Making the DEEP LISTENING installation for THE BIG ANXIETY FESTIVAL 2019 from 27 September to 3 November

DSC_1865.jpgJudy Atkinson

We have just completed the voice recordings for the work with Judy Atkinson, Nardi Simpson, and REA,  in our Blue Mountains Studio, in Hazelbrook, NSW. Missi Mel Pesa made the recordings with the Soundfield Ambisonics mic setup, which will give the voices a spatial quality that will be mixed with her 8 channel sound design. I am designing speakers for the installation that will work aesthetically within the space and will provide an intimate engagement for the audience with the deep listening experience. The experimental work builds on Judy’s Deep Listening project and this is the first time her work will be exhibited with a gallery space.


DSC_1891.jpgREA, Judy Atkinson, Missi Mel Pesa and Gail Kelly (L-R)

Floating Vibrotactile floor installed at the Museum of Contemporary Art Australia for Maria Fernanda Cardoso On the Origins of Art I-II, 2016

The MCA did an amazing job installing a huge floating floor in the gallery space for the installation so that audiences can feel the amazingly detailed vibration produced during the spider’s courtship dance. I recreated the effect using organic and synthesised sources in a way that allows the audience to experience the spiders intimate communication. The floor is fitted with 6 tactile transducers which can reproduce powerful vibrations, so that most of the sound is felt rather than heard by the audience. This is the largest sound/vibration install we have done with this work to date and I am pretty happy with the results. This design will also be used by the Tate who they exhibit the work in the near future.
Maria Fernanda Cardoso
On the Origins of Art I-II, 2016


7:00 minutes

single channel HD video, with sound, tranducers

Museum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2018


Institute of Sonology, Royal Conservatory of The Hague, Netherlands.

KC-logo_jewel-ENI was invited by Raviv Ganchrow to deliver a guest lecture at the prestigious Institute of Sonology / Royal Conservatoire, at The Hague, in April 2019 . I was lucky to have a full house with a broad spectrum of students mostly from the Masters of Sonology at the Institute, but also architects, composers, artists and musicians. I was amazed by the feedback I received from presenting my work in the three-hour session

Raviv also generously gave me the chance to meet with two Masters students and offer guidance and feedback on their projects.

“An email to say THANK YOU for arranging the lecture with Dr. Andrew Belletty on Wednesday. I am, at present, unable to articulate exactly how valuable the lecture was, but also how much it inspired a few of my own ideas…”


Sound System Outernational 5 – Sounds in the City, 4-7th April 2019, L’Orientale University of Naples.

Through a grant made available by the NSW Government through Create NSW, I was recently able to participate in the Sound System Outernational conference at L’Orientale University of Naples, which was  4 days dedicated to the Global Sound System Culture, featuring International & Local Speakers & Performers, Conference Talks, Film Screenings, Workshops, Exhibitions and Sound System sessions scattered thrughout the beautiful city of Naples, Italy. It was an amazing opportunity to connect with colleagues and meet new academics and practitioners. The talks and events were spread out amongst some the cities most beautiful locations and vibrant street culture which added to the experience. Academic participants from UK, Australia, USA, Jamaica, South America and Europe shared experiences and many touched upon the common theme that globally, Sound System Culture is being silenced through the effects of neoliberal urbanisation. Practitioners and artists demonstrated the community-building power of Sound System Culture through their various practices.


This project is supported by the NSW Government through Create NSW




Recording Jeffrey Aniba Waia’s Story

In January 2019,  I had the privilege of spending a few days recording stories and songs with Jeffrey Aniba Waia, Artist, Dancer, Choregrapher and Senior Knowledge Custodian for his clan group of SaiBai in the Torres Strait. Jeff is a wonderful storyteller who code-switches  between English, Creole (Torres Strait base language) and Kala Kawau Ya (SaiBai Island language), as he tells his life stories.

AWA JEff CAirns Jan 2019

Jeff also creates cultural objects like this mask, which blends modern aesthetics with traditional mask-making techniques with amazing results.

IMG_3109 2.jpgA bit about Jeff:

“My name is Jeff Aniba-Waia and my clan is Ait Koedal Augadth (or Crocodile). I’ve been traditionally adopted into another clan called Deibau Augadth (or Wild Yam).

I come from an island called Saibai, in the Western Torres Strait, close to Papua-Niugini. The language I speak is Kala Kawau Ya (KKY).

At about age ten I was sent to the Boys College on Thursday Island. Then, from there, the boy’s college moved to Bamaga in 1973 when they opened the Bamaga State High School, so that’s where I did my Year 11 and 12. From there I did teaching courses in Townsville and Adelaide.

I went back and taught at Bamaga for five years and then in other islands of the Torres Strait… the outer islands, the eastern islands and the central islands. Then I spent some time in Cloncurry. I came back to Cairns in 2001 and I’ve been in teaching in Cairns West for six years.

To teach about Torres Strait Islander culture you have to be a Torres Strait Islander. And it must come from your heart to deliver that to young children. Children of all backgrounds can respect each other for who they are and through understanding and respect can be proud of their backgrounds. And be multicultural Australians.”

FAN GIRL in 360 at UTS Data Arena

clone tag: 6208357157819363508360 Sound design and Mix by Andrew Belletty

Director: Mario Faumui (Samoan)
Producer/Writer: Lanita Ririnui-Ryan (Ngati Ranginui, Ngaiterangi, Ngapuhi, Cook Islands)

Aotearoa New Zealand | 2018 | 6 min | Experimental

The University of Technology Sydney hosted a unique viewing of Fangirl in the 360 Data Arena as part of the WINDA Indigenous Film Festival on 24 November 2018.

I was commissioned to make a 360 degree soundtrack for this experimental film from New Zealand. The film features five dancers and was originally conceived as a project for VR headsets, but the Director of WINDA Indigenous Film festival, Pauline Clauge saw the potential for for the film to play in the data Arena at UTS. We needed to make a 16 channel soundtrack for the 360 space, and as the film featured a lot of movement. I needed to create quibble cues, as well as build the sonic world for he film within the space,  so that the audience could engage with the performers on screen. We did this with Foley, ambience and sound effects design and mixing across 16 speakers which followed each dancer as they moved across the screens. The film’s producers and the director were impressed by the immersive 360 experience created by the sound design, which added a strong sense of spatialisation and geography to the film, resulting in a satisfying audience experience.

clone tag: -3680966726095404647

On location Ambisonics Sound Design for “Saving Seagrass” Documentary

This week I have privilege of being invited by Jodie Bell at Goolarri media in Broome to make some unique recordings of the songs of the local seagrass meadows. Broome is known for its huge tidal movements which exposes the delicate grasses for a few hours during these king tides.

We were working with Broome seagrass expert Fiona West, and senior cultural advisor Dianne Appleby, a saltwater person of Yawuru and Karajarri descent who have intimate knowledge of the grasses and the country we were filming in.

I have been luck to have come to Broome many times over the past 25 years, working on films and documentaries. I always do my sound design work with Goolarri in their own studios here which allows us to work with full consultation with the community. We have done some great work over the past five years and this latest documentary is no exception.

The exposed seagrass gives Director Gary Hamaguchi and DOP Torstein Dyrting the opportunity to see the grass from a unique perspective, which they have complimented by using drones, underwater cameras, and macro photography. I needed to match this intimate perspective with sound, which lead me to bringing hydrophones, and ambisonics microphones to capture the unique sounds of the seagrass environment from within the grass itself.

The results so far have been spectacular, and I am looking forward to coming back to Broome in early 2019 for the sound design and mix.

Covert Plant Book launch


I am very proud to be have a chapter included in this fabulous book!

I spend a lot of time working on country, listening to and feeling the sounds produced by birds, trees, water and earth so it was great to have the opportunity to write about one specific tree here. Each tree has its own acoustic signature and generates energies which extend into the soil through its roots, into the air through its leaves, and into the bodies of insects that come into contact with its trunk, branches as leaves who can feel the sap as it pumps through the plant’s body.

I love recording the sounds of particular trees in a way that attempts to capture these different acoustic perspectives. A transducer microphone can be buried in the soil in the roots of a tree which responds to the energies transmitted through the earth, as the roots are gently pulled by the tree as it moves in the air above. A stereo microphone senses the sound of the leaves which produce a range of different sounds as individual leaves are moved by specific movements of the air. The sound produced by this movement of leaves and branches varies throughout the tree, and with each air movement producing different sounds.

The sound produced but the sap pumping through the tree’s body and limbs can be easily sensed by gently pressing a transducer microphone or even a doctor’s stethoscope  against the trunk. The sounds of this fluid movement, and the movement of leaves and branches, can all be hear through the trunk of a mature tree.

So listening to a dingle tree can easily take me a whole day!

Global Ear Barunga 2018

excerpt from article in The Wire – November 2018 by Marcus Boon

“I travelled to Barunga in June 2018 with Andrew Belletty. He is of South Asian descent, moved to Darwin when he was a small boy and, inspired by punk, drummed in local band The Swamp Jockeys, before joining up with some young Yolngu musicians and activists from East Arnhem Land, to become Yothu Yindi, the first nationally popular Aboriginal rock band. On their 1990 debut Homeland Movement and in early shows, anthemic rock songs were juxtaposed with short sections of traditional public song and dance performances -effectively a montage of pop and experimental traditional sounds. But what to many sounds like experiment, to Yolngu people sounds like tradition… But within the context of the Yolngu struggle for self -determination, the juxtaposition of traditional and punk sounds by Dr M Yunupingu and the other members of Yothu Yindi was a conscious attempt at creating a new kind of sonic space in which indigenous life might thrive or at least survive.  

Belletty left the band after their first LP but has since pursued a fascinating trajectory recording indigenous sounds for film and multimedia works and doing sound workshops in aboriginal communities… Belletty emphasises the importance of the vibration, and direct experience, of the land: the impact of dancing feet on sand, the land itself coming up through song, voice, yidaki and bilma (clapsticks). ‘”Listening to country’ for many Aboriginal people,” says Belletty on this theme of place, “extends beyond audibility, into sub-audible and vibrotactile energies, creating a complex and grounded notion of sound, perception and connection to the environment. “Song and dance vibrations permeate bodies within country,” he continues. “Expressing themselves physically through natural topographies, ceremony and art. Aboriginal song and dance practices make deep, intimate connections to specific ‘country’ through highly trans-sensory attention and activation of place. The performances have a physicality, they emerge out of country, are carried by custodians, and are put back into the country. These vibrational aspects of song and dance transform and heal people and country, through repeated practice over a time unimaginable in Western cultures.” To put it another way, the senses themselves have been colonised, leaving us with sound; beyond, before, j during an aboriginal bungul, a world of vibrational …, intensity, energetic flows- not as a fragment of the “‘ distant past, but as pulsating flash of the living now.”