone, how­ever, would only mean to give a spa­tial struc­ture to some­thing which is dead.

There­fore, one now “breathes life” into the sound of the vio­lin. To do so the in­di­vid­ual over­tones are set into a play­ful motion with each other, as we know it from the course of the stars.

Thus, a new world of com­po­si­tion arises in the in­ner world of the sound, in the mi­cro­cosm of mu­sic.

Di­rected by the pat­tern of the com­po­si­tional logic, the in­di­vid­ual sounds of the over­tones are in­ter­woven with each other in space and are enlarged, re­duced, en­grossed, and re­fined, so that from within a new in­ner com­po­si­tion per­me­ates the old outer com­po­si­tion, and crea­tively enli­vens it.