Barry's career covers nearly the entire spectrum of
the audio world.
After getting his
ham radio license at age 11, (K2YDD, Yankee Doodle Dandy)
and building homemade audio tube amps at age 12, (inverted
metal 6L6's in a tub of water...) he was the youngest
DJ in the country on the Armed Forces Radio Network, broadcasting
to the Veterans Hospital radio network stations a daily
jazz show at the age of 12-15. His early interest in music,
guided by his mother, a piano teacher, also led to learning
the trumpet and drums and studying classical music, while
his early interest in electronics and audio was guided
by his father, also a ham radio operator.
Special project US Navy electronics
classes (at age 12) and high school stints at both Cass Tech in Detroit
and the General Electric Company-sponsored high school in Schenectady, NY,
provided an early electrical engineering background.
While a teenager he
installed language laboratories in high schools and colleges,
and on weekends worked for the local hi-fi stores, connecting
the higher-end hi-fi home units of the day.
In 1964 he worked for a year at 73,
(a magazine devoted to ham radio), learning publishing, printing, product
photography and graphic arts photography, and helped build and install cutting
edge (at the time) ham radio electronics projects from satellite communications
to moonbounce antenna systems.
Engineering jobs with
and Arp Synthesizer in the late 1960's and early 70's
led to a move to Boston where he built a number of famous
recording studios. While at Intermedia Studios on Newbury
Street, using the original Modern
Recording Techniques book written by Bob Runstein,
Barry developed and taught the FIRST audio engineering
classes, under the auspices of the RIA, The Recording
Institute of America. The class outlines and teaching
formula were subsequently adopted and copied by every
"recording school" in the country. His nearly
four hundred students have gone on to win every audio/sound
industry award, (Gold/Platinum records, Grammy, Cleo,
Addy, Tony, Academy Awards/Oscars...) and he still keeps
in touch with many of them.
He also played a part
in helping to start the Boston
Audio Society in 1972, and for 20 years has been the
webmaster and a contributor.
Moving to Hollywood
in 1977, Barry worked for many of the major recording
studios doing electronic design, service, "maintenance",
setup and audio mixing and remixing, disc mastering, and
while at Crystal Studios, along with Andrew Berliner,
co-designed and built two million dollar recording/mixing
boards, each of which was many years ahead of what
any other companies were even dreaming of doing: circuits
that we now take for granted, such as digital attenuators,
were first implemented in the Crystal board.
See the article HERE
For the Hollywood studios, in 1981 Barry
started a custom wiring company, Zenotronics, which made studio interconnect
harnesses, microphone cable sets and custom wiring harnesses one
of the first in what has become a major industry niche. The exemplary line
of Mogami wire
and cable, now as then, is still offered and suggested.
Venturing back into the non-audio world
of electronics, Barry worked at a private division of Hughes Aircraft in
the early 80's, setting up a futuristic developmental test laboratory and
low emf noise prototype shop, while bringing the Hughes engineers to Crystal
Studios on the weekends to show off the audio end of the universe !
In Miami during the
mid 80's, while working at Harris Audio, Barry built and
set up the sound systems in many of the prizewinning discos
in Miami Beach, Ft. Lauderdale, and New York, including
Biscayne Baby, Club Z, OvO, Facade, and Visage. Mostly
UPA cabinets, the unique feature was the phase coherent
multi-cabinet rigging / splay system that Barry developed
which insured ultra-smooth high frequency coverage on
the dance floor, with no comb filtering. The white
noise test procedures developed during these tests
are the basis for the white noise tracks included on the
In an era when installers were still
using distributed systems, Barry pioneered the use of high-contrast on-and-off
the dance floor pristine audio, where the bar and waitstaff were specifically
in quiet areas and therefore could converse accurately in the acoustic
shadow of the dance floor sound, while patrons who walked out onto the dance
floor were literally bathed in a new level of sound coherency, carefully
engineered to provide the maximum emotional response and benefit while NOT
causing the patrons to become queasy from incorrectly tuned boomy bass.
After installing various
legitimate theater sound systems, systems in houses of
worship, systems in yachts and pleasure boats, 70 volt
paging speaker systems in airports, many restaurants and
night clubs, and some home multitrack studios and producers'
screening rooms, Barry finally decided to open his own
high-end audio salon, Inner
Ear Audio, in Florida, in 1993. Way ahead of the curve
as usual, a decision was made to move to California to
become the mad-scientist-in-residence at Miller &
Kreisel Sound, where Barry handled all manner of audio
details, setups, recording studio tweaks, dealer training,
the computer network, all the websites, email and phone
tech support and way more, for over 8 years.
Once again an independent
audio pioneer, Barry lives in North Carolina with his
magical wife and MANY cats. Barry was the Senior Tech
Support Engineer for JL
Audio for the HOME products line of subwoofers, their
installation, setup and service, for over 8 years.
Soundoctor is the
culmination of the experience of a lifetime in audio coupled
with the premise that YOU CAN GET THE MOST BANG FOR
THE BUCK in audio. The equipment sold and the services
provided focus on getting you, the end user, an incredible,
emotionally fulfilling auditory experience, especially
where others have failed or fallen short, and with absolute
financial efficiency. Results are all that matter!