Adrian Carroll has over thirty years of experience as an Audio Engineer and as an educator and has recently been successful as a researcher in the field of music technology and performance. Adrian Carroll has had success in record production, radio and video post-production both in Australia and the United Kingdom and has developed the ability to deliver services of exceptional value in the market place. International artistes include; Tom Baker, Penelope Keith, Nigel Planer, Whoopi Goldberg, Richard O’Brien, Australian operatic soprano Lisa Gasteen and Pianist David Helfgott. Adrian Carroll has also been responsible for a number a key recordings in the history of Australian Independent Music. The artistes include; Dum Dum Boys, The Skeletones, The Headstones, Voodoo Lust, Splatterheads, The Dangermen, Grumpy, Trudy Kerr, Tall Shirts, Heidi Holland, The Dubrovnik’s, The Moffs, Asylum, Vocal Lizard, Chris Morrow, The Upsets, Jimmy Watts and Boondall Boys. He also has extensive recording clientele in classical music; The Queensland Choir, Brisbane Philharmonic Orchestra, Australian Youth Orchestra, Queensland University Musical Society, Christopher Wrench, The Queensland Chamber Choir, Queensland Musical Festival, The Scholarship Program for Musically Outstanding Students and Pro Musica.
Lecturer and Avid Certified Instructor
Adrian Carroll is an Avid Certified Instructor (ACI). This is a comprehensive program that provides training and technical services to qualified educators, editors, consultants and trainers who service users of Avid products. The Program is designed to ensure instructional consistency and quality in the delivery of Avid Technology courses, using Avid provided courseware.
Live Sound Engineer and Record Producer
Adrian has live sound experience with various touring acts as Monitor and Front-of-House Engineer. Artistes include: Kate Miller-Heidke, Sounds of Spring, Jimmy Little, Dr Bombay, Lime Spiders, Hitmen, Happy Hate Me Nots, Headstones, Rat Cat, Ed Kuepper, Celibate Rifles, Voodoo Lust, Psychedelic Turnbuckles, Screaming Tribesmen, Chris Morrow, The Wreckery, Johnny Teen & the Broken Hearts, The Pedestrians and Happy Times.
Carroll produced a large and diverse client base and organised many successful recording projects. Studios include: Abbey Road, Trafalgar, Suite 16, Starsound, Trackdown, Kings Lane, Rich, Power House, Scream Ahead, Alchemix and Red Zeds.
Facilities Supervisor at JMC Brisbane Campus responsible for the Technical Team staff who provide the studio tuition and maintenance of the facility. Adrian was employed to facilitate and teach the studio courses at JMC over six trimesters. This training was organised in groups of four students which made an opportunity for some very effective teaching experiences and professional productions. As part of a promotional exercise I produced the vocal sound for a Slaughterhouse recording consisting of rappers Joe Budden, Joell Ortiz, Kxng Crooked and Royce da 5’9″.
Lecturer in Audio Engineering
Lectured at JMC Academy while working in the industry. JMC Academy is one of Australia’s leading Creative Industries institutions, offering Degrees and Diplomas in Music, Songwriting, Audio Engineering, Film and Television Production, Entertainment Business Management, Digital Design, 3D Animation and Game Design.
Courses delivered include:
AUD302 Producing Live Sound
AUD402 Advanced Studio Recording Techniques
AUD407 Advanced Audio System Design
AUD205 Acoustic Design
PMP401 Music and Genre Studies
EBM301 Recording and Distribution
Queensland Regional Trainer
At Staging Connections Adrian was responsible for the schedule and delivery of the Certificate III in Live Production, Theatre and Events (Technical Operations) throughout Queensland this included four individual certificate III qualifications entitled Technical General, Vision Systems, Lighting and Audio. He developed an excellent reputation for the positive execution of the training and this is evidenced by the positive results and overall impact of training throughout Queensland.
Adrian left being a lecturer at the Queensland Conservatorium of Music to work full time as the State Trainer for Staging Connection where he was able to train 300 crew members over Queensland in vision, lights and sound. Adrian gained valuable insight in these other two areas of live sound and would advise audio students to know vision and lighting systems as part of their professional repertoire.
“Most live event employers will give the advantage to someone with a broader skillset than just someone with audio skills and it doesn’t take much to be able to talk about these others areas of expertise. Some companies start their engineers off as lighting technicians so this proves my case. Would you hire someone that knows what a Wieland cable is or someone who does not?”
Lecturer in Audio Engineering
Having successfully completed my Post-Graduate Diploma of Music Technology, Griffith University recognized Adrian’s production and presentation abilities and appointed him as lecturer. His talents as an educator have been fine tuned over many years at colleges in the calabre of SAE Brisbane, SAE London, Alchemia London.
Courses delivered include:
2713QCM Concert Recording,
3719QCM Sound Production Projects 1
2719QCM Sound Engineering Projects 1
2711QCM Music Technology 3, Principles of Digital Sound and Synchronisation.
“With experience in teaching I was able to work at Alchemea full time and lecture at SAE both in London. When I came back to Australia after nine years in the UK I was employed as the Production Manager for Radio 4BC and then found myself studying Music Technology at the Queensland Conservatorium of Music. After completing my studies I continued as a lecturer at the Conservatorium and experienced some powerful teaching experiences. One of these was when the Audio Technology Department partnered with the Jazz department to give the students studio experience. The Conservatorium hired top Music Producers (Gary McDonald in this instance) to accompany the producer for the recording. The Jazz students learnt studio etiquette and recording practice. I have taken this powerful example programme integration into my teaching practice.”
Production Manager & Sound Designer
As Production Manager and head of the production department at 4BC Carroll was responsible for all the recorded works in two studios, quality control, budgeting and maintenance, achieving award-winning results in the radio industry. He also imaged the station with promotional material, sweepers and stings.
Commercial Producer 4MMM
Commercial Producer. Produced for the Sammy & Dean Breakfast Show on Triple M, and has worked at other radio stations including 4KQ, 4BH, 612 ABC Brisbane and 97.3FM. After working with international voice-over talent Adrian found a market on his return to Australia for his production expertise and gained experience in working most of the radio stations in Brisbane in a freelance capacity.
Lecturer in Audio Engineering
Adrian lectured at a prestigious private college at The Angel, Islington, London. Alchemia at the time was at the cutting edge of music technology and its practical application. Here Adrian shared with students his experience developed over years and changed the lives of those that he came in contact with.
“This studio was equipped with the Euphonics 3000 series console a digitally controlled analogue desk which was the cutting edge in recording console design”.
Media Market Studios UK
Adrian was responsible for the management of the UK subsidiary of the Brisbane based company Media Market. Adrian serviced the independent radio stations on the road throughout Britain, Scotland and Ireland. He delivered excellent customer service and providing the company with a host of satisfied clientèle.
“Client jingle briefs would often be turned around in a one week time frame and this demonstrated the coordination and communication necessary to manage this type of asset delivery internationally.”
Lecturer in Audio Engineering
Adrian lectured Advanced Production Techniques, Live Sound and Digital Recording at SAE in London.
He became proficient using the Neve VR console at a time when SAE purchased 10 consoles for studios worldwide making it the largest recording organisation in the world. During 1994 he worked in a freelance capacity at Abbey Road Studios assisting on classical recording in studio 1 and studio 2 and producing the Australian band, The Upsets in studio 3. He also assisted producer Mike Hedges on projects in his studio at Normandy, Northern France. Mike Hedges is known for acquiring the valve desks and valve two-inch tape machines from Abbey Road and combining them with the digital audio work station for award winning productions.
“At the time that I recorded at Abbey Road Studios I was working at Silk Sound and Lecturing at SAE in London. Because I had these studios as a resource I bounced the rhythm beds from Abbey Road onto the Lexicon Opus mainframe workstation at Silk Sound and recorded the vocals and the solos. I then laid these tracks back onto the 24 track machine to be mixed. I chose to mix the project at SAE London because we had just bought 10 Neve VR consoles and the sound was amazing. Warm and I thought better than the blue/grey faced Neve consoles I was used to working with in Australia mainly because the Neve VR had compressors and gates on every channel.”
“I thought I would get a bit of a live feel and mix the band with a little volume. The mix took eight hours because there were too many songs and I ended up with sore ears afterwards. I went to Seattle soon after and I can remember that in the city I would have sore ears and when I went to the beach, out of town, I would be absolutely fine. When I went into the city I would again be pained again. It took years for me to recover from this experience. What happened next professionally is another story but the message here is to look after your hearing – it needs to be managed if you are going to have a long career in Audio Engineering. You will need to have appropriate rest and you need to be vigilant not to expose yourself to too high sound pressures that could effectively ruin your career. It only takes one mistake to dash your future dreams.”
Sound Designer / Audio Engineer
Adrian recorded and produced radio and television sound tracks while directing voice talent of international calibre, Some of the more popular names include Tom Baker, Penelope Keith, Nigel Planer, Richard O’Brien, Whoopi Goldberg and a host of others in a fast paced, professional environment. Silk Sound has an international reputation for sound to picture, and radio production and this environment fine tuned Adrian’s extremely proficient engineering skills to become a world class voice over engineer/producer.
“I was working doing voice over work at Silk Sound in Berwick Street, Soho, London and a band came over from Australia that wanted to record. I knew the Engineers at Abby Road so we recorded the bass, drums and guitar in Studio 3. I was recording the drums for the recording while having AC/DC Highway to Hell in my mind as a drum sound. The studio had B&W speakers. I put on AC/DC Highway to Hell as a reference for the drums once we had finished setting the sounds and compared the two and I found I couldn’t have changed a thing. Our drum technician at the time decided to tighten up the snare after listening to the same reference and reduced the effect somewhat but it was an audio experience I will never forget.”
Mastering Engineer / Audio Engineer
Black Inc. Recorders
Production Manager and Mastering Engineer for a loop bin cassette duplication facility and a world class recording studio. Adrian was actively involved in the entire process from the content planning and creation, to the production of the finished product. Managed by Allan Black this facility was of the finest quality featuring a red cedar wood live room designed by Richard Priddle – a superb natural acoustic that gave recording a quality that was hard to match.
Adrian recorded and toured Australia in The Splatterheads as lead guitarist and songwriter, the Splatterheads proved to have made a mark on Australian Independent music.Some of the band’s history can be found inThe encyclopedia of Australian rock and pop (McFarlane, I. 1999. The encyclopedia of Australian rock and pop. St. Leonards, NSW: Allen & Unwin). The Splatterheads were also listed in the top 100 Australian bands in a popular magazine, and as record sales peaked in Germany the band were eventually signed to Subway Records in Germany. As a founding member of the band he featured on the first album and recorded the second album before leaving in 1988. The Splatterheads went on to tour of Europe supporting NOFX.
House Audio Engineer
Adrian was an In-house producer focusing on independent record releases. Adrian recorded the Splatterheads ‘Filthy Mile’ album, ‘Tall Shirts debut Great Snakes! Its the’, Red Eye Records, Mixed the Trilobites with Jonny B. Did preproduction for the Dubrovniks, released the Mungabeans ‘A Much Sweeter Gag’, Vocal Lizard, ‘Loose’, on the Hard to Beat Compilation, AU-GO-GO Records and a host of other Sydney rock bands.
Record Producer & Live Sound Engineer for Voodoo Lust
Adrian toured with Voodoo Lust as Live Sound and Record Producer. The association started in 1986 with the recording of the debut single ‘Shake Shake Hey Yeah!’ b/w ‘No No No No’. After success in Brisbane the band he moved to Sydney and released ‘Stop Breaking My Heart’ b/w ‘Gossip’. Other recordings followed ‘New Orleans’ on the ‘A Minute to Midnight’ Compilation, and Voodoo Lust EP, Rattlesnake Records. The band toured extensively and enjoyed headlining shows around Australia.
“I was fortunate enough to be able to get an apprenticeship after I finished school. I worked for a year without getting paid and didn’t think that was unusual. I only missed one day and that was a decision I regretted afterwards to this day. After three years I could function as an Audio Engineer and had my own clients. I soon started teaching at SAE in Brisbane and this started a long career in audio education.”
“I was also doing live sound at the time mixing studio musicians at pubs and when my principal band wanted to record I took them to record at Suite 16 and mix them at Starsound—two of the principle studios in Brisbane. Starsound was a very expensive studio and one thing that struck me about the studio was when I walked into the live room it was the quietest place I had ever been in life. What is import about a quiet room is that you catch all the nuances of the voice down to the sputum bubbles in the mouth and it makes a big difference when placed in the song. Having a compressor bringing this information up instead of background noise is very important.”
“In reference to live sound, I have always found live sound a really good way to get clients into the recording studio and would advise all students to learn live sound because there is work in the industry for new engineers. I followed Voodoo Lust band down to Sydney and was able to make records at Trafalgar and Trackdown. The members from this band also invited me to record them as the Upsets at Abby Road so the partnership has been a good one.”
Demonstrating music hardware and software programs for Apple Macintosh. Clients included Rodney Rude, Chris Morrow. I engineered the MIDI preproduction for Chris Morrow’s single ‘Just What I Needed’ which was then recorded at Festival and Mixed at Trafalgar Studios. Chris Morrow was in the Australian band The Numbers.
Lecturer in Audio Engineering
Lectured the diploma course and responsible for in-house productions for their studio Creative Space. Clients include; Voodoo Lust, Dum Dum Boys, The Skeletons. The Headstones earned themselves a record contract recording at Trafalgar Studios in Sydney. A track from the Creative Space session All The Things You Do can heard on Waterfront Records MX212835 On the Waterfront Vol.3.
“I had an enlightening experience at Festival Studios in Sydney. I did preproduction on Chris Morrow’s Just What I Needed which was tracked at Festival and Mixed at Trafalgar by Charlie Fisher. I went to the drum session and found this very large room. It was fully carpeted and wasn’t overly inspiring and I thought to myself how are they going to record drums in here. I had learnt long before not to open my mouth in a professional session but I was used to recording in pretty good environments at that stage. The engineer was a classical engineer from England that had done some work with the Cure. The first thing the engineer did was put the drums on a drum riser and this made a big difference to the drum sound. The next thing amazed me and because of this experience I never look at an acoustic environment as a done deal.”
“The engineer got the site engineers at Festival to make gobos with corrugated iron sheets on them, 10ft high, and about a dozen in number. When it was set up I looked from the drummer’s position and everywhere I looked was corrugated iron. They were staggered but covered the large corner section of the room. The drums sounded fantastic and I learnt a valuable lesson in record production—you can change your environment or create your own acoustic environment. To add to the importance of this realisation the main factors to a sound on a microphone is the sound source and the acoustic environment. If you get this right any microphone will pick up something good. I recorded the demo of Just What I Needed in an old house but it had a section that was tiled with one rough stonewall. We put an SM57 in that environment and got the most splendid results on the vocals and I knew it was the diffused high frequencies that made it sound so great.”
The Audio Workshop
Initial apprenticeship as Commercial Engineer/Producer. Co-Engineered and released an independent Gold Record ‘Australia My Homeland‘ by Claire Atkin written by Barry Morrison – Scorpion – 1984.
“My first record was a gold record called “Australia my Homeland” it was a promotional record for Luxaflex and they ordered a 100,000 units. I was an assistant engineer and had to record an overdub and combine this with a couple of instruments onto a stereo track on a one inch eight track Scully tape machine. Because we only had eight tracks we had to premix overdubs to fix all the parts onto the eight tracks. The new part and the old tracks need to be balanced with reverb to fit in the final record and once combined were not able to be separated. I do remember being nervous about the importance of the project but not my role. When the record was mixed I was congratulated on my balance and how it fitted in the mix perfectly. It was perfect but I didn’t see this as a difficult achievement because I could hear the end result in my mind as I recorded and combined the tracks.”
“At the Audio Workshop I was making TV and radio commercials and the music backing had to be exactly 29 seconds radio commercials and 30 seconds for radio commercials. We had our music on records with standard song lengths of three and a half minutes. I had to record the start of the music on an Otari MX5050 two track tape machine and then cue the record at the end of the song and drop the end in time on the recorded start on the tape machine. This involved letting the record go just before you hit record on the tape machine to let the record ramp up to speed. This procedure would be difficult for me to do now but I found that I could do this job quite efficiently and without too many attempts. The reason behind this procedure was to be able to reuse the tape so we didn’t cut and splice the tape. The result was seamless and as a result faster that cutting and splicing. This job was an unforgettable part of my initiation into the world of Audio Engineering.”
Masters of Arts (Research), Beat-mixing Rock Music: Rock and Electronic Dance Music merge to create the Manarays.
This research introduces the proposition that Electronic Dance Music’s beat-mixing function could be implemented to create immediacy in other musical genres. The inclusion of rhythmic sections at the beginning and end of each musical work created a ‘DJ friendly’ environment. The term used in this thesis to refer to the application of beat-mixing in Rock music is ‘ClubRock’. Collaboration between a number of DJs and Rock music professionals applied the process of beat-mixing to blend Rock tracks to produce a continuous ClubRock set. The DJ technique of beat-mixing Rock music transformed static renditions into a fluid creative work. The hybridisation of the two genres, EDM and Rock, resulted in a contribution to Rock music compositional approaches and the production of a unique Rock album; Manarays—Get Lucky.
Post Graduate Diploma in Music Technology, Griffith University, Music Technology
These programs provide professional, industry-targeted tertiary qualifications designed for musicians, music technologists, multimedia authors and music educators who wish to enhance their professional development in those disciplines that rely upon sound recording and production.
Access via: QUT ePrints: http://eprints.qut.edu.au/view/person/Carroll,_Adrian.html
Carroll, A. D. (2015) Compositional Triggers: Improvising song structure in live performance. Conference Address, KEAMS Korean Electro-Acoustic Music Society’s 2015 Annual Conference (KEAMSA) Seoul, Korea.
KEAMS Korean Electro-Acoustic Music Society’s 2015 Annual Conference (KEAMSAC2015) Seoul, Korea, 2-3 October 20215. Compositional Triggers: Improvising song structure in live performance.
Carroll, A. D. (2013) Beat-mixing rock music. eJournalist, 13(1), pp. 102-115.
Carroll, A. D. (2012) Beat-mixing Rock music : Rock and electronic dance music merge to create the Manarays. Masters by Research by Creative Works, Queensland University of Technology.
Carroll, A. D. (2012) Beat-mixing Rock music: Rock and electronic dance music merge to create the Manarays. Masters by Research by Creative Works, Queensland University of Technology. Audio available from: <http://eprints.qut.edu.au/61231>. (29th January 2015).
Carroll, A. D. (2012) Beat-mixing Rock music: Rock and Electronic Dance Music Merge to Create the Manarays. Ignite12! Crossing the Line, 31 October – 2nd November Conference (2012) QUT Creative Industries.
Carroll, A. D. (2005) Getting in the Groove : The Recording Studio Procedural Guide. Other thesis, Queensland Conservatorium, Griffith University
Carroll, A. D. (2005) Classical Recording Practice at ABC Classic FM. Other thesis, Queensland Conservatorium, Griffith University
Carroll, A. D. (2005) Digital Microphones In Professional Audio. Other thesis, Queensland Conservatorium, Griffith University