We’re excited to announce the opening of our new studio space in Surry Hills: a right-sized, purpose-built studio created in collaboration with SDP LA (Trent Reznor, Zedd, Billie Eilish & Finneas). The new space marks the first step in a strategic move from the previous large facility to a focused, modern room tailored to today’s production workflows.
“We’re doubling down on what artists value most: speed, vibe, and results. This studio space brings 301’s standards to a central, intimate space where ideas move quickly and sound incredible.”
Stefan Du Randt – General Manager, Studios 301.
Located in Surry Hills, the studio offers an artist-first environment optimised for writing, production, vocal tracking and mixing.
Studios 301 is thrilled to welcome multiple ARIA and APRA award-winning producer and songwriter Audius Mtawarira to our extended roster!
A well-known and respected name in the Australian music industry, Audius has played a pivotal role in the success of many Australian artists. Working with an impressive list of local and international artists, his credits include the likes of Delta Goodrem, Flo Rida, Jessica Mauboy, Rahsaan Patterson, Iyaz, Ricki Lee Coulter, Stan Walker, Shasha, Dj Fresh and more.
Audius’ addition to our extended producer roster further strengthens our already impressive team of engineers and technical experts.
Here’s what Audius had to say:
“I’m honoured and excited to be joining the 301 team. Undoubtedly the most reputable establishment in the audio recording industry in Australia, Studio 301 has been and continues to provide an essential service to recording artists. I am thrilled to add my wealth of knowledge and experience, and I look forward to the time ahead with this great team.”
If you’re an upcoming artist looking for a producer who can help you take your music to the next level, or if you’re an established artist looking for a fresh perspective, Audius is the perfect person to bring your creations to life. With his guidance and mentorship, you can trust that your music will be in good hands. Welcome to the family, Audius!
The Engineer & Producer’s BBQ held at Studios 301 as an official part of ARIA Week 2022 was a night to be remembered! For the first time since 2019, it was a chance for our community to come together and celebrate our peers’ hard work and achievements in the music industry.
As the sun went down, guests were welcomed in the 301 courtyard with burgers, BBQ and drinks courtesy of our sponsors. They were quickly taken away with music from our DJs Kristelle and Kimani, and Tasman Guitar Endorsees – Ray Beadle, Zane Banks, Sons of Atticus and a brand new endorsee, Gia Darcy who was announced on the night.
Once settled in with a drink in hand, a quick snap by the media wall or a sneaky whisky alongside The Balvenie whisky bar, guests had the opportunity to mingle with industry professionals while also having the chance to network with peers and make new connections.
The highlight of the evening was when Stephen Crane was presented with his Lifetime Achievement Award on stage by our general manager Ron Haryanto and legendary Studios 301 and Abbey Road Manager Martin Benge. In a touching speech filled with encouragement for everyone in attendance, Stephen thanked everyone for their hard work over the years – giving special recognition to “The Spadges” for supporting his entire career.
In addition to his lifetime achievement award, Stephen Crane was also announced as a Visiting Fellow for the ANU School of Music by Professor Kim Cunio, head of the School of Music.
“The School of Music is delighted to announce Mr. Crane as a Visiting Fellow to allow his unique skills to be transferred to the next generation, as well as offer the chance to support the development of some of Mr Crane’s innovative research into audio capture and processing” Kim Stated on the night.
Throughout the night, the official partner to the 2022 ARIA Awards, Neumann.Berlin came to the party with a fabulous product giveaway featuring a pair of the just released KH 150 studio monitors and to enhance the listening experience, a pair of the open-back NDH30s.
It was a genuinely inspiring night that will be remembered for years. We can’t express enough how grateful we are for all those who attended and made this event possible – we couldn’t have done it without you!
In the past few months, Studios 301 has seen a surge in activity, with international tours returning to the country and bringing their A-list clients to utilise our facilities. Studios 301 has welcomed Trippie Redd, 24kGoldn, ArrDee, AJ Tracey, YG, James Hype, Jonas Myrin and more.
We have also had the privilege of working with Australian icons including Nick Littlemore, Jess Mauboy, Pacific Avenue, Genesis Owusu, Delta Goodrem, Hayden James and Kormak, Jimmy Barnes, ONEFOUR, Chillinit, Guy Sebastian, Julie Kerr, New Jupiter with Grace Amos, Moonwood and more.
Brand clients included Australis Music for an epic 3 day Pro Audio Roadshow featuring K-ARRAY / KGEAR / KSCAPE, radio station CADA x Bonds doing a complete studio takeover with Flex & Froomes, Lexus with Dan Fontaine, and Roland launching a top-secret new product with drummers from around Australia. Mushroom used our studios to film a documentary on Michael Gudinski.
We are proud to have played a role in creating new music for these artists and allowing them to reach their full potential in the recording process. Additionally, we have had a number of local clients choose our studio for their projects, further cementing our reputation as the go-to destination for high-quality recordings.
We look forward to continuing this streak of success in the coming months.
🚨 Just Announced 🚨 Adrian Breakspear: Two-Day Recording and Production Masterclass
To coincide with their latest album release “Spirals”, Wollongong indie pop collective Pirra have released a three-song live film performing at Studios 301. In the 11-minute film, the band, led by Jess Beck, perform their 2020 single ‘Limousine Lies’ followed by 2021’s ‘Drifting’ and the new album’s title track.
Sean’s powerful cover of ‘Running Up That Hill’ (Kate Bush)
Becoming homeless after a traumatic experience left Sean feeling scared and isolated. Now he wants to use his music to let others know they aren’t alone.
Last month, the Abbey Road Institute students took part in another rendition of their Songwriting Camp over their mid-trimester break. Combining the 2022 cohorts, the experience was designed to replicate real-life industry experiences. Find out more about Abbey Road Institute here.
After the inaugural launch of ‘Greater Good’ in 2021, Good Intent are back at it again with their independent artist initiative. The program gives back to the independent artist community, by providing in kind services and a cash grant totalling $20,000 AUD (double their first year pool).
We are excited to offer a recording/mix/mastering package to the winning recipient. It includes:
Aboriginal and Torres Strait Islander Scholarship – a one-of-a-kind opportunity for music creators from across Australia
The National Aboriginal and Torres Strait Islander Music Office (NATSIMO), Abbey Road Institute Australia and Studios 301 are teaming up for a second year in a row to offer a fully-paid scholarship for the CUA60520 Advanced Diploma of Music course.
Aboriginal and Torres Strait Islander music creators from across the country are encouraged to apply for the one year programme. Expressions of interest open today and will close on Friday 11 November at 5PM AEDT.
Designed by industry for industry, the CUA60520 Advanced Diploma of Music course aims to build a music professional’s capability in music production or sound engineering so they can take their career to the next level.
Artist, producer and songwriter Blake Rhodes, who performs as Mr Rhodes, was the first recipient. He will complete the course at the end of 2022. A Bundjalung man from Lismore, NSW, Rhodes relocated to Sydney to undertake his studies and expand his career.
“We at NATSIMO are thrilled to continue this scholarship and partnership with Abbey Road Institute and Studios 301. We have witnessed how this has promoted the career trajectory of Blake Rhodes as our first participant across many music industry initiatives and showcases nationally. We hope that the next Aboriginal and Torres Strait Islander producer, musician or engineer recipient of the scholarship, also enhances their creative practice and furthers their career pathways during their studies at Abbey Road Institute and Studios 301,”
said Jacob Ridgeway, Manager, NATSIMO.
“The access to this type of gear and the access to the community and the minds that are here that are more than happy to just have a yarn, check out what you are doing, give you a little feedback – nothing can top it. There’s no limit on what you can do through the program.”
Rhodes said
“I’m so proud to see Blake thriving in this opportunity. He’s really taken advantage of everything that we’ve offered, and I think he’ll be an excellent example for others when they are ready! His work ethic is exceptional; it looks like there isn’t much stopping him from achieving anything his mind sets its eyes on right now, which could also make him one influential leader down the line too (maybe even sooner than expected!),”
said Ron Haryanto, CEO, Abbey Road Institute Australia and GM, Studios 301.
“It’s a pleasure and an honour to again support this initiative with NATSIMO, and we look forward to welcoming our next scholarship recipient in 2023,”
said Haryanto.
The package is valued at a total of $30,100, which includes a $25,100 scholarship from Abbey Road Institute Australia and a $5,000 study bursary from the National Aboriginal and Torres Strait Islander Music Office and APRA AMCOS.
The successful applicant will have access to industry-standard equipment and studios throughout their studies.
In-person study will take place between Studios 301 and Abbey Road Institute’s Sydney campus, with regular recording sessions at Studios 301, to ensure the participant has access to some of the best recording facilities in the world.
This scholarship provides a chance to learn and become part of a global network in the recording industry. The participant will gain insights into the breadth of the recording industry and use this to develop their career path. They will have access to a professional network consisting of sound engineers, producers and artists.
On completion of their studies, the recipient will have the opportunity to visit Abbey Road Studios in London for the global graduation ceremony.
The perfect space for songwriting and production sessions. Bring your laptop, plug it into the Universal Audio Apollo X8 and start writing, collaborating and tracking vocals
“Primerchord is always open to having composers pitch their work and finding ways that we can collaborate together. This workshop will be the perfect opportunity to work with the Primerchord team to create works that will be suited for immediate pitch to the library.”
The way we listen to audio is changing – it’s becoming bigger, bolder and more immersive than ever before.
While the Dolby Atmos logo can now be found practically everywhere (on your TV, in your local cinema, even on your phone), have you ever wondered what makes it special? How is it different from surround sound? And how does it work in comparison to the familiar stereo format?
In this blog post we’ll answer all of those questions and more, exploring the history of audio playback and all of the exciting things Dolby Atmos is bringing to the table.
All About Stereo
Early Gramophone Patent. United States Patent Office, Washington, D.C, 1895 (source)
Taking a quick look into the history of sound reproduction, we can see four main steps leading up to the creation of Dolby Atmos.
We began in ‘mono’ – a single channel recorded with a single microphone.
Around the 1930s, stereo audio began to appear. This type of audio can be recorded with two microphones positioned around the sound source (a guitar or piano are common examples) with the signals from each microphone assigned to either the left or right channel. The sound reaches each microphone with slight differences in timing and frequency creating the illusion of width and space when we listen back on stereo speakers.
A stereo listening setup involves two speakers. When a stereo track is played, an imaginary 1-dimensional ‘sound field’ is created between the speakers. To hear the most convincing ‘sound field’, you’ll either need to use headphones or stay equally distant from the left and right speakers.
We can move the position of a sound in between the left and right channels by decreasing either side’s signal level – this is called ‘panning’. A louder signal on the left side will move the sound towards the left and vice versa. We can also use mixing tools like EQ, dynamic control and reverb to give the illusion that sounds are closer or further away. Still, they remain trapped in the 1-dimensional sound field between the speakers.
Adding Other Dimensions
5.1 Surround Sound Setup
The next step after stereo was to add another dimension to our listening setup. A conventional surround sound format is described as either 5.1 or 7.1, meaning 5 or 7 speakers surrounding you at ear level (plus an added subwoofer, or the .1). This creates a 2-dimensional sound field where we can move sounds front-to-back as well as left-to-right.
5.1 is the most common surround sound speaker layout and is usually what you’ll find in a home cinema. It consists of centre, left and right speakers in front of the listener, plus surround left and right speakers slightly behind the listener. With this layout, we can pan sounds not just between a left and right speaker, but between any combination of the 5.
A 7.1 system uses 4 surround speakers, allowing us to split up the rear and side sound effects. In this layout, the side speakers are positioned at about 90 degrees to the listener, while the rear speakers sit behind.
These two layouts can be scaled up for commercial use. In a commercial surround sound cinema, for example, there will be multiple speakers in each position to account for the larger audience.
Expanding on this surround setup even more we can add either 2 or 4 height channels (written as .2 or .4) above the listener to reach the final step in our journey: a 3-dimensional sound field. With setups like these (such as 7.1.2), you become immersed in audio travelling front-to-back, left-to-right and up-and-down. Combining these makes for endless directional possibilities and adds a whole new creative dimension to the art of audio mixing.
All of these surround sound systems share one similar goal: to reproduce audio in a way that replicates how we hear in real life. It’s almost as if the sound is turned into a physical object within the space…
Channel-Based vs. Object-Based
Conventional stereo or surround formats are channel-based, meaning individual tracks in a mix are routed to a single stereo or surround output channel. A pan control on each track determines which speaker(s) the signal is sent to, whether it be left, right, back left, etc. In this format, the mix is committed to a specific number of channels, meaning that in order to listen to the mix, you need a playback device which is optimised for that type of mix and has the right number of speakers.
An object-based system like Dolby Atmos removes this restriction. Instead of panning a sound between a fixed number of channels, Dolby Atmos can store the position as metadata similar to X,Y and Z coordinates in the 3 dimensional sound field. When mixing, this metadata along with the audio for that track are sent separately to the Dolby Atmos rendering software. They are then re-combined to make an ‘object’.
However, the renderer software is not entirely object-based. You can also use it like a conventional channel-based system. This means that you can route some of your tracks to a surround output bus (like 7.1.2) and the surround panning position is baked into the signal rather than stored separately as metadata. These specific channels are referred to as the ‘bed’ in the Dolby Atmos Renderer.
Which should we use, object or bed? It’s easier to use a ‘bed’ for signals that won’t move around the 3D space, or those recorded in stereo or surround (with 2 or more microphones). Only tracks that are routed as a bed can be sent to the LFE channel, so that means any bass-heavy sounds should use a bed.
Objects are better for providing a really precise spatial location, or for signals that are going to move around. Objects can only have one audio signal, so multi-signal recordings like stereo would need multiple objects.
The vital part of Dolby Atmos is its renderer. With the renderer, the finished Dolby Atmos mix can be played back on systems with any speaker layout: stereo, 5.1, 7.1.2 etc. The renderer turns the signals into a channel-based output which fits the speaker layout it’s about to be played on.
Of course, this means that the more speaker channels you have available, the more accurate and precise the 3D sound field will be.
What About Headphones?
Stereo has always been our preferred listening format for music. Whether this means a pair of speakers in your home, at a live music venue, or on-the-go with your phone and a pair of headphones. But how can we make immersive audio with just a standard pair of headphones?
You may be familiar with binaural audio. This involves a recording technique where microphones are placed in a mannequin head to record a sound as if they were human ears. When we listen back on headphones, it’s as if we are inside a 3D sound field reconstruction of the recording location.
Our ears can detect the position of a sound by comparing volume, frequency content and timing differences between the sound in each ear. These differences are created by the physical distance between your ears and the shape of your head or ‘head shadow’. You can artificially recreate this by applying the same principals to an audio signal, a technique called binaural rendering.
Binaural rendering uses HRTF (Head Related Transfer Function) algorithms. It creates a virtual human head based on the average head shape and uses this to process the signal. Unfortunately, this means that the further away from the average shape you are, the less realistic the 3D binaural experience will be.
Measuring your personalised HRTF previously required measuring your head shape with complex technology in a sound-proofed room – not very easy to access. However, the release of iOS 16 this month has made ‘Personalised Spatial Audio’ available to iPhone users. To use it, you’ll need one of the more recent AirPods models plus an iPhone with iOS 16 and a ‘TrueDepth’ camera. The phone can then scan your face and ears in order to optimise the audio output for your unique facial profile.
As well as various speaker systems, Dolby Atmos mixes can also be rendered to binaural audio. This is the vital feature which unlocks the world of Dolby Atmos music for average listeners using conventional headphone or stereo setups. Apple Music’s Spatial Audio with support for Dolby Atmos uses a similar system. Apple Music can now play Dolby Atmos tracks on all AirPods or Apple headphones, plus their latest devices with the right built-in speakers.
Dynamic head tracking is another important element in Apple Music’s Spatial Audio. This involves monitoring the position of your head and adjusting the audio so it appears to stay in the same place as you move. This enhances music-listening by not only recreating a live music experience but also allowing for our natural head movements when listening to sound.
Is Dolby Atmos the future of music?
At first it seemed unlikely, but with all of these developments towards integrating Dolby Atmos into every listening device and setup we use, the world of immersive audio is effortlessly establishing itself in our everyday lives just as stereo once did.
Do you want to know how to get your tracks mixed and mastered in Dolby Atmos?
Dolby Atmos Music is the latest in surround sound technology from Dolby Laboratories. With Dolby Atmos (also referred to as “Spatial Audio” on Apple Music) you can experience an immersive auditory environment while watching a film or TV show, playing a video game or listening to your favourite music.
While originally developed for film – launching in LA’s Dolby Theatre for the 2012 premiere of Disney animation Brave – Dolby Atmos is now gaining a lot of attention in the music world with the release of Apple’s Spatial Audio, allowing Apple Music listeners to experience immersive audio right from their headphones and compatible Apple devices.
So how does Dolby Atmos Music differ from the surround sound systems that we are used to? There are two key elements that define Dolby Atmos Music:
Height channels. In a typical surround sound setup, you have a circle of either 5 or 7 channels in front, to the sides, and behind you. Dolby Atmos adds channels from the ceiling as well, meaning sound can appear from above and all around you, creating a virtual 3D space.
Object-based audio. With typical surround sound we use channel-based audio, where audio is mixed for a specific speaker setup (e.g. a 7-channel surround sound). Dolby Atmos instead uses coordinates in a virtual space to map out different discretely placed sounds, meaning the mix can be played back on almost any type of setup, from headphones to a cinema!
What is the difference between “channels” and “speakers”?
To better understand Dolby Atmos, we first need to understand the difference between channels and speakers.
A typical 7.1.4 Dolby Atmos Speaker Setup via dolby.com
In a small setup such as a home cinema, you might only have one speaker per channel – three at the front (left, right, centre), two to the sides (left mid surround and right mid surround) and two behind (left surround and right surround). Scale this up to a commercial cinema filled with hundreds of people and you’ll probably need more than one speaker per channel, especially along the sides. You might have 6 speakers spread along the left wall, so if a sound is sent to the left, it will play out at equal volume from all 6 of these speakers.
A Dolby Atmos system adds finer detail to this. It figures out how many speakers there are, and can then control each of them independently to move a sound around the space in an incredibly realistic way. The benefit of object-based audio is whether you have 5, 7 or 128 speakers around the listener, the format is completely scalable, meaning the instrument or effect you have moving around the virtual 3D space will be replicated perfectly across all Dolby Atmos setups.
A Dolby Atmos setup can be as simple as 2 speakers and a subwoofer. via dolby.com
More complex setup with 11 speakers around the listener 11.1.8 Dolby Atmos Setup. via dolby.com
History of Dolby Atmos
Debuting in 2012 with Disney Pixar’s “Brave” as the first film with spatial audio means that Dolby Atmos has been around for a decade now! This is the latest audio innovation from Dolby Laboratories, with American engineer Ray Dolby introducing surround sound to cinemas shortly after he founded the company.
Surround sound began with the 5.1 setup – 5 surrounding channels plus a subwoofer (also called an LFE or Low Frequency Effects). This was followed by the 7.1 setup, adding two more channels behind the listener. Then Dolby Atmos arrived, adding 2 to 4 height channels on the ceiling, creating the possibility of 5.1.2, 5.1.4, 7.1.2 and 7.1.4 speaker setups.
Both surround sound and Dolby Atmos have largely been saved for the cinema or your recording studio. If you’re lucky enough to have a home cinema, you may have enjoyed these experiences without having to travel. Now, Dolby Atmos is more accessible than ever, with a number of streaming services and playback devices replicating the immersive experience of a studio or cinema wherever you are.
Can I Listen to Dolby Atmos in my Headphones?
The short answer is yes! Even with just two headphone speakers, you can experience immersive audio. So why are there Dolby Atmos-enabled headphones if any pair of headphones can play Dolby Atmos?
While most of the processing is done on your playback device and any pair of headphones will work for the binaural version of the mix, Spatial Audio headphones often come with multiple drivers and may also include additional sensors that enable dynamic head-tracking. This allows you to look around the 3D space as you move your head. For example, if a keyboard is set to be on the right of the listener, by turning your head to the right you will be able to hear that keyboard in front of you (as if you were looking at it) and everything that was previously in front of you is now coming from your left.
Why Mix in Dolby Atmos Music?
The ability to listen to Dolby Atmos Music mixes on virtually any device is an exciting step forward for musicians and producers. Spatial audio is now no longer limited to those with complex speaker setups or cinema technology – it can be accessed by the everyday music fan.
TIDAL and Amazon Music both added support for Dolby Atmos Music in 2019. This was followed by Apple Music, who announced their ‘Spatial Audio with support for Dolby Atmos’ in June 2021.
The main benefit of producing and mixing in Dolby Atmos Music is the new level of freedom. You’ll have the opportunity to use a new dimension of creativity when it comes to sound placement. Studios 301 Dolby Atmos engineer Stefan Du Randt explains,
“It really is the future of music. The format can make your mixes feel cinematic and immersive, almost like you’re watching the story of the song unfold.”
Stefan Du Randt
Another benefit is the ability to create more separation between sounds by adding physical space between them. A busy mix can be organised with instruments above, behind and beside you so they can all be heard clearly. This also gives you the opportunity to create even larger mixes, packing a huge range of sounds into one mix without losing sight of any of them. The format also allows you to have more control over mapping effects. If you want a sweeping sound to travel from behind the listener into the central speaker in front of them, you can do that with Dolby Atmos Music.
How can I release my music in Spatial Audio?
If you’re ready to make your music as immersive and exciting as possible, then you’re ready for Dolby Atmos Music!
Before you book a session, make sure you have the following:
Final, signed off stereo master file (remember that stereo and Dolby Atmos Music are two separate formats. In order to fulfil a Dolby Atmos mix, we require the finished stereo master. This also ensures that the Dolby Atmos mix will match the vibe and loudness of the stereo version. If you don’t have a stereo mix yet, you can book in a “Full Mix” which includes Stereo and Dolby Atmos)
Come and see what the 301 Academy is about and met the 301 Academy team who will take you through a complete breakdown of our September project week on week outlining the end-to-end process.
The 301 Academy is a place where you can learn from some of the best in your field. Facilitated in the studios where artists like Lizzo, Cold Chisel, Katy Perry, Zedd, Delta Goodrem, Parkway Drive and more have recorded.
Studios 301 is very excited to be able to extend an exclusive $5,000 scholarship for APRA AMCOS members under 25 years old towards tuition fees for Abbey Road Institute Sydney’s Advanced Diploma of Music Course (Qualification Code CUA60520) starting July 18th 2022.
Abbey Road Institute Sydney’s direct collaboration and colocation with Studios 301 makes our one-year advanced diploma the only industry-based training course where students can learn in the iconic Studios 301 facilities with Producers and Engineers working in those facilities and the latest innovations including Dolby Atmos. Students join the Studios 301 community and are immersed in the actual music industry from day one.
Why study with Abbey Road Institute Sydney (RTO ID 41377)?
Our Advanced Diploma of Music is a 1-year fast-paced and hands-on engineering and music production course designed by engineers at the world-famous Abbey Road Studios in London and conducted in colocation with the premiere recording studios in Australia – Studios 301
Learn in the industry, not about the industry. In Sydney, Abbey Road Institute operates in direct collaboration and colocation with Studios 301. All practical work is done at Studios 301 with industry engineers and producers working in tier 1 commercial studios
Practical hands-on lessons throughout the course, allowing you to develop a broad range of skills covering industry-standard software including Pro-Tools, Ableton Live & Logic Pro
Attend the Global Graduation at the world-famous Abbey Road Studios in London
Join the Studios 301 community and build your own industry network through access to all Studios 301 events, short courses, masterclasses and exclusive discounts on services and studios
Terms and conditions
This APRA member offer is towards tuition fees only.
Applicants need to submit a successful application via the Abbey Road Institute Sydney website subject to the Abbey Road Institute’s full terms and conditions
Joining the Studios 301 team in 2022, Laura comes from a bookings, communications and events background and started her journey into music writing gig reviews and features whilst working for some of the biggest festivals and clubs in Sydney back in the early 2000s.
With a strong passion for events and the music industry, Laura has worked across a variety of sectors within the music, arts and travel industries and curates local parties for the Sydney Street Dance scene.
Designed by industry for industry, the Advanced Diploma of Music Industry course aims to build a music professional’s capability in music production or sound engineering so they can take their career to the next level.
This package is valued at a total of $30,000, which includes a $25,000 scholarship from Abbey Road Institute and a $5,000 study bursary from the National Aboriginal and Torres Strait Islander Music Office and APRA AMCOS.
The program is an introduction to the recording industry’s global network, with the participant learning from experts, including guest lecturers and multi-award-winning professionals, and getting hands-on experience with industry-standard equipment and studios. Through access to broad networks consisting of sound engineers, music producers, artists and music business professionals, the program participant will gain insights into the breadth of the recording industry and use this to develop their personal career path.
Regular recording sessions will be facilitated in Studios 301 to ensure the participant has access to some of the best recording facilities in the world.
“We are excited to announce this wonderful partnership with Abbey Road and Studios 301, and to facilitate and encourage more opportunities for Aboriginal and Torres Strait Islander musicians and engineers to engage in studies that can benefit their creative practice and further career pathways,”
said Leah Flanagan, Director, NATSIMO.
“This scholarship can completely change someone’s career trajectory and benefit so many others.”
“After previously working with the NATSIMO team, Studios 301 and Abbey Road Institute Sydney are very excited to be partnering on this initiative to provide an opportunity to Aboriginal and/or Torres Strait Islander creatives the chance to immerse themselves in our community of creatives and further their career in the music industry,”
said Ron Haryanto, General Manager, Studios 301 and CEO, Abbey Road Institute Australia.
“We look at this as the beginning of the journey for the scholarship, which we hope will have a longer lasting and meaningful impact on upcoming engineering, production and musical talent.”
The scholarship activity will take place in NSW, but applicants from across Australia are welcome to apply. The successful applicant will be responsible for any travel, relocation and accommodation costs.
Abbey Road’s specialist music production school moves into Australia’s top recording studio.
David Drummond, Ron Haryanto, Professor Zbys Klich at Studios 301
In a huge coup for the Australian music industry, Abbey Road Institute Australia announces it will co-locate in Sydney with the nation’s largest and most prestigious recording studio, Studios 301, in 2021.
This move will unite titans of the music industry, bringing the best of British specialist music production schooling – developed in the iconic Abbey Road Studios in London – with the 2018 multi-million dollar revamp of the iconic Studios 301 in Sydney and its 90 year plus history as a leader in the Australian music industry.
Studios 301 boasts an industry-leading roster including Grammy, ARIA and Golden Guitar winning and nominated engineers such as Leon Zervos, Simon Cohen, Steve Smart, Guy Gray and more. In recent years the studio has been home to recordings from some of the world’s most iconic artists, from Cold Chisel, Tones & I, Delta Goodrem and Amy Shark to Elton John, Lizzo, Coldplay, Katy Perry and many more.
Chart-topping and multi ARIA Award-winning artist, Delta Goodrem, said
“I’ve been a long-time client and friend of Studios 301 and I love working at the studios and with the team and 301 community. “Abbey Road Institute students will, without a doubt, benefit from learning within the amazing facility and being part of the community as a whole. Many of my records and creations have come from this incredible environment. The team are the utmost professionals an artist could dream to be working and creating with.”
Abbey Road Institute offers an intensive and immersive education for aspiring music producers and engineers in a real-world working environment. The teaching is delivered in a hands-on apprenticeship style, which prepares graduates to enter the fast-paced music industry and create their own career success story.
Students at the Sydney campus of Abbey Road Institute will have the opportunity to learn in an iconic Australian recording, mixing and mastering facility engaged in and with the music community and industry network that students aspire to join on graduation. This will provide a wonderfully unique learning environment within the music industry, with high levels of placement expected.
Ron Haryanto,Studios 301 General Manager / Abbey Road Institute Sydney CEO, said
“This professional integration, unique in Australia, will offer Abbey Road Institute students access to one of the best recording studios in the world as an important part of their learning experience. Our team at Studios 301 will add another layer of perspective and music industry experience to their education. The teaching spaces will be located within our world-class facilities, with the Institute having their own dedicated studios, production and writing rooms and classroom, alongside our commercial spaces dedicated to our existing and growing client base. Studios 301’s dynamic array of specialised skills, recording experience, technical excellence and industry links will now be available to Australia’s up and coming talent to help them become the music producers and audio professionals of the future and that is a truly exciting partnership.”
Luca Barassi, CEO Abbey Road Institute – Global, based in London, said
“Locating Abbey Road Institute Sydney inside active commercial studios offers an experience where students get unparalleled insights into the real-world environment of recording studios and gain a head-start on a career in music production. We are delighted that the opportunity has been created to move our Australian Abbey Road Institute into the newly enhanced and cutting-edge facilities at Studios 301 in Sydney. This establishes a pioneering breakthrough in Australian audio education.”
Charlotte Rochecouste, Abbey Road Institute Melbourne Alumni
“Abbey Road Institute really helped me gain a strong foundation in audio, which led to an internship at Studios 301. The course accurately breaks down the subject of audio engineering/music production, making it digestible so that it doesn’t feel overwhelming or confusing. Audio is very hands-on, hence why being able to use the studios frequently helped me practice and improve my skills significantly. Now that the Institute is moving into Studios 301, future Abbey Road Institute students will be able to witness how a professional music studio operates and put their experience & knowledge into practice. It will set them up for the music industry and give them authentic and realistic expectations for their futures.”
Zak Baker – Abbey Road Institute London Alumni
“After completing my Advanced Diploma at Abbey Road Institute London, I was fortunate enough to intern at Studios 301 and experience the day to day excitement and challenges that come with working in one of the best studios in the world – and that hands on experience is invaluable in the recording industry.
Since completing my internship I have worked in many studios, and Studios 301 is still only one of a few studios that are at the same level as the likes of Abbey Road. Not only with its world beating microphone and gear selection but also the engineers, technicians and team that keep the studios running. Abbey Road Institute students being able to tap into the facilities, equipment and staff at Studios 301 is not an opportunity anyone serious about wanting to become an engineer should miss out on!”
Apply Now for 2021
Abbey Road Institute Sydney will be offering a one-year intensive Advanced Diploma in Music Industry which starts on 21 June 2021. Applications are open now. For detailed information on the course and how to apply visit the Institute’s website.
Congratulations to all the amazing artists who are nominated at this year’s ARIA Awards. This time around the list of artists includes Studios 301 clients such as Cold Chisel, Jessica Mauboy, Guy Sebastian, Amy Shark, Alex the Astronaut, Mallrat, Illy, Casey Barnes, The McClymonts, The Jungle Giants and The Rubens.
According to a recent interview with Zane Lowe on Apple Music, Kylie Minogue almost ended up collaborating with Prince in the early ‘90s. She recounted the time when Prince was on tour in Australia and he sent her a cassette tape with a song called Baby Doll.
Said unreleased Baby Doll recording was tracked by Prince at Sydney’s iconic Studios 301 in 1992 during his Diamonds & Pearls tour.
Jack Prest was recently in Studio 1 working on the development of his (as yet untitled) new interdisciplinary performance project. The development came about through partnership with Studios 301 and with support from Create NSW via their projects grant.
The session featured a series of collaborations with Nicholas Meredith (Kcin/Spirit Level), Dave Rodriguez (Godtet/Sampa The Great), Ben Freeman (The Die Youngs), Jerrol Renaud (The Goods) and Claire Edwardes, Jason Noble and Freya Schack-Arnott from contemporary classical group Ensemble Offspring.
Jack put the players through a series of improvised tasks responding to various compositions, sonic sketches, ambient noises and field recordings.
Jack also recorded and collaborated with dancer Azzam Mohamed and visual artist Joe Wilson and Chanelle Collier further developing the interdisciplinary side of the project. Jack Garzonio was assistant engineer for the session.
This is the first project from a new Arts Initiative by Studios 301, keep an eye out for more projects over the coming year.
MusicNSW is back with the 2020 Levels program: a one-on-one audio engineering workshop for women, trans and non-binary applicants. Levels 2020 will be held at Studios 301 on Saturday, 27 June 2020 and you can apply at musicnsw.com
The hour-long workshops will be packed with personalised advice on producing and mixing your track, from world-class audio engineers Antonia Gauci(Will.I.Am, Kesha, DMA’s) and Georgia Collins (Birds of Tokyo, Body Type, Bachelor Pad).
It’s a perfect opportunity to take your sound to the next level. Come prepared with your track session and your questions loaded up, and make the most of this rare learning experience.
There has been a great deal of discussion about target loudness for streaming services recently, particularly in relation to Spotify. This can be problematic for the mastering process, so let’s break it down from a mastering perspective.
Spotify specifies it ‘volume normalises’ all music on the platform to -14 LUFS (measured by ReplayGain as an approximation of LUFS as specified by ITU 1770), so that users can have a consistent listening experience when jumping between songs on playlists. The function is turned on by default when installing the app. As a result, there’s growing speculation that Spotify-specific masters should be delivered at -14 LUFS.
Generally speaking, current masters in most music genres average around the -10 to -6 LUFS region. If you receive a master at say -9 LUFS, and visit a website like Loudness Penalty, you may worry that your track will be turned down when ingested to Spotify. The issue here is, it’s essentially moot whether Spotify or your mastering engineer turns down your track. However, if you do supply Spotify with a -14 level master, the song will be very quiet for subscribers with loudness normalisation disabled.
Much is made of the loudness wars however I’d argue that with the majority of modern music being made with compression in mind, having an incredibly dynamic master at -14 LUFS will likely sound abnormal by comparison. The most important thing with a master, is that it sounds good within itself.
As an example, take ‘Perfekt Dark’ by Lorn, an electronic artist who uses compression as a sound design technique. Listening to the track on Spotify, with loudness normalisation off, the track has a peak level of -0.1 as we would expect. With loudness normalisation on, the new peak level is -1.8, so the track has been turned down. One might conclude that you could potentially get an extra 1.7dB of range out of the dynamics, however this would require backing off compression/limiting to let peaks through, which may in turn change the tone of texture of the track. The compression is playing a role in keeping the percussion in balance with the synthesizers and bass within the track. If the mastering engineer was mastering to hit a target number instead of using his/her ears to make it sound nice and balanced, the overall mastering would perhaps not be as effective.
Key Takeaways:
Not everyone uses Spotify loudness normalisation
It’s a moving target. Spotify uses -14LUFS as it’s target number, but in the past it was -12, and that number may change again in the future. In fact, Spotify already have plans to change the way they measure -14 LUFS
It’s more important that a master sounds good within itself, than be compromised to hit a number. Let the music dictate how loud and how compressed it should be.
If your master gets turned down, well that’s OK. If it sounds good at a peak of -0.1 it will sound good if it peaks at -2
