Claus Sohn Andersen is an Assistant Professor and Head of Program for the BA in Sound Engineering and Music Production at Kristiania University College, Norway, where he teaches Music Production.Jan-Olof Gullö is Professor in Music Production at the Royal College of Music, Stockholm, and Visiting Professor at Linnaeus University, Sweden. 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, UK, and the Managing Editor of the Perspectives on Music Production series for Routledge.Mark Marrington is an Associate Professor in Music Production at York St John University, UK, 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 2024 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, UK. Rob is an author and editor of many books and articles, including Drum Sound and Drum Tuning (2021), published by Routledge.

• Part 1: Augmenting Creativity 1. A Self-Portrait: Towards a Practice of Plunderphonics in an Age of Musical Superabundance 2. Playing Field Recordings in Music Production 3. Redividing the Octave for Expanded Tonal Spaces: Preliminary Practical Explorations of Formalised Approaches to Microtonal Composition 4. Messing About as Creative Process: Anti-Solutionist Approaches in the Maker's Workshop, Home Studio and on Stage 5. Single Tonality Chord Songwriting 6. “We Only Have to Draw”: Unearthing Parallels Between Xenakis and Oram in the Design of KlangPad, a Learner-Focused Graphic-Composition Tool 7. Composing an Immaterial Body: Deconstructing and Reconnecting Vocal Expressions in SOPHIE’s “Immaterial” 8. From Discovery to Trend: Wrong or Unintended Use of Technology as a Basis for Musical Development 9. Augmented Creativity: Does AI Help or Hinder Musicians' Creative Processes? 10. The Sound(s) of Colour: Developing a Theory of Cross-Modal Interpretation 11. Time After Time: Temporal Multiplicity as Layers of Narrative Time in Transmedia Concept Albums Part 2: Technology in Performance and Production 12. Haptics in Audio- and Music-Production Processes 13. Transvariations: Radical Interpretations of a Classical Piece by Means of Live Audio Processing 14. Love Your Latency: The Glitching Spatiotemporality of Telematic Music Performances 15. Thoughts on Building a Contemplative Modular System 16. Playing the Fader 17. SuperDuper Loopers and the 'Free for Feedback' Release Model 18. Dual-Function Instruments: Musical Instruments as Live Samplers 19. Creative Recording Experiments for Dolby Atmos 20. Rediscovering Analogue Practice in Synthesizer Ensembles 21. Rethinking Resonance: The Feedback Tuba 22. Don't Do This at Home: Re-Amping the Norwegian Broadcasting Orchestra (KORK) for Nils Petter Molvær's Certainty of Tides