Call For Papers

  • Mastering In Music

    Mastering In Music

    Perspectives On Music Production

    Call for Chapters

    Perspectives on Music Production – Mastering in Music – Routledge

    Deadline for proposals: 20 December 2018

    In the spirit of the Perspectives On Music Production series, Mastering in Music follows on from Mixing Music (2017), Producing Music (early 2019) and several monographs in the field – to be announced.

    Mastering in Music contains several chapters presented at the Audio Engineering Society UK’s Mastering Conference held in London in September 2018. In addition to this we’re disseminating this call for contributions and welcome abstracts on topics relating to audio mastering: the scope is detailed below:

    • Mastering history and formats
    • Similarly, the future of mastering & formats
    • Loudness standards, attitudes and tastes – now and through the decades
    • Mastering business, standards, developments and considerations
    • The role of the mastering engineer in the production process
    • Equipment design and application
    • Acoustics, studio building and interpretation for clients
    • Mastering for new delivery mechanisms including VR, object-based audio and surround sound in all forms
    • Interpretation of the mix to the master and considerations
    • Audio mastering processing and application
    • High resolution mastering and consumerism
    • Case studies
    • Other topics in mastering would be considered


    Abstracts are requested to be emailed to by the 21st December 2018. Abstracts will be reviewed, submitted to Routledge *, and the authors known of the result in the latter weeks of January 2019. Final submission of chapters expected 10th January 2020.


    * Subject to contract


  • Exploiting Music

    Exploiting Music

    Perspectives On Music Production

    Call for Chapters

    Perspectives on Music Production – Exploiting Music – Routledge

    Deadline for proposals: 26 April 2019

    In the spirit of the Perspectives On Music Production series, Exploiting Music will follow on from Mixing Music (2017), Producing Music (early 2019), Gender In Music Production (2020) and several monographs in the field.

    The music industry has undergone a dramatic shift over the past two decades, beginning with a recession in 1999. According to industry analysts, physical record sales accounted for 98% of industry revenues in 2001, whereas today, this portion has been reduced to 30% (IFPI 2018). And, despite undergoing its first three years of recovery (2015-2017), overall industry revenues are now only 68.4% of what they were twenty years ago.

    As the music industry reorganizes itself in light of recent technological advancements, record labels, publishers, managers, and agents of all types have reconfigured their business strategies in response to these changing norms. In addition, creative personnel such as songwriters, performers, producers, and audio engineers of all types have also adapted to the current industry climate.

    This collected anthology will explore the past, present, and future of music exploitation – a legal term which describes the exchange of intellectual property for money. The scope of the proposed book is outlined below:

    • The so-called “value gap” between music dissemination services and music creators
    • The Music Modernization Act
    • The emergence of royalties for producers and engineers
    • Music business systems, histories and norms
    • Legalities over music as a commodity
    • The exploitation of music as intellectual property
    • Historical and future methods of monetisation and business management
    • Technology: delivery and consumption. How will consumers listen?
    • Emotional perspectives against the monetary machine
    • Music software is the new business – not the music
    • Music Production as big business
    • Other relevant proposals will be considered


    Abstracts are requested to be emailed to by the 5th April 2019. Abstracts will be reviewed, submitted to Routledge *, and the authors known of the result in the first weeks of May 2019. Final submission of chapters expected 3rd April 2020.


    *Subject to contract


  • Gender in Music Production

    Gender in Music Production

    Perspectives On Music Production

    Perspectives on Music Production: Gender in Music Production

    Call for Contributions

    The music production industry has, for many years, been viewed as male dominated. Despite many examples of diversification and acknowledgement of the issues (such as the Audio Engineering Society’s ‘He For She’ campaign), gender representation within music production is considered limited. The editors welcome abstracts for chapters in a forthcoming Routledge edited volume entitled Gender in Music Production. The scope for contributions are listed below.

    • Gender within the production workplace: gender bias and/or gender stereotyping in the production workplace?
    • Gendered modalities of production
    • Gender and intersectionality (with race/class/sexual identity/ability) within the production workplace and music production
    • Record production and the performance of gender
    • Case Studies & Interviews. Discussions of, or with, individual figures who have views on the above and are willing to give interviews (release forms will need to be signed)
    • Reflections exploring to what extent experiences (anecdotes) represent/speak to both genders and to non-binary individuals.

    Please submit an abstract of 500-750 words to by 9th April 2018. Should you have any questions, please email the address above.

    Dates and Deadlines

    Submission of abstracts for consideration: 9th April 2018
    Authors notified if abstract accepted or rejected: 4th May 2018
    Chapters to be submitted in full (included release forms): 12th May 2019

    About the Perspectives On Music Production Series

    Perspectives On Music Production (POMP) is a series of edited and monograph volumes reflecting a multitude of disciplines, practices and ideas under the contemporary term ‘music production’ Other edited volumes include Mixing Music and the soon to be released Producing Music. Monographs calls can be found at

    Volume Editors

    Dr Liesl King, York St John University, UK
    Dr Jay Hodgson, Western University, Canada
    Dr Mark Marrington, York St John University, UK
    Russ Hepworth-Sawyer, York St John University, UK

    Series Editors

    Dr Jay Hodgson, Western University, Canada
    Dr Mark Marrington, York St John University, UK
    Russ Hepworth-Sawyer, York St John University, UK

  • Perspectives on Music Production - Call for Monographs

    Perspectives on Music Production - Call for Monographs

    Perspectives on Music Production Call for Monographs

    We are pleased to announce an open call for proposals for individual monographs for inclusion in the recently launched Routledge series, Perspectives on Music Production. The series rationale is provided below and is intended to provide guidance as to the scope of the series. Interested parties should use the proposal template provided at: and send to this email:

    The Perspectives on Music Production series

    This series collects detailed and experientially informed considerations of record production from a multitude of perspectives, by authors working in a wide array of academic, creative and professional contexts. We solicit the perspectives of scholars of every disciplinary stripe, alongside recordists and recording musicians themselves, to provide a fully comprehensive analytic point of view on each component stage of music production. Each volume in the series thus focuses directly on an aspect of music production, from pre-production through recording (audio engineering), mixing and mastering to marketing and promotions.

    As a series, Perspectives on Music Production was designed to serve a twofold purpose. Situated within the emerging field of music production studies, Perspectives on Music Production aims to specify what exactly scholars and recordists alike mean by the term ‘record production’. In recent research, the term is often used in simply too nebulous a manner to provide any substantive, concrete utility for researchers interested in studying specific details of the production process. In fact, both tacit and explicit definitions of ‘music production’ offered in recent research often bear a certain tautological resonance: record production is everything done to produce a recording of music, or so the argument usually seems to run. But this overly inclusive approach to defining the object of study simply doesn’t withstand sustained analytic scrutiny. The production process is broad, to be sure, but it is rationalised into numerous component procedures, each of which, while holistically related, nonetheless requires its own specialized expertise(s). And this is true whether that expertise is located in a team of people or in one single individual, as the ‘project’ paradigm would demand. Every record production, regardless of genre and circumstance, requires at least the following procedures: pre-production (conception vis-à-vis available technology), engineering (recording and/ or sequencing), mixing and mastering (even if only bouncing without any further processing) and distribution of some sort (lest the recording remains inaudible data). While record producers are indeed responsible for overseeing a project through each of these component phases—and, thus, while it may seem fair to simply refer to the totality of these phases as ‘record production’—every phase has its own unique aesthetic priorities and requirements, and each of these reacts back on, and (re)shapes, the musical object being produced in turn. Ultimately, it is uncovering and understanding the broader musical ramifications of these priorities and biases that comprises this series’ primary analytic concern.

    Perspectives on Music Production also looks to broaden methodological approaches that currently prevail in music production studies. The place of traditional academic and scholarly work on record production remains clear in the field. However, the place of research and reflection by professional recordists themselves remains less obvious. Though music production studies tend to include professional perspectives far more conscientiously than other areas of musical study, their contributions nonetheless are often bracketed in quiet ways. Producers, engineers and recording musicians are often invited to participate in scholarly discussions about their work only through the medium of interviews, and those interviews typically follow more ‘trade’ oriented than straightforwardly academic lines of inquiry. We thus invite contributions from professional recordists which elucidate their own creative practice, and in whichever ways they deem most relevant to scholarly considerations of their work. Similarly, we hope the series will encourage greater collaboration between professional recordists and the researchers who study their work. As such, we invite contributions that model novel and inclusive methodological approaches to the study of record production, encompassing professional, creative, interpretive and analytic interests. It is our sincere hope that Perspectives on Music Production provides a timely and useful intervention within the emerging field of music production studies. We hope each volume in the series will spur growth in music production studies at large, a more detailed and comprehensive scholarly picture of each particular procedure in a record production, as well as a general space for researchers to pause and reflect back on their and their peers’ work in this exciting new area.

    Jay Hodgson, Russ Hepworth-Sawyer and Mark Marrington (Series editors).

  • AES UK Mastering Section Conference 2018 (AES:MSC’18)

    AES UK Mastering Section Conference 2018 (AES:MSC’18)

    Call for Papers

    AES UK Mastering Section Conference 2018 (AES:MSC’18)

    Call for Papers




    Apologies for cross-posting


    AES UK Mastering Section Conference 2018 (AES:MSC’18)

    22 – 23 September 2018

    University of Westminster, Regent St, London, UK & locations nearby


    Keynotes to be confirmed shortly


    Full event details can be found at the conference website:


    Sponsors to be confirmed



    Call for Papers & Engineering Briefs



    The AES UK Mastering Section Conference welcomes academics, mastering engineers, producers, artists, industry professionals, technology developers and equipment manufacturers to come together and submit abstracts, engineering briefs or workshop proposals for consideration on a wide range of topics including:


    • Mastering past, present & future
    • Mastering technology & practice
    • Innovation in audio relating to mastering & post-production
    • Business matters relating to mastering & post-production


    Authors are requested to submit a short Abstract. Abstracts of 300 – 500 words will be reviewed for inclusion in the conference programme. After the conference, those presenting papers or eligible engineering briefs will be given the option to prepare a Full Chapter for inclusion in the conference book to be considered for publication with Routledge.


    Successful authors will be expected to to submit a Full Chapter of 5-6000 words by 1st November 2018. Full Chapter submissions will be peer-reviewed by at least two referees. Chapters must be of high quality, original, and not published elsewhere or submitted for publication during the review period.


    Abstracts, Briefs and Papers should be submitted by Monday 9th April by email to:



    The AES UK Mastering Section are also welcoming proposals for innovative and interactive demonstrations appropriate to the conference scope. If you are interested in being involved in any way please contact us at the following email address:




    Conference Scope



    Conference themes and topics include:


    • Audio Mastering: past, present and future
    • Mastering practice: human or artificial intelligence
    • Innovation in mastering and post production
    • Music consumer behaviour: the changing psychology and perceived value of mastering
    • Platforms for dissemination and sending mastered audio (watermarking, DDP etc.)
    • Mastering & mastering studio technology innovation
    • Audio engineering: audio and acoustics technology and practice in relation to mastering and post-production
    • Hi-res audio and future music formats
    • Online mastering, and new trends in mastering
    • Professional practice and business in mastering



    About Engineering Briefs



    Engineering Briefs are intended to be short verbal talks or poster presentations that will be of interest to AES members. Topics can be very wide-ranging, such as studio experience, equipment construction, new loudspeaker concepts, room acoustic measurements, analysis of audio equipment, and mastering studio startups, to name just a few. Relaxed reviewing of submissions will consider mainly whether they are of interest to AES members and are not overly commercial.

    The Engineering Briefs at this meeting will be selected on the basis of a submitted abstract, ensuring that they are of interest to AES members, and are not overly commercial. These briefs may be considered for the Routledge book publication.



    Keynote Speakers



    Keynotes to be confirmed shortly – see website for details



    Dates and Deadlines



    Submission of abstracts for consideration: Monday 9th April 2018

    Authors notified if abstract accepted or rejected: Friday 27th April 2018

    Programme and all accepted abstracts available on conference website: Monday 14th May 2018

    Early registration – Authors expected to have registered and paid by: Friday 22nd June 2018

    Completed paper submission deadline for inclusion in Routledge book: Thursday 1st November 2018



    Registration & Fees



    The registration fee will be £125 for non members, £70 for AES members. Members of the MPG, BASCA and MMF can register for £90 by emailing with proof of membership.

    Registration via Eventbrite will be announced shortly on






    AES Mastering Section Conference 2018 (AES MSC’18)  is hosted by the University of Westminster at their Regent St campus in Central London. London is at the heart of the UK and Europe’s music industry, providing a `thriving network of creative artists and technology innovators, as well as being the focal point of the music industry’s business economy. Being hosted in London enables some of the world’s most innovative individuals and organisations to engage with the conference and share discussions around mastering and post production.


    Full venue, accommodation and travel details are available at the conference website.






    General Conference Chairs:


    • JP Braddock, FAPPM
    • Russ Hepworth-Sawyer, MOTTOsound, UK


    Co-Chairs and AES Mastering Section Committee:


    • Ioana Barbu
    • Professor Rob Toulson, University of Westminster, UK (host Chair)
    • Jay Hodgson, MOTTOsound, Canada



    International Programme Committee



    If you’d like to join the AES and take part as a International Peer Review Committee, please contact



    Further Information



    Please visit the conference website for regular updates and conference details as they are confirmed:



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