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“Earthworks microphones look at the sound and give it an enormous amount of respect at the start, and that makes our job ten times easier. So, when I see someone playing something, I want to be able to hear it clearly and distinctly. The Earthworks mics make that job easier than it has ever been. They are so detailed and so clear. It’s like an artist walking around all the time with dark glasses on, and then one day taking them off and discovering that it’s ‘light out there’.”

-Angus Davidson on Earthworks microphones



Working in the music industry since 1975 in a multitude of roles including designing and building the first LEDE control room at Sing Sing Recording in Melbourne in 1981. Moved on to engineer and produce many records in Australia and then worked in LA with David Foster, Humberto Gattica, John Potoker, Joe Chicarelli, Peter Wolf, Brian Malouf and Mike Shipley before moving back to Australia and continuing to work in Melbourne. Signed a publishing deal with Musroom Records in 1990 and collaborated with artists including, John Farnham, Paul Kelly, Tina Arena, Ross Wilson and Sherine Aberatne before being offered a world tour with Crowded House as FOH engineer. Toured with Crowdies for 6 years as well as with numerous other acts in between writing and studio duties. In 1997 awarded Engineer of the Year for Crowded House ‘Farewell to the World’ Show at the Sydney Opera House in front of 165,000 people. In 1997 did a world tour with Supertramp, the first world tour using the brilliant VDosc line array and was nominated for the TEC Engineer of the year award.


Notable Gigs With Earthworks

2010: Crowded House World Tour

“The new SR40/HC’s are the best, flattest and ‘tightest’ sounding vocal mics ever. No hype in the high mids means you can make them sound however you want. Off-axis response is superb and they have bucket loads of headroom. I developed the idea of a conventional windscreen and the guys at Earthworks had a prototype made for me to try out in less than a week. I’ve never heard such definition and punch in any other vocal mic I’ve previously used.”

2012 – 2013: Kimbra

“The Earthworks SR40V is an incredibly flat microphone. The benefit to me is that I can make it sound any way I want, depending on the application. Because of the super fast rise time of the small diaphragm, I can add and subtract EQ without it ever sounding ‘tubby or flabby.’ Its natural presence and tightness is quite unique. Kimbra has an incredible vocal range from a whisper to a huge full voice. Regardless of how she sings, I can always place her vocal exactly where it needs to be in the soundscape. No other vocal microphone I have used can compete with the SR40V. For me it is simply the best vocal microphone ever.”

2015: Count Basie Orchestra

2016: Melbourne Symphony, Sydney Symphony, Tasmanian Symphony, West Australian Symphony, Queensland Symphony, Adelaide Symphony. Auckland Philharmonic


Angus’s Mics




Angus’s Pics

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