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David (Dave) Ward
Managing Director

David Ward has spent a lifetime in the Music Industry, 25 years as an entertainer, singer, comedian, three years as a club and concert promoter, 15 years as a professional singer and comedian and 25 years as a recording studio owner/manager/sound engineer, some of these concurrently. He founded Gateway Studios in 1976 and was also the founder of the Gateway School of Recording, Music Technology and Music Business Studies. Gateway was the first independent music industry school in Europe and pioneered many new learning methods and areas of study.

David’s lifelong commitment to education continues with his work as a founder and Executive Director of JAMES. He is also a Director of APRS, Chair of the Music Education Council Music Technology group. He writes qualifications for awarding bodies and travels widely as a consultant to education authorities, government departments and institutions in course design, listening skills and education facility design.

One of his greatest delights is explaining the world of sound and recording to people and organisations outside the music industry and has recently been involved with designing courses for a major manufacturer of PA equipment.

David trained as a therapist in Psychosynthesis and Positive Psychology and uses this work in an education context, researching and developing learning skills. Over the last 10 years he has developed a system of Stress Relief and Resilience called Dynamic Calm © which he is now bringing to the Music Industry in the UK.

He still sings and performs albeit without the beard and long hair that he used to hide behind.

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Richard Llewellyn
Executive Director

Richard has over 30 years in the music education. His musical career started in 1981 as a trumpet player in the British Army. Following this, he joined Boosey & Hawkes Music Publishers in 1990 where he was appointed as the Sales Executive, spending a lot of his time visiting shops within the UK and mainland Europe. After a brief time at International Music Publication, Richard joined Yamaha as a Regional Manager in 2001 within the Acoustic Division. During this role, he looked after sales of brass and woodwind instruments for shops in the South-East of England.

In 2006 he was asked to join the American company ‘MakeMusic’, a company that specialised in notation software. Within his position as the International Sales Manager, he travelled extensively, dealing with global distributors all around the world.

In 2009, Richard joined Notion Music as the Sales Director and helped build up this notation program's international presence, which led to the company being purchased by PreSonus in 2013. At PreSonus, he became the Education Manager for the EMEA territory, leaving in 2014 to work on various free-lance projects. These included, Music Futures (Business Development Coordinator), Piano Adventure (UK Marketing Consultant), UCan Play (helping grow the Connect: Resound distant learning platform) and writing for various music magazines, including the Music Teacher Magazine and the Music Masters Association (MMA).

Following a brief time of working part-time as Steinberg’s UK Education Specialist, in 2015 he was offered the full time role of UK Education Manager for Steinberg Media Technologies GmbH.

Richard brings all this experience to his role as Executive Director of TiME.

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Kate Rounding
Development Director

Kate has 25 years of experience in music, education and inclusion leadership. She is
passionate about enabling projects to grow and flourish by bringing people together
and collectively working towards unified goals.

Kate brings her experience as a professional musician, studio engineer and music lecturer to develop and lead a
comprehensive set of large-scale music and arts education projects.

Kate’s work has progressed young people, emerging professionals and experienced practitioners in
their lives and careers and has nurtured many successful partnerships between music
industry professionals, funding bodies and arts organisations, creating meaningful
social impact.

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Wendy Laybourn
Director of Film, TV and Media learning

My interest in production began, like most people involved in the industry, with a fascination for that 'land of magic' which is film. Growing up the North-East of England there was very little prospect of a career in the business but, coming from a time and place where everyone played a musical instrument of some kind and to varying degrees of proficiency, I put my energies into becoming a fairly respectable guitar player and spent much of my youth playing in Northern clubs.

By pure chance I met a couple of people who had just started a small London production company, so helping them evenings and weekends was my introduction to the film industry.

In the 1970's I joined a company which was dealing with the distribution of an American brand of post production equipment to 22 European outlets. I was an integral part of the team which introduced off-line editing into Europe. I helped to build this company into an international organisation with offices in Los Angeles and Moscow. Because of the work I did at the time, in
1972 I was invited to become a member of BAFTA for innovations in the off-line editing process.

In the 1980s I started a company with two partners, a brokerage which dealt with the sale of new and used film, television, sound and lighting equipment on an international basis. We produced a monthly publication of equipment for sale, which was distributed to an extensive readership. During this time I became a member of the BKSTS (British Kinematograph, Sound & Television Society) & the SMPTE (Society of Motion Picture and Television Engineers)

In the early 1990s I became very much more involved with the BKSTS and represented the Society, in conjunction with the Northern Arts Board, on the Cinema 100 National Committee (the UK's celebration of 100 years of Cinema). In 1994 I was elected as the first woman Council Member of the BKSTS and subsequently elected as Honorary Secretary - then employed by the Society as Executive Director from 2003 until 2007, when the Society 'downsized'. I was awarded a Fellowship of the BKSTS - the first woman to be awarded this honour.

During this time I was appointed to the Board of the Children's Film Unit, a charitable organisation involving children between the ages of 11-18 in the art of film-making - becoming Chairman a few years later.

In 2003 I was accepted as a Friend of the British Society of Cinematographers, a member of the Visual Effects Society and a member of the Institution of Engineering and Technology.

In 2009 to 2011 I published Network Nine News, a quarterly magazine aimed at young film makers, dealing with the skills and crafts involved in film production. From 2012 to date I have been working on a series of e-booklets through Amazon, aimed at students and young film makers about the realities of working in film. The series title is 'Do You Have What it Takes to Survive in Film Production?' with each booklet focusing on a particular department - eg, Production Office, Art Department etc.

I take every opportunity to speak to young people who are aiming to make a career in production - if I had been able to speak to someone when I started out who had with overall knowledge of film and who could have told me about the variety of creative jobs available, I may have taken a different route - however, it's a hard but wonderful business to be in.

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Sam Bennett
Assistant Project Manager

My name is Sam Bennett I am 21 and a recent graduate from De Montfort University in Leicester. I took Music Technology BSc accredited by JAMES. I have been passionate about music for as long as I can remember with music always playing throughout the house. I have been playing bass for over 10 years now and I’m not bored of the root notes just yet!

In upper school, I played in a band gaining an opportunity to open for acts such as Busted and The Happy Mondays. I’m part of two bands currently one having released an EP and supporting singles with thousands of streams on Spotify.

Formed as a result of my university course this amazing project helped me get integrated into the midlands music scene. The second band formed recently will sadly have to wait for a less hectic time when it can be made public and taken on the road.

I am delighted to take part in an internship with TiME in collaboration with DMU’s graduate scheme. This connects graduates with employers in their industries. I am looking forward to putting what I learnt through university, and being in bands, to work with this exciting opportunity. Taking music technology to those who might not have had the opportunity that I had, is a privilege.

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Bradley Smith

In his role as Lead for Music Technology at Leicester-Shire Schools Music Service, Brad is responsible for supporting, training and developing teachers’ ability and confidence to deliver music (enriched by technology) and music technology explicitly. His work involves developing partnerships and creating resources, as well as writing schemes and packages of work relating to music and music technology.

Bradley successfully completed a Primary PGCE with Music Specialism, a BA in Music Technology and Innovation and is a member of a special interest group for music technology education.

After University, Bradley set up his own music education business, delivering Production and Turntablism workshops for a broad range of educational establishments. After this, he completed a Primary PGCE with music specialism and went on to teach in several primary schools, including a primary PRU, taking the lead as school Music Coordinator. From there, he began his current job role working at the county music service. His most notable project so far has been the development of a unit of Turntablism which has been running for 2 years in the county and has, so far, been accessed by over 2,500 pupils.

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Simon Glennister

Simon Glenister founded Noise Solution in 2009 to use music technology to create social impact. Noise Solution combines music mentoring, often focused on electronic music and beat making, with the weekly creation and sharing of a ‘digital story’ displaying highlights from each music making session. This sharing is achieved via Noise Solution’s own bespoke social media network designed specifically to work for participants’, their family and any professionals they may be working with.

The platform encourages everyone to contribute to the digital story as it develops. We allow people to feel in control of their sessions (autonomous), feel good at something (competent), and share it meaningfully within networks (related).

Autonomy, competency and relatedness are ‘psychological needs’ all equally vital to well-being. Well-being increases are irrefutably proven to positively impact on health, engagement and educational outcomes. An independent, cabinet office funded report recently found Noise Solution to be ‘Highly statistically significant’ in impacting on well-being.

Simon has recently completed his research Masters at Cambridge University, the focus of the research being effective engagement, well-being and impact capture using mixed methodologies around Noise Solution's work.

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Max Wheeler

Max is a musician/producer, consultant, author and youth music tutor, specialising in Rap, Urban & Electronic music, soundtracks, remixes and peer-to-peer education projects.

He has conducted over 200 workshops across the country teaching Rap, beatmaking, songwriting and production to everyone from young offenders to social workers and in primary schools, special needs projects and community groups.

His work on lyric writing with young people is soon to be highlighted in a peer reviewed journal by academic Luke Dickens.

As a recording artist on Gilles Peterson’s Brownswood label, Max is one half of duo Anushka with over 750k plays on Soundcloud, an album and world tour in 2014 and Radio 1 plaudits from Annie Mac, Skream and others.

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Adam Ockleford

Adam is Professor of Music and Director of the Applied Music Research Centre at the University of Roehampton in London. With a group of parents and friends, Adam founded The Amber Trust in 1994.

He has worked with young people who are blind or partially sighted for over the last 35 years, at Linden Lodge School in Wandsworth and the RNIB, and has researched and written widely on how visual impairment affects children’s developing musicality. Adam’s longest-standing student is Derek Paravicini, with whom he has worked since 1984, when Derek was just five years old.

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Rachel Shapey

Within a year of launching her online music education platform, I can compose, Rachel has been winner of Outstanding Music Education Product in the 2019 Music Teacher Awards for Excellence and one of five winners of the Stelios Philanthropic Foundation Award for disabled entrepreneurs.

Rachel is passionate about composition in the classroom and has created interactive step-by-step courses using tried and tested methods from her classroom, to help students with composing in a range of styles and genres.

An experienced and highly motivated music educator, Rachel has taught across the age range (11-18) since 2005, specialising in GCSE & A level composition.

Rachel is an engaging presenter and delivers CPD training for secondary music teachers, is a member of the ISM Educators' Special Interest Group, on the board of Trustees for Drake Music and is also an Expert Reviewer of music teaching resources for Zigzag Education.

Read Rachel's interview with our TiME Development Director Kate Rounding.

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Mat Andasun

Mat Andasun is a multi - instrumental performer and composer who writes music for TV and film. He has been a community musician since 1993 and continues to maintain an active presence as a music practitioner in Early Years music and music for SEN.

Inspired by the use of music technology in education work, he created an exciting new music software programme for Early Years, Key Stages 1 & 2 and SEN called Mr Mangle’s Magical Music Factory.

The software uses a child –friendly GUI to capture everyday sounds that through sample manipulation, can be turned into weird and wonderful story sounds. The software is central to Mat’s idea that music & sound creation can be used in educational contexts to transform children’s lives.

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