3D Spatial Audio mix for new Gaming Motherboard

Just completed an interested 3D Spatial Mix in the Hazelbrook Studio for Gigabyte’s new motherboard.

From Campaign Brief:

To highlight the power of the Z490’s DTS:X Ultra 3D audio function, AORUS and creative agency Five by Five Global teamed up with Timmy and Dr. Andrew Belletty of the National Institute of Experimental Arts. A leading researcher in the field of Immersive Audio and a founding member of musical group Yothu Yindi, Belletty was discovered and appointed by creative production shop KOMBI to mix the experimental track and test the motherboard’s spatial audio capability – wearing headphones listeners can expect to hear stationary and moving sounds above, below and around them.

Lily Rabbit by Melbient aka Missi Mel Pesa

Just finished mixing Lily Rabbit, an amazing work by sound artist Melbient, aka Missi Mel Pesa, which we created over 2 weeks in the Hazelbrook Studio. The work features a complex blend of vocals, electronica, and organic sounds and ambiences. This is Melbients first outing where she has experimented with her own voice recordings which has produced some super interesting results.

Missi Mel Pesa working on LILY RABBIT

tRAKa-tRAKn site visit to the Pilliga forrest, with r e a, Missi Mel Pesa, and Gail Kelly.

Andrew belletty at the site in the Pilliga, NSW

tRAKa-tRAKn takes as it’s starting point a traditional Gamilaraay survival story – Burra Bee Dee (flying mice): this cultural story teaches Gamilaraay youth about the importance of healing on country.

r e a and Missi Mel Pesa test the drone at the site in the Pilliga, NSW

This was our second research trip to the Pilliga Forrest, Central NSW with r e a and Gail Kelly to plan tRAKa-tRAKn, a new work being developed by r e a. We tested equipment and collected audio, video and still images to support the development of the project which r e a plans to make in September 2020. The Pilliga is a wonderful natural environment to work within, with an abundance of birdlife, diverse vegetation, and lots of silence! So far we have collected a range of audio data from the site with stunning Ambisonics recordings which we will later convert into multichannel ambience tracks for the work.

r e a tests Hi Res gimbal camera for capturing fast movement

5.1 mix completed for feature documentary ‘Richard Leplastrier – Framing the View’

Trailer for ‘Richard Leplastrier – Framing the View’

Now streaming on ABC Iview.

We just completed the mixes for the one hour ABC version, and the feature length version of the film at Mission Brown Studios in the Blue mountains. created the sound design for the films was a unique experience for me, as Richard’s architecture is all about bringing nature into the home. My studio is nestled amongst the trees in Hazelbrook, a peaceful location where I regularly get the opportunity to record 7.1 channel ambiences featuring our local cast of birds and trees. We have daily visits from an abundance of birds including:

  • Gang Gang Cockatoos
  • Black Cockatoos
  • White Cockatoos
  • Crimson Rosellas
  • Eastern Rosellas
  • King Parrots
  • Blue Wrens
  • Wattle Birds
  • Butcher Birds
  • Magpies
  • Currawongs
  • Crows
  • Eastern Spinebills
  • White-Cheeked Honeyeaters
  • Tawny Frogmouths
  • Southern Boobook Owl
  • Wampoo Fruit Doves
  • Brown Cuckoo Doves
  • Eastern Whipbird
  • Bell Miner


VR Workshop with Saibai Elder Jeffrey Aniba Waia, Cairns, Feb 2020

In Feb 2020 I initiated a  workshop in Cairns with Volker Kuchelmeister to develop ideas for a VR project which is in planning with Saibai Elder Jeffrey Aniba Waia. We made a series of audio and visual test recordings to explore the potential of 360 video and audio as a tool for telling a dramatised story on Saibai.  The test shooting produced extremely promising results which we will guide us through the development process.

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Jeffery Aniba Waia and Andrew Belletty

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Jeffery Aniba Waia

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Jeffery Aniba Waia

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Jeffery Aniba Waia and Andrew Belletty

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Volker Kuchelmeister, Jeffery Aniba Waia and Andrew Belletty

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Volker Kuchelmeister, Jeffery Aniba Waia and Andrew Belletty

Belletty’s Hazelbrook Studio opens specialising in 360 sound for VR and surround sound for Film and Television.

Andrew Belletty  has just completed the first 7.1 mix for the film In Bocca al Luppo, 2019, directed by Missi Mel Pesa, in my newly opened studio which is nestled on the edge of the forrest outside our home in Sydney’s Blue Mountains.  The bush setting provides the perfect tonic for directors exhausted by the post production process. The studio offers surround mixing for film and television with JBL and Genelec studio monitors, Protools Ultimate software and 360Audio tools.

Creating the Wiradjuri language version of Little J & Big Cuz

I have just returned from recording the Wiradjuri Language version of little J & Big Cuz in Wagga Wagga in central NSW. We recorded the cast in the recording studio at Charles Sturt University using my portable Protools Ultimate Rig and AKG212 mics. I worked closely with Producer Gillian Moodie and Wiradjuri language teacher Letetia Harris to edit the dialog on the fly to achieve a tight lip sync.

I must give a big thanks to the staff at the School of Communications and Creative industries for helping us with the facilities.


Review of Listen_UP in the latest issue of realtime

The Big Anxiety 1: listen_UP, listen deep

Keith Gallasch

On a reflective golden floor, six tree stumps for sitting. Above, six small boat-like objects crafted from paperbark float serenely. A soft, blue cloth curtain gently encloses the intimate, circular space. The floor dips deep beneath the sitter, mirroring all that is above in the contemplative space that is listen_UP, an installation in The Big Anxiety’s Empathy Clinic. The work advocates and induces deep listening with which to understand the anger and underlying grieving born of serial trauma suffered by generations of Australia’s Indigenous peoples. As a soft crackling suggests a gentle fire at listen_UP’s centre, a very present, lone female voice, pondering inherited and personally experienced suffering, is textured with heartbeat, the rumble of restless weather and a singer expressively uttering a mutating syllable sequence emotionally in tandem with the speaker’s narrative in a sound world of gently shifting perspectives.

The speaker struggles to begin—“I am… I am…”—but the words come—“I am without hope, without future”—revealing “a pain so deep, shame of what I am, what you have made me.” She is “a child unloved,” who has introjected her oppression: “I knew that I deserved not to be loved.” She briefly proffers an explanation for white listeners’ inability to empathise: “You cannot see me… because I mirror your pain.” While her plight is existential—“To be nothing would be preferable to being”—she is compassionate for children “raped in welfare, in a world where multinationals trade in weapons.” Unable to wait for revolution, she declares she will start with herself. The singer intones “reya, reya…”

Suddenly there’s particularity, the speaker revealing her profession, declaring “university a prison without walls.” As an academic, “I build walls of paper to bury my grieving soul while children are dying.” These children are close by, “crying down the street.”

However, a sense of purpose emerges with metaphor enriching the sense of passion inherent in the quietly controlled voice: “I am fire… I am stinging nettle.” “Will you accept the need for this pain?” she asks the listener. “Illy, illy,” sings the singer. Moving beyond metaphor, doubtless drawing on her spiritual heritage, the speaker declares herself owl, spider and “goanna full of healing.” Perhaps we can now travel with her: “I hear so many songs, I will wait for you.”

Finally, the speaker, no longer “I” but “we,” celebrates “the bliss of being completely a woman” through, she says, women’s shared words, dance and song. The singer’s “eeya, eeya…” becomes “eeya, eeya, num, num…” conveying a sense of both completion and eternal duration. I have no idea what these syllables (loosely transcribed here) mean, if anything literal, but the beauty of the intensifying ritual framing they offer lends choral power to the speaker’s path from anger and despair to survival through art, amid resonating wind, thunder and rain, distant bird call and the rattling of cicadas.


The speaker is much admired Emeritus Professor Judy Atkinson AM, a Jiman/Bundjalung woman of also Anglo-Celtic and German heritage. She is the author of Trauma Trails—Recreating Songlines (Spinifex Press, 2003): The transgenerational effects of Trauma in Indigenous Australia, and founder of We Ali-li, a Culturally Informed Trauma Integrated Healing training organisation.

The pioneering visual and media artist r e a has worked with Atkinson “to create an aural campfire—a place where stories are shared, listened to, understood and then reflected or meditated on. In culture the campfire is a creative learning and teaching space where elders pass on their knowledge and stories to listeners young and old” (program note). To focus and intensify this listening r e a has textured Atkinson’s voice with the artistry of Nardi Simpson (composer and singer with Stiff Gins), Missi Mel Pesa (audio-visual artist, musician and composer) and Andrew Belletty (self-described “vibro-tactile sound artist”).

Andrew Belletty kindly spoke with me about listen_UP’s embracingly natural sound design: the six small directional speakers encased in paperbark, keeping the technology invisible; the “grounding campfire” centre speaker; the two gently enveloping sub-bass speakers outside the circle; occasional sounds—birds, insects—including those from field trip recording in r e a’s country; and a realised desire to have the listener feel intimately and directly addressed by Atkinson, mouth to ear.

Listen_UP is a generous invitation to sense, via a contemplative space (exhibition designer Anna Tregloan) and aural magic, how Australia’s Indigenous peoples, as a young We Ali-li participant has put it, “we use our anger, we recycle it, we use it as power for us… to make beautiful things out of your anger, out of your hate, out of your sadness” (We Ali-li website).

The Big Anxiety, first staged in 2017, is a festival that “brings together artists, scientists and communities to question and re-imagine the state of mental health in the 21st century” (website). Artistic and Executive Director Professor Jill Bennett (UNSW), Producer Tanja Farman, Senior Curator Bec Dean.

The Big Anxiety: r e a and Judy Atkinson: The Empathy Clinic, listen_UP, artists r e a, Nardi Simpson, Missi Mel Pesa, Andrew Belletty; UNSW Galleries, Sydney, 23 Sept-9 Nov

Top image credit: Installation, Listen_UP, r e a and Judy Atkinson, The Big Anxiety, photo Jessica Maurer

Public Redress System at Biennale of Sydney 2020 just announced!

Public Redress System (r e a, Andrew Belletty and Douglas Kahn) will create an experimental site activation across the Tunnel at Cockatoo Island, for NIRIN, the 22nd Biennale of Sydney (2020).

I recently returned from some work in Mumbai and brought these 8 magnificent Trumpet Horn Speakers back with me on the plane. The trumpets Horns will form an integral component of the work.