Empiric Sound has developed an outstanding reputation in recording and producing high quality classical and acoustic music.

We provide services catering to anything from small-scale individual recordings to large commercial projects.

With no two artistic visions alike we always tailor our services to suit your needs so please get in touch with us to discuss your project.


Established to combine the work of engineers Adaq and Isa, Empiric Sound has accumulated an impressive collection of clientele, venues and labels with whom they have worked, such as the Wiener Symphoniker, the Royal Albert Hall and NMC Recordings. Recently, Empiric Sound has worked on a wide range of projects including engineering the seminal first complete recording of John Cage's 'Song Books', released on Sub Rosa and mastering audio for the Barbican Art Gallery's Pop Art app. Forthcoming projects include engineering and producing a recording of the Brodsky Quartet for Chandos Records.


Adaq was trained by legendary Grammy Award winning engineer Tony Faulkner.

Adaq has recorded orchestras at the Royal Albert Hall, Barbican and Symphony Hall Birmingham, choirs in Oxford, Portsmouth and Birmingham and has travelled as far as Poland to record independent musicians. He continues to assist Tony Faulkner on recordings at the Royal Albert Hall and Royal Festival Hall.

Credits include engineering the first complete recording of the John Cage Song Books; mastering Toccata Classics' Andre Tchaikovsky CD performed by the Wiener Symphoniker; a recording with Convivium Singers used on BBC Songs of Praise episode "D-Day: 70 Years On"; assisting on a recording with the Bach Choir at the Royal Festival Hall; Morgan Hayes' 'Violin Concerto and other works' CD on NMC Recordings and continued work for Toccata Classics.

Recording influences include techniques developed by Tony Faulkner and classic Decca recording philosophy.


Isa studied composition under a scholarship at the Royal College of Music before going on to establish a reputation as a producer and engineer of the very highest quality.

With a focus on classical, contemporary and jazz, he has worked with numerous distinguished musicians nationwide including Grammy award winner David Corkhill, The Brodsky Quartet, Mercury Prize nominee Kit Downes and Lore Lixenberg.

In addition, Isa regularly works with young prize-winning ensembles and soloists such as the ROSL winners Ferio Saxophone Quartet, ECHO Rising Stars and BBC New Generation artist Benjamin Appl, RPS Awardees Linos Piano Trio, and Kausikan Rajeshkumar, recipient of several awards at international piano competitions.

Concert recording highlights include a recital by cellist Jane Lindsay at the Royal Festival Hall, a solo performance by the Horns of the BBC SO and a Southbank Sinfonia concert with tenor, Adrian Thompson.

Isa’s philosophies towards recording and producing are influences by Tony Faulkner and Manfred Eicher.


Selected Credits: CDs & digital releases; concert recordings.

Clients: labels; ensembles; artists; composers.


We can work with you through the entire musical and technical process from planning recording sessions to delivery of production-ready masters. Below is a closer look at how we approach the stages involved.


Live concerts:

Whether it is a large concert hall or a local church, we work within the character of the acoustic to capture high energy performances with a warm yet transparent and natural sound. Our two engineers work together to ensure the recording setup is visually unobtrusive without compromising on quality. We use the same high resolution, high quality equipment as for our studio sessions.

Recording sessions:

We can offer a selection of top studios of different sizes for your sessions. These could either be traditional purpose-built studios with acoustic isolation or larger venues with a 'live' hall acoustic and dedicated control room such as the Henry Wood Hall.



The most fundamental role of the producer is to ensure the highest quality of musical performance is achieved. Having an external, objective viewpoint throughout the recording process is an underlying factor enabling this. We develop an understanding of how an artist or ensemble works most comfortably, whether that is being involved in detailed musical decision-making or allowing the musician's creative freedom to direct the process, with the producer ensuring the music is covered with a consistent high standard.


Editing is a vital part of the process which consists of assembling the best takes into a seamless and natural rendition of the work.


Mixing primarily involves balancing the relative levels of the microphones to achieve a true representation of the original performance. Depending on the genre of music, this can extend to the additional shaping of the audio’s frequency, dynamic, depth and panoramic complexion.


Restoration work often includes reduction or removal of acoustic and electrical hum, background noise, tape hiss, clicks, thumps and crackle.


The first stage of mastering is the final quality check such as removing audience noise. The second is the creation of a production-ready master which includes embedding the CD-Text, ISRC and UPC/EAN codes. These can be delivered as a Red Book CD master, DDP image or high quality 24/96 digital audio files.


Morgan Hayes: Violin Concerto and other works. NMC D163

BBC Music Magazine ★★★★

'Hayes makes witty assemblages out of brilliantly coloured shards and balletic gestures. Wonderful performances; luminous and warm recorded sound.'

Gramophone Magazine

‘Excellent performances and recording all round.'

The 'Traces Cycle' for solo flute. CR020

Tempo (journal)

'Matteo Cesari well conveys the challenges to breath control and rhythmic articulation that the music imposes: and the recording... brings out the great variety of playing techniques and textural elements without making the single instrument sound like some kind of electronic device.'

John Cage Song Books. SR344

The John Cage Trust

'... a stunning achievement, and this first complete recording makes a welcome (and long overdue) addition to the ever-expanding catalog of Cage's recorded works.'

A Multitude of Voices. CR026

BBC Music Magazine ★★★★

'A disc of new commissions to mark the WWI Centenary. The tone is broadly reflective, though American Frank Ferko finds some lighter shadings. Fine, sympathetic perfomances.'


BBC Music Magazine ★★★★

'This odd grouping of classics from Vienna’s First and Second Schools is so well played that one happily accepts its rather strained rationale; Shilyaev is a natural Beethovenian, but his Berg has a full-blooded lyricsim.'


Gramophone Magazine

'The clarity of the voicing and adroit phrasing in the Beethoven and Mozart sonatas are exemplary.'


Our in-house equipment includes:


Schoeps CMC6, various capsules

Coles 4038

Rode, various

Microphone preamplifiers

Audient ASP880

Focusrite ISA Two

AD/DA Conversion

Antelope Orion 32

Apogee, various




Bowers & Wilkins

Recording hardware and software

Pro Tools HD 10 native

Logic Pro X

Alesis HD24

iZotope RX4 Advanced

Audiofile Engineering Triumph


Exponential Audio


Equipment we like using:

DAV Broadhurst Gardens BG8

Jensen Twin Servo 990

Neumann M50c


Royer SF24

Prism Orpheus

Event Opal Monitors