1990, December - Worth Gardner, Artistic Director of the Cincinnati Playhouse in the Park, commisioned Bianchi and Smith to create a treatment of The Wizard of Oz, using an expanded set of synthesis and sampling equipment, and featuring an eight channel surround system. The work was a critical success, and resulted in additional productions at a variety of different theatres over the next few years.
1991 - Bianchi and Smith form "Bianchi and Smith, Virtual Orchestras for the Performing Arts."
1994 - Malcolm Messiter, professional oboist first experiments with MIDI systems and discovers their power. This starts his development of what he called The Virtual Orchestra, and culminated in working with Nigel Kennedy in 1998.
1995 - Bianchi and Smith, in collaboration with Thomson Smillie, Artisitic Director of Kentucky Opera, provide a system for Hansel and Gretel, the first virtual orchestra system used by a major regional operacompany for a main stage production. The production was repeated the following season.
1998-99 - Bianchi and Smith, team with Lucent to develop gestural control systems for virtual orchestra control. This research culminates in a demonstration at Telecom '99, in Geneva, Switzerland. Phill Ramone produces, Sir. John Barry conducted, Natalie Cole sang, and l'Orchestre de la Suisse Romande participated. An immersive, 325 speaker environment was used, placing audience members in the middle of the perceptual field.