shane j clayton
Sound Engineer/Company Director
From Shane’s first foray into a recording studio in 1976 he was smitten and worked as a Musician and Assistant Engineer in various recording studios and radio stations in Yorkshire and London.
After immigrating to New Zealand in 1982 he worked as a musician and also as Coordinator/Live Sound Engineer for many concerts and festivals in Canterbury, venturing into a studio only to record his own music or as a session musician.
In 1995 the absence from studio work proved too much and after a refresher course and studio time with the award winning Peter Rattray at Tandem Recording Studios in Christchurch, Shane and his wife started establishing Soundpit Recording Studio.
Shane’s passion for audio, synchronisation (via timecode), editing, computer technology and his ability to think laterally has led to many challenging and interesting projects which include an ongoing relationship with The World of WearableArt (wOw) since 1996, as well as consultation on systems that were introduced to the 2006 Australian Commonwealth Games and the 2011 Rugby World Cup Opening.
Composer/Arranger (and the rest…)
Gábor would be a valuable addition to any recording studio in the world and we feel privileged that he is part of Soundpit. Born and formally trained in Budapest, Gábor studied under the great pianist, Esze Jenő and organist and improviser, Gergely Ferenc and worked as a composer and professional musician, performing recitals throughout Hungary. Moving to New Zealand in 1992 he took up the position of Organist, Choir Master and Musical Director at Saint Mary’s, Nelson.
After the departure of Mathew Brown in 1998, Gábor was offered the esteemed position of Composer in Residence at the Nelson School of Music and quickly became a feature, not only of the classical music scene, but crossing boundaries into jazz and popular music. He is admired among professional musicians for his piano and keyboard abilities, but also for the skills he has to manipulate synthesised and sampled sounds quickly and with deft ease. In May 2000 his composition of the Nelson Jubilee Mass was performed to an appreciative audience of 3000.
Why should you use Gábor’s expertise when there are any number of composers available???
It doesn’t take long for our Clients to realise that they aren’t just getting a “Composer”, but an Arranger, Musical Director, Musicologist, Choir Master, Pianist, Keyboard Player, Organist and Programmer. Through his vast knowledge of orchestral and modern instruments, their correct register and the techniques required to play them, he is able to comfortably direct your Session Musicians, or has the uncanny knack of being able to recreate the essence, nuances and timbre of most instruments with his keyboard.
Assistant Sound Engineer
Crystal developed an interest in recording after the disintegration of a really crud garage band in her early teens. The absence of other (willing) musicians lead to fuzzy and distorted solo recordings – straight into a laptop.
Undeterred, and with an already established obsession for sound she headed to the Southern Institute of Technology in the cultural metropolis that is Invercargill, where she received a Certificate in Audio Production in 2009. With editing and mixing skills already well developed, Crystal joined the Soundpit team in early 2010 with ambitions to improve her engineering skills and develop a better understanding of the greater aspects of the industry.
Since then she has spent time in both Canada and The United Kingdom working with various acts, spanning a wide range of musical genres. Crystal has also expanded upon her knowledge in both analogue and digital formats and developed particular interest in microphone characteristics and placement.
Electronics and music have always been a passion for Owen. Even before training as an Electronics Technician he was building guitar amplifiers and speaker bins. As a teenager he remembers building a “fuzz box” circuit that utilized zener diodes to achieve a soft-clipping distortion, rather than the common hard-clipping overdriven signal.
In the late 90s Owen became interested in microcontroller programming. One of his first micro projects was designing an interface box for Shane. The unit received a digital signal that would trigger a MIDI message to be sent to a Fostex hard disk recorder; accomplishing multi-channel audio playback.
For the World of WearableArt (wOw), Owen and Shane jointly developed a robust SMPTE time code distribution system incorporating fully isolated RS485 outputs with in-built redundancy. This allowed for multiple time keeping clocks to be used around the venue, aiding in accurate replication of a show.