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ABOUT PACA THOMAS

 Paca (pronounced PAY-ka) found his passion for electronic music and sound very early in life.  Sometime during his preteens in the early 60’s, he paid his 25 cents and watched a Saturday matinee of the 1956 film, “Forbidden Planet”. It’s “Electronic Tonalities” created by Louis and Bebe Barron that blurred the line between music and sound effects sent him home and up into the attic to cobble together bits and bobs of electronics collected by his tinkerer of a father. For his guitar playing, Paca created echo units from old Tape Recorders and distortion units from transistor amp kits.

 

 In college at Webster College Conservatory for the Performing arts, he finally laid his hands on a Moog Model IIIC modular and started to learn the art of synth patching and sound design, which later became the cornerstone of his career.

 

 By the late 70’s, Paca was studying electronics, designing and building his own analog synth circuits to develop a deeper understanding of the technology.

 

 But soon after, the digital age came to pass and swept Paca into the world of digital synthesis and sampling. It was at this time that he was in demand for studio work where he programmed artist’s gear and created sounds for such artists as Rick Springfield, George Clinton and the Parliament Funkadelics, Hank Ballard, Aeone and a score of others. In his time as a music sound designer, Paca learned the skills needed to become a respected audio engineer.

ABOUT PACA THOMAS

His reputation as a Sound Designer led him to another world entirely; Sound Effects Design and Editing for Television and Film where Animation Sound became his forte. Paca’s post-production career – mostly associated with Advantage Audio in Burbank, CA - lasted nearly twenty years and garnered him 5 Emmy wins, 8 Emmy nominations, and over a dozen nods for the Motion Picture Sound Editors award. Racking up work on more than 100 projects, Paca’s clients regularly included Disney, Universal, Sony, Dreamworks, MGM and other notable production companies. His work could be heard on such classic TV and Film features as Disney’s Gargoyles, Kim Possible, Universal’s Land Before Time films, and Sony’s Men in Black TV Series.

His IMBD page can be found here.

 

But as rewarding as Digital Sound Effects design was to him, Paca’s music was suffering from Digital Option Paralysis; too many soft-synths, too many presets, too many choices. He found himself lost in other people’s loops and samples and gradually losing inspiration in a world he’s lived in all his life.

 

So, Paca went back to his roots, creating Rebekah, an epic Moog-style Analog Modular Synthesizer that made available all the aspects of Analog Synthesis. Now retired from “active duty” as a Sound Designer, Paca has turned his interests to bringing the remarkable and evergreen analog sound to anyone who wishes to utilize it or learn all about it.

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ABOUT PACA THOMAS

Paca (pronounced PAY-ka) found his passion for electronic music and sound very early in life.  Sometime during his preteens in the early 60’s, he paid his 25 cents and watched a Saturday matinee of the 1956 film, “Forbidden Planet”. It’s “Electronic Tonalities” created by Louis and Bebe Barron that blurred the line between music and sound effects sent him home and up into the attic to cobble together bits and bobs of electronics collected by his tinkerer of a father. For his guitar playing, Paca created echo units from old Tape Recorders and distortion units from transistor amp kits.

 

 In college at Webster College Conservatory for the Performing arts, he finally laid his hands on a Moog Model IIIC modular and started to learn the art of synth patching and sound design, which later became the cornerstone of his career.

ABOUT PACA THOMAS

By the late 70’s, Paca was studying electronics, designing and building his own analog synth circuits to develop a deeper understanding of the technology.

 

 But soon after, the digital age came to pass and swept Paca into the world of digital synthesis and sampling. It was at this time that he was in demand for studio work where he programmed artist’s gear and created sounds for such artists as Rick Springfield, George Clinton and the Parliament Funkadelics, Hank Ballard, Aeone and a score of others. In his time as a music sound designer, Paca learned the skills needed to become a respected audio engineer.

ABOUT PACA THOMAS

His reputation as a Sound Designer led him to another world entirely; Sound Effects Design and Editing for Television and Film where Animation Sound became his forte. Paca’s post-production career – mostly associated with Advantage Audio in Burbank, CA - lasted nearly twenty years and garnered him 5 Emmy wins, 8 Emmy nominations, and over a dozen nods for the Motion Picture Sound Editors award. Racking up work on more than 100 projects, Paca’s clients regularly included Disney, Universal, Sony, Dreamworks, MGM and other notable production companies. His work could be heard on such classic TV and Film features as Disney’s Gargoyles, Kim Possible, Universal’s Land Before Time films, and Sony’s Men in Black Series.

 

His IMBD page can be found here.

ABOUT PACA THOMAS

But as rewarding as Digital Sound Effects design was to him, Paca’s music was suffering from Digital Option Paralysis; too many soft-synths, too many presets, too many choices. He found himself lost in other people’s loops and samples and gradually losing inspiration in a world he’s lived in all his life.

 

So, Paca went back to his roots, creating Rebekah, an epic Moog-style Analog Modular Synthesizer that made available all the aspects of Analog Synthesis. Now retired from “active duty” as a Sound Designer, Paca has turned his interests to bringing the remarkable and evergreen analog sound to anyone who wishes to utilize it or learn all about it.

ABOUT PACA THOMAS

Paca (pronounced PAY-ka) found his passion for electronic music and sound very early in life.  Sometime during his preteens in the early 60’s, he paid his 25 cents and watched a Saturday matinee of the 1956 film, “Forbidden Planet”. It’s “Electronic Tonalities” created by Louis and Bebe Barron that blurred the line between music and sound effects sent him home and up into the attic to cobble together bits and bobs of electronics collected by his tinkerer of a father. For his guitar playing, Paca created echo units from old Tape Recorders and distortion units from transistor amp kits.

 

 In college at Webster College Conservatory for the Performing arts, he finally laid his hands on a Moog Model IIIC modular and started to learn the art of synth patching and sound design, which later became the cornerstone of his career.

 

 By the late 70’s, Paca was studying electronics, designing and building his own analog synth circuits to develop a deeper understanding of the technology.

ABOUT PACA THOMAS

But soon after, the digital age came to pass and swept Paca into the world of digital synthesis and sampling. It was at this time that he was in demand for studio work where he programmed artist’s gear and created sounds for such artists as Rick Springfield, George Clinton and the Parliament Funkadelics, Hank Ballard, Aeone and a score of others. In his time as a music sound designer, Paca learned the skills needed to become a respected audio engineer.

 

His reputation as a Sound Designer led him to another world entirely; Sound Effects Design and Editing for Television and Film where Animation Sound became his forte. Paca’s post-production career – mostly associated with Advantage Audio in Burbank, CA - lasted nearly twenty years and garnered him 5 Emmy wins, 8 Emmy nominations, and over a dozen nods for the Motion Picture Sound Editors award. Racking up work on more than 100 projects, Paca’s clients regularly included Disney, Universal, Sony, Dreamworks, MGM and other notable production companies. His work could be heard on such classic TV and Film features as Disney’s Gargoyles, Kim Possible, Universal’s Land Before Time films, and Sony’s Men in Black TV Series.

His IMBD page can be found here.

ABOUT PACA THOMAS

But as rewarding as Digital Sound Effects design was to him, Paca’s music was suffering from Digital Option Paralysis; too many soft-synths, too many presets, too many choices. He found himself lost in other people’s loops and samples and gradually losing inspiration in a world he’s lived in all his life.

 

So, Paca went back to his roots, creating Rebekah, an epic Moog-style Analog Modular Synthesizer that made available all the aspects of Analog Synthesis. Now retired from “active duty” as a Sound Designer, Paca has turned his interests to bringing the remarkable and evergreen analog sound to anyone who wishes to utilize it or learn all about it.

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