Stringer said that Cell Apha will only become the first product in a broader product line. Currently, he is convinced that Cell can provide unique value because it provides a sound dimension that no one else even thought of. He believes that to transcend the current soundscape and enter the world of spatial audio, we must transcend mono and stereo and enter-wait-three pointed. Yes, this is a word composed of Syng. “This must happen,” said Stringer in the era of traffic triangles he just invented, “because we are trying to establish universal and stable special standards. We believe that we have the only technology that can meet the requirements.”
Stringer refers to the advent of the era of mixed reality, in which sound (not only music, but everything we hear) must match or exceed environmental sound sources in the physical world. The multi-unit configuration of his speakers can replicate the experience of live performances to present music or even drama performances. Essentially, he is composing the soundtrack for the upcoming holographic concert. (If only we had these holograms and batteries before the lock).
Stringer also showed me some tricks that were not part of the initial release, but instead emphasized the possibilities of Syng. A demonstration included a specially recorded version of “Eleanor Rigby” for a string quartet, where Stringer’s team was able to isolate each musician. They used the sleek Cell app and showed me how to drag and drop each instrument, just like moving the actual instrument to a different part of the room-the violin on the sofa, the cello near the kitchen door. In another demonstration, Elisabeth McMullin, an acoustic engineer at Syng, showed me how the system can combine sounds from recordings (Radiohead songs in this case) with other songs, and even sound effects such as footsteps, bird sounds, or siren sounds. Integration. In this case, Syng can essentially provide a soundboard effect in the studio, where you can reduce or increase the volume of each track. However, you don’t need to be louder or quieter in orbit, but to move it in space.
Syng is located in Venice, California and currently has about 50 employees. So far, funders have invested 15 million US dollars. This is a tribute to Stringer’s appeal. His investors include lawyers representing Apple in the patent litigation, as well as opposing lawyers. He reported on the enthusiastic responses of top musicians and producers (his name will not be disclosed). He said: “I have been presenting for three years, because my heart is to inspire the passion of creators.” “These people need tools like this to achieve a higher level of creativity. We have heard a lot about stereo sound There is not enough space to complete the news of what they want.”
Stringer himself has never been so excited. At Apple, he has been in the background. He said that he was very satisfied, perhaps because he was reluctant to participate in public places all his life. But now, as the 56-year-old CEO (although it looks like he has just reunited from the singer and composer of Laurel Canyon), he feels completely new. He said: “I just know I have other things to do.” “It really has to be outside. To come up with a solution you want to support, you need to be involved throughout the process. You can’t just embark on a journey One step. It can only be that, you only need to do something. This is when you are comfortable enough to become uncomfortable.”
Christopher Stringer joined Apple’s design team in 2001, when the company released its popular music player iPod. In July 2004, I wrote an article Newsweek cover story Document how the product became its own cultural product: