Thanks for taking the time! Trackdown is a studio focused on a lot of film and TV post production— can you speak a little to the work that comes in?
Trackdown has been part of Sydney’s creative fabric for nearly 50 years. We began life as a rehearsal studio on Oxford St in the late 70’s before opening our first demo recording and rehearsal space “The Studio” on Kent Street in the early ’80s—a go-to space for some of Australia’s biggest music acts. It was a different era, full of energy and experimentation, and the space quickly became something of an institution for Aussie rock. Acts like INXS, Mental As Anything, and Icehouse adorned the halls in those early days—Icehouse even earned our late co-founder Simon Leadley his first ARIA Award.
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As the industry evolved, so did we. Over time, we grew into one of the country’s most respected film and post production facilities. Today, we’re a full-service audio house working across everything from major studio films to prestige television, gaming and streaming projects. Our scoring stage hosts full orchestras for films like “Kingdom of the Planet of the Apes” and “Furiosa”, and we’ve handled Music editing on award winning titles like “Boy Swallows Universe” and the Golden Reel nominated “Better Man”. Inbetween, the team is either mixing or recording ADR and foley for countless projects.
But the music has never left us. We still record and mix music on site, and our spaces are regularly used for rehearsals and writing sessions. It’s important to us to keep that part of our identity alive—our roots are in music, and that continues to shape who we are.
What makes Trackdown unique is the scale and diversity of what we can offer, all under one roof. Over the years, we’ve carefully expanded the studio to become a space that’s both world-class and incredibly adaptable. Our team and our facilities can pivot across formats and genres, which means we’re constantly working on something new and exciting.
And even now, after all these years, we still get moments where a client says, “Wait, there’s a full scoring stage here?” or a band walks out of a session and bumps into a film director on the stairs. That creative overlap is part of what makes Trackdown feel alive, and what keeps us moving forward while staying true to where we came from.
What can someone expect from a session at Trackdown?
It starts well before the client walks through our doors working with the admin and engineering team to ensure everything is in place for your session. We always say there’s no such thing as a “normal” day at Trackdown—but there are definitely a few familiar rhythms.
Whether you’re a producer, composer, or musician, your day usually starts with a warm welcome from our team. We’re lucky to have a front-of-house staff who really care—so from the moment you walk in, we’ll make sure you’re comfortable, get you settled in your space, and take care of any technical or logistical needs straight away. We know the value of time when you’re working to a deadline.
If you’re heading into a scoring session, the scoring stage will already be prepped. Our engineers will have prepped the day before and then arrived early on the record day to again check the up mics, running line checks, and liaising with the composer or music team to make sure the Pro Tools sessions are locked and ready. Musicians start to arrive and warm up, the conductor reviews the cues, and the control room comes alive with that quiet buzz of anticipation. Then it’s headphones on, and we’re off to the first downbeat.
For composers or producers working in the mix suites, it’s all about ease and flow. We’ve built the rooms to feel creative and inspiring, but also technically precise—so once you’re in, it’s just about doing the work. Some people love jumping between the studio and the courtyard for a breather, others prefer to bunker in and ride the session from start to finish. We’re set up to support both.
Meanwhile, in other parts of the building, you might have an ADR session running, a film editor deep in a cut upstairs, or a band rehearsing in the scoring stage. It’s a dynamic space, and part of what makes Trackdown special is that cross-pollination—music, film, and post all happening in harmony.
At the end of the day, whether it’s a massive orchestral score or a quiet dialogue pickup, we want people to leave feeling like they were looked after—technically, creatively, and personally. That’s the standard we hold ourselves to every day.
Trackdown’s Scoring Stage equipment deviates a bit from more traditional ‘band’ and ‘music’ recording equipment, can you speak a bit about the workflow of Trackdown?
Trackdown Studios has long been a key player in Sydney’s film, music, and post-production landscape, and one of the ways we’ve maintained that distinction is through our Simon Leadley Scoring Stage—a facility specifically designed to handle the complex needs of film scoring but also suitable for scaled down projects too.
The scoring stage at Trackdown is built for highly detailed, multi-layered orchestral work and film post-production, which requires a more specialised setup. The combination of analog and digital gear here allows us to cater to the unique demands of film composers, post-production sound designers and musicians.
At the core of our workflow is the Euphonix S5 console, which offers a staggering 344 channels. This is far beyond the requirements for typical band recording, and the large number of channels makes it ideal for managing the complexity of orchestral scores, post production work and multitrack film scores. We’ve chosen the S5 because of its flexibility and ability to handle a variety of high-end projects, from full orchestral sessions to detailed post work, allowing engineers to manage multiple sound elements simultaneously with ease.
We also use Pro Tools HDX systems to drive our digital setup, with Pro Tools A (HDX3) supporting up to 192 inputs/outputs and Pro Tools B (HDX) running at 64 inputs/outputs. These systems are essential for managing large-scale film scoring sessions, where precise synchronisation with picture is crucial. The Pro Tools HDX systems provide real-time processing, ensuring the sessions run smoothly without latency issues, which is essential when working on complex projects like “World of Warcraft” or “Mortal Kombat”.
We take full advantage of the flexibility of both digital and analog workflows. While Pro Tools HDX handles the bulk of the session routing and synchronisation, we pair it with analog gear, like our Neve 1081R preamps (both blue and red knob versions), to provide the rich, warm sound that’s characteristic of film scoring. These preamps are a key part of our setup because they allow us to capture the nuances of orchestral recordings, from the smallest details of a solo violin to the grand sweep of a full orchestra.
In terms of our gear selection, it’s all about the balance between flexibility and warmth. We love digital workflows for their precision and ease of integration with modern technology—especially for large film sessions where syncing with picture and managing a high channel count is essential. But we also understand that the analog warmth is often necessary for a truly rich, immersive sound, especially when it comes to orchestral music.
- Analog gear like our Neve preamps, Raindirk custom channels and Grace M802s provide that musical depth that digital gear can’t always capture on its own. These analog pieces allow us to maintain the warmth and richness of orchestral instruments, making them sound more organic and lifelike in the mix.
- Digital gear, especially Pro Tools, gives us the ability to manipulate, edit and sync sound elements with pixel-perfect precision—ideal for film and TV scoring.
By combining both digital and analog, we can maintain the best of both worlds, offering flexibility for complex workflows while also ensuring a musically rich sound.
Trackdown’s microphone collection is a prime example of our versatile gear selection. For orchestral recordings, we often use Neumann U47 FETs, Schoeps CMC6s, and AEA R44Cs, which allow us to capture the full breadth of the orchestra, from delicate string sections to booming brass. These mics are routed through our 96 inputs from the stage, capturing each individual nuance with clarity.
On the monitoring side, our 7.1 Neumann KH420 monitors, complemented by KH120s and KH805 subwoofers, ensure that what we’re hearing in the control room is a true representation of the sound on the stage—critical when mixing for film or scoring for projects with intricate sound design.
I definitely don’t think I can say there is a “normal” day at Trackdown. One of the most appealing parts of the job to me—and why I’ve been here for over 20 years now—is that no two days are ever the same.
Let’s say you’re a composer coming in to record some cues for a film project. By the time you arrive, we’ve already had previous communication about setup and your specific requirements. Everything will be ready for you, from our premium range of mics (including Neumann, AKG, and Schoeps mics) to ensuring that everything is configured for the best possible sound for your work. We can even coordinate booking musicians and arranging sheet music, so you can sit back with a tea or coffee while we do any last-minute checks.
Once you’re ready to go, you’ll be set up in the control room with the engineers and assistant engineers operating Pro Tools and monitoring the session through 7.1 Neumann speakers. The session is synced to picture and ready to roll. If your director, producer, or music supervisor is joining remotely, we have remote connections via Source Connect, Audiomovers and Zoom, with webcams covering the scoring stage and control room.
Musicians enter via our artist entrance and greenroom area, and the sessions can either be all-in or striped depending on the arrangement that suits you.
Quite aside from the technical specs, we’ve got such a wonderful team. Whether a client is arriving on-site or joining a session remotely, we aim to make the experience as professional and relaxed as possible. We’re incredibly fortunate to have a lot of repeat clients and a close network of people we work with regularly, and I think that speaks volumes about not just the quality of our work, but also the trust we’ve built over the years.
The combination of top-tier equipment and a welcoming, relaxed atmosphere is what makes Trackdown Studios stand out. Whether you’re here for a major film score, an ADR session, or a music production, we have the flexibility and expertise to handle all kinds of projects with precision and care.
Can you describe each of your dedicated spaces in a bit more detail?
At Trackdown, each space is designed with a specific purpose in mind, but they all have one thing in common—flexibility. Over the years, we’ve carefully curated our spaces to meet the needs of a variety of projects, from major film scores to intimate music sessions. Here’s a quick rundown of what you can expect from each of our dedicated spaces:
The Simon Leadley Scoring Stage
This is our largest and most versatile space. Named after our late co-founder. It’s a purpose-built stage for recording everything from full orchestras, a space for major artists to rehearse between shows, and we’ve hosted the odd yoga event there. The acoustics are tuned to perfection, and we’ve got all the gear you’d need to record in stunning detail, from Neumann microphones, Neve 1081R,Grace M802, Millenia and Raindirk preamps to top-of-the-line Pro Tools systems and Neumann 7.1 monitoring. It’s the heart of our facility and perfect for capturing the grandeur of a film score.
The Studio
Our main recording studio is where a lot of the action happens between big scoring projects. Whether it’s ADR, foley or music production, this space is all about versatility. With Neve 1073, Grace 501 and Raindirk preamps, it’s equipped to handle everything from voiceover work to music recording. It’s got a super intimate vibe, perfect for capturing that personal touch, whether you’re recording dialogue or laying down a track.
Theatre One (Mixing Suite)
This is our mixing hub, designed with precision in mind. It’s all about getting the perfect sound balance, whether you’re working on a film soundtrack or an album. We have Avid S1 consoles and 9.1.4 JBL and Krix monitoring to ensure every detail is heard. It’s the place where the sound comes together after recording, and it’s set up for everything from music mixing to dialogue editing.
Production Suites
These are our more private, smaller spaces where clients can work on editing, scoring, or any other production-related tasks. They’re great for composers or producers who need quiet, focused environments. They come with everything you’d need for a productive day, whether it’s Pro Tools HDX, remote recording capabilities, or just a comfortable space to work on music or sound design.
The Greenroom and Artist Area
Although not a studio in the traditional sense, our artist entrance and greenroom area provide a comfortable and private space for musicians when they’re between takes. We’ve got everything set up for them to relax, prep, or rehearse before heading into the main studio or scoring stage.
Remote Session Setup
We know how important it is to keep a session seamless, even when people can’t be physically present. That’s why we’ve invested in tools like Source Connect and Audiomovers, so clients can remotely join a session with ease. Whether they’re across the city or across the world, our remote session capabilities ensure the collaboration keeps flowing.
Each space is designed to be adaptable and equipped with top-tier gear to ensure every project gets the attention it deserves. From our scoring stage to our mixing suites and production suites, everything is built to deliver the best results for any kind of sound and music production.
What makes Trackdown so special?
Trackdown is a place that’s steeped in history, but it’s also about the future of music and sound for film. For nearly 50 years, we’ve been a part of some of the most iconic projects in the industry. From the incredible music we’ve recorded for artists like INXS, Icehouse, Paul Kelly and Mental As Anything back in the 70s and 80s, to Ryan Tedder, Lime Cordiale and Will-I-AM in more recent years. Then we have our long list of film, tv and game scores and edits from Moulin Rouge & The Great Gatsby right through to What If…? and World of Warcraft. Trackdown has always been at the forefront of Australian music and film production. On top of recordings and mixes we’ve also hosted performances by the likes of Coldplay, Tim Minchin and Justin Bieber.
Our legacy speaks for itself, but it’s not just about the past. It’s about the impact we continue to have today, whether we’re working with local talent or international heavyweights. However, despite all the incredible work we do, there are challenges we face that make it harder for us to compete on a global scale, especially with the increasing trend of orchestras being recorded in Europe. The costs there are often significantly lower, and while we have world-class facilities, the economics of it mean that sometimes we lose out to those lower-cost options. It’s frustrating because we have the talent, the infrastructure, and the dedication, but we can’t always match those price points.
This is where more state and federal support could make a huge difference. Australia has so much talent, but without the financial backing to keep these projects local, we’re at risk of losing out to international competition. The reality is, many of these projects that would ideally be done right here in Sydney end up being outsourced. What we need is more investment in homegrown talent and a push to keep those opportunities within our borders.
But what makes Trackdown special is that even in the face of those challenges, we continue to deliver exceptional work. Our scoring stage, with its unique acoustics and high-end equipment, is built for projects of all sizes—big Hollywood scores or intimate local productions. And what makes this space even more special is the people who make it all happen. Half the team have worked here for over 20 years! And the culture that has been built really resonates down into the core of the place. We’re a family here, and that’s what makes us different. It’s the dedication of our team, the quality of our facilities, and the passion we pour into every single project. We’re proud of the work we do here, and we’ll continue to fight for the support and recognition Australian post-production deserves.
Trackdown is not just a studio; it’s a place where history is made, and where we continue to create work that has a lasting impact. Whether it’s recording Australian music legends or cutting-edge film scores, we’re always pushing to elevate the work we do and support the incredible talent that calls Trackdown home. You can keep up with Trackdown here, or follow them on Instagram or Facebook.
