About Magoo

Producer/Audio Engineer/Mixer/ Academic

My production career began while studying for a Bachelor of Mechanical Engineering at QUT. After sitting in on a few recording sessions, I decided to undertake a short certificate course in Audio Engineering. From there, I started mixing bands live as a part-time job while I finished my degree.

By the time I finished my degree, we had ‘the recession that we had to have’ (Keating, 1990). The financial repercussions of this meant no work for graduates, and I found work at a local rehearsal room/recording studio known as Red Zeds.

My work as a live sound engineer grew, but it was in the studio that I felt the most comfortable. Many bands I mixed live for, I took into the studio and eventually, the studio became my full-time job.

With multiple ARIA nominations and a two-time ARIA award winner, I have worked with some of Australia’s finest acts, including Midnight Oil, Regurgitator, Powderfinger, Art Vs Science, Custard, The Cruel Sea, Spiderbait, Jebediah, Sihad, Renee Geyer, The Jungle Giants, Saskwatch, Tex Perkins and many more.

After an extensive career spanning more than 30 years and producing 39 triple J Hot 100 entries, I continue to mix songs, lecture in music and production and research music at the University of the Sunshine Coast.

ARIA awards and nominations:

  • 1996 (10th) – Nomination, Producer of the Year (Regurgitator – Tu-plang)
  • 1996 (10th) – Nomination, Engineer of the Year (Regurgitator – Tu-plang)
  • 1998 (12th) – Winner, Producer of the Year (Regurgitator – Unit)
  • 1998 (12th) – Winner, Engineer of the Year (Jointly for Midnight Oil – White Skin / Black Heart, Regurgitator – Unit, Skunkhour – Another Childish Man Breathing Through My Eyes Opportunist Pulse)
  • 1999 (13th) – Nomination, Producer of the Year (Automatic – Pump It Up)
  • 1999 (13th) – Nomination, Producer of the Year (Custard – Loverama)
  • 1999 (13th) – Nomination, Producer of the Year (Not From There – Sand On Seven)
  • 1999 (13th) – Nomination, Engineer of the Year (Automatic – Pump It Up)
  • 1999 (13th) – Nomination, Engineer of the Year (Midnight Oil – Redneck Wonderland
  • 2002 (16th) – Nomination, Producer of the Year (Gerling – When Young Terrorists Chase The Sun)
  • 2003 (17th) – Nomination, Producer of the Year (Gerling – BadBlood!!!)
  • 2007 (21st) – Nomination, Producer of the Year (Kate Miller-Heidke – Little Eve)
  • 2007 (21st) – Nomination, Engineer of the Year (Operator Please – Just A Song About Ping Pong)

Academic Career

Dr Lachlan Goold is a Lecturer in Contemporary Music at the University of the Sunshine Coast (USC).

His research focuses on practice-based music production approaches, theoretical uses of space, the music industry and cultural geography. Lachlan continues research in recording studio practice with attention on remote and regional areas, the broader music industry, and the implications of government legislation on the music industry in Australia.

His research focuses on spatiotemporal attitudes toward recording space and he posits that DIY recording is a new paradigm of the recording studio.

Read more: PhD thesis

Articles & Books

Books

  • Goold, L. and Istvandity, L., 2022. Regurgitator’s Unit. Bloomsbury Publishing USA.

Journal Articles

  • Goold, L., 2022. The production of space and the changing character of the recording studio. Popular Music, pp.1–19.
  • Barratt, M.J., Maddox, A., Smith, N., Davis, J.L., Goold, L., Winstock, A.R. and Ferris, J.A. Who uses digital drugs? An international survey of ‘binaural beat’ customers. Drug and Alcohol Review.
  • Puljević, C., Carah, N., Miller, P.G., Wood, B., MacFarlane, C., Kilpatrick, E., Goold, L., Regan, S. and Ferris, J., 2021. The impact of the Queensland Government’s Tackling Alcohol-Fuelled Violence Policy on live music performances in Fortitude Valley, Brisbane, Australia. Drug and Alcohol Review, 40(5), pp.738–745.
  • Carah, N., Regan, S., Goold, L., Rangiah, L., Miller, P. and Ferris, J., 2021. Original live music venues in hyper-commercialised nightlife precincts: exploring how venue owners and managers navigate cultural, commercial and regulatory forces. International Journal of Cultural Policy, 27(5), pp.621–635.
  • Luttrell, B., Banks, H.J., Ward, A. and Goold, L. Hitchhiker’s Guide to Reality: Devising an interdisciplinary radio play in a pandemic. Perfect Beat, 21(1), pp.69–75.
  • Goold, L. and Foran, S., 2020. The Changing Nature of Jazz Artists Within the Recording Technology Space. Riffs, 4(1), pp.86–96.
  • Luttrell, B., Goold, L. and Ward, A., 2020. The MacGyver Approach: Teaching economy of availability in tertiary music education during COVID-19. Social Alternatives, 39(4), pp.27–32.
  • Miller, P., Coomber, K., Ferris, J., Burn, M., Vakidis, T., Livingston, M., Droste, N., Taylor, N., Puljevic, C., de Andrade, D., Curtis, A. and Goold, L., 2019. Queensland alcohol-related violence and night time economy monitoring (QUANTEM): final report (April 2019).
  • Carah, N., Ferris, J., Goold, L. and Regan, S., 2019. Tighter alcohol licensing hasn’t killed live music, but it’s harder for emerging artists. The Conversation, 15.

Book Chapters

Lachlan Goold & Phil Graham (2019): The Uncertain Future of the Large-Format Recording Studio. Proceedings of the 2017 Art of Record Production Conference, Royal College of Music, Stockholm. Journal on the Art of Record Production and Royal College of Music.

NTROs

  • T.J. Jensen, K. Starkey, A. Ward and L. Goold, 2021. Portfolio: Connecting music writers and producers with underrepresented communities.
  • Goold, L., 2019. Portfolio: Space, time, creativity, and the changing character of the recording studio: Spatiotemporal attitudes toward ‘DIY’ recording.
  • Graham, P., Goold, L., Carfoot, G., Kelman, K., Millard, B. and Gaffney, K., 2015. Indie 100 2015.
  • Kelman, K., Browning, Y., Goold, L., Graham, P. and Mazumdar, S., 2015. Indie 100 International – Chennai.
  • R. Davidson, K. Davidson, C. Powell, J. Babbage, B. Hoey and L. Goold, 2013. Ten Hands.
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