Audio Recording Engineer Summer 2026

Theresa Leonard is a highly sought-after audio professional with extensive expertise in all aspects of music production, including audio post-production and broadcast. Her impressive portfolio of work comprises hundreds of high-profile, award-winning, and nominated recording projects, with a diverse range of international artists such as the Gryphon Trio, The St. Lawrence String Quartet, The Dover String Quartet, Pacific Opera Victoria, Victoria Symphony, and The National Arts Centre Orchestra. 

Theresa has received international recognition for her unwavering commitment to excellence in audio training and research, which she demonstrated during her tenure as Director of Audio at the Banff Centre for Arts and Creativity. Through her leadership, she has provided unparalleled educational opportunities for multiple generations of audio engineers, both through the Banff mentorship program and her presidency and fellowship with the Audio Engineering Society. As a result, she has been instrumental in shaping the careers of future leaders in the field, preparing them for major positions in the music technology and audio industries. 

Theresa's expertise extends beyond production and engineering, as she continues to serve as a consultant, director, and/or faculty, with several international music festivals and academic institutions, including Royal Conservatoire of The Hague, Banff Centre for Arts and Creativity, and the Verbier Festival Academy. Theresa holds a Master of Music degree in sound recording from McGill University and bachelor’s degrees in both music and education.

A New York City based Recording Industry veteran since 1989 with over 700 albums to his credit.  Todd began mentoring Banff Audio Practicums in 2005 during the Jazz Workshop and has made seven return summers since.  His career started as an intern at the original PowerStation Studios after graduating Berklee’s MP&E program and he advanced to assistant engineer before it’s closure in 1992. Todd went on to work at Sony Classical Productions and advanced to Senior Recording engineer at Sony Music Studios until it’s closure in 2007. He formed Whitelock Audio as a Freelance Engineer and specialized in remote recording for awhile.

An 11x Grammy Award winning Recording & Mixing Engineer his Album Awards span  diverse musical genres not only across all  Jazz categories but also Broadway , Classical, and Latin.  Besides his album work he has been the scoring engineer for a variety of Film, Television, and Streaming platforms including the Emmy Award winning score to HBO’s Mildred Pierce by Carter Burwell. Notable musical collaborators are Wynton Marsalis, Christian McBride, Cécile McLorin Salvant, Sullivan Fortner, Jon Batiste, Yo-Yo Ma, and Sting to name a few.  

In 2021 Wynton asked Todd to head up Jazz at Lincoln Center’s Studio, recording and mixing their weekly Livestreams on their Jazz Live subscription service and in that capacity has mixed hundreds of shows for hundreds of artists. In 2024 Todd formed Amplified Art & Sound LLC to continue serving an underserved music community, advancing the artist’s vision with state-of-the-art technology and a commitment to the highest audio standards while demystifying the entire production process. 

Morten Lindberg (b. 1970, Norway). Recording Producer and Balance Engineer with 46 American GRAMMY-nominations since 2006, 38 of these in craft categories Best Engineered Album, Best Surround Sound Album, Best Immersive Audio Album and Producer of the Year. Founder and CEO of the record label 2L. Grammy Award-winner 2020.

About our approach recording music in immersive audio: The beauty of the recording arts is that there is no fixed formula and no blueprint. It all comes out of the music. Every project starts out by digging into the score and talking with the composer, if contemporary, and the musicians. It is not our task as producers and engineers to try to re-create a concert situation with all its commercial limitations. On the contrary; we should make the ideal out of the recording medium and create the strongest illusion, the sonic experience that emotionally moves the listener to a better place.

The music captured by 2L features Norwegian composers and performers and an international repertoire reflected in the Nordic atmosphere. The immersive recordings not only transform the entire listening experience, but also - more radically - these innovative recordings overturn some very basic concepts regarding how music is composed and performed. 2L emphasize immersive audio with Pure Audio Blu-ray and HiRes file file distribution and streaming, and have garnered no less than 46 GRAMMY nominations, 38 of these in craft categories Best Engineered Album, Best Surround Sound Album, Best Immersive Audio Album and Producer of the Year. In 2020 the album LUX won the GRAMMY for Best Immersive Audio.

2L record in spacious acoustic venues: large concert halls, churches and cathedrals. This is actually where we can make the most intimate recordings. The qualities we seek in large rooms are not necessarily a big reverb, but openness due to the absence of close reflecting walls. Making an ambient and beautiful recording is the way of least resistance. Searching the fine edge between direct contact and openness - that’s the real challenge! A really good recording should be able to bodily move the listener. This core quality of audio production is made by choosing the right venue for the repertoire, and by balancing the image in the placement of microphones and musicians relative to each other in that venue.

There is no method available today to reproduce the exact perception of attending a live performance. That leaves us with the art of illusion when it comes to recording music. As recording engineers and producers we need to do exactly the same as any good musician: interpret the music and the composer’s intentions and adapt to the media where we perform. Immersive Audio is a completely new conception of the musical experience. Recorded music is no longer a matter of a fixed one- or two-dimensional setting, but rather a three-dimensional enveloping situation. Immersive Audio is a sculpture that you can literally move around and relate to spatially; surrounded by music you can move about in the aural space and choose angles, vantage points and positions. Rather than reproducing a concert situation we consider the Recording Art a discipline on its own. It gives us the possibility to place the listener in an ideal position and become an actual party to the event. Thru a dedicated production of the music we can maximize energy, reveal all the small nuances and avoid disturbing distractions. The emotional impact can be made massive. The conductor’s position is the seat no audience can afford — until now with these dedicated recordings.
 

James Clemens-Seely (he/him) is a music & sound specialist and educator with an emphasis on recording, mixing and mastering music projects for any and all media. Currently an Assistant Professor at McGill University in Montreal, his previous positions include Senior Recording Engineer at Banff Centre for Arts and Creativity in Alberta and three summers working at the Tanglewood Music Festival, summer home of the Boston Symphony Orchestra. While leading the Audio Post and Audio Recording Practicum programs in Banff, James was responsible for guiding a team of student apprentices and overseeing over 100 concert, album, film score, and live stream recordings annually. Now at McGill University’s prestigious Sound Recording program, James teaches graduate courses in Recording Theory & Practice, Technical Ear Training, Advanced Editing & Post-Production, and more. James has been visiting faculty at the University of Lethbridge and the University of Victoria, and his research participation has included workshops from Montreal to Mali, with frequent presentations or panel participation for the Audio Engineering Society at their annual conventions. James’s credits include a Juno winning album, two Canadian Screen Awards for best music, a best documentary Emmy, nominations for numerous Junos and a Grammy, with programs seen on Netflix, Disney+, PBS Nova, CBC’s the Nature of Things, and albums on Naxos, Sony Classics, Analekta, ATMA, and more. From symphony halls to storage lockers, James has worked with garage bands, singer songwriters, nearly every orchestra in Canada (in addition to the New York Philharmonic and Boston Symphony Orchestras), electronic music artists, and everything in between.

James splits his time between Montreal and the Canadian Rockies, where he can be found adventuring in the mountains, hiking and camping with his partner Tori, or competing for team Canada Ice Climbing.

Jennifer Nulsen is best known for her work as a Grammy nominated audio engineer, having worked across North America as either recording engineer, editing engineer, mastering engineer, or assistant engineer, with such artists as the Boston Symphony Orchestra, Boston Pops Orchestra, Renee Fleming, Dallas Symphony Orchestra, Philadelphia Orchestra, Cincinnati Symphony Orchestra, SO Percussion, Yo-Yo Ma, Cleveland Orchestra, Hilary Hahn, Conspirare, Bela Fleck, Virginia Symphony Orchestra, and Baltimore Symphony Orchestra, among others. She has produced concert recordings for the Tanglewood Music Center Orchestra, Cleveland Orchestra, Dallas Symphony Orchestra, New Jersey Symphony Orchestra, McGill Symphony Orchestra, and the Yale School of Music (producing several live multi-camera orchestra web streams). She also produced studio recordings for theatrical chamber orchestras at the Hartt School in West Hartford, CT, for nationally recognized theatre productions. An active freelance engineer, Jennifer has worked as a recording and editing engineer on many album releases, as well as editing and mixing engineer on national television broadcasts, and regularly records and mixes classical, rock, jazz, and pop artists for single and EP releases. Jennifer is a three-time Grammy nominee and a three-time finalist in the international Audio Engineering Society Student Recording Competition, having received the Traditional Acoustic Gold Award in Los Angeles in 2016. She was also the winner of the 2018 Eleanor Stubley Sound Recording competition, and a recipient of the 2016-2017 John R.E. Bradley Award for Excellence in Sound Recording. She received two Bachelor of Music degrees in music production and technology and piano performance from the Hartt School at the University of Hartford in 2016. She has also completed a master's degree at McGill University in the Sound Recording program, for which she received several fellowships, including the Audio Engineering Society Educational Foundation grant and the Bruce Swedien honorarium. She completed one season at the Banff Centre in Banff, AB, four seasons at the Tanglewood Music Center (two of these as Ozawa Hall Senior Engineer), and one season at the Aspen Music Festival and School as the Head Media Engineer, mastering and distributing concert broadcasts to American Public Media, the European Broadcasting Union, and local media outlets.

During the year, Jennifer is the recording engineer for the New Jersey Symphony Orchestra, an editing engineer for the San Diego Symphony, a mix and editing engineer for the Dallas Symphony Orchestra, and a guest recording engineer and stereo mastering engineer for the Cleveland Orchestra. She was a podcasting engineer for Condé Nast Entertainment, where she mixed programs for The New Yorker, Vanity Fair, Conde Nast Traveler, and Bon Appetit, and is currently a mix engineer for Symphony Space's long-running program, Selected Shorts, and a broadcast engineer for the Metropolitan Opera's Sirius XM and Live

in HD broadcasts. She recently received her first three Telly Awards for work with the Dallas Symphony Orchestra as mix engineer, and three Mid-Atlantic Emmys for television programs she recorded with the New Jersey Symphony Orchestra. Jennifer is also part time faculty at the New School's College of Performing Arts in 2024.

Please check back regularly for additions to the faculty list.