Jan-Olof Gullö is Professor in Music Production at the Royal College of Music, Stockholm, Sweden and Visiting Professor at Linnaeus University.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.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. 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 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.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).

• Part 1: Creative Production Practice 1. Staging Notions of Space: Realising Compositional Intention in 3D and Stereo Record Production Through Dolby Atmos 2. Exploring Dolby Atmos: Past, Present, and Future 3. Introducing the Hyper Near-Field Dolby Atmos Tiny Studio 4. Rap as Composite Auditory Streams: Techniques and Approaches for Chimericity Through Layered Vocal Production in Hip-Hop, and their Aesthetic Implications 5. Exploring the History of Distortion in Drum and Bass 6. Dynamic Meta-Spatialization: Narrative and Recontextualization Implications of Spatial Stage Stacking 7. Vocal Chops: Another Human/Machine Hybrid 8. “Come together, right now...”: Making Remote Multiparty in-the-Box Audio Mixing a Reality 9. A Creative Methodology for Self-Production 10. Two Production Strategies for Music Synchronisation: As Speculative Entrepreneurship Part 2: National and International Perspectives 11. Mobile Classical Music – Recording, Innovation, Networks and Mediatization: Three Swedish Case Studies From the 1940s to 2021 12. “Culture Produces an Industry”: Production and Promotion Strategies of Campus Song Records by Taiwanese Synco Corporation 13. Business Model Innovation in the Music Industry 14. Yellow Music in Diaspora: Re-Inventing the Sound of Pre-1975 Record Production in Sài Gòn 15. Innovating Music Experiences: Creativity in Pandemic Times 16. Connecting Across Borders: Communication Tools and Group Practices of Remote Music Collaborators 17. From Master Pieces to Masterpiece: Source Selection and Reformatting During the Republishing Process of Legacy Music Productions

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Jan-Olof Gullö is Professor in Music Production at the Royal College of Music, Stockholm, Sweden and Visiting Professor at Linnaeus University.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.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. 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 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.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).

• Part 1: Creative Production Practice 1. Staging Notions of Space: Realising Compositional Intention in 3D and Stereo Record Production Through Dolby Atmos 2. Exploring Dolby Atmos: Past, Present, and Future 3. Introducing the Hyper Near-Field Dolby Atmos Tiny Studio 4. Rap as Composite Auditory Streams: Techniques and Approaches for Chimericity Through Layered Vocal Production in Hip-Hop, and their Aesthetic Implications 5. Exploring the History of Distortion in Drum and Bass 6. Dynamic Meta-Spatialization: Narrative and Recontextualization Implications of Spatial Stage Stacking 7. Vocal Chops: Another Human/Machine Hybrid 8. “Come together, right now...”: Making Remote Multiparty in-the-Box Audio Mixing a Reality 9. A Creative Methodology for Self-Production 10. Two Production Strategies for Music Synchronisation: As Speculative Entrepreneurship Part 2: National and International Perspectives 11. Mobile Classical Music – Recording, Innovation, Networks and Mediatization: Three Swedish Case Studies From the 1940s to 2021 12. “Culture Produces an Industry”: Production and Promotion Strategies of Campus Song Records by Taiwanese Synco Corporation 13. Business Model Innovation in the Music Industry 14. Yellow Music in Diaspora: Re-Inventing the Sound of Pre-1975 Record Production in Sài Gòn 15. Innovating Music Experiences: Creativity in Pandemic Times 16. Connecting Across Borders: Communication Tools and Group Practices of Remote Music Collaborators 17. From Master Pieces to Masterpiece: Source Selection and Reformatting During the Republishing Process of Legacy Music Productions

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Jan-Olof Gullö is Professor in Music Production at the Royal College of Music, Stockholm, Sweden and Visiting Professor at Linnaeus University.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.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. 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 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.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).

• Part 1: Creative Production Practice 1. Staging Notions of Space: Realising Compositional Intention in 3D and Stereo Record Production Through Dolby Atmos 2. Exploring Dolby Atmos: Past, Present, and Future 3. Introducing the Hyper Near-Field Dolby Atmos Tiny Studio 4. Rap as Composite Auditory Streams: Techniques and Approaches for Chimericity Through Layered Vocal Production in Hip-Hop, and their Aesthetic Implications 5. Exploring the History of Distortion in Drum and Bass 6. Dynamic Meta-Spatialization: Narrative and Recontextualization Implications of Spatial Stage Stacking 7. Vocal Chops: Another Human/Machine Hybrid 8. “Come together, right now...”: Making Remote Multiparty in-the-Box Audio Mixing a Reality 9. A Creative Methodology for Self-Production 10. Two Production Strategies for Music Synchronisation: As Speculative Entrepreneurship Part 2: National and International Perspectives 11. Mobile Classical Music – Recording, Innovation, Networks and Mediatization: Three Swedish Case Studies From the 1940s to 2021 12. “Culture Produces an Industry”: Production and Promotion Strategies of Campus Song Records by Taiwanese Synco Corporation 13. Business Model Innovation in the Music Industry 14. Yellow Music in Diaspora: Re-Inventing the Sound of Pre-1975 Record Production in Sài Gòn 15. Innovating Music Experiences: Creativity in Pandemic Times 16. Connecting Across Borders: Communication Tools and Group Practices of Remote Music Collaborators 17. From Master Pieces to Masterpiece: Source Selection and Reformatting During the Republishing Process of Legacy Music Productions

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