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Duy
Duy
Description
DUY was established in 1972 as a manufacturer of audio hardware.

From 1972 to 1987 DUY designed and manufactured music synthesizers, drum
machines, audio compressors, limiters, mixing consoles, and samplers.
Two of DUY´s most outstanding developments were the world´s
first digital drum machine and one of the very first
polyphonic synthesizers (see photo).
The ALFA1024 was a hybrid synthesiser equipped
with 32 digital oscillators, 8 voices analog
processing and a 1024 notes sequencer.
The system was controlled by an on-board
Rockwell 6502 CPU with 32K of RAM. It was 1983.

IN 1986 DUY created its first recording studio.
Initially conceived for the produccion of music , it
attracted the advertising agencies and film production
companies. Advertising was a flourishing business at that
time in Barcelona ..;

All those early developments and experience have evolved into the current line of DUY´s software products, which are currently being used by producers like David Reitzas, Mutt Lange, Chris Porter, Jean-Michel Jarre, Mike Hedges, Chris Porter or Spike Stent, who record artists like Celine Dion, Madonna, The Corrs, U2, Frank Sinatra, Barbra Streisand, Robbie Williams, Texas, George Michael, and a very long list continues.
Date
Jan 26, 2005
Contact name
Email
Link ID
138

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Drumcore: Submersible was founded to make the music creation process easier. We're a group of musicians, composers, engineers and producers. We also happen to be business folks, software engineers, studio managers, product designers and marketing types with backgrounds at Real Networks, Opcode, Apple, Microsoft and other high-tech companies.
DrumCore arose from a basic need to quickly create drum tracks while producing music in a recording studio. The "core" technology and content started as a project within Vulcan, Inc. (www.vulcan.com), Paul G. Allen's multi-faceted parent company.

Initially, it was a search engine designed to manage an extensive collection of loop libraries, solving the real-world needs of those who manage the recording facilities there. Dealing with massive loop libraries on a daily basis was difficult. Some audio files had spotty recording quality and/or performances, and all of them were rather "cryptically" organized. Trying to use both audio loops and MIDI drum sounds made things even harder, as it required multiple products with different interfaces and features. Add to this the laborious task of getting the content into the audio workstation, and you have the ultimate "necessity is the mother of invention" scenario ...


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