Everything starts with design
Guitar makers combine functionality with great design. Anyone who plays a quality guitar (or anyone who builds one) quickly comes to appreciate the considerable artistry that has gone into its making. Musicians dedicate big chunks of their lives to their instruments, they form intimate relationships with them. What you play on matters in the same way that what you play matters.
Virtual Realities have linked musicians to international audiences in ways that would not have been considered possible two decades ago—thanks to shoutcasting and other web broadcast systems, and thanks also to the popularity of live performances on virtual platforms like High Fidelity, SecondLife and OpenSim grids. But those performances often result in a small disconnect for "live" audiences. Avatar physics haven't improved much in the last decade. In SecondLife, an avatar cannot move her fingers or toes. Her lips don't move when she sings or speaks. Add to this that the accepted standards of animation are very low in the popular grids, even among those employing mocap technology, and much of this is due to a lack of realistic collision physics where the hands of a guitarist pass too easily through the neck of the guitar. Even the best animators can do little to accommodate the vast range in avatar body shapes and sizes or the eccentricities of proscribed limits to motion arcs. An avatar with the physique of a gorilla moves very differently on an animation to a "ruth" avatar.
But a lot of quality issues start with laziness and a "good enough" mentality from designers, builders and animators, who harness 'suspension of disbelief' as a cover for the deficiencies of their work.
We know that there are limits to how many faces you can load on a prim and that some animations will always be compromised by avatar shape, motion arcs and collision physics, but we are determined to take our designs right to the edge of those fidelity limits. It matters to a guitarist that (s)he is playing a Les Paul or a Strat and that they actually look like they're playing. It matters what that guitar looks like, that it's an accurate facsimile and not a photograph painted on a flat block. It matters that there is logic in the stage set up (cables going to amps, etc). Our aim is to take the musician's experience and the audience experience as far as it can go towards realism. That dedication to a quality principle is what makes Satori unique.