Keith McMillen has been an innovator in audio and music technology for nearly 30 years. He has been working his entire adult life on one single problem – how to play live interactive music in an ensemble using extended instruments moderated by computer intelligence. This goal has required him to create dozens of new instruments, patented inventions and numerous successful companies in order to advance the technology sufficiently to reach his musical objectives. Keith began his audio career in 1979, when he founded Zeta Music. The company’s revolutionary electronic instrument designs created a new market in the music industry, and the brand Zeta is the “gold standard” for electric and electronic string instruments.
In 1992, as Vice President of Gibson Guitars, he founded and ran G-WIZ (an R&D lab for Gibson); and led the effort to devise ZIPI (a musical instrument control language that avoided many of MIDI’s limitations – ZIPI later evolved into OSC). Keith worked with UC Berkeley’s CNMAT and created a new technology group focusing on audio networking, synthesizers and string instruments. As Director of Engineering at Harman Kardon in 1996, he headed a division dealing with complex audio processing and distributed music networks.
In 1999, Keith founded Octiv, Inc. an Internet audio signal processing company that addressed the problem of inconsistent audio quality across disparate delivery platforms. Octiv produced the best selling “Volume Logic” plug-in for iTunes as well as fundamental advances in teleconferencing. He led the company as both technologist and business guru raising over $20M from VCs such as 3i and Intel Capital. In April of 2005, Keith sold Octiv to Plantronics (NYSE:PLT) and is personally funding the current operations of the BEAM Foundation.
Keith received his BS in Acoustics under James Beauchamp from the University of Illinois where he also trained in classical guitar and studied composition with Herbert Brun, Scott Wyatt and Sal Martirano. Keith has spent 25 years developing MAPPS – an integrated computer composition, notation and performance system.
Evan Adams, President
Evan is passionate about the intersection of music and technology. Evan’s background is in audio engineering and music composition, and he draws on this technical and creative background for inspiration in the business world. He received his undergraduate degree from Oberlin College, followed by a masters degree from Mills College. He values innovation, education, and versatility in the workplace. He strives to quickly adapt to face new challenges as a collaborator and leader, and excels at learning on his feet. Every day Evan brings his skills and passion for music to his role as President and Director of Operations at Keith McMillen Instruments.
Conner Lacy, Software Director
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Chuck, Software Engineer
Chuck has been programming anything with gates for over XXX years. He is one of the few people on the planet who has memorized Knuth (look it up) and is often called away on missions requiring advanced mountaineering skills. He is capable of code densities that other programmers do not believe is possible. That is all we can say.
Dan McAnulty, Hardware Director
Dan is a photographer, guitarist, habitual former of thoughts, and an always fascinated student of electronics. He is happy to have served hard time at MIT as well as good times for avant-garde behavior in the Mills electronic music MFA program. Dan is proud to be able to call KMI his home away from home, often until late into the evening. In addition to his work for KMI, he is a contributor to Open Music Labs, a collecting place for the compilation of knowledge about electronic interfaces for artistic and musical purposes.
Kyle Lobedan, Lead Mechanical Engineer
Kyle holds a BS in Mechanical Engineering from the University of California at Davis, a strong belief in Volvo (pre-1998 models, that is) as the almighty, and frequently goes by his alter-ego, Clark Kent (but only when sporting his Ray Bans).
Brian Wright, Electrical Engineer
Brian grew up in northern latitudes – beneath the Aurora Borealis, he began studying the mysteries of electrical machines at an early age. His navigations on the seas of technology and in applied audio-visual wizardry led inevitably to the Bay Area, where he tames wild circuits and transducers with KMI, and in his free time enjoys photography and the sonic arts.
Stephen Wright, Quality Assurance
Holding a degree in Religious Art History and Electronic Synthesis from UCSC, Stephen is the Quality Control man. Masterful at Chinese Gongfu tea service and odd-time signatures, he vigilantly ensures proper Feng Shui in the KMI Inventory. You can catch him performing around the Bay Area with Cash Pony and Inner Ear Brigade, or in the bike lane as his alter-ego “LFO Man.”
Michelle Cook, Controller
Michelle is the accountancy wizard at KMI. She is a graduate of Sacramento State with over 20 years of experience. Her interests include drag racing, fishing, and spending time with the family.
Tom Ferguson, Product Specialist/Artist Relations
Tom is a double bassist and electronic musician, employed at KMI as a Jack-of-all-trades. A graduate of UC San Diego’s decidedly different music department, Tom enjoys experimental optics, reading, and living in a post-literate world.
Andrej Hronco, Senior Web Application Developer
Andrej enjoys experimenting with and writing about Web MIDI and Web Audio. He comes from a music and technology background and is heavily influenced by the aesthetics of Brutalism and perception of time.
Evan Bogunia, Technical Support/Software QA
Evan is a composer and performer of electronic music and developer of tools for controlling sonic construction/destruction.
At KMI, he is involved in technical support, and interfacing the KMI products with modern music software.
Barry Threw, Technologist
Barry is the technologist behind the KMI software experience. He creates rich immersive and interactive media experience by developing systems and tools that combine sound, video, network, and audience interactions. He has a dual major in Music Production & Engineering and Music Synthesis from the Berklee College of Music, as well as a M.F.A. in Electronic Music & Recording Media from Mills College. He also serves on the board of the BEAM Foundation.