1989, March - Frederick Bianchi and David B Smith, Director and Associate Director of the Electronic Music Studios at the College-Conservatory of Music (C.C.M.), University of Cincinnati, collaborate with director John Eaton in a made-for-television production of Iphegenie auf Tauride, and opera by Gluck. The intention was to create an electronic score for the movie. Recording and programming sessions were begun to input and orchestrate the score using the facilities at the school. Unbeknownst to Bianchi and Smith, there was also scheduled two workshop performances in front of a live audience. Frantically working to find a solution to this, an ad hoc implementation involving computer sequencers, sound modules, and a small sound reinforcement system were used. Although crude, the results convinced the pair that the development of live performance systems was a practical possibility.

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.