Speakers

We are putting together an exciting programme of workshops and talks from a wide range of industry and academia. Details of our speakers will be revealed below as they are confirmed.

Our confirmed speakers for 2018 are:

 

Leslie Gaston Bird

Leslie Gaston-Bird Vice President for the Audio Engineering Society’s Western Region (USA &  Canada) and Associate Professor of Recording Arts at the University of Colorado Denver. Leslie is also proud to chair the AES’ Diversity and Inclusion Committee. She has almost 30 years of experience in audio for film and video, music recording, and radio. She graduated from the Audio Technology program at Indiana University in 1989. She also holds a BA in telecommunications and an MS in recording arts. She has worked for National Public Radio in Washington, D.C., Colorado Public Radio in Denver, Colorado, and was recording engineer for the Colorado Symphony. Later, she worked as a sound editor for Post Modern Company in Denver. She has performed soundtrack restoration on films from the Sony/Columbia Pictures archives and is one of the pioneers of a music video production style she calls “Music Video Vérité”. She runs her own freelance audio post production company, Mix Messiah Productions, LLC. She is also a Fulbright Scholar.


Katie Tavini

I am a mastering engineer with credits in tons of genres, including some made up ones. I have been professionally working in the music industry since 2009 when I started out as a recording engineer / producer, and have been specialising in mastering since 2012. Equally fascinated by analogue and digital.

 

 


Marta Salogni

Having shaped her career working as an engineer across major recording studios throughout the UK, Marta Salogni has now established herself as one of the most in-demand mixers and producers.

Aside from mixing Björk’s new album ‘Utopia’, she has additionally mixed recent and forthcoming releases for HMLTD, LIARS, Sampha, White Lies, M.I.A, Bombino, Shura’s Space Tapes, Alex Cameron, & Django Django.

She engineered for M.I.A, Philip Selway (Radiohead), TOY, Tracey Thorn, The Moonlandingz (Fat White Family & the Eccentronic Research Council), These New Puritans and Beth Ditto and featured on projects such as Frank Ocean’s new album ‘Blonde’,  FKA Twigs and Sampha (Young Turks), Factory Floor (DFA), Blossoms (Virgin), Glass Animals (Wolftone), Pixx (4AD), Bloc Party (Infectious), LA Priest (Domino), and Let’s Eat Grandma (Transgressive).

Record Label she has worked for include

MUTE, Rough Trade, Polydor, Virgin, Sony, Heavenly, Young Turks and XL Recordings.


Gavin Kearney

Gavin Kearney graduated from Dublin Institute of Technology in 2002 with an honors degree in Electronic Engineering and has since obtained both MSc and PhD degrees in Audio Signal Processing from Trinity College Dublin. During this time he worked (and continues to) in the audio industry as sound engineer and producer. He first joined the University of York as a Lecturer in Sound Design at the Department of Theatre, Film and Television in January 2011 and has since been appointed as Senior Lecturer in Audio and Music Technology at the Department of Electronic Engineering. He is vice-chair of the AES Audio for Games Technical Committee and leads the ‘Audio for New Realities’ subgroup. His research interests include spatial audio and surround sound, sound design for film, television and interactive media, real-time audio signal processing, Ambisonics and spherical acoustics, interactive audio systems, recording and audio post-production technique development.

 


Kate Hopkins

Kate Hopkins is a multi award-winning sound editor.

Based in her native Bristol, Kate began her working life as receptionist at a local post production company before moving into the cutting room as an Assistant Film Editor and then going freelance as a Sound Editor, working in Bristol, London and the US. After many years laying sound for various genres of film and television (including dramas, animation, features, documentaries and horror) Kate eventually found her true habitat in the world of natural history and hasn’t looked back since.

During her nearly three decades in the industry Kate worked on some of the most prestigious natural history television: Blue Planet, Wolves at Our Door, Planet Earth, Life in the Undergrowth, Great Migrations, Life, Human Planet and Frozen Planet – for which she was awarded an BAFTA in 2012 and many others. More recently Kate has been responsible for the sound design on DisneyNature feature films Earth, African Cats, Chimpanzee, Bears and Monkey Kingdom, Rise of the Warrior Apes for Keo films, Planet Earth ll for which she also won a BAFTA this year as well as BBC Earth’s Enchanted Kingdom and Earth’s One Amazing Day for BBC Earth which were mixed in Dolby Atmos.

Kate is committed to her craft and to encouraging the next generation’s talent. She continues to live and work in Bristol in association with her long-standing colleagues at Wounded Buffalo Sound Studios. Kate has just finished working on Blue Planet ll for the BBC.


Ann Charles

Ann is a radio producer-turned broadcast engineer who specialises in all things studios and workflow. Equally happy making programmes as running broadcast infrastructure projects, her career so far has included 12 years at the BBC, teaching journalism in New Zealand and training broadcast engineers and producers in South Sudan. She also travels the world as the workflow consultant for Broadcast Bionics. After several years as a volunteer, she formed TBC Media Ltd. with two friends to take over the running of Radio TechCon in 2016. Outside of work, Ann can be found fitting parents with baby slings, drinking gin, and eating chocolate (not necessarily all at once.)


Ian Corbett

Ian Corbett is the Coordinator and Professor of Audio Engineering at Kansas City Kansas Community College. His book “Mic It! – microphones, microphone techniques, and their impact on the mix” was published by Focal Press in 2014 (and is being used by colleges worldwide), and he also authors articles for Sound On Sound magazine. As “off-beat-open-hats – recording and sound reinforcement”, he specializes in servicing the needs of classical and jazz ensembles in the Kansas City area, and has mixed and provided sound system support for many national touring artists at various venues around the USA. Ian is a member of the Audio Engineering Society’s Education Committee, and has presented, mentored, and served on panels at local, regional, national, and international AES events as well as many other professional industry events, and he is also a member of the Producers & Engineers Wing of the National Academy of Recording Arts and Sciences. Ian holds a Doctor of Musical Arts degree in composition from the University of Missouri-Kansas City, and can also be found playing saxophone in Kansas Citys jazz clubs and restaurants. Please visit www.offbeatopenhats.audio for more information.


Paul Tapper – Nugen Audio

Graduating in 2002 with a Doctorate in Pure Mathematics from the University of Leeds, Paul is a specialist in audio algorithm programming and artificial intelligence. After working as a lead developer and team manager for a major game developer, Paul combined his technical expertise with his love of music and co-founded Nugen Audio in 2004. When he isn’t at work, Paul is a keen acoustic musician.

 

 


Eloise Whitmore

Eloise is Managing Director of Naked Productions Ltd, a cross platform production company delivering amazing audio experiences. Naked Productions delivers high quality audio experiences which range from award winning radio programmes to technically complex interactive audio stories.  In addition to creating great radio content they are also pioneering object based broadcasting production methods which allow delivery of responsive, personalised and interactive audio experiences in addition to linear radio productions. 
 
Eloise has been been working in radio for 19 years, starting with 10 years in-house at BBC Radio Drama, Manchester. As a sound designer and producer she specialises in audio drama, documentary and sound for animation and clients include the BBC, Red Productions, Channel 4, MIF and Wellcome Trust. In 2013 she was awarded Producer and Sound Designer of the Year by the Radio Academy. 
Recent work includes: A Week of Live Radio Drama with Artist Samson Young, for Manchester International Festival,  Oedipus the King: Radio Drama for Radio 3 Sounds Like She: Between the Ears for Radio 3 (nominated for Radio Academy ARIA 2017) The Turning Forest: An enchanting VR experience for children for BBC R&D (Nominated for Google Play awards 2017) 

Richard Stevens and Dave Raybould – Leeds Beckett University
Richard Stevens is Course Director for the postgraduate programmes in music and sound at Leeds Beckett University. He has published and presented widely on the topic of Game Audio and Game Audio Education including at the Audio Engineering Society, Ludomusicology, and Game Developers conferences. In collaboration with his colleague Dave Raybould he has written two practical textbooks on game audio, The Game Audio Tutorial (2011, Focal Press), and Game Audio Implementation (2015, Focal Press) and contributed a chapter, ‘Designing a Game for Music: Integrated Design Approaches for Ludic Music and Interactivity’, to the Oxford Handbook of interactive Audio.
Dave’s research has investigated how the sound and music used within video games impacts on the player’s perception of the game, and how the inherent conflicts between the ludic and narrative functions of sound could be resolved through a more considered and integrated design approach. These ideas are summarised in his contribution to the Oxford Handbook of Interactive Audio, Designing a game for music: Integrated design approaches for ludic music and interactivity.

His recent research focusses on the link between musical rhythm and the video game player’s experience through an investigation of the concepts of entrainment and synchronization. Alongside this he is also working with composers and sound artists to investigate how existing 3D video games engines may provide opportunities for the composition and performance of spatial music and sound art.