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The State of The Art Recording Studio facilities at Crash Symphony Products.  Contact us today!

The state of the art recording studio facilities

Crash Symphony Productions pride themselves with owning the best recording studio for voice production in Sydney. Audio Engineer and Music Producer James Englund combines his technical knowledge of physics and mechanical engineering to custom build the sound engineering and recording studio equipment.

Crash Symphony Productions utilise a range of the best industry standard microphones and analogue gear for voice recordings. The custom built equipment and recording studio layout has been designed to produce the lowest signal-to-noise ratio, ensuring you get the cleanest and purest voice recordings in Sydney

Microphone Selection

The C.S.P recording studio in Sydney holds a great collection of the best microphones in the industry. Stewart or James will assist you in choosing from a wide range of condenser, ribbon, dynamic & shotgun microphones for your voice recording needs.

  • SHURE SM7B – Legendary voice over microphone used by Joe Rogan in the Joe Rogan Experience.
  • Neumann U87 – Gold standard for voice recordings, used in recording studios worldwide for over 50 years.
  • Wagner 
U47 – Radio quality voice over capture, remake of the classic 1950’s German microphone.
  • Neumann M149 tube condenser – Customizable filters, 9 different polar patterns.
  • Mk416 sennheiser shotgun microphone – High sensitivity with an interference tube blocking out external sounds, superb for voice over work for film, TV & radio.
  • Royer 121 ribbon – “The Royer R-121 is destined to become one of the classic microphones of the 21st century.” – Recording Magazine
  • Vintage RCA 77-DX Ribbon microphone – Used by Elvis Presley, Frank Sinatra & Johnny Cash. A rare microphone to find in any other recording studio in Sydney. 


Hardware Preamps, Compressors & EQ’s

  • Chandler TG2 – Used in Abbey Road Recording Studios for the recordings of The Beatles album “Abbey Road” & Pink Floyds “Dark Side of The Moon”.
Peach audio – Vintage style, tube pre amplifier. Super wide dynamic range with customisable input, output and filters for voice recordings.
  • Neve 1073 – A hardware console preamplifier with 3 band EQ well regarded amongst Sound Engineers all over the world.
  • API 3124 – 4 channel microphone pre amplifier. High Z input. Great edition to the music studio.
  • Grace Audio m103s – Channel Strip with super clean built in EQ and compression, exclusive ribbon mic mode exceptional for voice over recordings.
  • LA2As
 (custom built) – Go-To compressor for Audio Engineers worldwide, brings voice recordings to the front of the mix.
  • Distressor
  • Pultec EQ (custom built)
  • UA176 (custom built)
  • Bricasti M7 hardware Reverb
  • Avalon U5 DI
  • Brooke F96 Compressor
  • Fatso Buss compressor
  • Pultec Eq


Voice Recording Booth

A new recording booth has recently been constructed at the Crash Symphony Productions recording studio. The brand new voice recording booth has been built inside an existing recording booth, to ensure a completely dead, acoustically isolated space for your voice recordings. 


The recording booth has been constructed using in-depth sound engineering applications to the electrical cables, audio cables, power conditioning system and the electrical junction box. All have been hand built by audio engineers James Englund and Stewart Havill. This has been done to ensure you receive the most silent audio signal imaginable in any recording studio in Sydney.

For your free in studio consultation, contact James Englund today on 0408 300 402 or info@crashsymphony.com.au

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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