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
13. 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 colleges and high schools, 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 both Moog
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 / recording / mixing 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 to this day is the webmaster and a contributor.
Moving to Hollywood in 1977, Barry worked
for many of the major recording studios doing electronic design, service,
setup and audio mixing and remixing, disc mastering, and while at Crystal
Studios, along with Andrew Berliner, co-designed and built two million dollar
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 new 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 using Meyer
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.
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. 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 is the Senior Support Engineer for JL
Audio for the HOME products line of subwoofers, their installation,
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