Enmore Audio is a world class analog and digital recording studio based in the heart of Sydney's inner west owned and run by Radi Safi (Happy, Monday Records) and Dan Shaw (Yen, Circle, Wells). The three room space was designed by luminary acoustician and studio designer John Sayers. Our isolated 'dead' room as well as our live rooms are ideal production, mixing and mastering environments.


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The Stable is our dead room which is home to a few of our amps, the Fender Rhodes and our Yamaha U3 upright piano. It’s perfect for vocals, amps and tight drums.


The Kitchen is our main control room and has a flat response down to very low frequencies. It comfortably fits several people and houses the majority of Enmore Audio’s outboard gear. It’s also home to our main soffit mounted monitors as well as our near fields.


The Garden is our largest and most versatile live room. It holds our A-100 Hammond as well as our 1970’s re-issue Ludwig drum kit. It’s big enough to record small ensembles and has enough outputs to accommodate most live recording requirements.




From work-shopping songs, experimenting with sounds, fleshing out arrangements through to suggesting session players and artist collaborations as well as balls-to-the-wall Steve Albini style band recordings, we’re passionate about conceptually contributing to every project we help produce.


We take a flexible and creative approach to mixing that prioritises originality and sonic quality. From gentle EQ and compression through to a complete re-think of a track, the studio is equipped to handle sessions large or small and help realise your material’s full potential.


The role of mastering in the process of production is frequently misunderstood, and underestimated. We have the tools, experience and the expertise to provide a finished mastered product for a wide range of media platforms. It is often desirable to hand over a complete product to an artist at the end of a recording session and that is goal with every session.


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Retro Synth Ads That Border On The Ridiculous And The Sublime

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We’ve already covered some awesome vintage instruments ads from the 60s. Now it’s time to fast-forward a few decades to a time that the fine line between ridiculous and ingenius…

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Open Up and Say Wah: 7 Obscure Uses of the Wah Pedal

| Articles, Audio, Gear, Happy | No Comments

Sitting within the uncanny valley between organic and mechanical; the wah (or wah-wah) effect produces a unique sonic pull. The harmonic content of a wah treated sound often occupies some…


Remembering Some Awesome Vintage Instrument and Gear Ads From the 1960s

| Articles, Gear, Happy | No Comments

Marketing in the music world has changed dramatically in the last 50 years. Where today you’ll find gear pedalled through a hierarchy of digital outlets and near-unfathomable systems of communication…

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Engineering The Sound: The Jesus and Mary Chain’s ‘Psychocandy’

| Articles, Audio, Happy, Production, Recording | No Comments

Cast against the backdrop of a conservatively regressive political climate, Psychocandy’s amalgamation of melody and extreme noise bucked against prevailing notions of popular taste. Paired with churning feedback, its bubblegum…

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Remembering Three Forgotten Vintage Australian Amp Manufacturers of the 60s

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Australia is seldom associated in reverence with the production of guitar amplifiers. That torch is held by the UK and the US, and to a lesser extent Germany, and has…

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Four Strings and a Tiny Body: A Look at The Humble Ukelele in Modern Recording

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Originating in the Madeira Islands of Portugal and then introduced into Hawaii in the late 1800’s, the Ukulele has recently snuck its way into a bunch of chart-topping indie and…

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In The Studio With Bec Sandridge Delivering a Chilling Rendition of Cyndi Lauper’s ‘I Drove All Night’

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As a part of an ongoing collab with our mates over at Happy Mag (one of Australia’s best resources for new music, music news and art we have to say) we…

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DIY Studio Hack: Vocoding Without A Vocoder

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Recently I have been listening to a lot of newly released music, exploring a world of various genres and styles. Among these I found myself veering toward modern electronica as…



UA Apollo 16
Alesis 9R
Presonus Monitor Station
Presonus Faderport


Mackie HR-824
Genelec 8020C
Sony SS-H7


Phoenix DRS-8
2 x UA-6176
2 x Groove Tubes Brick


Moog MF-104M Analog Delay
Moog MF-102 Ring Modulator
Moog MF-107 Freq Box
Korg Koass Pad
TC Helicon Voice Live


UAD-2 Quad Core
Waves Mercury
Soundtoys 5
Arturia V Collection
FXpansion BFD3
Celemony Melodyne
Spectrasonics Trilian


Mac Pro 3.5 GHz 6-Core
Intel Xeon E5 with 16 GM RAM


Otari MTR-10 (2 track)
Marantz PMD101
Tascam MK414
Revox A77


2 x UA-6176
DBX 160A
Analogman mini bi-comp


Neumann M-147
Neumann KMS-105
Royer R-121
Sennheiser e906
2 x Sennheiser MD 421
2 x Oktava MK-102
2 x Shure SM58
2 x Shure SM57
2 x Rode NT5
Beyerdynamic M88 TG
Electrovoice RE20
AKG D112
Shure SM7B


Yamaha U3 Piano
Fender Rhodes 73
Mustang Reed Organ
Hammond A-100
Schoenhut Toy Piano


Roland Juno-6
Korg Microkorg XL
Nord Stage V2
Critter & Guitari Pocket Piano
Yamaha Motif ES
Casio VL-1


Fender Deluxe Reverb
Fender Vibro Champ
Ivan Richards Custom
Orange Terror Bass


If you have a question or would like to book a session please get in touch with Radi or Dan:

(02) 9519 4866
radi@enmoreaudio.com or dan@enmoreaudio.com
29 Liberty Street Enmore NSW 2042 Australia

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