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Stewart Havill – Music Producer & Audio Engineer (Recording, Mixing, Mastering & Videographer)


“Every person that comes through the recording studio door is inspirational because they always have something worth expressing. Whether it’s an up-and-coming local singer or an international corporation, I get excited to help produce and polish every project that comes my way.” – Stewart Havill.

Stewart Havill is a multi-award-winning Music Producer and expert Audio Engineer originating from Auckland, New Zealand.

With a career stretching over 30 years in the music industry as a record producer for the performing arts, Stewart has worked with Hip Hop artists One Four, Double L, & Terror D. His speciality is in recording and editing audio content for professional voiceovers. Some publishing companies he has worked with are:

  • Scholastic.
  • Pan Macmillan Australia.
  • For Pity Sake.
  • Taronga Zoo with Hayden Turner.

Stewart has also been involved in projects as a recording engineer and mix engineer for the voice recordings of high profile public servants in NSW, such as:

  • Well-being Grow with ABC interviewer Terry Robson.
  • Carlene York (assistant commissioner of NSW Police).
  • Ashley Winnet (Holden General Manager).
  • Catherine Lourey (NSW Mental Health Commissioner).

Stewart is often sought out for his creativity, perfectionism and, most notably, his ability to put anyone at ease. He has recorded, mixed and mastered big names such as:

  • The Voice of Audi.
  • Karen Jacobsen (the original Siri for Apple Australia).
  • Anthony Daniels (the original C-3PO of Star Wars).
  • Dacre Montgomery (of Stranger Things).
  • Sebastian Zurita (of Como Sobrevivir Soltero – an Amazon Prime Series)

Along with many other high-profile voice over artists.

His powerhouse of skill sets includes audio engineering for film, videography, live streaming live sound, recording, editing & mixing voiceovers, and composing music production soundtracks and soundscapes for movies and audiobooks.

In addition to being an outstanding Music Producer, Stewart is also highly skilled in video production for music videos and training/tutorial videos. He has enjoyed producing and doing sound engineering work for:

Companies & Organisations

  • Audi
  • Scholastic
  • Pan Macmillan (Multinational Publishing Company)
  • For Pity Sake (Independent Publishing Company)
  • The Feel Good Studio (Award-Winning Health and Wellbeing Company)
  • Cancer Council Victoria
  • Holcim (Multinational Swiss Construction Company)  

Videography & Vodcasts

  • Juan Carmona and the Sydney Symphony Orchestra (Live Video Capture at the Sydney Opera House)
  • Citi Group
  • Well-Being Grow with Terry Robson
  • Movement Martial Arts (Promotional Video)
  • MJ Fitzpatrick (Founder of Spiritual Fight Club)
  • Real Estate Institute of NSW


  • One Four – Vocal Production
  • Lior
  • Emmerson/2Face – Vocal Production for “Fatima”
  • Alex Gibson (The Voice finalist)
  • Def Manic
  • Wahid Rahman  
  • Alana Fairchild – White Light Frequencies, Rumi, Quan Yin
  • Chaka Demus and Pliers
  •  Justine Eltakchi
  •  Kamahl
  •  Mlu Mthethwa
  •  Natali Oscar
  •  Jack Pudding  
  •  James Englund  

Voice Over Work & Promotional Material

  • Siri (Australia’s original Siri) with Karen Jacobsen
  • Jonathan Cawte  
  • Anthony Daniels (The original Star Wars C-3P0)

Audiobooks and Podcasts

  •  Taronga Zoo – Taronga Talks, (Podcast & Vodcast)
  •  Markus Zusak (Best-Selling Author of The Book Thief and Bridge Of Clay)
  •  Jess Hill “The Trap.”
  •  Pan Macmillan  
  •  Michelle Bowden
  •  MJ Fitzpatrick (founder of Spiritual Fight Club)

Live Streaming

  • The 2021 Sydney Comedy Festival
  •  Montessori Graduation Ceremony
  •  Australian Distillers Association AG
  •  Little Majestic Theatre  
  •  SUSS (Sydney Underground Streaming Sessions) – Live streaming bands and MC’s  

And many more.

Music Producer and Sound Engineer - Stewart Havill


Stewart’s speciality in the voice recording process is pitch editing and time correction – he is meticulous when editing voice recordings and voiceover tracks. However, his audio engineering superpower in the recording studio is his seemingly unending patience, encouraging artists to express their stories creatively, comfortably, and with confidence. This, combined with over 3 decades of experience working on diverse projects across multiple genres, makes Stewart an outstanding music producer.

For more information, contact Stewart today for a free studio consultation to discuss your project management needs for your next album, advertisement, podcast, or music video today!

Expert Sound Engineers

Working with us means working with the best sound engineers in Sydney

The art of being an excellent sound engineer is not as prominent now that video has become the focus of our world. However, a top quality sound engineer can augment the quality of a production dramatically. When we record a vocal for music or a voice over for an ad we have the ability to enhance every aspect of that recording. The modern tools available to the twenty-first century sound engineer are truly remarkable. Staying on top of the rapid progress is very much a full time job. Let's take a quick look at what work is involved in producing an excellent vocal recording for a typical voice over job.

Our sound engineer will setup the session prior to the talent arriving. In the most extreme cases, often film ADR sessions, the project and microphones will need to be prepared first. Our clients, from film productions companies, are often located in another country like the USA, the UK, or somewhere in Europe. They will send the sound engineer the program material. This will be the video files with SMPTE timecode, the cue sheet, and all specifications required by our sound engineer to capture a similar sound to what was recorded on set. 

Once these program elements are received our sound engineer in Sydney will go into Pro Tools and mark out all the cue points on the timeline of the film. Each entry point will have ADR beeps that will help the talent execute their lines in Synch with the film. In ADR the talent's job will be to lip synch in time with their delivery on set. By setting up the project prior to the talent arriving our sound engineer ensures that the session flows smoothly for the talent. 

Often these "remote sessions" (where the directors and producers are overseas) are facilitated by software that helps us communicate with the overseas studios. Programs like Zoom and Source-Connect allow sound engineers in both locations to be actively involved in the session. The sound engineer overseas can literally press the recording button in one country and our software will obey the command here in Sydney. The directors and producers can watch the video content on their screen whilst listening to the audio being recorded by our sound engineers in Sydney. It's real-time. It's the modern way. It's remarkable!

In this example, an ADR recording session, the sound engineer would also need to setup two microphones. One would be a lapel mic, similar to what might have been used on set, and the other a shotgun microphone. These two microphones are setup by our sound engineer in Sydney in front of a screen. This is to allow the talent to clearly view the film as they are performing. An iPad is also positioned in close proximity to the microphones. This will have all the cue points and lines that the talent will be reading during the ADR recording session. 

During the session the sound engineer will be facilitating the smooth capture of cue lines. They make sure that all the takes of each line are saved for future recall and re-listening, and can even cut recorded takes together to create a composite "best take". 

Once the ADR session is complete the post-production work on the re-recorded lines begins. The amount of work that goes into the audio post-production is beyond the scope of this example. However, we can give a few examples of the kind of technology our sound engineer might decide to use on the recorded cue lines. There is software to reduce lip and mouth noises. Harsh sibilant frequency can be curtailed. The synch of the spoken lines can be further tightened by intelligent algorithms that look at the original "on set" spoken audio and literally stretch, cut, and compress lines recorded in our Sydney recording studio and make them even tighter. The list of tasks, options, and enhancements that our sound engineer can apply to a voice recording is enormous. 


James Englund

James Englund


Stewart Havill

Stewart Havill


Borbala (Bobo)

Borbala (Bobo)

Session singer and Admin

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