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couldn't stop making music. Three years later, he quit his job to become a full- time composer. For two years, no one 'was interested in his music. Then he sold a song to Capital Records. 1 le's b e e n selling his work ever since. Then came the Olympics. W T h e n Jeffrey T T Babcoek, director of Atlanta's Cultural Olympiad, began seeking local resources for sound, videography and production crews, he visited Crawford Post Production. The introduction to the animation house's d e m o tape caught his attention. "Who did the music?" he asked. "Marc Aramian." The tape continued. Another musical piece caught his attention. "Who did that?" "Marc Aramian." Several times more, Babcoek asked about musical pieces and each time, they were written by Aramian, The rest is history. Aramian's music set the pace, the mood and the tone for "Spirit of Atlanta." Aramian had a week to accomplish his task. The first three days, h e spent an hour a day "listening to my mind." he says. "When I'd hear something I thought might "work, I'd sing it int< > a tape recorder." This pn icess resulted in a series of themes. "When I had an hour's worth, I transcribed to paper," he

says, "and began to play with the harmonies. Things began to fit. I started to polish transitions." It's a process that works for Aramian whether he's composing for a Coca-Cola commercial, a PBS documentary about gizmology, or a special Audubon Society production about mammals. It holds true during excruciating deadlines—the musician just shortens the amount of time h e spends o n each step. Aramian only had a half-hour to complete one of his commercials. "On the way to the studio, I started humming some things that I thought might work," he says. "We went from there." And despite a hectic schedule—"I'm d o w n to 12-hour days during the week and maybe six hours o n weekends"—Aramian loves his work. He doesn't feel pressured. "I block out everything except what I hear in my mind," he says, "and I worry about the rest later." Response by viewers, the press and other musicians to "Spirit of Atlanta" has been very positive. And "creatively, it was very satisfying," h e says. Has the celebrated piece changed his life? "No," he says. "It w a s just another job." He smiles as he says it. After all, who's going to believe that? • Phyllis Thompson is a freelance ivriter in Atlanta.

T e c h graduate Pete Cofer stands i n front o f Southwire's n e w r e s e a r c h a n d product-testing facility, t h e D . B. Cofer T e c h n o l o g y Center. For 17 years, Cofer h a s b e e n its strongest advocate. "It w i l l d e t e r m i n e Southwire's future," Cofer says.

Southwire's Mr. Technology By Pam Rountree


.B. "Pete" Cofer ' tells about the day in 1953 w h e n he came to the Carrollton, Ga.-based Southwire Co.

as a newly graduated mechanical engineer from Georgia Tech. "I was shown a box of machinery and told, 'There it is—you make it work.'" The machinery was Continued on page 62

GEORGIA TECH • Pacesetters:



Georgia Tech Alumni Magazine Vol. 68, No. 02 1992  
Georgia Tech Alumni Magazine Vol. 68, No. 02 1992