Jan-Olof Gullö is Professor in Music Production at the Royal College of Music, Stockholm, Sweden and Visiting Professor at Linnaeus University. His research interests include technical, entrepreneurial, and artistic aspects of creativity in music production.Russ Hepworth-Sawyer is a mastering engineer with MOTTOsound, an Associate Professor at York St John University, and the managing editor of the Perspectives on Music Production series for Routledge.Dave Hook is an Associate Professor in Music at Edinburgh Napier University. A rapper, poet, songwriter, and music producer, his research focuses on hip-hop, rap lyricism, identity, culture, and performance, through creative practice.Mark Marrington is an Associate Professor in Music Production at York St John University, having previously held teaching positions at Leeds College of Music and the University of Leeds. His research interests include metal music, music technology and creativity, the contemporary classical guitar, and twentieth-century British classical music, and his recently published book, Recording the Classical Guitar (2021), won the 2022 ARSC Award for Excellence in Historical Recorded Sound Research (Classical Music).Justin Paterson is Professor of Music Production at London College of Music, University of West London, UK. He has numerous research publications as author and editor. His research interests include haptics, 3-D audio, and interactive music, fields that he has investigated over a number of funded projects. He is also an active music producer and composer; his latest album (with Robert Sholl) Les ombres du Fantôme was released in 2023 on Metier Records.Rob Toulson is Director of RT60 Ltd, who develop innovative music applications for mobile platforms. He was formerly Professor of Creative Industries at the University of Westminster and Director of the CoDE Research Institute at Anglia Ruskin University. Rob is an author and editor of many books and articles, including Drum Sound and Drum Tuning, published by Routledge in 2021.

• 1. Record-breaking: Palimpsestuous and Other Generative ‘Record Cutting’ Methodology Misadventures 2. 98% Of ‘You’re Not Supposed To Do That’ Innovation Attempts Fail: What Did The 2% Do? 3. I want to break free: Challenging the hegemony of traditional composition through improvisation, performance, collaboration and sound installation 4. Reinventing the Mixing Desk: A Comparative Review of the Channel Strip and the Stage Metaphor 5. Whose d(art)a is it anyway? Repositioning Data and Digital Ethics in Remote Music Collaboration Software 6. Listening as Contemplation: A reflexive thematic analysis of listening to modular-based compositions 7. Research the effect of Visual stimuli on auditory perception in music recording and listening 8. The Impossible Box: Building a DIY Groovebox on a $10 microcontroller 9. The soundscape cube system: A method for the construction of a coherent soundscape during recording and mixing 10. Digging in the Tapes: Multitrack Archives as an Emerging Educational Resource 11. Gatekeeping in the Audio Mastering Industry 12. Music Mastering and Loudness Practices Post LUFS 13. LCR: A valuable multichannel proposition for modern music production? 14. Rethinking Immersive Audio 15. Deliberate Practice and Unintended Consequences in Music Production as Practice and Pedagogy 16. Artistic Intuition and Algorithmic Prediction in Music Production 17. A Radiological Adventure: The Sonification of the Apocalypse 18. Computer-Assisted Music as means of Multidimensional Performance and Creation: A Post approach to Singularity Study 3