Hank Shocklee

Best known for his innovative production techniques and founding the group Public Enemy, Shocklee has a distinctive, diverse background in the entertainment world.

Whether working with a wide range of artists (Ice Cube, Madonna, Janet Jackson, Peter Gabriel, Slick Rick), scoring and producing film soundtracks (He Got Game, How Stella Got Her Groove Back, Dangerous Minds, Juice) or as a music industry executive (Senior Vice President Universal MCA Records, Mary J. Blige, Patti LaBelle, K-Ci & JoJo, Gladys Knight) Shocklee has lead an illustrious career and track record as a producer, composer, record label executive and entrepreneur.

Shocklee currently heads up his own New Media Entertainment company, Shocklee Entertainment, and is producing & scoring several music and film projects including his very own long awaited audio-visual project Shocktronica and soon to be released artists under the Shocklee Innertainment banner.

Shocklee is also currently writing a book on his philosophy behind creating the group Public Enemy and the creation of the famed album 'It Takes A Nation Of Millions To Hold Us Back'. The book will be an in-depth manual chronicling and detailing his philosophies behind the making of the band, the making of the album and Shocklee's widely heralded exciting sonic sculpture techniques.

· www.shocklee.com
· www.myspace.com/hankshocklee

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Daniel Denholm

Daniel Denholm spent his formative years as assistant to Emmy Award winner Ashley Irwin where he received a solid grounding in composing, arranging and music production. 1991 saw him start his freelance career with a No.1 Australian hit "Ordinary Angels" by Melbourne band Frente.

While continuing to Produce for recording artists such as The Whitlams, The Cruel Sea and Midnight Oil to name a few, Daniel joined forces with Film Producer Rosemary Blight (Essential Viewing and RB Films) to compose the music for the much acclaimed and seminal ABC series "Love is a four letter word". This began a long relationship which culminated in 2006 with the score for the children's series Lockie Leonard and song productions for the feature film "Clubland".

Daniel divides his time between arranging and orchestrating for artists (such as The Whitlams Symphony Tour, Delta, Powderfinger and Thirty Seconds to Mars), recording and producing classical music, which saw Richard Tognetti take out the Best Classical Recording in 2006 for "Bach Sonatas and Partitas", producing, writing and mixing popular artists including Belinda Emmett's Aria Top 10 album and writing scores for film and television.

He is currently score producer and sound designer for "Eternity Man" the first Opera to be film on location in Australia and also preparing to compose the music for a feature film.

· Daniel's website

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Tom Ellard

Tom is a Sydney based composer and video maker best known for the electronic group Severed Heads, whose 30 years of experimentations have inspired diverse acts from Orbital to Nine Inch Nails.

His main interest is in disassembling 'the album' in exploits such as: Australia's first music CD-ROM release 'Metapus', a 12 hour long MP2 encoded compilation 'Severything' (released before MP3's were invented) and a period in which every song the band had ever written was made available for free online - racking up 1.5 million downloads.

These experiments have led Tom to an informed scepticism for the new mythologies of music distribution. In 2005 Tom was awarded an ARIA for the soundtrack album 'The Illustrated Family Doctor' - a combination CD and DVD that expanded the idea of a 'soundtrack' into a suite of short video productions.

When not teaching at universities around NSW, Tom is working on an album that spans all mediums from Edison Cylinder to Blu Ray.

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David Trump

David is a Sydney based freelance Engineer/ Producer/ Musician who has recorded locally with such artists as You Am I, The Church, Sarah Blasko, Darren Hanlon, Something For Kate, BlueBottle Kiss, Peabody, to name a few.

Overseas, David has spent time at Greene St Studios in NYC and also at The Blue Room in Sweden working with Australian band The Church. As a musician David currently writes, records and performs with bands: Todd Sparrow, The Dead Sea, and TRUMPMANIS - his own mostly solo project.

He is also a gun for hire playing Guitar and 2-finger Keyboard parts for Laura Imbruglia and Sarah Blasko. 2007 has seen David also venture into audio for The Sydney Theatre Comp and Belvoir St Theatres working on the productions of Exit The King, Paul and Riflemind.

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Richard Lush

Richard started his recording career at EMI's Abbey Road Studios in London where he worked on some of the most important music recorded during the 60's.

He learned his craft from the world's top producers including Sir George Martin, Phil Spector and Mickie Most. Artists he has recorded include The Beatles, Cliff Richard, Paul McCartney & Wings, John Lennon and The London Symphony Orchestra.

Richard came to Australia in the 70's and has worked with most of Australia's major artists since then. He has been awarded Producer of the year, has won numerous Platinum and Gold Albums for both his Production and Engineering.

He has worked in all aspects of recording from Pop, Classical, Film Soundtrack, Jazz and Opera. He currently resides in Sydney.

Downloads
The Beatles All you Need is Love Video [.wmv]
The Beatles Sgt peppers video [at BBC website]


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Professor Andy Arthurs

Andy has travelled through a variety of musical careers. Beginning with a Tonmeister degree from University of Surrey (1974), Andy worked with George Martin at AIR studios during the 70's before signing to EMI as an artist/producer/songwriter.

During the next few years he created and worked on many hit records before leaving the UK (1991) to on a pathway to become Head Music at QUT Creative Industries, Australia.

Recently he has worked in the studio with Kate Miller-Heidke and The Ten Tenors (ARIA Platinum Disc 2006).

He is now busily creating a new immersive orchestra, Deep Blue with Darren Clark, to be launched around Australia in 2008.

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Mike Howlett

Mike played bass in esoteric space-funk group Gong, only the second signing to the nascent Virgin Records in the 1970s. After leaving Gong Mike put together his own group, Strontium 90, with musicians Sting, Andy Summers and Stuart Copeland, who go on to enormous success as The Police. In 1997 the recordings of this group are re-released on Sting's own record label Pangaea.

In the 1980's Mike began producing records regularly, yielding a string of Top 10 UK artists including Martha and the Muffins, OMD, Blancmange, Flock of Seagulls (Mike won a Grammy for this album), China Crisis, Joan Armatrading, Gang of Four and more.

Mike is currently Chairman of the Record Producers Guild (now known as MPG - the Music Producers Guild).

He was is instrumental in organising the first ever rock concert in Red Square, Moscow.

In 2002 Mike embarked on a teaching career and currently lectures at the University of Glamorgan and at London College of Music, TVU in Audio Technology.

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Julian Knowles

Julian Knowles is a composer / performer and producer, specialising in new and emerging technologies.  Julian has been involved in the Australian independent music scene from the late 1980s onwards, as a member of Australian bands Shrinking Violets (Phantom Records, RooArt) and Even As We Speak (Phantom, Sarah Records), with the latter band achieving significant momentum in the UK following radio sessions with the British DJs, John Peel and Mark Goodier on Radio 1.

Over the years, Julian has appeared as a guest performer on a number of releases including Big Heavy Stuff on the ARIA nominated album 'Size of the Ocean'.

Julian is also active in the electronic / ambient music area both as a solo artist and via several releases with Social Interiors (Extreme Records). Julian spent a period working with the Australian Broadcasting Corporation as a sound designer, receiving nominations for several awards.

He also works as a specialist 5.1 mix engineer, including surround mixes for minimalist composer Phill Niblock's DVD 'The Movement of People Working', which received an honorable mention at the 2003 Prix Ars Electronica.

Julian is currently President of the Queensland Music Industry Network (Q-Music),  a member of the Sydney Olympic Park Arts Advisory Panel,  the Board of the Australian Network for Art and Technology and the Music Board of the Australia Council for the Arts.

He is a Professor of Music and Portfolio Director in the Creative Industries Faculty at QUT.

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Simon Zagorski-Thomas

Simon is a Senior Lecturer in Music and Music Technology at the London College of Music, TVU. He also runs the annual Art of Record Production Conference and is editor of the on-line Journal on the Art of Record Production.

Before entering academia he worked for 25 years as a composer, sound engineer and producer with artists as varied as Phil Collins, Mica Paris, London Community Gospel Choir, Bill Bruford, The Mock Turtles, Courtney Pine and the Balanescu Quartet.

He is at present conducting research into the musicology of record production and the cognition of rhythm and groove in popular music. He is also currently completing a PhD in Electroacoustic Composition at Goldsmith's College.

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Philip "PIP" Williams

Record producer, arranger and guitarist, Pip is best known for producing albums for Status Quo and The Moody Blues, the latter winning him a Grammy. Other collaborators include Shirley Bassey, Dr. Feelgood, Barclay James Harvest, and Uriah Heep, Ringo Starr, The Sensational Alex Harvey Band and The Kinks. Pip's concern has always been to adorn and illuminate the artists' work, rather than to create a recognisable Pip Williams style.

His most recent work in this field has been with Finnish symphonic metal group Nightwish, having composed orchestral arrangements for their 2004 album Once, and its 2007 follow up Dark Passion Play.

He also has recorded, produced and mixed a live reunion album for the Bonzo Dog Doo-Dah Band. He is currently a course leader teaching music technology at London College of Music, TVU.

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Steve D'Agostinos

Steve D'Agostino is a recording artist, music producer and sound engineer.

His collaborative ventures have focused mainly in areas of electronic, synthesised experimental music with bands and artists such as: John Foxx, Barry Adamson, Steve Jansen, Thurston Moore, Heaven 17, Gina X, Soft Cell, Depeche Mode, Add N To (X), Alison Goldfrapp, 12 Rounds, Lords of Chaos, and his previous band LOW 948.

He took to the stage last month at the ICA, London and Cargo alongside John Foxx, followed by his own performances under the pseudonym of Single Cycle ReOrder.  His album is due for release in 2008, with tour to follow. 

Steve is also a senior lecturer at London College of Music, Thames Valley University where he specialises in Digital Recording and Surround Sound. 

His research interests and practice are in surround sound and experimental music. 

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Paper Presentations

List of Abstracts for ARP Brisbane 2007
For Full Abstracts please head here

Katia Isakoff London College of Music, TVU, UK
What's going on?  Linda Perry former 4 Non Blondes Singer/Songwriter turned Record Producer wants to "Bring Back the 'Queen Of Rock And Roll' Courtney Love".

Historically there have been very few female Record Producers within the music industry – and even less producing records for female recording artists. Why is this?  Could it be that the 'old' model was simply not an attractive one?  Therefore, is the new one?

Linda Perry is one of the most sought-after Record Producer/Songwriters; requested by iconic female pop artists Gwen Stefanie, Pink, Christina Aguilera and now Courtney Love. In describing how the song "Get the Party Started" came to be, Perry is quoted as having gone through this weird phase where she just wanted to learn how to program drums. 

Therefore, after programming her first beat, she added live bass, and then proceeded as she puts it "to put every wrong instrument" in the song; utilising the use of samples.  This resulted in her first dance song, which later went on to become a hit for Pink.  Perry has also been credited with bringing out the real artist in vocalists.

On the opposite side of the spectrum, record producer Sylvia Massy's career started out as a recording engineer, and followed one of the more traditional routes into record production. 

Having produced the band Tool in the 90's, Massy went on to work with veteran producer Rick Rubin whom she would engineer and mix several projects for, including Johnny Cash.  Massy's production credits include The Red Hot Chili Peppers, Sevendust, and Powerman 5000.

Drawing on the author's own professional experience as singer/ songwriter/producer and research, this paper aims to explore the multi-faceted role of the Record Producer and Music Producer; both 'old' and 'new' models. The symbiosis which exists between songwriter and studio, and how access & ownership of one's own studio equipment has led to a blurring of these roles.

Andy Arthurs, Queensland University of Technology, Australia
More Risk – More Control: The evolution of the role of record producer

Michael Bates, University of Sydney, Australia
The Representation of Space in Audio and Audiovisual Works.

Hugh Brown and Phil Graham, Queensland University of Technology, Australia From Garage to Greatness? Reflections on home-studio production experience.

Steve D'Agostino, London College of Music, TVU, UK
Surround Sound as a Compositional….Consideration.

Per Dahl, University of Stavanger, Norway
When the performance perforates the idea of a musical work. The transformation of a song by Grieg from the podium to the groove.

John Dale, Adelaide University, Australia
Messthetics Is All That We Know: DIY Production and Post-Punk.

Tim Dalton, Liverpool John Moore's University, UK
Everything Louder Than Everything Else: The hegemony of artificial compression in record production.

Peter Doyle, Macquarie University, Australia
Technologies of capture: the field recording, the mug shot and the early 20th century global mediascape.

Paul Draper, Griffith University, Australia
Music Technology Two-point-zero: Musicianship: Context and Cultural Value in the 21st Century.

Donna Hewitt, Queensland University of Technology, Australia
Women at the Controls: Women producers and the Democratisation of Media.

Matt Hitchcock, Queensland Conservatorium, Australia
The changing face of record production – does good practice ever change?

Dennis Howard, University of the West Indies, Jamaica
Jamaican Record Production Techniques and Their Influence.

Mike Howlett, London College of Music, TVU, UK
Fixing the Volatile - studio vocal performance techniques.

Anne Lorentzen, Telemark University College, Norway
Recording as a compositional process among male and female musical creators in Norway.

Phillip McIntyre, University of Newcastle, Australia
Rethinking Creativity: Record Production and the Systems Model.

Justin Morey, Leeds Metropolitan University, UK
The Death of Sampling – Has litigation destroyed an art form?

Peter O'Hare, Forth Valley College, UK
Steve Albini "In Utero's" Ultra-sound Guy.

Andrew Pleffer, Macquarie University, Australia
"I Put a Spell On You": "Standards" as a product of recorded music culture.

Becky Shepherd, Macquarie University, Australia
Production on the Edge of Nostalgia.

Sarah Van Doel, Tufts University, USA
Music Meaning and Music Making:The Changing Face of Music-Culture in the Digital Age.

Mat Wall-Smith, Ross Rudesch Harley, and Andrew Murphie – University of New South Wales
"LAST FM and the Music Multiverse"

Pip Williams, London College of Music, TVU, UK
"Lo- Fi vs Hi-Fi: A Symphony In The Potting Shed!?"

Alex Yabsley, Griffith University, Australia
Creative Consumers: The rise of the gamer musician.

Simon Zagorski-Thomas, London College of Music, TVU, UK
Gesturing Producers and Scratching Musicians.

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