May 19th 2025: Sydney studio taps into world-class conversion and reliability to meet growing international demand for pristine audio production.
In the heart of Sydney, Crash Symphony Productions has steadily evolved from a humble garage setup into a globally connected powerhouse for voice recording, immersive mixing, and high-end production.
With projects ranging from film ADR and audiobook production to forensic audio and AI voice training, the studio’s commitment to pristine sound has earned it a reputation as one of the most versatile and forward-thinking facilities in Australia.
Founded in 2005 by James Englund and now run in collaboration with chief engineer Stewart Havill, Crash Symphony Productions delivers a wide range of creative services, with a core focus on premium voice recording. “We’ve made it our mission to offer the cleanest, most transparent voice capture environment available,” says Englund. “And when you’re working with top-tier talent from across the world, every detail matters.”
Over the years, the studio has welcomed international actors for ADR sessions during major film productions and global tours, often linking directly with post-production houses in Los Angeles and London. Their client list includes big names like Elisabeth Moss (*The Handmaid’s Tale*) and Dacre Montgomery (*Stranger Things*), along with industry icons in voice and narration. “Working with the voice of Siri was surreal,” adds Englund. “It’s the kind of project you never forget.”
To support its increasingly complex surround and remote workflow, Crash Symphony turned to Prism Sound. After years of reliable but aging Apogee hardware, the team made the leap, first to Titan, then Atlas, and finally to the flagship Dream ADA. The decision was driven by a need for greater channel count, uncompromising fidelity, and long-term reliability, especially as they expanded into Dolby Atmos.
“We needed a converter that could handle large multichannel workflows without compromising quality,” explains Havill. “The Dream ADA does exactly that, and then some. It’s the backbone of our Dante setup, seamlessly connecting with our Trinnov D-MON, Titan, and RedNet systems.”
The Dream ADA runs through an RME Dante interface, with Titan and Focusrite RedNet systems expanding the studio’s AES I/O via Dante. All critical signal paths — from hardware inserts to surround mixing — are routed through the Dream ADA.
Beyond the technical specs, it’s the musicality of the Prism converters that stands out. “We immediately noticed a leap in warmth and clarity,” says Englund. “The transition from our previous interface to Prism was like switching from flat grey to full-colour. There’s a dimension and emotion in the sound that makes the whole experience more engaging, for us and our clients.”
What also appealed to Crash Symphony was Prism Sound’s design ethos: gear that stands the test of time. “With Prism, you’re not worried about yearly updates or your system becoming obsolete,” says Englund. “That stability is worth a lot, especially when your clients expect flawless performance day in, day out.”
The studio’s journey from a local recording space to a global audio partner has been built on constant improvement, and the next goal is to bring their monitoring up to the same gold standard. “We’re planning a full upgrade to ATC monitors, aiming for their top-tier models,” says Englund. “That will complete our chain — world-class microphones, converters, preamps, compressors, reverbs — and, finally, the monitoring to match. And yes, the invitation for tea and a listen still stands!”
To find out more about Crash Symphony Productions:
Web: https://www.crashsymphony.com.au
Instagram: @crashsymphony
