Seaweed Audio was started in January of 2014 in order to create a new modular software synthesizer that meets the demands of today’s electronic musicians, film makers and producers.
As musicians ourselves we've used many great software synthesizers over the last few years but we often run up against limitations built into their architecture as well as problems with audio quality.
Electronic music is now demanding more out of a software synthesizer than ever before in terms of versatility, modulation and audio quality. Despite the staggering number of synths now available, few if any provided serious tools for original waveform development.
Fathom was created to address these demands, and is well on its way to becoming the perfect tool for musicians who want their music to be built on completely original waveforms.
I began studying classical piano at age five and started programming in high school in 1982 on a Commodore Pet using DOS BASIC.
I graduated in 1989 from Virginia Tech with a B.S in Electrical Engineering. My first job out of college was at Nortel debugging embedded firmware for central office phone switches.
In 1997 I attended the Los Angeles Recording School and graduated with a technical degree in Audio Engineering.
During the following year I worked in several major L.A. recording studios, including Ocean Way on Sunset Blvd, Record One and Rumbo Recorders in North Hollywood.
Some of the bands I worked with at the time as a runner included the Rolling Stones, Neil Young, Green Day and the famous producers Jack Joseph Puig and Ry Cooder.
Between 1998 and 2001 I wrote embedded firmware for electronic keyboards at Ensoniq.
Since then I spent most of my time back in Los Angeles working in medical device software, which included mostly C++ and C# development for wireless communication protocols and user interface design for medical programmers.
In January of 2014 I started designing Fathom which took three years to develop prior to its first release in April of 2017.
RC Lee, otherwise known as “Scrubbing Monkeys” began exploring sound design in the late seventies on the Realistic Moog MG1, not by owning one but instead by commandeering one at the local Radio Shack where he spent countless hours harassing the staff with the MG1’s weird noises.
Later in 1986 he purchased the Roland Alpha Juno 2 and his journey into sound design really began. The Juno was perfect for learning the basics of filters, envelopes and modulations, and emulating the classic sounds of Rush, Styx, Journey, Loverboy and other art-rock pioneers quickly became his quest.
Despite owning some of the first polyphonic synthesizers RC's main instrument is bass and the demands of full time gigging often left little time for synthesizers.
Fast forward a decade and computer processor speeds had finally reached the point where a full recording studio could run virtually on a single computer.
This provided an overwhelming temptation and despite the demands of touring RC's obsession with synthesizers entered the domain of VST plugins. His journey through this new digital art form progressed through subtractive synthesis, FM and wavetable synthesis as a growing number of plugins were devoured by his studio.
By 2016 RC had made patches for almost every major VST on the market. Sounds originally created for Scrubbing Monkey songs were shared with the community and requests from his user base for patches started to build. So early in 2017 Scrubbing Monkeys sound design went professional and freelance work began for Seaweed Audio and other developers looking to add personality to their presets.
Now in 2018 Scrubbing Monkeys creates the communities most popular Fathom wave tables as well as a complete set of Fathom tutorial videos.