Rebekka Homburg is a Berlin-based sound engineer, combining practical expertise in recording with academic research in musical acoustics and music psychology. She completed her diploma studies at the University of Music and Performing Arts Vienna with an Erasmus term at the Berlin University of the Arts.

Her recording experience includes collaborations and internships with renowned institutions such as msm-productions in Singapore, the Verbier Festival Academy and Teldex Studio Berlin, alongside numerous independent projects. With a background in violin and voice, she brings a holistic perspective to performance and production and is committed to fostering inclusive structures within the field. Her professional approach is defined by a pursuit of the highest sound quality, an empathetic working style, and the faithful capture of artistic intent.

In addition to her production work, she has engaged in research in music psychology and acoustics at the Technical University of Berlin, enriching her practice with a deeper understanding of listening and perception. Her diploma thesis explored the influence of room acoustics on the perception of music, integrating methods from both natural sciences and music psychology. As a scholar of the German Academic Scholarship Foundation, she was recognized for academic excellence and curiosity.

Paulin ROMAN, is a master student in Sound Engineering at the Paris Conservatoire since 2022. Mostly interested in acoustic music recording and spatial audio creation, he also pursues musicology studies in his goal to become an informed artistic director. He still practices the saxophone, his instrument, from classical training to Balkan traditional music, across all genres and aesthetics, as he is firmly attached to the act of musicing as a universal way of communicating.

Born in Chamonix Mt-Blanc, France; he keeps a physical attachment to outdoor sports, mountain landscapes, and nature, in which he thrives, as triathlon training is his main hobby outside of his music interests.

Before entering the Paris Conservatoire, he studied contemporary music composition and analysis through electroacoustic music, in Annecy – France - which initiated his dedication to spatial and sensorial composition as he founds it to be a deep source of inspiration and a still not fully explored way to convey music and creation to the audience.

Martyna Kacprowicz is a sound designer based in Warsaw, Poland. A graduate of the Fryderyk Chopin University of Music, where she studied sound engineering, she works across film and television sound design, music recordings, and experimental approaches that explore the artistic potential of sound.

Alongside her post-production work, she has been active as a sound engineer at contemporary music festivals, gaining hands-on experience with live performance and diverse sonic environments. Her recent projects extend into multimedia installations and soundscapes, where she explores how sound can shape space, build narrative, and become an integral part of interaction and visual experience.

Approaching both artistic and technical challenges with creativity, she has also taken part in interdisciplinary initiatives, including a program initiated by the European Space Agency, where she contributed to the development of an augmented reality-based project. Her work has been presented at festivals such as New Horizons, Gdynia Film Festival, and Warsaw Autumn, reflecting her ongoing interest in sound as both a craft and a medium of artistic expression.

My name is Elie and I’m a sound engineer working in both music and the narrative sound industry. I currently find myself transitioning between recording classical music and producing rap. All these different industries that I find myself in allow me to deepen my artistic thoughts and ideas, as well as my technical abilities, helping me see things in a different way. This led me to pursue a master’s degree in Image et Son Brest (ISB), where I studied sound recording for music as well as post-production for narrative sound in cinema and audio drama.

I’ve always tried to create my own projects or contribute to other’s by offering my help and support. I was fortunate to have one of my sound fictions produced in immersive audio, which was selected and broadcast by Radio France. I also had the opportunity to be part of the sound recording team at the 2025 Verbier Festival in Switzerland. It was an experience I’m truly grateful for.

Immersive sound and binaural in particular are especially important to me. I want to give the same experience to each person, whether they’re listening on a high-quality sound system or, for example, with casual earphones. 

Brendan Wong (he/him) is a sound artist and engineer, constantly flowing between the roles of songwriter, producer, recordist, and musician.

Born and raised in Victoria, BC, Canada, Brendan’s personal flavour of art-folk blends together collective improvisation, live sound-design, and complex harmonies. At the root of it all is his delicate yet expressive lyricism and rather convoluted guitar parts.

His self-produced debut album, The Waking of the Birds, was released on November 15th, 2025: an introspection on transformation, devotion, and catharsis.

A big, big fan of collaboration, Brendan has worked as producer, recordist, mix engineer, and/or session musician for a variety of projects. Recent releases include Savannah Read’s EP Trampoline (Vancouver), Charis Tazumi’s debut album In Subtle Ways (Victoria), Henrik Hausmann’s debut album Echo Chamber (Norway), and Karsten Quix’s album If Not for the Weather (Belgium).

He can also be heard shredding bass guitar with Vancouver-based bands LöLä, Savannah Read, and Victoria’s own Millet.

Ben Senyk is a drummer, audio engineer, and electronic music producer based in Toronto, Ontario and Calgary, Alberta. Ben grew up in Calgary learning music, playing in both the Calgary Stampede Showband and the Calgary Youth Orchestra, playing percussion in both. During his post-secondary education, he turned to audio engineering, inspired by the electronic music artists Koan Sound and Mr. Bill. A recent graduate of Humber College in Toronto, Ben studied a combination of jazz drums, music production, and audio engineering. His final year was focused heavily on the Dolby Atmos audio format, where he explored developing new production and mixing techniques for the medium. As an audio engineer, Ben focuses on creating interesting sound design techniques for stereo and multichannel formats. Though currently working in music, Ben hopes to explore audio in other settings like film, live performance, or public installations.

To an ever-growing circle of fans and collaborators, SAMWOY represents a thrilling force in Canada’s music scene, smashing genre boundaries with fearless creativity. Led by Sam Woywitka, the Montreal-based project blends elements of ambient, electronic, classical, and rap, often within the same track. As Québécoise alt-pop artist Virginie B puts it: “Sam’s basically an all-encompassing hard-working music intuitive genius.”

Woywitka’s sound defies easy categorization; lush orchestration gives way to distorted drums and buzzsaw synths, while haunting lyrics explore chaos, regret, and redemption. His album, Even Sad Boys Like To Have Fun, dives even deeper into emotional extremes, featuring everything from baroque instrumentation to a blend of Montreal’s finest musicians.

Live, SAMWOY delivers unpredictable energy, moving fluidly between explosive highs and tender introspection. Much of the music reflects on Woywitka’s near-fatal car crash in his Vancouver Island hometown, drawing from trauma while never wallowing in it. Instead, SAMWOY embraces contrast between post-punk and electronica, serenity and chaos, destruction and healing.

At its core, SAMWOY is about turning disaster into beauty. For Woywitka, it’s a lifeline; for listeners, it’s a cathartic journey through the depths and heights of human experience.

Sam Woywitka was generously supported by the Banff Centre Endowment.

Originally from Bloomington, Illinois, Miguel Velasco is a fifth-year student at the Lawrence Conservatory of Music in Appleton, Wisconsin, pursuing both a BM in Clarinet Performance and a BA in Computer Science. During his undergraduate career, Miguel studied under Dr. Andy Hudson and David Bell, along with masterclasses with Michael Lowenstern, Alica Lee, Zachary Good, and Eric Mandat. Miguel is a part of multiple highly regarded chamber ensembles, one of which was previously invited to play a recital at the International Clarinet Association Lowfest in Glendale, AZ, in January 2025.

Along with his musical endeavors, Miguel also works year-round at State Farm Insurance as a Senior Software Engineer Intern, working on the MyAccounts page of the statefarm.com website. When not working or practicing, Miguel enjoys cooking, competing in fighting game tournaments, collecting retro consoles, and weightlifting.

Miguel Velasco was generously supported by the Richard and Sidney Killmer Oboe Endowment Fund.

Johnny Tomasiello is a multidisciplinary artist and composer-researcher, with a deep interest in expanded conceptualizations of sound, visuals, and time. His work employs methodologies across media, and is informed by research into neuroscience, psychophysics and biofeedback.

Focused on the relationship between perception and the mechanics of physiology, his immersive works, compositions, and performances reveal otherwise invisible processes in physiological and technological systems. Drawing on custom-built instruments and software, his work references mechanisms of expression and experience through data sonification, biofeedback, and reciprocal physiological systems.

He holds an MS in Digital Imaging and Design from NYU and a BS in Psychophysics from Rutgers/UMDNJ, as well as the completion of the thesis program in Electronic Music composition and Production, and a fine arts foundation with emphasis in painting, from Maryland Institute, College of Art (MICA).

As a performer, Tomasiello has produced live immersive performances and lectures featuring his interactive computer-assisted compositional performance systems and Brain-Computer Interfaces (BCI) that create, manipulate, and deconstruct audio and visuals, as well as physiological responses. He has lectured on the subject, staged live performances, scored films, and shown works in galleries and at institutions in the US and abroad.

Johnny Tomasiello was generously supported by the Banff Centre Endowment.