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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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Bradley Smith
Consultant


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
Consultant

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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Dr Phil Harding
Consultant

Phil Harding joined the music industry at the Marquee Studios in 1973, engineering for the likes of The Clash, Killing Joke, Toyah and Matt Bianco by the late 1970s.

In the 1980s, Phil mixed for Stock, Aitken & Waterman tracks such as You Spin Me Round by Dead or Alive followed by records for Mel & Kim, Bananarama, Rick Astley, Depeche Mode, Erasure, Pet Shop Boys and Kylie Minogue.

In the1990s, Phil set up his own facility at The Strongroom with Ian Curnow. Further hits followed with productions for East 17 (including Stay Another Day), Deuce, Boyzone, 911 and Let Loose.

Recent projects include the book PWL from the Factory Floor (2010, Cherry Red Books) and mixing Sir Cliff Richard’s 2011 album Soulicious. Harding has recently worked for Holly Johnson (Frankie Goes To Hollywood), Tina Charles, Samantha Fox, Belinda Carlisle and Curiosity with his new production team PJS Productions.

He is currently Co-Chair of JAMES along with Dennis Weinreich and was the Chairman of the Music Producers Guild. Phil completed his doctorate in Music Production at Leeds Beckett University, April 2017.
www.pwlfromthefactoryfloor.com
www.philharding.co.uk


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Max Wheeler
Consultant

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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Prof. Adam Ockleford
Consultant

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.

Adam has had a lifelong fascination for music, as a composer, performer, teacher and researcher. While attending the Royal Academy of Music in London, Adam started working with children with special needs - a number of whom, he noticed, had special musical abilities too - and he became interested in how we all intuitively make sense of music, without the need for formal education. Adam pursued this line of enquiry, and gained a PhD in music at Goldsmith's College in London in 1993, in which he set out his 'zygonic' theory of musical understanding. This theory has proved a valuable tool in music theory and analysis, in investigating musical development, and exploring interaction in music therapy and education.

Adam is Secretary of the Society for Education, Music and Psychology Research ('SEMPRE'), Chair of Soundabout, an Oxfordshire-based charity that supports music provision for children and young people with complex needs; and founder of The AMBER Trust, a charity that supports visually impaired children in their pursuit of music.

Adam's research interests are in music psychology, education, theory and aesthetics - particularly special educational needs and the development of exceptional abilities; learning, memory and creativity; the cognition of musical structure and the construction of musical meaning. He welcomes enquiries from PhD students with any of these or related areas of interest.

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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Rita Campbell
Consultant

Rita began touring and writing with her first band at the age of 15, which soon led to a full time career as Songwriter and session singer - working in all genres from Pop to drum 'n bass, dance, rock and TV.

She has worked and written with a diverse range of artists including Steps (for whom she wrote the UK Number 1 hit ‘Stomp’), Michael McDonald, Cher, Paul Weller, The Brand New Heavies, Westlife, Jools Holland, StoneBridge & Westlife… Being a prolific songwriter, covering a broad range of genres with many cuts and releases for various artists, she is also regularly approached to write for TV, film & ads, keeping her very busy in her London studio.

Rita stands as one of the UK’s most in demand featured vocal artists & songwriters and has lent her songwriting skills and voice to some of the biggest tracks in the worlds of pop and dance. Her distinctive voice is most widely known for featuring on huge chart anthems ‘Crazy World’ and ‘In This Silence’. As a session vocalist, Rita's vocals and backing vocals can be heard in many genres and medias from TV and Radio ads to X Factor UK & USA and Britain's got talent, USA's got talent - for which Rita records all the backing vocals for air.

Rita is a revered performer and has sung and toured all over the world, in an array of venues, ranging from Ronnie Scotts, to Glastonbury, Wembley, Hyde Park, to Ibiza via key clubs like Pacha, BCM and to countries as far a field as Paraguay, Australia, Singapore, Dubai, Brazil, USA, Europe, Japan, Russia and Siberia.

Rita continues to write & perform. As well as being vocal coach & giving masterclasses and workshops. Rita sits on the Songwriter╩╝s Executive Committee & Gold Badge Committee at BASCA (British Academy of Songwriters, Composers & Authors), The Singer╩╝s committee at Equity, and has been a UK judge for the Eurovision Song Contest and Ivor Norvello Awards.

For more info: www.ritacampbell.co.uk


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Dr Gary Bromham
Consultant

Gary began his production/writing career in Iceland of all places! During his time spent working in Iceland he co-produced the Eurovision entry (nil points I hear you say!), made an album with jazz-funk band Mezzoforte and worked with the now in-famous artist, Bjork.

Whilst working with Andrew Ridgeley on his solo album Gary was also fortunate enough to work with George Michael on some of the album, which was understandably very inspirational. Though not hugely successful in commercial terms, the recording of this album did teach him a great deal in respect of the calibre of session musicians he was working with and the type of studio he was able to record in.

As a result of Gary writing with Andrew Ridgeley he was offered his first publishing deal with Warner Chappell Music in 1990. This proved to be a great success. Gary wrote with many varied and successful artists and songwriters including Sheryl Crow, Bow Wow Wow, The Tubes’ Fee Waybill, Robbie Neville, Eddie Money and The Fixx to name but a few, spending a large period of his time in New York, Nashville and Los Angeles.

In 1995, after a great deal of hard work, and with the help of a manager Gary signed a major record deal with EMI with his band “The Big Blue”. They released two singles and achieved moderate success with the band.

Following the demise of the band Gary returned to songwriting and production, signing a new publishing deal with Reverb Music. He has had hits with Lonyo’s “Summer of Love” and with Dannii Minogue on the song “Who do you love now” He also returned to working with Sheryl Crowe, mixing the single “Soak up the Sun”.

More recently he has collaborated with top songwriter Pam Sheyne on different writing/ production projects including Sony sensation Delta Goodrem, Lulu and Tina Arena.

Most recently Gary has finished producing the debut album for Icelandic pop band, Nylon; written and produced songs on an album for new artist, Scarlette and produced 3 songs for a successful EMI covers compilation album, Roadtrip. Along with recent engineering sessions with Graham Coxon from Blur, Editors and The Maccabees Gary also continues to pursue his own band project, Atom. The debut album, Safe Orbit, available on iTunes.

Gary is well versed in most popular DAW’s including Avid Protools, Propellerheads Reason and Apple Logic Pro. As well as being part of the development team he has also made tutorial videos and written articles for Propellerhead Software. He is also a frequent guest lecturer and external advisor at several universities in the UK and Norway; speaking on songwriting, production and mixing and bringing some of his extensive knowledge and experience to both Undergraduate and Masters degree students.


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Rachel Shapey
Consultant

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
Consultant

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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