Sound is a wonderfully mysterious and elusive phenomenon. With audible sound spanning a frequency range of ten octaves and a power range of one trillion to one, modern transducers and electronics are hard-pressed to rival the sensitivity and discrimination of the human auditory system. Meanwhile, the mathematical foundations of musical harmony may be hundreds of years old, but scientists have only recently attempted to explain how and why a poignant piece of music can send a wave of emotion through your body. I’m lucky to work at the intersection of acoustics, electronics, psychology and artistic communication in my multiple roles as a recording engineer, editor, producer and audio educator. My presentation will explore the significance of basic physics in the design, use, test and measurement of professional audio equipment. I’ll also strive to highlight areas of incomplete knowledge that continue to make psychoacoustics and the interpretation of sound a rich and exciting field.

• Michael Fleming holds a Masters of Music in Sound Recording degree from McGill University and an honors degree in physics from Carleton College. As a Thomas J. Watson Fellow, he participated in acoustical research at the University of Bath and studied classical music recording in collaboration with the BBC, EMI, Decca and independent engineers.

• Michael was the associate producer of WGBH (Boston) Radio’s “Classical Performances” from 1996 to 1999. This daily program presented live studio recitals, original concert recordings and music features, garnering awards for production excellence from the Massachusetts Broadcasters Association and the National Federation of Community Broadcasters.

• From 2001 to 2004, Michael was a lecturer and chief engineer at Appalachian State University, where he taught audio production and designed and installed the audio systems for a new recording studio. In 2004, he joined the faculty of Middle Tennessee State University, home of the nation’s largest undergraduate recording industry program, where he is currently assistant professor and member of the graduate faculty.

• Michael’s production credits as engineer and/or producer include work with the Boston Symphony Orchestra, the Nashville Symphony, the New York Collegium, Nashville Opera, the Handel and Haydn Society and many others. As a music editor, Michael continues to do editing and premastering work for classical, jazz and acoustic clients throughout the country.