26th UK Conference – Presenters

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Keynote speaker

Dave FisherDespite a childhood desire to take up plumbing as a career, Dave Fisher read Electrical Engineering (then known as the Mechanical Sciences Tripos) at Cambridge University

After graduation, he worked for the BBC, first at the Television Film Studios in Ealing, then at Television Centre in London firstly in Video Tape Recording and then in Television Sound. Later, he worked at the BBC’s Engineering Training Department in Evesham where as a Senior Lecturer he was responsible for all television sound-operator training.

In 1984 he moved to the University of Surrey, where he was Director of the Institute of Sound Recording, Head of the Department of Sound Recording, Professional Placement Tutor, and Programme Director of the Tonmeister (Music and Sound Recording) Course until he took early retirement in 2011. He is currently Emeritus Professor of Sound Recording at the University of Surrey. During his time at Surrey, he has also been deputy Dean of Students, the University’s Senior Warden, and a member of far too many committees.

From 1988 to 1990, he was a member of the Executive Committee of TIPS (the Training Initiative for Professional Sound). From 1991 to 2001, he was a Director of the Association of Professional Recording Services, and chairman of its Technical and Training Committee. From 1990 to 2001 he was a member of, then chaired, the Institution of Electrical Engineers’ New Broadcast Systems and Standards organising committee. He is a Fellow of the Institution of Engineering and Technology (formerly the IEE), a Chartered Engineer, and a Member of the AES.

He took early retirement in 2011. Since then, he has re-joined the board of the APRS, given various guest lectures, and set out to restore all the audio tapes of the last 45 years contained in the archive of the University of Surrey’s Institute of Sound Recording; so far he has copied about 1,500 tapes. In retirement he has had the opportunity for even more DIY and to concentrate on his long-neglected plumbing skills.



Ken BlairScottish recording engineer and producer Ken Blair graduated from Surrey University’s Tonmeister course in 1988. Following a year of postgraduate work, supported by an AES Scholarship, he gained an M.Mus in Recording.

Prior to university Ken had a gap year as a tape op at Edinburgh’s Craighall studios where projects included the Edinburgh Tattoo live album. His professional placement year from the Tonmeister course was spent in the West Indies at AIR Studios Montserrat. Projects in that year from 1986-87 included albums with Boy George, Rush, Black Sabbath and Sting.

On completion of his studies Ken established the location recording company BMP, specialising in classical, jazz and acoustic music. Celebrating its 25th year in 2014 the company has produced over five hundred albums and has won several awards including a Gramophone Award for the landmark seven CD set of the complete keyboard works of William Byrd for Hyperion Records.

Between 1989 and 2005 Ken was also on the staff of the Tonmeister course at Surrey, as Associate Lecturer, then as Tutor in Sound Recording and subsequently also as Senior Professional Placement Tutor. These roles included the running of studio practicals, listening seminars, marking final year student recorded portfolios, and management and assessment of the professional placement year of students working in the audio and film industries.

Ken has served on the committee of AES UK and is currently a director of the APRS.


Paul FergusonPaul Ferguson is Programme Leader for MA Sound Production at Edinburgh Napier University.

Paul graduated from Liverpool University in 1983 where he studied physics and electronics. During the 1980’s he did electronic design work for a number of major companies alongside studio and live engineering work. In 1990 he joined TC Electronic (UK)/Systems Workshop founded by Phil Beaumont and Steve Rothery (Marillion) and became one of the first Pro Tools specialists in the UK.

In 1994 Paul moved to Jewel and Esk Valley College, Edinburgh where he established their sound engineering programmes. He joined Edinburgh Napier University in 2001 at the start of their BA Popular Music programme.

Paul is an AVID Certified Instructor delivering 300-level Pro Tools training to students and other AVID Instructors. Paul continues to maintain his music Industry profile, supporting projects and acting as consultant for clients including Castlesound Studios, Terminal Music, Gorbals Sound Studios, Linn Records and Calum Malcolm.

In 2010 he gained his PhD developing techniques for live 3D surround sound manipulation.

His current area of research was awarded an EU research grant in 2014 and focuses on low-latency audio and video remote collaboration for composition, rehearsal, and performance. Paul has presented in person, and virtually, at conferences in the UK, Rome, Maastricht, Chicago and Athens on this subject.



These are just some of the artists Phil has worked with in a career spanning 40 years.

Phil Harding started in the music industry aged 16 at the Marquee Studios in 1973. There he worked with some of the top producers in the world as they recorded the great albums of the day.

As Phil’s career progressed, a very hot list of credits soon started to stack up with artists as diverse as The Clash, Killing Joke, Toyah and Matt Bianco, all taking advantage of Phil’s ever-growing reputation as a top engineer. At the start of the 1980’s, the name of a newly formed production team was added to the list – Stock/Aitken/Waterman. Phil mixed their first chart successes like Divine and No 1 single, ‘You Spin Me Round’ by Dead or Alive. The hits came almost faster than you could count them – Mel & Kim, Bananarama, Rick Astley, Depeche Mode, Erasure, Pet Shop Boys and Kylie Minogue at the famous PWL Studios in the 80’s.

By the early 1990’s Phil was regarded as pre-eminent in his field and left PWL to set up his own production facility with Ian Curnow at the Strongroom Studio complex in Shoreditch, London. A further deluge of hits followed but this time with Phil and Ian as producers for: East 17 (including the Christmas No 1 ‘Stay Another Day’), Deuce, Boyzone, 911, Caught in the Act and Let Loose.

2009 saw the release of Phil’s first book – ‘PWL From The Factory Floor’. The ‘Expanded Edition’ is available from Cherry Red Books ISBN | 978 1901447521, Phil’s long-awaited ‘Phil Harding Club Mixes of the 1980’s’ cd compilation is also available from Cherry Red Records.

In May 2011 Phil mixed 11 songs in Los Angeles with legendry Motown Songwriter and Producer Lamont Dozier for the Sir Cliff Richard album ‘Soulicious’, featuring artists such as Candi Staton / Deniece Williams / The Temptations and The Stylistics. ‘Soulicious’ reached the Top 10 in the UK charts October 2011.

Since 2012 Phil has formed a new remixing and production partnership with Julian Wiggins and Simon Dalton, under the name of PJS Productions. Projects so far include Holly Johnson / Tina Charles / Samantha Fox / Belinda Carlisle and Curiosity.

Phil is currently Vice Chairman of JAMES (Joint Audio Media Education Services), regularly participating in Masterclasses / Accreditations and course planning for Music Technology and Music Production Courses at UK Universities and Colleges.


Jim HunterJim Hunter has been a Television Sound Supervisor for 25 years. He continues to deliver both live and recorded shows, in studios and on outside broadcasts. He has also done location recording as a sound recordist. Jim was central to the design and testing of the new BBC Scotland TV studio complex at Pacific Quay in 2007, and was a staff trainer for these new facilities. Jim also oversees the links between BBC Scotland and further education establishments to help develop the audio skill base in Scotland.


Andrew KingAndrew King studied music at the University of Huddersfield, a doctorate of philosophy at the University of Northumbria and is a Fellow of the Higher Education Academy. He was the Deputy Dean (Learning & Teaching) then Associate Principal between 2009 and 2013 of the University of Hull, and is a Senior Lecturer and a University Teaching Fellow in the School of Drama, Music and Screen. He is also editor of the Journal of Music, Technology & Education. His research interests examine the use of technology in the music curriculum. He is particularly interested in the recording studio environment with an emphasis on the types of technology available, how learners interact in the environment and the roles undertaken in-group work. He has worked as a professional recording engineer for the BBC.


Calum MalcolmCalum Malcolm is a Scottish music producer, sound engineer and keyboardist based near Edinburgh. In 1974 he built and opened Castlesound Studios in Edinburgh, re-locating to Pencaitland in 1978, where the studio still thrives under new ownership. He played in the band The Headboys from 1977 – 1980. Calum has recorded and/or produced Capercaillie, The Blue Nile, Fish, Mark Knopfler, Deacon Blue, The Go-Betweens, Hue and Cry, Maire Brennan (Clannad), Nazareth, Orange Juice, Prefab Sprout (‘Andromeda Heights’ and ‘I Trawl The Megahertz’), Runrig, Lau, The Silencers, Simple Minds and Wet Wet Wet. Whilst Barb Jungr, Claire Martin, the Scottish Chamber Orchestra, RSNO, The Scottish Ensemble, Scottish Opera and Carol Kidd are others whom Malcolm has produced in the recording studio and concert hall. His working credits also include The Boys of the Lough, Brian McNeill, It’s Immaterial, Josef K, Mike Lindup, Stéphane Grappelli, The Happy Family, Tom Anderson, Tommy Smith, William Jackson and Black’s (Colin Vearncombe) new 2015 album, Blind Faith. Calum “refurbished” Prefab Sprout’s (16 years in the vaults LP) 2009 album, Let’s Change the World with Music, and mixed their recent ‘Crimson Red’ album.


William Moylan –  William is Professor of Sound Recording Technology and Music at the University of Massachusetts Lowell, where he has been the Coordinator of the Sound Recording Technology program since its inception and served as chairperson of the Department of Music for eight years. He has been active in Music and Recording Technology communities for over 30 years, with extensive experience and credits as a record producer, recording engineer, composer, author and educator. He has been engaged in aural skills pedagogy for most of his career as an educator, and how we (consumers, artists and recordists) perceive and conceptualize recorded sound played important roles in shaping his approach to production. Many of the concepts of his conference paper “Teaching Listening” are explored within the third edition of William Moylan’s book, Understanding and Crafting the Mix: The Art of Recording (Focal Press, 2014). Dr. Moylan holds the Bachelor of Music in Composition from the Peabody Conservatory of the Johns Hopkins University, the Master of Music in Composition from the University of Toronto, and the Doctor of Arts degree in Music Theory and Composition from Ball State University.


Patrick QuinnPatrick Quinn is currently a Senior Lecturer in Audio Technology at Glasgow Caledonian University and ProgrammeLeader for the BSc(Hons) Audio Systems Engineering. Prior to moving into education he worked as a software engineer for Honeywell and GEC industrialControls, before developing and teaching some of the first Music Technologyawards at Stow College in Glasgow and then James Watt College in Greenock. Since moving to Glasgow Caledonian University in 2001, he has led the development of the audio suite of degree programmes there. With a background in FE he is particularly interested in articulation opportunities to widen access and the creation of vocational work experience opportunities.


Kyle P. Snyder –  Kyle is an educator, engineer, and consultant dedicated to the advancement of audio education for engineers at every stage of development. He is a faculty member within the Ohio University School of Media Arts & Studies where he routinely teaches music production, recording, mixing and mastering, critical listening, sound design for film and video, and live event production. Snyder is also the Associate Director of Ohio University’s High School Media Workshop, a unique opportunity which affords budding media creators the chance to test the waters for a few days while learning the latest techniques in audio & music, video, animation, and social media.

His research interests include pedagogical approaches relevant to the field of audio engineering and specifically how best audio students learn. Most recently, Snyder released the eBook A Crash Course to Making Your Mark in the Recording Industry in partnership with Focal Press and Creative Live. Intended for all aspiring and current audio recording practitioners, A Crash Course to Making Your Mark in the Recording Industry provides an overview of a wide-range of central topics related to the business and technical trade of recording. This eBook is available via Focal Press.

Professionally, Snyder is active in numerous organizations, including the Audio Engineering Society which he serves both internationally and locally. He is also proud to host and engineer the AES Journal Podcast, produced ten times each year in conjunction with the Journal of the Audio Engineering Society. Additionally, Snyder is a member of The National Academy of Recording Arts & Sciences, The Society of Professional Audio Recording Services, The Association for the Study of the Art of Record Production, and the Music & Entertainment Industry Educators Association.


Mark ThorleyMark’s work centres on the impact of technology on the creative industries, drawing upon his background as a classically-trained musician, technologist and entrepreneur. He regularly presents at international conferences and his work appears in a variety of publications ranging from Oxford University Press through to the Journal of Popular Music and Society. He has developed and managed several academic Programmes, including latterly, the Music and Creative Technologies Programme at Coventry University. He was a Director of the Music Producers Guild, is a Senior Fellow of the HEA, and presently sits on the Education Group of JAMES.


Melvyn TomsMelvyn completed a 5 year technology apprentership with EMI Music. During this time he worked in the vinyl disc manufacturing factory and the high speed cassette duplication department. He also spent 2 years with EMI Audio Research, helping with the design and testing of the EMI TG 12410 analogue post-production console.

He then moved to Abbey Road Studios where he worked for 30 years, initially maintaining studio equipment, with particular responsibility for analogue tape recording. Latterly he was responsible for the installation and support of Abbey Road’s post production facilities which included disc cutting, CD mastering, classical editing, digital re-mastering and DVD authoring rooms, all of which were digitally networked together.

Since leaving EMI he has been working as an independent consultant, delivering training programs and working with JAMES (Joint Audio Media Education Support) as one of the course accreditation assessors.




The following are short biographies from this year’s conference presenters.


Iain G. Burleigh –   Ian George Burleigh holds an Engineer’s Degree in Electronic Computers, an M.Sc. in Computer Science and an interdisciplinary Ph.D. in Computer Science and Music. He has been a software engineer, a working musician, and an instructor; worked for a number of software companies, played jazz, classical, new age, and world music, and taught software engineering, interdisciplinary fine arts courses, and computer science at a few colleges and universities. For the last five years he was Assistant Professor in the music department at the University of Lethbridge in Alberta, Canada, where he taught computing and science-oriented courses to students of music technology. He is now an independent scholar interested mainly in various computational aspects of sound and music.


David Carugo –   David is a Senior Lecturer at Oxford Brookes University, where he teaches many aspects of audio engineering and music production, concentrating on the application of technical theory into professional practice, having had a long professional involvement with the music industry as a live mixing engineer and studio-based music producer, specializing in acoustic music. Having previously completed a BSc in Applied Physics and an MSc in Music Technology, he is now working on PhD research into 3D musical acoustics. His wider research interests include electroacoustics, sound and music control, and 3D / immersive audio.


Charis Coke –  Charis is a Senior Lecturer on the Film Production BA (Hons) course at the University for the Creative Arts, teaching there for the last 11 years as the resident sound specialist. She also has 20 years experience as a freelance Sound Designer working in both narrative and documentary film with filmmakers and artists such as Nicolas Roeg, Michael Clark, Daria Martin, Anthony Fabian and Simon Aeppli.
Her work has been screened at Tate Modern, DAW Singapore, Barcelona Film Festival, London Short Film Festival, Quadrangle and the British Film Institute. She is an Affiliate member of the Institute of Professional Sound an Associate member of the AES holds an MA in Sound Design for the Screen from Bournemouth University a Post Graduate Certificate in Learning and Teaching in the Creative Arts and is a Fellow of the Higher Education Academy


Stuart Cunningham –  Stuart is a Senior Lecturer in Computing and formerly Head of the Department of Creative Industries (2010-2014) at Glyndwr University. His background is in computing and audio technologies. He holds a PhD in similarity-based audio compression from the University of Wales, having previously completed a BSc and MSc at the University of Paisley. His research interests cover a range of computing and creative hybrids, including: audio compression; affective technologies; sonic interaction; sound design; and the socio-economic impact of leading-edge technologies. Stuart is a Fellow of the British Computer Society (BCS) and Chartered IT Professional (CITP). He currently serves on the committee of the BCS Computer Arts Society (CAS) specialist group. Stuart was also a member of the MPEG Music Notation Standards (MPEG-SMR) working group, which developed ISO/IEC 14496-23:2008.


Robert E. Davis –  Robert received his B.Sc. (Hons) In Music Technology from the University of the West of Scotland (UWS), Paisley, UK. He currently works as a researcher at UWS involved with interactive 3D audio systems while also undertaking a PhD on spatial audio and signal processing. Robert has worked as a lecturer and teaching assistant at UWS on the Music Technology course, teaching audio signal processing, electronic music instrument design, recording and production. He has held positions in film score composition, live music events, and has carried out a number of audio hardware and software related engineering and consultancy roles. More recently, Robert has worked as a collaborative research partner with the Institute of Hearing Research and BBC Scotland. His current research interests include 3D audio, Ambisonics, binaural reproduction, audio signal processing, speech intelligibility, audio teaching methods and interactive music. He is also a member of the Audio Engineering Society.


Cormac Donnelly –  Cormac is a lecturer in Audio Engineering and Production at Futureworks School of Media in Manchester, UK. Before entering academia he worked as a studio engineer and sound designer. He now splits his time between lecturing and research. He is currently studying for a masters in Sound Design at Edinburgh Napier University and also serves as one of the contributing editors to Designingsound.org.


Mike Uwins – Michael Uwins a musician, engineer and producer who has over twenty years industry experience, including three years as UK’s product specialist for Steinberg & Native Instruments. He has worked in Higher Education for over ten years, delivering classes in studio, live and location recording, mixing and post-production. Until 2012, he held the position of programme leader of De Montfort University’s Foundation Degree in Music Technology and is currently lecturing in Music Technology and Production at the University of Huddersfield.

He graduated as best music / audio student from DMU, with a Masters Degree in Creative Technologies (2014) and is currently working towards a PhD, exploring the use of immersive soundscapes as an aid to improve the customer experience in retail environments. Other research outputs include his work on the EARS2 project (De Montfort University), a pan-European initiative to widen participation in Electroacoustic Music amongst young people.


Jason Fick –  Jason is a composer, audio engineer, and educator. His music and intermedia works have been performed at national, international, and local venues, including conferences of the Society for Electronic Music in the United States (SEAMUS), the International Horn Symposium, the College of Music Society, and the American Colleges Dance Festival. As an engineer, he has recorded classical, jazz, and popular music in live and studio contexts, audio for film, and dialogue for various projects throughout the United States. Jason is currently an associate professor in Media Arts at the Art Institute of Dallas where he teaches music and audio production.


Colin Grassie –  Colin is a Teaching Fellow in Music Technology at the University of the West of Scotland. From a background as an electrical engineer he moved into audio engineering graduating from the School of Audio Engineering in 1992. Initially working in music clubs, installing audio systems and freelancing in live sound engineering, he gained a degree in Music Technology with Electronics at Glasgow Caledonia University in 1996. From 1997 as a lecturer in Further Education, he has authored in “sound production” for the Scottish Qualifications Authority (SQA), contributed to national curriculum design. Since joining the University of the West of Scotland in 2009 he is primarily involved in teaching studio production, electroacoustics and practical room acoustics with an interest in spatial audio. As a Fellow of the Higher Education Academy, he has a vested interest in developing education practice for aspiring audio professionals.


Colin Heron –  Colin is a Senior Lecturer in Creative Media Technology at Glyndwr University, Wrexham, UK. His main areas of teaching and research are Live Sound Systems and Recording Practice. Colin graduated from Salford University with a MSc in Professional Sound and Video in 2015 and the Liverpool Institute of Performing Arts with a BA in Sound Technology in 2000. Prior to academia, Colin worked as a freelance Sound Engineer and Musician.


Miriam Iorwerth –  Miriam studied Music and Sound Recording (Tonmeister) at the University of Surrey, and is now working towards a PhD in Networked Music Performance at Glasgow Caledonian University. She worked in electronics after graduating, including a job in the Antarctic, before returning to a career in music education. She currently works as a lecturer on the BA Applied Music course at the University of the Highlands and Islands.


Nyssim Ledford –  Nyssim received a Bachelor of Music in music production and engineering and in film scoring from Berklee College of Music; from the Massachusetts Institute of Technology, she received her MS for work on networked music collaboration and PhD for research on auditory perception and musical creators. She did postdoctoral work at the Music Cognition Lab at the University of Prince Edward Island, and has been visiting faculty at the Georgia Institute of Technology. Outside of academia, Nyssim has recorded classical, non-Western, folk, jazz and popular music. She has been a senior researcher at Sweden’s Interactive Institute. Currently, she is an assistant professor of audio technology at Luleå University of Technology in Sweden where she continues her research in auditory perception, music cognition and record production.


Gavin Macpherson –  Gavin is currently an Applications Engineer at Cirrus Logic. After working as a student during his 3th and 4th year summers he joined the company fully upon graduating Edinburgh University with a MEng in Electrical and Electronic Engineering. He now has completed a two year graduate rotation which took him from the MEMS design team to DSP applications (and many others teams in-between). Right now Gavin is working in the MEMS applications team developing the next generation of MEMS microphones. He has a love of films, which is linked to an interest in the sound engineering behind the scenes.


Guillermo Mager –  Dr. Mager was born in Caracas, Venezuela, where he studied Electrical Engineering at the Universidad Central and composition and conducting at the Conservatorio de Musica. In addition to degrees in Music and Technology and Music Education from New York University (NYU), his education also includes the study of multitrack recording technology at the Institute of Audio Research (IAR) in New York City. Before joining the University of New Haven, he was the Senior Instructor for Advanced Technologies at IAR and also served as the Music, Business, and Technology Program Coordinator at NYU. He is currently a tenured associate professor in the Department of Music. Between June of 2002 and December of 2008 he served as chair of the Department of Visual and Performing Arts and coordinator of multimedia studies. His teaching duties include courses in music, sound recording, music industry, and multimedia.


Richard Mcllvery –  Professor McIlvery has been a professional guitarist and studio musician since 1963 and a recording engineer since the early 1970s. As a musician he toured with Waylon Jennings, performed on sound tracks of “Howard the Duck”, “Things Are Tough All Over”, “Action Jackson”, “Ace Ventura; Pet Detective”, “What’s Love Got To Do With It” and appeared on over 100 albums and singles.

As an engineer his credits include over 200 albums and singles, numerous films and TV shows such “The Shadow”, “Ace Ventura; Pet Detective”, “Birdland”, “Dr. Quinn; Medicine Woman”, “Civil War Journals”, “Life and Times of Ned Blessing” as well as numerous commercials for radio and television. He has worked with film composers Mark Isham, Michael Kaman, Patrick O’Hearn, Danny Elfman, Patrick Seymour and artists Aaron Neville, Barry White, Dudley Moore, Ricky Martin, Michael Jackson Air Supply, David Cassidy, Waylon Jennings, Dwight Yoakum, Luther Vandross, Xuxa, Thomas Dolby and many others.

Professor McIlvery composed the orchestral score for “Spaceflight”, the highest rated PBS Documentary to date in the U.S. as well as 7 other nationwide PBS documentaries and specials.

Professor McIlvery has been a Professor of the Music Industry and Recording Arts Department at the University of Southern California, Thornton School of Music for the past 33 years where he founded both the Bachelor of Science degree in Music Recording and the Bachelors of Science and Music in the Music Industry.

Professor McIlvery is a Life Member of the Audio Engineering Society and the Grammys association. He was a founding member of the Music Producers’ Guild of the Americas (now the Producers and Engineers Wing of the Grammys). He is member of the Advisory Board of the Producers and Engineers Wing, a member Audio Engineering Association Education Committee, a former member of the Board of Directors for the Music Entertainment Industry Educators Association and a continuing member of the TEC Awards Nominating Committee.

Professor McIlvery conducted two 3-day seminars (2006, 2007) on film scoring at the City University of Hong Kong where he engineered an orchestral score with the 85 piece Hong Kong Symphony Orchestra in front of an audience of 125 industry professionals and educators for Chinese feature films “Election 2” and “After This Our Exile”.

Professor McIlvery has lectured on recording, music business and film scoring technologies for the Audio Engineering Society, Lugano, Switzerland; Sibelius Academy, Helsinki, Finland; Audio Engineering Society, Amsterdam, The Netherlands; Shobi Music Business College, Tokyo, Japan; Manitoba Audio Recording Industry Association, Winnepeg, Manitoba, Canada.

For 27 years he was owner and chief engineer of Sound Chamber Recorders in North Hollywood, California. The Sound Chamber was an audio recording facility that recorded sound tracks for television and motion pictures as well as records, radio & TV commercials, sound effects editing for film and industrial videos. The Sound Chamber was a three room SSL, Studer, Pro Tools facility that was located in the heart of the music production center of Los Angeles.

Gold and Platinum awards include: Michael Jackson “Invincible” (2x Platinum), Ricky Martin “Ricky Martin” (7x Platinum), Luther Vandross, “Luther Vandross” (2x Platinum), Barry White, “Icon is Love” (2xPlatinum), “Last Of The Mohicans Sound Track” (1x Platinum); Jordan Knight “Jordan Knight” (Gold)


Gordon McLeod –  Gordon is currently a Director of Engineering at Cirrus Logic in Edinburgh and has worked in semiconductor design for 27 years. He came to Cirrus through the acquisition of Wolfson in August 2014 and has led the development of numerous audio codecs for high volume consumer electronics products like smartphones and tablets. Previously Gordon worked at Intel and Ferranti. He is particularly interested in the potential for innovation at the boundary of different areas of expertise and the need for balance between next and “next-next” generation product developments to ensure long term survival in competitive markets. Gordon graduated from the University of Strathclyde in Computer Science and Microprocessor Systems and was recently awarded an MBA by Strathclyde Business school. He has a strong interest in music, particularly in trying to correlate objective audio measurements with the subjective listening experience, and also plays trumpet in his spare time.

Jim Motley –  Jim is Senior Vice President of International Sales at SSL and has worked a most levels of the supply chain in the industry, from shop-floor in a music store to corner office in leafy Oxford. He’s affectionately known as the “company performing seal” because of his willingness to do YouTube product videos in exchange for fresh fish, and is active in a number of the online forums under the not-so-secret pseudonym Jim@SSL. Bring your own CV and grab him after the presentation for some free coaching and careers advice!



Pete Nixon –  Pete has been educating creative practitioners since 2004, training sound engineers, designers, musicians and artists. His professional practice extends from sound design for exhibition, to radio production, to audio for short film, to audio books, to music production. He currently works in the Music, Media and Drama department in the at North East Scotland College, lecturing in Sound Production.


Thilo Schaller –  Thilo holds degrees in “Classical Clarinet” and “Art of Sound” from the Royal Conservatoire in The Hague and “Composition in Contexts” and “Sound Design” from the Utrecht School of Arts. He has been working as freelance sound engineer/producer and was employed by the Nederlands Programma Stichting (NPS) to work for Radio 4, the public national radio station for classical music in the Netherlands. In 2010, Thilo became faculty member of the Music Department at the University of Lethbridge in Canada. In this position, he has been designing and teaching courses (mainly in music production) for the Digital Audio Arts academic major which was established in 2009. As award-nominated film composer Thilo continues to compose music for various contexts and works on international recording projects of mainly classical music and jazz. Thilo is an active AES member in the Alberta section and has been guest faculty at the Banff Centre several times.


Paul Thompson –  Paul Thompson is a professional recording engineer with over ten years of experience working in the music industry. He is currently a senior lecturer at Leeds Beckett University where he teaches acoustics, psychoacoustics and studio production on the Music Technology and Music Production programmes. His doctoral research investigated creativity and collaboration inside the recording studio and his on-going research interests include popular music and audio education, informal music learning practices, creativity and cultural production in popular music. He is an associate member of the Institute of Acoustics and a Fellow of the Higher Education Academy.


Paul Vandemast-Bell –  Dr. Paul Vandemast-Bell is a Lecturer in Music Production at University of Derby where he specialises in digital audio workstations and recording studio practice. He is a musician and studio-based composer, and holds a PhD on Live Electronic Music from Newcastle University. His research is informed by questions of liveness, live uses of remediated technologies and the emerging ‘Controllerist’ paradigm. He has produced and released works on independent net labels, co-authored and published papers on creative practice, and held residencies at Culture Lab Newcastle and STEIM (the Studio for Electro-Instrumental Music) in Amsterdam.


Invona Vickovic –  Ivona is currently a Senior Design Engineer at Cirrus Logic. She has been with the company for seven years and has spent ten years working in the electronics industry, after graduating with an MEng in Electrical and Engineering from Edinburgh University. She has worked as an analogue IC designer, designing audio and power management circuits at transistor level and has been a chip lead on audio smart CODECs. Right now, Ivona is working in the area of design methodology. During her time at Cirrus, Ivona has been involved in graduate and student recruitment and supervision of graduate engineers and MEng students.


Daniel Walzer –  Daniel Walzer is an Assistant Professor of Composition and New Media at the University of Massachusetts Lowell. Walzer has an MFA in Music Production and Sound Design for Visual Media from Academy of Art University, an MM in Jazz Studies from the University of Cincinnati and a BM in Jazz Studies from Bowling Green State University. Originally trained as a percussionist, Walzer has many years of experience as an audio, music, broadcast, and higher education professional. Walzer’s research interests include music technology, audio education, jazz studies, popular and commercial music, sound studies, and new media composition. Walzer’s published research appears in the Journal of Music, Technology, & Education and the Journal of Media Education. In addition to his creative activities as a composer and sound artist, Walzer regularly presents research at conferences nationally and internationally. Walzer is currently pursuing an Ed.D from the University of the Cumberlands.


Andy Wardle –  Andrew Wardle is a Lecturer in Audio Engineering and works for The University of the Highlands and Islands based at Perth College. He lectures mainly on their BSc(Hons) Audio Engineering programme. Andrew graduated from the University of Portsmouth in 1995, and holds a BSc(Hons) in Applied Environmental Geology. Between 1994 and 2002 Andrew worked exclusively as a freelance Live Sound Engineer for several UK based PA companies and bands. During 2002 Andrew became involved in Audio Education, where he held the post of Project Leader for sound production at Aberdeen College. From 2008 to present he has been working at Perth College where he led the development of the BSc(Hons) Audio Engineering programme, a programme that he led until 2014.
He has been an AES member since 2006 and holds Fellowship of the HEA, Technician membership of the Institute of Acoustics and has been a STEM Ambassador for Tayside since 2013. He holds industry certificates issued by L’Acoustics, Digidesign, Audinate DANTE, Rational Acoustics SMAART, MIDAS consoles and maintains an active role in industry as a freelance engineer and acoustic consultant. Current research interests include the effective interaction of Industry and Education, employability, STEM in the Creative Industries, and effective methodologies for delivering live audio courses to a dispersed audience.