Matthew Lovett is Head of the School of Creative Arts at Bath Spa University, UK, an award-winning creative musician and a published researcher.Jan-Olof Gullö is Professor in Music Production, Royal College of Music, Academy of Folk Music, Jazz and Music and Media Production, Stockholm, Sweden.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.Rob Toulson is Director of RT60 Ltd, who develop innovative music applications for mobile platforms. He was formerly Professor of Creative Industries at 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.Justin Paterson is Professor of Music Production at London College of Music in the University of West London, UK, where he leads the MA Advanced Music Technology.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).

• Part 1: Innovating Technological Affordance 1. Mapping Voices in Space: Sonic Portrays and Spatial Audio as Post-Acousmatic Research Methodology; 2. Aural Architectures and Haunted Virtualities: Rethinking Headset-based VR as a Sonic Space; 3. Rethinking the Process of Audio Mixing: A Three-Stage Model for Understanding Mixing in Contemporary Record Production; 4. Exploring the Affordances of Elektron’s Syntakt in (Electronic) Music Production and Performance with a DAW; 5. Mechanical Techno in the studio: writing a track by building a kinetic sounding sculpture; 6. Evaluating Gravity Well for Virtual Fader Acquisition: A Formal Study in Haptics for Audio Production; 7. Recording without Headphones: Past, Present, and Future; 8. Three innovative methods to improve the craft of music mixing; 9. Sound at Source: Instrument Modification and Machine Aesthetics;10. (Just Like) Starting Over? What Earlier Instruments Can – and Can’t – Tell Us About Accessible Digital Musical Instruments and Disability; 11. Crafting the Vibe: Innovative Vibrotactile Feedback for Blind and Visually Impaired Music Creators; 12. Whose line is it anyway? A Case Study in Generative AI for Software Development: MIDI-processing Plug-in Design; 13. EMMA: An Electromyographic Musical Instrument for Embodied Expression Part 2: New Paradigms 14. Financial Support for non-traditional Concert Formats: an Analysis of Projects presented by Orchestras and Chamber Ensembles; 15. New learning journeys are needed for contemporary audio mastering education within the UK; 16. Innovative Listening: Reframing our Engagement with Sound in Music Production; 17. Not going back: Steps towards an ecology of musical creAItivity; 18. Generative AI as a tool to support film composition and sound design – an industry case study; 19. Audio without a Vision: A theory of Narrative Audiobook Music; 20. From Creative Trust to Creative Templates: How AI Transforms Musical Creativity into a Commodity in Contemporary Popular Music Production; 21. Bridging the Gap: an innovative approach to increasing the effectiveness of postgraduate provision in preparing students for careers in the modern music industry; 22. Experiencing Uncertainty: Unlocking the Ecological Value of Quantum Computing for Musical Creativity; 23. Designerly Thinking: A New Lens To Address Contemporary Music Production Challenges; 24. Ancestral Virtual Sound Objects: A Decolonial Approach to Virtual Instrument Making