MEET THE TEAM
After growing up in her father’s recording studio, Brodie was always going to have a love of audio. From casting to final product, she’s forever thinking outside the box to help bring creative projects come alive. Need a voiceover? Brodie has voiced international awarding winning commercials herself, and with over 10 years industry experience producing, she’s the perfect Senior Producer to keep sessions and engineers in line. Brodie is currently on maternity leave with first baby girl, Marlita.
Manager & Sound Designer
Dylan arrived at Risk Sound in 2002 with a first class Hons Degree in Recording Arts and absolutely no idea of post production. But taken under the wing of the legendary Phil Webster, that all soon changed. With a background in music, a childhood of cartoons and a general love of making noise, learning the craft of voice direction and sound design for radio and TV has just seemed a natural fit for Dylan. With every project bringing a new challenge and something to jump right into, Dylan now manages Risk Sound for Roger Savage since Phil’s retirement.
Music Producer & Sound Designer
Dee has a rich history producing music and advertising material for studios like Prolific Music, D&K, Flagstaff and Song Zu. He has been pushing the creative limits of sound for longer than he can remember. Whether it’s casting, sound design or music production, Dee takes it all in his stride with producing high quality work. Ready for your next music challenge… or any golf advice you need.
Lachie has been in and around the studio since he was 15 doing work experience and helping out. His love for sound has always been evident, so when the opportunity arose for a production assistant / engineer, he was the perfect candidate for the job. Lachie is currently completing his degree in audio engineering at RMIT while working with us. He's also an avid surfer and rock climber and is definitely the fittest engineer in the studio!
In partnership with Roger Savage, Phil Webster created Risk Sound in 2002.
As one half of the legendary Flint Webster team, Phil’s career had been recognised with numerous local and international awards. But never one to rest on past success, Phil had a vision for the future of advertising post production in Australian. So, embued with a love of voice and a passion for the craft of audio, Phil gathered together a team of sound designers who shared the same enthusiasm and creative drive.
In 2014, Risk Sound relocated to their brand new facilities in Fennell Street, Port Melbourne alongside Soundfirm, also owned by Roger Savage. Together, they’ve established a state of the art audio post facility that also offers long form picture editing and grading facilities as well as a Dolby Atmos cinema.
Today, Risk Sound continues Phil Webster’s vision by delivering quality sound, combined with extensive voice casting and direction. The enthusiastic young team at Risk Sound are always on hand to deliver your creative needs.
Philip retired in early 2016 after fourteen years at the helm of Risk Sound and more than four decades as a leader in commercial audio engineering and sound design. Being twice named as 'Creative Person of the Year' by the Melbourne Advertising & Design Club is testament to the recognition Philip has earned for his contribution to the local advertising industry. His passion for sound, which won him numerous local and international awards, has always been matched by his nurturing of emerging talent, be they sound designers, producers, copywriters or voice-over artists. This dedication was acknowledged at the 2015 VoVo Awards, when Philip received the inaugural ‘Industry Achievement Award’ for a lifetime of mentoring and support to the voice-over profession.
Roger Savage started his career in the UK in the 1960s and emigrated to Australia in 1964. He spent many years working with many of Australia’s successful recording stars of the time. He has been credited with having been a major force in establishing an international quality for Australian music recording. In 1978 he mixed his first feature film “Mad Max I”, using synchronised video picture and multi track sound, the first time this technique had been used on a feature film. In 1983, Roger opened Soundfirm in Melbourne. He followed this with Sydney in 1986 and most recently, Beijing in 2004. Over the years Soundfirm has developed into the foremost facility of its kind and Roger continues to head the organisation he created over 30 years ago.