Euphonix produced the first successful line of large digitally controlled analog audio mixing consoles in the late 1980s and has since moved on to all-digital systems.

[1] The Euphonix approach to using digital logic to control multiple analog signal chains stems from original ideas by Scott Silfvast.

By day employed at Stanford Research Systems (SRS), by night he developed the preliminary concepts for what would become Euphonix's first product, the Crescendo.

At the same time, younger brother Rob Silfvast designed the Crescendo's 4-band parametric equalizer, one of its hallmark technologies, as his senior project at the University of Arizona.

Shortly thereafter, Andrew Kalman (who had also worked at SRS with Scott and Adam) and his Stanford University roommate Russ Kadota joined the team to develop the firmware and software, respectively, for the Crescendo.

Industry veterans were hired as the company outgrew the garage and moved into a larger building under the same roof as Fry's Electronics in Palo Alto, California.

While still at SRS Scott considered various names for the future company, and was particularly partial to the word "euphonic" meaning "of pleasing sound".

[1] Euphonix's entry into the professional audio market brought with it technology that significantly improved the working methods and economics of producing music and audio-for-film/TV.

Since most controls (e.g. the changing of the gain of a selected EQ) could be performed with the jog wheel and alphanumeric display and were shown in real time on the Support Computer's display, a mix engineer could do most of his/her work from a central location at the Mix Controller while remaining in the audio "sweet spot" for monitoring purposes, etc.

This was in stark contrast to the conventional mixing consoles of the time, where a particular EQ had to be adjusted via the associated knobs in that particular channel strip, which might be located a considerable distance from the sweet spot.

A modular, multi-processor-based approach was required in order to meet one of the Crescendo's initial goals—complete reconfiguration of the entire console (regardless of size) in an SMPTE frame, i.e. in 1/30s.

The system's Z80 address and data busses ran the length of the console's internal bus, which could be in excess of 9 feet (3 m) long in larger configurations.

Designer Rob Silfvast studied under William Kerwin and Lawrence Huelsman (both credited with inventing the state variable filter) at the University of Arizona.

Along the way, it gained a faster (10 Mbit/s) interface to the support computer via the Z180-based APU module, became fully automated, acquired flat-panel displays and motorized faders, increased in size up to 102 channels via two audio mainframes and a larger Mix Controller frame, underwent many cosmetic and packaging improvements, and was expanded with external modules (e.g. the Cube and ES108 dynamics processors).

Features Expandable DSP SuperCore can accommodate over 450 audio channels, each fully resourced with EQ, dynamics, Aux sends, panning, and routing Modular control surface with up to 112 channel strips, each with 8 touch- sensitive encoders and a motorized 100mm fader per channel Accelerate your mixing with SnapShot Recall, customizable Layouts, and Total Automation Get quick access to multiformat sources and groups with user-definable Spill zones Customizable modular I/O to match your needs View metering, routing, panning, and EQ/dynamics visual feedback on high-resolution TFT displays Mix multichannel audio in up to 7.1 surround Control multiple DAWs with the EUCON Hybrid option