Rob Gee, Paul Blomfield, Jamie Colic, Kalani Giddey, Alasdair Belling, Andy Lloyd- Russell, Christopher Hockey, Lewis Noke Edwards, Paul French and Harry Connell
Editor’s Note:
Australia is the Tasmania of the world, but that isn’t necessarily a bad thing. I say this after coming back from a brief stint in Los Angeles, spending time in some of the most high profile studios around. Sure the budgets are bigger, the access is greater and the general sense of optimism is eerily high, but in terms of raw engineering skills and the talent of the people on either side of the glass, we are right up there with anyone and I say that with 100% sincerity.
While our location may feel like an inhibiting factor, the logistical realities that come with committing oneself to a solitary pursuit like audio engineering in one of the most isolated corners of the globe is probably more of a blessing than it is a curse. You learn to do more with less, honing in on technique rather than equipment. You break it down to the nuts and bolts and improvise where you have to. Give me a reamp box with a gain control and a tube amp of some description and I’ll get you a Fairchild sound (or a wrecked appraisal of one).
That’s not a curse, that’s resistance training.
Carpe Per Diem,
The Editor.
