Founded in 2004 by George Petersen and presented since 2015 by the NAMM MUSEUM of Making Music, the TECnology Hall of Fame honors and recognizes audio products and innovations that have made a significant contribution to the advancement of audio technology. Inductees to the TECnology Hall of Fame are selected by a panel of more than 50 recognized audio experts, including authors, educators, engineers and other professionals. Products or innovations must be at least 10 years old to be considered for induction.

Past Inductees: 2015 | 2016 | 2017 | 2018 | 2019
Bell Decibel Unit
1928 The Decibel Unit, Bell Laboratories Bell Laboratories

Today, we all so familiar with the decibel (dB) unit, whether dealing with electro-acoustical measurements on audio meters or with numbers that define Sound Pressure Levels, such as knowing that an SPL of 120 dB refers to the human hearing threshold of pain, or that 1 dB is accepted as the smallest change of level that is generally perceptible to the human ear. But the dB story starts back in 1923, the “mile of standard cable” unit of measurement (referring to the efficiency of telephone lines over distance) was replaced by term “Transmission Unit or TU,” based on a logarithmic scale that was one-tenth of a "bel," named for Alexander Graham Bell. In 1928, Bell Labs' transmission research director Ralph V. Hartley announced that Bell Labs was proposed changing the TU unit to "decibel" — meaning one-tenth of a Bel. And the dB is still with us nearly 90 years later. 

Wurlitzer Electronic Piano
1954 Wurlitzer Electronic Piano Wurlitzer

Invented in 1954 by the Rudolph Wurlitzer Company's chief design engineer Cliff Anderson, the Wurlitzer Electronic Piano was intended as a portable and compact replacement for the acoustical piano. It's electromechanical design was based on a series of a tuned metal "reeds" with an electrical potential that when struck by a key, vibrated near a conductive member, changing a voltage shift that could be amplified and converted into audio oscillations. Although a "Wurly's" sound hardly resembled an acoustic piano, it was portable and did have a distinctive voicing that soon became a mainstay of rock, pop and jazz artists worldwide, with some notable examples being Supertramp's "The Logical Song" and Steely Dan's "Do It Again." The Wurlitzer Electronic Piano was in production from 1954 to 1984, and lives on today as valuable vintage instruments and digitally sampled recreations.

Auratone Sound Cubes
1958 Auratone Sound Cubes Auratone

The original compact reference monitor, Auratone speakers were the brainchild of company founder Jack Wilson, who in 1958, debuted small cube-shaped studio monitors with a single 4.5-inch driver. While not exactly hi-fi, Auratone Sound Cubes offered a real-world representation of how your mix would sound on AM car radios or a mono TV set, and by the 1970's, were found in every recording studio worldwide. As TV and auto sound improved, these eventually fell out of favor, as the Yamaha NS-10 became the standard in small reference monitors. Today with the popularity of music playbacks on iPads, smartphones and computer speakers, Auratone Sound Cubes returned in 2015, this time by Wilson's grandson and other family members, and these lo-fi wonders are back in action to a new generation of studio users.

Neumann KM84
1966 Neumann KM84 Neumann

The KM84 condenser microphone is not only is famed for its historic 28-year production run, but also was the first microphone to use the now-standard 48-volt phantom powering system invented by Georg Neumann. This "no visible power supply" approach, combined with the precision cardioid pattern of its KM64 capsule, low-noise FET electronics, -10 dB pre-attenuation switch (for 130 dB SPL handling) and ultra-compact 110mm body made this an instant hit with live, studio and broadcast engineers everywhere. In 1994, the KM84 was replaced with the KM184, which offered lower noise performance and greater SPL (138 dB) handling.

Shure SM58
1966 Shure SM58 Shure

For five decades, the Shure SM58 has been a world standard in handheld vocal performance microphones. The story of the SM58 goes back to 1961, when Shure engineer Ernie Seeler developed the Unidyne III cardioid capsule, based on a new diaphragm design that offered uniform deflection characteristics over a wide frequency range without “break-up.” After three years of hard work and hundreds of tests involving dropping, throwing, cooking, salt spray immersion and submersion, the SM Series was born, and Seeler’s same capsule design was first employed for 1965's SM57 and later with the SM58, with the chief difference between the two mics being the ball-shaped pop windscreen. Ironically, Seeler (a classical music fan who hated rock 'n' roll) created two of the mics that 50 years later, remain a mainstay of rock music.

Roland RE-201 Space Echo
1973 Roland RE-201 Space Echo Roland

The Roland RE-201 Space Echo was hardly the first tape loop-based delay device, but added sophisticated controls — such as variable tape speeds, three-input mixer, 12 mode settings and a built-in spring reverb — that took it beyond the competition. It was developed by Ikutaro Kakehashi, whose Ace Tone company created organs, rhythm machines and tape delays, so it was no surprise he launched a line of delay and echo products (starting with simpler RE-100 and RE-200 units) when he founded Roland in 1972. But 1973's RE-201 Space Echo offered a certain sound that soon became a favorite of artists of the time, including Bob Marley, David Bowie and Pink Floyd, and remains a staple in live performance and recorded tracks today, whether from vintage originals or in plug-in form.

PCM 41 Digital Delay
1980 Lexicon PCM 41 Digital Delay Lexicon

By modern standards, the Lexicon PCM 41 didn't offer a lot of delay capability — 800 ms at the extended 6 kHz mode, or 200 ms at its 16 kHz "full bandwidth" setting. However, its great sound and versatile feature set took it well beyond that found on the typical digital delay. Certainly, it could handle basic chores such as speaker delays in P.A. systems. However, added touches such as input/delay mixing with recirculation (feedback), switchable polarity inversion of the feedback and delay signals, high/low pass filters and a full-on VCO section made it popular with studios, live mixers and musicians, for creating effects ranging from echo, double tracking, vibrato, phasing, flanging, resonant vocal sounds and more.

Eventide's H3000 UltraHarmonizer
1988 Eventide's H3000 UltraHarmonizer Eventide

Eventide's H3000 UltraHarmonizer series took its original 1975 H910 and (1982) H969 Harmonizer pitch shifters to new heights, offering the first processor with human-like, intelligent/diatonic pitch shifting. But it didn't stop there. Later incarnations of the H3000 ranged from the H3000B "broadcast" model (that even included helicopter sounds to simulate an in-air traffic report, even when the reporter was in an office) to the D/SE version with instrumental presets by guitarist Steve Vai and studio effects from top mix engineer Bob Clearmountain. And original H3000 users weren't left out of the fun, as Eventide offered ROM upgrades and a sampling board option to keep earlier units up to date. Although discontinued in 2000, the H3000 UltraHarmonizers are still in demand in music, studio and live applications.

Manley VoxBox
1998 Manley VoxBox Manley

Conceptualized by Eveanna Manley, VoxBox is a no-compromise unit combining a mic preamp, compressor, equalizer and de-esser in a single chassis. But the story goes much further. The tube preamp stage adds a high-Z DI input and high pass filters; the 3:1 compressor is an electro-optical circuit; the passive EQ is based on the Pultec MEQ-5, but expanded to 33 bands; and the de-esser is an LA2A-sounding opto peak 10:1 with a passive LC sidechain. Single-box vocal processors had been around for more than a decade when the Manley VoxBox debuted in 1998; however, there hasn't been a unit like it since — and it remains in production.

Avid Digidesign Pro Tools | HD
2002 Avid Digidesign Pro Tools | HD Avid Digidesign

In development for years, Pro Tools | HD was hardly a secret due to numerous industry leaks; however, the real surprise came with its debut at Winter NAMM 2002, when it was revealed that the system supported 192 kHz recording for true high-def performance. Best of all, a Pro Tools | HD rig cost about the same as the earlier PT|24 MIX 888|24 systems, but was based on enhanced hardware for improved DSP, more extensive routing and I/O options and improved fidelity. Just add your Mac G5 — then billed as "the world's fastest personal computer" — some new hardware (or older interfaces connected via Pro Tools | HD's "legacy" ports) and you were on your way to a recording platform that's still going strong today.