The Apple designer you’ve never heard of is making noise
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Stringer said Cell Apha is just the first to expand its product line. For now, it’s safe to say that Cell provides special value because it offers a dimension of sound that others haven’t even thought about. To go beyond our current soundscapes and enter the world of spatial audio, we need to go beyond monophonic and stereo — wait.triphonic. Yes, that’s the word made up by Synge. “That had to happen,” says Stringer of the newly invented triphonic era, “because we’re trying to set a stable standard that prevails. We think we have the only technology that meets the bill.”
Stringer refers to the coming age of mixed reality, where sounds — not just music, everything we hear — have to match or transcend the sound sources in the physical world. A multi-cell configuration of its speakers can present a musical or theatrical performance as a way to repeat the experience of a live performance. It’s basically creating the soundtrack for the upcoming holographic concerts you know. (If we had these holographs and cells before the lock.)
Stringer also showed me tricks that weren’t part of the initial version, but highlighted Syng’s options. A demo was recorded with a special version of “Eleanor Rigby” by a string quartet, where Stringer’s band was able to isolate each musician. Using the Slick Cell app, they showed me how to drag and drop each instrument, like moving real tools to different places in the room, on the violin couch, near the kitchen door. In another demo, Syng employee Elisabeth McMullin, an acoustic engineer, showed me how the system could integrate the sounds of a recording (in this case, the song Radiohead) with other songs, or even sound effects like footsteps, birds, or sirens. In these cases, Syng basically provides the equivalent of a soundboard in a recording studio, where you can lower or increase the volume of each track. But instead of making the track louder or quieter, you’re moving into space.
Syng, in Venice, California, currently has about 50 employees, and financiers have invested $ 15 million so far. It’s a tribute to Stringer’s appeal because his investor represents the lawyer represented by Apple in this patent lawsuit and also the opposing lawyer. It informs the enthusiastic responses of top musicians and producers (their names will not be revealed). “I’ve been giving a demo-demo for three years now, because it’s in my heart to ignite the passions of the creators,” he says. “These people need tools like this to get to the next level of creativity. We’re hearing a lot about how there’s not enough space in the stereo to do what they want. ”
Stringer himself has never been so excited. Apple was always in the background. He says he was fine, perhaps because he didn’t feel like working in public places all his life. But now, as a 56-year-old CEO (although Laurel Canyon seems to have just come out of a meeting of songwriters) he is rejuvenated. “I just knew I had to do something else,” he says. “He really had to be away. To put the solution you want behind you, you need to be involved throughout the process. You can’t be the step of a journey. This had to be, you had to do something. It’s when you’re comfortable enough to feel uncomfortable. ”
I hear you.
Time Travel
Christopher Stringer was on Apple’s design team in 2001 when the company released its successful iPod music player. In July 2004, I wrote a Newsweek cover story document how the product became its own cultural artifact:
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