Electronic and Stringless Advantages

Stringless^

  • No Tripping Over Strings
  • No Chaffing/No Unnecessary Callouses/No Fingertip Pain
  • Less Risk of Injury
  • Novel Experiential Processes/New Cognitive Maps (Virtual Play and ‘Acting Out’ Mental Practice)
  • Adjustable Body
  • Truly Silent
  • Bowing Platform Designed to Condition Perpendicular Movement
  • Open Fingerboard Naturally Develops Dexterity
  • No String Breakage or Wood Fractures
  • Expedite Practice and/or Practice More
  • Get Outside More
  • Conquer Fear and Aggravation
  • Less Physical Obstructions

Electronic

  • Synthesize Software Instruments in Real Time
  • Polyphonic
  • Swing Magnetic Effects
  • Plug Into Master Speaker System for House Control and Further Effects like Panning and Automation
  • Manipulate Controls and Settings from One Personal Device, Most Notably Virtual String Dimensions
  • Minimize or Expand Number of Virtual Strings
  • Extend and Homogenize Range and Color
  • Switch Between Solo and Orchestral Modes
  • Change Timbre for Time Period Selection
  • No Wolf Tones
  • Stays In-Tune
  • Sensor Readings for Wide Range of Feedback
  • Visual Training Option (Fingerboard Display or Outside Monitor)
  • Deliver Experiential Processes (via New Modes)
  • Design Novel Programs based on Stringless Cognitive Maps
  • Engineer Symmetrical Platforms
  • Facilitate Slides and Pitch Bends
  • Create Stringless Network/Data Sharing/I-Net Gaming

^ All stringless advantages apply to electronics.

Author: Stringless Artist

By choice, I started studying music when I was in the 5th grade. Not by choice, I was assigned to play sax. Through high school, I exercised self-agency and learned to play the clarinet, flute, and cello. After playing the flute for only a year-and-a-half, I was accepted into the College-Conservatory of Music at the University of Cincinnati to study under one of the world's leading professors of the flute. Following Cincinnati, I pursued architecture at the University of Nevada, Las Vegas where I won two international design competitions: Leading Edge and Walt Disney Imagineering. Before getting my Bachelor's degree in music, I also won the UNLV concerto competition on flute. Post graduation, I went on to work for a global architecture firm (Archurban) in mainland China, and back in the states, I wrote my first electronic music album ("P A X M A X"). Missing music performance, I decided to revisit the cello and acquired further training at the Nevada School of the Arts and the Multnomah Arts Center. Consequently, I played cello in the Beaverton Symphony Orchestra for two seasons. It was during this time that I invented a stringless platform for learning the violin. This event--without pause--was the most pivotal moment of my life! While in pursuit of patents, I developed conceptual designs for stringless electronic training aids and musical instruments (beyond structural training aids), or more specifically, real-time software synthesizers for advancing pedagogy and furthering artistic capabilities. Looking to make a professional fingerprint with my inventions, I took courses in "Leading Innovation in Arts and Culture" and "Teaching the Violin and Viola" respectively at Vanderbilt and Northwestern Universities (via Coursera). I also have had two "Stringless Technology" exhibits at the NoCo Mini Maker Faire, taught violin at the Boys and Girls Club, developed therapy applications through volunteer hospice and palliative care, and performed/appeared on the stringless violin at Make Music Denver, Apogaea, Sloan's Lake Rehab, and Denver Gay Pride. Most recently, I auditioned to be on TEDxMileHigh, am working on a new album ("Sons of Mozart"), and am working on an indestructible business plan (with SCORE Colorado) in the hopes that various iterations of stringless technology will be built, branded, and applied as a "force for good."

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