FRASER-ROSE RECORDINGS
LOCATION
SOUND
Location sound for broadcast, documentary, factual, commercial, and corporate production.
I’ve spent more than three decades working in professional audio, including around 22 years in television and location sound, across Australian broadcast television, international media, major Hollywood studios, and independent productions.
From single-camera interviews and documentary field work to live television, remote locations, and multi-room international press junkets.
LOCAL COVERAGE
Two bases.
One very large local footprint.
My home and the Fraser-Rose Recordings studio are in Lennox Head, and I also have a base on the Central Coast. For production purposes, that allows me to work as a local across Sydney and Newcastle, as well as from Coffs Harbour through the Northern Rivers and Gold Coast to Brisbane.
The double-ring markers show Lennox Head and Woy Woy. Lennox Head is home, studio, and my primary Northern NSW base. Woy Woy is my Central Coast base, giving me practical access to Sydney and Newcastle.
For production purposes, “local” means no accommodation or per diems associated with bringing me into the region. Travel or mileage may still apply depending on the location and production.
The shaded areas are a practical guide rather than a hard boundary. If a location sits close to the edge of either area, just ask.
EXPERIENCE
More than three decades in sound.
I’ve been recording professionally since the mid-1990s, initially in music and studio production before moving increasingly into location sound, broadcast television, documentary, and factual production.
That background means I tend to think beyond simply getting clean dialogue into the recorder. I’m always conscious of what production is trying to achieve, what camera needs, and what happens to the material once it reaches post.
Location work has taken me from straightforward single-camera interviews to remote communities, live television, children's production, international press junkets, and multi-room setups involving large production and audio teams.
Selected Broadcast Credits
A hands-on gardening series made for younger audiences.
View project ↗Location sound across one of Australia’s longest-running children’s television programs.
View project ↗Richard Bell’s series exploring contemporary Indigenous art, artists and ideas.
View project ↗Location interviews and field recording for the nightly news and current-affairs program.
View project ↗Documentary telling the stories of Aboriginal women removed from their families and placed into domestic service.
View project ↗Arts series exploring creativity, culture and the role art plays in Australian life.
View project ↗Documentary exploring Redfern’s National Black Theatre and its role in giving voice to Aboriginal activism, culture, and social change in the 1970s.
View project ↗THE JOB
Location sound isn't just about the equipment.
Good location sound starts well before anyone calls action.
Managing and mitigating RF, timecode sync, camera hops, IFB, changing locations, room acoustics, wardrobe, background noise, schedule pressure, and talent all form part of the job.
My approach is to stay ahead of those problems where possible, solve them quietly when they appear, and avoid making sound yet another thing production has to think about.
I normally work from a Sound Devices 688, Zaxcom camera links, Lectrosonics radio mic systems, Tentacle Sync timecode solutions, and a broad microphone package.
RANGE
EVERY JOB SHAPES THE APPROACH
Some jobs are one camera, one contributor, and a boom. Others aren't.
I’ve worked on international press junkets across Australia and South-East Asia, coordinating large sound crews and multiple simultaneous interview rooms for major Hollywood studios and international media outlets.
At the other end of the spectrum, location work has taken me into remote Indigenous communities across the Northern Territory, Torres Strait Islands, and far-western NSW, as well as productions involving children and sensitive documentary subjects.
The scale changes. The basic approach doesn't: arrive prepared, understand what production needs, communicate clearly, and solve problems without becoming one.
GET IN TOUCH
ONE DAY OR THE WHOLE SERIES
Whether it’s a single-day shoot or you’re looking for someone to sign on for a series or multiple seasons, get in touch.
Tell me what you’re making, where you’re making it, and what you need from sound.