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RECORD

Melbourne Recording Studio

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The GEAR, The SPACE, The VIBE & The SOUND.
Our State of the art facility is located in Hallam, Melbourne, Australia.

THE GEAR = The Best of Both Worlds - Analog front end into ProTools through awesome Microphone Preamps, Microphones and Analog to Digital Converters.  All the classic gear to get you the best sound.
 

THE SPACE = Massive Live Room (10m x 8m x 5.5m height) and Control Room gives you an Acoustically pleasing space with many options for different sounds - open and reverberant or closed and focussed.


THE VIBE
 = Because that's what it is all about! Big spaces, comfortable couches, lounge areas, Coffee Machine, TV/DVD/Internet etc,
Pinball and Arcade Machines, mood lighting plus close to restaurants, pub and food.


THE SOUND
 = Quality gear, awesome acoustic spaces and Engineers give you the Sound you are after!


We also cater for Re-amping, Mixing, Corporate, Voice-Overs, Sound Replacement and just about any of your possible recording needs. Freelance Engineer rates also available.

Our studio comprises the best Vintage and Modern Recording Equipment and Instruments which coupled with our awesome recording spaces helps produce the best sound possible for your project.

 

Our Recording System offers 34 simultaneous inputs of high quality mic preamps and Analog to Digital Conversion with more than enough options to please any Audio Engineer or Musician.

 

Pony Music Recording Studio System

 

Pony Music Recording Studio - Neve Console

System Notes: 34 input / 20 output ProTools System with great sounding Analog to Digital and Digital to Analog converters. Insert real world outboard and have the best of both worlds!

 

  • Digidesign C24 Control Surface / Console
  • Neve 542 Summing Console
  • Apogee 16X AD Converter
  • Lynx Aurora 16X AD/DA Converter
  • Avid HD I/O 16x16 AD Converter
  • Universal Audio 2192 AD/DA Convertor / Clock
  • Plug-ins - too many to mention, all legit versions.
  • Apple Mac Pro 3.0ghz 8-Core 32gig RAM
  • Sonnet xMac Pro Server Chassis
  • Avid HDX Card
  • Universal Audio UAD-2 OCTO Card and UAD Plugins
  • ProTools 11+ HD Software

We also have a secondary "mobile" ProTools HD System comprising of Digidesign HD3 with Mac Pro (26 inputs). 


  

 

 

 

 

 

 

 

The best Vintage and Modern Microphone Pre-Amps

Instead of a large console with 30+ of the same Microphone Pre-Amps, we have over 30+ channels of different flavoured mic pres. This way we can use the best Mic Pre's for each instrument which really helps define the sound and creates space in the mix.

 

  • UNIVERSAL AUDIO 2108 (2ch)
  • NEVE 33415 (2ch)
  • API 512C (4ch)
  • TELEFUNKEN V72 (2ch)
  • TELEFUNKEN V76 (2ch)
  • UNIVERSAL AUDIO Solo110 (2ch)
  • GREAT RIVER ME-1NV (1ch)
  • GOLDEN AGE PROJECT Pre-73 (1ch)
  • BYER 66 (1ch)
  • ROLA 77 (1ch)
  • UA LA610 (1ch pre - 1ch compressor)
  • UA 6176 (1ch pre - 1ch compressor)
  • AMEK 9098DMA (2ch)
  • AUDITRONICS 501 (2ch)
  • AEA TRP Ribbon Pre (2ch)
  • VINTECH X81 (1ch pre + EQ)
  • FOCUSRITE Green (1ch pre + EQ)
  • CHANDLER LIMITED LTD1 (2ch)
  • LANGEVIN Dual Vocal Combo (2ch)
  • AVALON U5 Instrument DI
  • ETR Valve Pre (2ch)
  • DIGIDESIGN C24 (16ch pre)

Pony Music Recording Studio Outboard

 

Pony Music Recording Studio Outboard


 

 

 

 

 

 

 

Outboard Compressors & EQ

Sometimes it's much nicer going through Analog compressors and EQ rather than digital plug-ins.
 

  • NEVE 33609 Stereo Compressor (2ch)
  • EMPIRICAL LABS Distressor (2ch)
  • AL SMART C2 Compressor (2ch)
  • DBX 160X (2ch)
  • NOVA CL-1 Compressor/Limiter (2ch)
  • UA 1176LN Black Face (1ch)
  • UA LA610 (1ch pre - 1ch comp)
  • UA 6176 (1ch pre - 1ch comp)
  • ORBAN Optimod 6200 DAB (stereo)
  • SCV PFL52B Parametric EQ (2ch)

Outboard Effects Processors

  • EMT 140 Plate Reverb (yes the real thing!)
  • LEXICON PCM70
  • ROLAND SRV 2000
  • YAMAHA SPX90II
  • YAMAHA REV5
  • ROLAND Chorus Echo SRE-555

Other Items

  • sE Reflexion Filters
  • Line6 Pod Pro
  • Broadcast Missing Link II - Instrument DI and Re-amp
  • Custom Made Re-amp Box (Variable impedance)
  • Custom Made Sub-Kick
  • Radial SGI Studio Guitar Interface 

 

Microphones

We have many Classic and Modern Microphones to suit many different vocalists and instruments. There's a mic to suit any application.

  • 1 x Neumann U47 long body (yes from the 1950's!)
  • 1 x Neumann U47 short body (yes from the 1950's!)
  • 2 x Neumann U47 FET
  • 1 x Neumann U87 (ex Mayfair Studios UK)
  • 1 x Neumann U77
  • 1 x Neumann TLM103 LDC
  • 2 x Neumann KM54
  • 2 x Neumann KM56
  • 1 x Neumann KM74
  • 1 x sE Gemini Dual Tube LDC
  • 1 x AKG C414uls LDC
  • 2 x AKG C3000
  • 2 x AKG 451B
  • 2 x DPA 4090
  • 1 x Heil PR40
  • 2 x Mercenary Audio MFG-KM69 SDC
  • 1 x Mojave Audio MA100 Tube SDC
  • 2 x Mojave Audio MA200 Tube LDC
  • 1 x AEA R92 Ribbon
  • 1 x AEA R84 Ribbon
  • 1 x Shure SM7B
  • 2 x Oktava MC012
  • 1 x Oktava MK319
  • 1 x Crown PZM
  • 2 x Rode NT2
  • Sennheiser MD419, MD421, MD431, e609, e604, e601
  • Shure SM91, SM57, SM58, Beta58A
  • Audix D6, D1, D2, i5

+ many more.

Pony Music Recording Studio Microphones

 

 

 

 

 

 

 

 

 

Monitoring

Ensuring that your mix translates to the outside world we have all of the right speakers and monitoring solutions to make sure what you hear in the studio is what you hear everywhere.
 

  • Cranesong Avocet Monitor Control
  • Audio Toys Monitor6 Custom Made Monitors with Subs
  • Yamaha NS10M Nearfield Monitors
  • Grover Notting CR-1 Reference Monitors
  • Auratone 5C Reference Monitors
  • Chord SPA1032 Amplifier (ex Mayfair Studios UK)
  • Chord SPA1232 Amplifier (ex Mayfair Studios UK)
  • Yamaha Power Amplifiers x 3 (headphones)
  • Beyer Dynamic DT-770 Headphones
  • AKG Headphones
  • Direct Sound Extreme Isolation EX29 Headphones

 

 

 

 

 

 

 

 

 

 

 

 

 

Before you get to the nitty gritty of the audio chain, the first port of call is the instruments you are using. We have heaps of great options for drums and amplifiers that can help you achieve the best possible sound. What would be better than using a different snare on each song or a different amp for each guitar sound? All of these Instruments and Backline are included Free of Charge with all Recording Sessions.

 

DRUMS - GUITARS - GUITAR & BASS AMPLIFIERS - GUITAR COMBOS - SPEAKER BOXES - KEYS

 

Drum Kits

  • Tama StarClassic Maple 8/10/12/14/16 + 22x18" Kick
  • ddrum Dios Bubinga 8/10/12/14/16 + 22x20" Kick
  • Crush Sublime Tour Maple 10/12/16 + 22x18" Kick
  • Crush Sublime AXM Ash over Maple 10/12/14/16 + 22x18" Kick
  • Gretsch Renown Maple 10/12/14 + 22x18" Kick
  • Ludwig Centennial Maple 13" Rack, 16" and 18" Floor Toms, 24" Kick 
  • dw Custom Maple 10/12/14 FT and 20" Kick

Snare Drums

  • Ludwig Black Beauty Hand Hammered 14x6.5” snare
  • Ludwig 70's Acrolite 14x5" snare
  • Ludwig 60's Supraphonic 14x5" snare
  • Crush USA Prototype Ash 14"x5.5" snare
  • Crush Phosphour Bronze Hammered 14x5.5" snare
  • Crush Sublime Maple 14x5" Snare
  • Crush Sublime AXM Ash over Maple 14x5.5" Snare
  • Tama 80's Superstar Birch 14x6.5” snare
  • ddrum Dominion Maple 13x7” wood hoops snare
  • Pearl Chad Smith Nickel Plated Steel 14x5” snare
  • ddrum Dios Walnut 13x7” snare
  • Yamaha Marching Snare Birch gut wires 14x14” snare
  • Gretsch Renown Maple 14x5” snare
  • ddrum Dios Bubinga 13x7” snare
  • ddrum Dios Bamboo 14x6.5" snare
  • Deejay Redgum block 14x5” snare
  • Tama Hand Hammered Aluminium 14x5.5” snare
  • ddrum GOLF vented 14x6.5” snare
  • Mapex Black Panther Maple 14x6.5” snare

CYMBALS - Zildjian, Sabian, Alchemy, Istanbul, Bosphorus etc

HAND PERCUSSION - lots of tambourines, shakers, cowbells etc etc.

 

BACK TO TOP

 

Guitars

  • Fender L Series Stratocaster (Special Request Only)
  • Fender Stratocaster Standard USA
  • Fender Telecaster USA
  • Gibson Les Paul Standard USA 
  • Fender Squier Tele
  • Musicman Sub Bass 4 String
  • Fender P Bass USA
  • Fernandes Dragonfly w/Sustainer
  • Tanglewood TW15CE Acoustic Dreadnought
 

Guitar and Bass Amplifiers

  • Blackstar Artisan 30 Valve Head 
  • Blackstar Artisan 100 Valve Head
  • Blackstar HTStage 100 Valve Head
  • Peavey 5150MkII Valve Head
  • Peavey 6505+ Valve Head
  • Marshall JCM2000 DSL Valve Head
  • Marshall JMP (original) Valve Head
  • Marshall JCM800 Valve Head
  • Marshall 50/50 Stereo Amplifier
  • Marshall JMP-1 Pre-Amp
  • BadCat HotCat 100 Valve Head
  • Bogner Uberchall Valve Head
  • Fender Bassman Valve Head
  • Mesa Boogie RoadKing Valve Head
  • Mi Audio Megalith Beta Valve Head
  • Reynolds Valveart 501 Valve Head
  • Valvetone Impact Mk Raksy Valve Head
  • LabSystems VP400 Bass Amplifier
  • Gallien Krueger GK1001RB Bass Amplifier
  • Mark Bass Little Mark III Bass Amplifier
  • Ampeg SVT Classic Bass Amplifier
 
 
Guitar Combos
  • Peavey Classic 30 1x12" Valve Combo
  • Fender Bassman 4x10" Valve Combo
  • Fender Deluxe 4x10" Valve Combo
  • Fender Twin 2x12" Valve Combo
  • Mesa Boogie Subway Rocket 1x12" Valve Combo
  • Mesa Boogie Mark II 1x12" Valve Combo
  • Roland JC120 Solid State Combo
  • Vox AC30 2x12" Valve Combo 
 

Speaker Boxes

  • Blackstar Artisan 4x12 Vintage 30s
  • Ulbrick 2x12
  • Marshall 1960ATV (Tall Vintage) Vintage 30s
  • Marshall 1960A
  • Marshall 2x12"
  • Achilles 4x12" Vintage 30s
  • Achilles 4x12" G12H30
  • Kermit 2x12" G12H30
  • Kermit 1x12" Gold
  • Mi Audio 4x12A Wizards
  • Mi Audio 4x12B Wizards
  • Mi Audio 4x12A Gold
  • LabSystems 6x10” Bass
  • Ampeg 4x10" Bass
  • Ampeg 8x10" Bass
  • Yamaha RA 100 Rotating Speaker Box
 

Piano / Keys

  • August Roth Upright Acoustic Piano

Recording Studio Rates

We usually base our Recording Studio rates based upon your specific project. Please contact us with details on what you are looking to achieve and we can personally quote on your recording project.

As a guide our studio rates start around $77/hr or $550/day with a standard house engineer.

We also offer great "Freelance Engineer" rates for 'qualified' Audio Engineers who want to bring their own projects into our studio. If you are an Audio Engineer looking for an awesome studio to work out of please call us to discuss your requirements.
 

PONY MUSIC RECORDING STUDIO WHAT PRICE DO YOU PUT ON QUALITY?

TO ENQUIRE OR MAKE A BOOKING PLEASE CALL US ON (03) 9702 3244 OR EMAIL.
All prices are subject to change and bookings are dependent on availability.

 

  Hourly Daily 4+ Days
Studio + PRO Engineer $99.00 $750.00 $688.00 per day
Studio + Standard HOUSE Engineer $77.00 $550.00 $470.00 per day
Studio Only - FREELANCE $55.00 $350.00 $300.00 per day
SETUP FEE (payable on all sessions/per block of days) $88.00    

 

Minimum booking is 1Hour, A DAY is considered 8 hours of work within our standard hours of business.

 

PRO EP Bundle (4-5 Songs) $6600 Mastered by Crystal Mastering Contact us for more information
PRO SINGLE $1800 Mastered by Crystal Mastering Contact us for more information
DEMO WEEKEND $990 2 x 8 Hour Days Weekend With Standard House Engineer

 

Freelance Engineers may require a House Engineer to setup, pickup and changeover, with a minimum charge of 2 hours.

 

A SETUP FEE of $88.00 is payable on all sessions (payable per block of days)

 

 

Recording Studio Gallery
Click on the thumbnails to view larger photos.

 

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Samples of some recent recordings from Pony Music

ALL INSTRUMENTS IN THESE SAMPLES ARE ACTUALLY RECORDED INSTRUMENTS
*no musicians were harmed in the recording of these songs!

 

 DEFRYME - SUP? - Taken from forthcoming XV Album - Style: Rock - Recorded, Mixed & Mastered @ Pony Music by Damien Young & Geoff Mison

NE'OBLIVISCARIS - A Plague Flowers The Kaleidoscope - Taken from "Portal of I" Album - Style: Extreme Progressive Metal - Recorded @ Pony Music by Troy McCosker - Produced by: Tim Charles & Troy McCosker - Mixed and Mastered by: Jens Bogren

Delfie - Save Myself - Taken from "A Single Thread" Album - Style: Pop - Recorded, Produced & mixed @ Pony Music by Steve Lymburn & Dave Kerven - Mastered by: Rick O'Neill @ Turtlerock

LITTLE FEET MUSICPengiuns - Taken from "Jump Around" Album - Style: Childrens (with real instruments!) - Recorded & Mixed @ Pony Music by Damien Young

STATE OF EAST LONDON - Liar Cometh - Taken from "Repugnance" Album - Style: Deathcore (explicit lyrics!) - Recorded & Mixed @ Pony Music by Troy McCosker

NATHAN VARGA - Sample taken from "The Ripple Effect I,II,III - Style: Acoustic - Recorded & Mixed @ Pony Music by Geoff Mison

 

 

 All rights of the Original Artist reserved. All songs ©copyright of the Original Artists.

Some of the Albums, EP's and Singles wholly or partly recorded at Pony Music

Other notable Musicians, Bands and Audio Engineers who have utilised our Recording Studio include:
Whitfield Crane (Ugly Kid Joe), Leo Sayer, Glenn Shorrock, The McClymonts, Lee Kernaghan, Dead Letter Circus, Tasha Amoroso (X-Factor).
Kris Crummett (US Engineer/Producer), John Hudson (UK Engineer), James Lugo (US Engineer/Producer).

Ne'Obliviscaris @ Pony Music Dead City Ruins @ Pony Music Glass Empire @ Pony Music Mark Seymour and The Undertow @ Pony Music

New Travellers @ Pony Music Conscious Control @ Pony Music Miazma @ Pony Music Mark Seymour and The Undertow @ Pony Music

Glass Empire @ Pony Music Reflex Rex @ Pony Music Who Invited The Wolf @ Pony Music Defryme @ Pony Music

Delfie @ Pony Music Doug Milen @ Pony Music Eye Of The Enemy @ Pony Music Eye Of The Enemy @ Pony Music

Little Feet Music @ Pony Music The Seraphim Veil @ Pony Music Order Of Orias @ Pony Music Secrets In Scale @ Pony Music

State Of East London @ Pony Music Brook Chivell Band @ Pony Music DEFRYME AUDREY ENVENOMED

NEOBLIVISCARIS CITADEL LIZARD MAN LITTLE FEET MUSIC Giggle and Jiggle GLASS EMPIRE EOS

Engineers
The Audio Engineers at Pony Music have a wealth of experience in both Live mixing and Studio recording and will work with you to get the best possible result for your project and budget. The following are our regular House Engineers, there are also a number of "freelance" engineers who work in our studio frequently.

We have also played host to a number of International Engineers such as: John Hudson (Mayfair Studios UK), Kris Crummett (Interlace Audio, Portland OR) and James Lugo (Hemispheres Recording, Raleigh NC).

 

Troy McCosker - Pony Music Audio Engineer

Troy McCosker - Audio Ninja

Credits include: 

  • Ne'Obliviscaris
  • State Of East London
  • Eye Of The Enemy
  • The New Travellers
  • Glass Empire
  • Reflex Rex
  • Altamira
  • Dead City Ruins 
  • Whoretopsy
Damien Young - Pony Music Audio Engineer

Damien Young

Credits include: 

  • Mark Seymour & The Undertow
  • Leo Sayer
  • Glenn Shorrock
  • Little Feet Music
  • The Brook Chivell Band
  • James Southwell 
Geoff Mison - Pony Music Audio Engineer

Geoff Mison

Credits include: 

  • Defryme
  • Drivaside
  • Love System Deluxe
  • Josh Wins Again

 

RECORDING & PRE-PRODUCTION TIPS
 

For bands or Musicians looking at recording in the near future please check out our RECORDING & PRE-PRODUCTION TIPS which are designed to give you the best result in the studio. These are a "work in progress" and we'd appreciate any feedback.

“How to get the most out of your time in the recording studio”.

These tips are for bands and musicians who are getting ready to go into the recording studio to record their music.

PRE-PRODUCTION before entering the studio ensures smooth project sessions, saving you time, money, and results in better recordings. Pre-production involves working out all musical and vocal parts to each song prior to tracking (know your solos and backing vocals!).

Pre-production suggestions:

1. Understand your goals for the recording. What is the recording for?
- Personal Enjoyment
- Demo for Promoting, Booking Live Gigs/Clubs
- Demo for Shopping Label Interest.
- CD Single for Radio Play
- Album Project for Release etc

Knowing exactly what you want to achieve during your time in the studio will ultimately reflect on how long you spend on certain parts of the recording process, a demo will obviously take less time than an album release of the same amount of songs. Having a vision of the final outcome with your budget in mind will give the engineer a clear indication of what they have to do to get you the result you envision.

2. Record your songs at rehearsal. Even a simple cassette recording on a boom box may reveal weaker parts of a song in need of improvement. Record and review all your songs. Practice the songs over & over until everyone can play their parts backwards in their sleep!

3. Rehearse more songs than you plan on recording. It is often hard to know which songs will sound strong on the final mix. (If you plan to have a four song EP, prepare six songs just in case). Record the songs in the order of importance.

4. Record your best songs. Record songs that are fun to play and consider a variety of songs.

5. Choose your method of recording: Recording live in the studio: Some bands prefer to track live in the studio and this helps capture the interplay of musicianship better, but makes for longer set up time and many takes of each song to get a great performance from everyone. Most artists choose multi-tracking. The most important track is the Drum Track (the foundation for all overdubs), so it is imperative that it be flawless. All other instruments are done as a build-up (adding bass, guitars, vocals and percussion) to the recording. Each instrument is given individual attention and detail to ensuring the highest quality recording. If you plan on recording to a click track make sure you all practice playing along with one. With multi-tracking all instruments can be performing whilst concentrating on getting the drums recorded (essentially playing live), after which all other parts can either be kept or re-tracked as required.

6. Determine your budget. Think “quality” not “quantity”. Let the engineer know in advance how much time you’ve allotted for each session. He or she can help keep the pace going to meet that deadline. Remember to budget time for Mixdown and Mastering. A general rule of thumb: Mixing & Mastering of each song takes approximately the same amount of time as the tracking of each song.

7. Pre-session Consultation with the Studio Engineer. Make sure he/she knows and understands your vision before the session starts. Know what you want to sound like. Bring in reference CDs and let the engineer know by example the sound you are looking for.


The RECORDING Session:

Communication is the key to a successful recording session. It will keep everyone comfortable during the recording process. An artist needs to feel comfortable in order to get a good performance. Emotion and feeling make the best song, not necessarily the best technical performance. Working on a part over and over trying to get it technically perfect can sometimes destroy the emotional aspect of the part. Always make the song the highest priority (leave the egos at the door).

If you make a mistake while recording, don’t stop and start over. With multi-tracking, an engineer can punch in (edit) and correct simple mistakes. Sometimes a minor mistake is an example of “perfect imperfection” (actually adding to the performance’s honesty and emotion). If a part has a few minor errors, but great feel, it might be worth keeping. And remember, sometimes less is more! Here are a few suggestions for a successful recording session:

1. Be on time. Late arrivals can disrupt a whole recording session.
2. Introduce all band members to the engineer. Discuss your plans for the session and the desired instrument set-up.
3. At the end of tracking a song, wait for all instruments especially drum cymbals to fully decay before talking or making comment. The engineer will let you know recording has ended. Also, drummers, watch placing your sticks into one hand and making noise – silent endings.

4. Instrumental intros will need a time signature. If you are not recording to a click track usually a guitarist/vocalist will set the tempo and the drummer will join in with measured stick clicks, then guitarist will drop out with drummer still clicking the appropriate tempo. The drummer will provide a 1,2,3,4 verbal count in as the intro begins and continue through the beginning of the song. This sets up the timing for the overdub instrumental intro tracks. Stick clicks can easily be edited out during the mixdown process.

5. The best mixes are achieved by excellent recording. “Fix it in the mix” attitude will make it harder to get the final product right. Remember: A bad track will always stick out in the mix and the only way to fix it is to remove or replay the track. A bad take is not the end of the world, keep a positive attitude and try again. The luxury of recording is the ability to make composite tracks or rewind and re-record.

6. Communicate with your engineer throughout the project. Be flexible to accommodate the occasional changes that occur while recording your project. Your engineer will work with you to keep things running smoothly. 

7. Keep your recording levels at a modest level. The recording studio is a controlled environment allowing for instruments to be recorded and mixed for a powerful sound. Tracking volumes should be loud enough to capture pleasing tones, but not so loud that microphone bleed over or room compression become an issue.

8. Bring to the session only those people who are directly related to the recording process (band members, producers and engineers). A crowded session will cause distractions and in the long run cost you money is wasted studio time. Important: While in session, try not to carry on with conversations in the control room. This will distract the engineer who is working hard to concentrate on your music. The studio lounge is a great place to let loose.

9. Singers: Always drink room temperature water and don’t use ice! Ice will constrict your vocal chords. Hot tea with lemon work very well for vocal tracking. Make sure to provide emotion & feeling and let the engineer worry about the technical rendition.

10. Check your tuning often. There is no excuse for out of tune parts. You may bring your own tuners with fresh batteries or utilize the studio tuners.


Getting The Vibe Right

Having a great vibe in a recording session is extremely important for laying down good takes. If the vibe of a sessions sucks, then the tracks will have a FEEL that sucks. It can be hard to keep up a cheery and energetic vibe after the 12th hour of a session, but there are ways around this!

Vibe can be brought down, or amped up in a number of ways.

Getting a good night's sleep before a session is a must. No one will really feel in the zone at 11am while they are laying down a drum track, after they've come in with a hangover and only 4 hours sleep. As a musician that has paid for the time in the studio, why would you waste your money and time going in to lay down music that just doesn't cut it because the players were all hungover/tired!



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