How One Of The G.O.A.T.(s) Changed My Life

A mentor is someone who sees more talent and ability within you, than you see in yourself, and helps bring it out of you.

Bob Proctor

First, i trust this finds everyone well. All kinds of craziness abound in the world; for those affected by recent events, my condolences. Second, I was compelled to write a blog after some commentary on LinkedIn concerning mentors and people who changed some of our lives.

You can find the discussion here. <- Click

Dear reader this is a very personal blog so bear with me i have told few if any this story. Oftentimes, the Universe speaks, and when it does, listen.

i had the extreme luxury and luck to attend graduate school at The University Of Miami Frost School Of Music, specializing in Music Engineering. Here is a little history copypasta’d from the website:

“The Graduate Music Engineering Technology degree (GMUE) was introduced in 1986 and has consistently placed graduates into high-tech engineering fields that emphasize audio technology, usually in audio software and hardware design engineering and product engineering or development. Our graduates have enjoyed employment at companies specifically aimed at high-tech audio such as Sonos, Amazon Lab126, Avid, Universal Audio, Soundtoys, iZotope, Waves LLC, Smule, Apple, Facebook Reality Labs, Microsoft, Eventide, Bose, Shure, Dolby Laboratories, Roland, Beats by Dr. Dre, Spotify, Harman International, JBL, Analog Devices, Biamp, QSC, Motorola, Texas Instruments, Cirrus Logic, Audio Precision, and many more.

In most cases, applicants to the M.S. in Music Engineering Technology typically hold a bachelor of science degree in electrical engineering, computer engineering, computer science, math, physics, or other hard sciences and are passionate about combining their love of music and engineering. A few hold dual degrees in music and other engineering/technology areas. The Music Engineering Technology program enjoys being part of a world-class, top-ranked School of Music, and students may become licensed to use the new $1.2 million state-of-the-art recording studio if they wish.”

I would rather be blind than deaf.

Handel from “Listening”

In 1987, Oh Dear Reader, i had a “really good job” with GE Medical Systems working in the Magnetic Resonance Imaging and Cat Scan field service organization. Yet i longed for truly understanding the science and perception of how we as humans process sound physically, neuro-scientifically, and mentality, then how we design that product to reproduce the creation of sound to its fullest extent. I loved mixing sound and thought in would be the end all to work at a “mixing desk” manufacturer such as MCI in Fort Lauderdale, used at Criteria Studios, where such groups as The Allman Brothers, etc, were the pinnacle of audio engineering. i was also particularly fascinated with the perception of reverberation and accurate modeling of acoustics. In undergraduate school i did an extracurricular paper on digital audio circa 1985. Where I analyzed analog-to-digital and digital-to-analog recording techniques. The paper discussed the Shannon Limit theorem and the science of sampling a sound to reconstruct it in full digital form. i also discussed how in the future most (or so i surmised) sound would eventually be played on a chip or transmitted with no medium. i also created a fiber optic transmission network to transmit and modify my voice. However the “riff” of the paper compelled me.

Said pedantic paper figure 1.1

One day i was sitting listening to Al Dimeola’s Elegant Gypsy album in Little Havanna, Miami, FL (where i presided not far from Crescent Moon Studios) and reading an article by a human named Professor Ken Pohlmann. The year was 1989. The magazine was Mix Magazine as i “used to be” a recording engineer having graduated from Full Sail Of The Recording Arts and then went on to obtain a BSEET at Devry Institute of Technology. i still kept up on recording and live sound and every once in a while i would mix for someone.

As they say, I am a recovering sound engineer now.

Mentoring is a brain to pick, an ear to listen, and a push in the right direction.

John Crosby

At the end of the article, it said something to the effect:

“Professor Ken Pohlmann is the founder of the prestigious program for the Graduate School Of Music Engineering at the University Of Miami, where he teaches Propeller Heads to create world class digital effects.” Apologies, folks i’m going off memory here, but i specifically remember reading the article and thinking “ok i am going to drive down to Coral Gables all two miles and walk in and ask for Professor Polhmann to accept me into the program.”

i walked in and asked for Professor Pohlmann. The nice woman at the desk said let me see if he is here. She said yes he is and will see me now.

Awe hell game on.

He sat down with me and asked what i could do for you. i still remember i was “dressed” in a tie with braces (suspenders) and full button down shirt with tassle dress shoes (full corporate mode). Yes tassle loafers.

i said “i want you to accept me into your program and when i get out i am going to work for (this) company and build reverberation algorithms.” i showed him the Mix Magazine where he was mentioned and in the back of Mix Magazine was an advertisement for a “startup” audio company called digidesign. i also showed him my paper on Digital Audio Recording and Editing circa 1985.

(NOTE: If you never ask for the biggest piece of cake you never get it. Worse thing he could say was no.)

He was really cool on the response. He said well i appreciate the passion but you need to go through all of the process and gave me all the paperwork take the GRE etc.

i was also acutely aware that i was a mutt compared to the other students where he only accepted two per year out of several high pedigree applicants. Most of the students where from real engineering schools.

i’ll never forget when i called to see if i was accepted. i called and the women said: “Theodore Tanner Jr. right? Oh Yes you can start fall of 1990.”

I RESIGNED from GE right after the phone call.

Fast forward to the year 1992. My friend Toby Dunn and i where sitting in MTC 667 graduate thesis class for Professor Ken Pohlmann.

Toby and i had done all kinds of awesome projects for the two years at UMiami but now we are sitting in the classroom breeze coming in watching the palm trees and chatting about who knows what waiting for the GOAT.

Professor Pohlmann walks in with a stack of books and sits down and says:

“What do you guys want to talk about? This class is about thinking up brilliant ideas and taking them into execution and also publishing your thesis at a conference.”

“Which conference?” i asked?

He said: “The Audio Engineering Society Conference this coming Fall.”

We both laughed. I specifically remember thinking back in the day when I didn’t even understand most of Stereo Review Magazine when I was in high school, and now it reads like Cat In Hat, BUT The AES Conference is THE SUPER BOWL OF AUDIO ENGINEERING?!

He said: “What are you laughing at? If you don’t get the paper accepted and given at the conference, you can’t graduate as it’s most of the grade along with your thesis and discussion here in class.”

“We haven’t even got started on our thesis or even selected a subject.” i said

He then said: “I asked what do you want to talk about and you didn’t say anything.”

He sat there in silence for a while then He then picked up his books and said: ” i don’t have time for this.”

He got up and left.

Toby and I just sat there (this was before the acronym WTF), but that was the look on our faces. WTF?

We sat there for a while and then i got the courage up to go into his office.

i felt like Charlie walking up to Willy Wonka.

“Professor Polhmann? , i said tentatively, ” i think we are ready to talk ideas.”

He came back in sat on the desk and said (and i will never ever forget this….)

“You two are the people that will change this industry and as such you are expected to come up with the ideas that can be executed upon and that is what i expect from you now as that is what will be expected of you in industry.”

Thus, Spake The GOAT. Amen.

We then had an amazing conversation of thesis topics.

Toby presented his paper on noise reduction, which was amazing. I presented my paper on Subband audio coding methods at the AES in New York in 1992, complete with an AES scholarship stipend. I also got to hang out with Jeff Beck and Les Paul at a Toys R Us BASF party, but that is another story.

We then went on to work for digidesign circa 1992. Toby is one of the most amazing signal-processing audio engineers in the industry. He was at Digidesign for 20 years and is now at Universal Audio. He wrote the original noise reduction plugin for Digidesign on Sound Designer and worked on the digital audio engine as well as several start plugins (dynamics, chorus/flange, etc.).

Excerpt from 1985 Neophyte paper 1.2 and 1.3

Side Note: One cool thing i got to personally tell Al Dimeola and Steve Vai that i assisted in creating some of the original protools and sounder designer plugins and APIs while listening to Elegant Gypsy and Passion Grace and Warfare. One of them is the same album I mentioned at the beginning of this blog. Also, if you not familiar, both are the GOATs of guitar.

Oh, and one more thing—I worked at Criteria Studios for a while and got to mix on the MCI console in Studio C, which was used to record several famous albums, which was a full-circle aspect for me professionally.

Then, later on, in 1993, another mentor, Phil Ramone, called me (yes that phil, he called me his 8th child…) while I was working on Protron Plugin at the amazing company called Crystal River Engineering, founded by Scott Foster. Scott Foster originated interpolated Head Related Transfer Function six degrees of freedom spatial audio for Jaron Laniers VPL Research and Dr. Beth Wenzel at Nasa Ames Research Lab and essentially started full localized spatial audio. Phil called me to come down to Crescent Moon Studios (Gloria Estafan and The Miami Sound Machine) and listen to the Duets Album he was mixing. He wanted me to analyze the reverb tails going through the defunct ATT Disq system versus a Neve IV console. He used three EMT reverbs (left, center, right) feedback to each other. i knew this previously and used this technique in the original Dveb.

To anyone reading this, find your passion and execute those brilliant ideas. Find the right mentor who will push you beyond anything you ever thought possible.

i am lucky enough to have had several mentors in my life. However, it all started with someone taking a chance on me.

Toby if you are out there hope you and sue and the family are well.

To the GOAT, Professor Ken Pohlmann. Thank you for that day. Without it i would not be where i am without that happening and i cannot thank you enough for taking a chance on me when i knew damn good and well i didnt have the resume or pedigree to ever compete at the scholastic level. However, I do hope I have made up for the deficiencies since that time.

Be safe.

Until Then,

#iwshyouwater (thunders in mentawis with a yacht)

@tctjr

Muzak To Blog By: Bach: Goldberg Variations, BWV 988 (The 1955 & 1981 Recordings). Dear Reader tread lightly within the aural halls there are several caves you can go into here with his interpretations. Enjoy. For those that know you know.