Bob continued working diligently on the SAC development while making his living as a freelance recording engineer. He found himself creating, composing, and editing complex production music sound tracks, many for his brother, Michael Darrin, who by now was an accomplished Emmy award-winning choreographer and costume designer. These complicated sound tracks required, in many cases, thousands of razor blade splices within an hour and half production, and multiple layers of percussion overdubs for critical dance accents. Many of the final masters were third and fourth generation, which drastically sacrificed sound quality.

Bob was always looking for an alternative solution.