• Postgraduate

Advanced Music Technology MA

Overview

Overview

Would you like to expand the range of your music technology capabilities and explore new techniques?

This Masters in music technology will equip you with a broad range of skills – not only in music technology, but also in related media like video, electronic composition and performance, and software design. Your technical mastery of the latest hardware and software will make you attractive to a wide range of potential employers. 

The University of West London is home to one of the largest audio complexes in Europe, enabling you to learn on some of the best equipment in the industry.   

With the help of our highly experienced staff, who are actively engaged in the music industry, you will cover everything from digital audio interface design to multi-track recording and mixing for surround sound.

You will also create your own personal development plan and learn how to conduct Masters-level research into specific aspects of music production.

View some of our students' recent work.

A student working at an LCM recording sound desk

Select your desired study option, then pick a start date to see relevant course information:

Study options:
We support flexible study by offering some of our courses part-time or via distance learning. To give you real world experience before you graduate, we also offer some courses with a placement or internship. All available options are listed here. Your choices may affect some details of your course, such as the duration and cost per year. Please re-check the details on this page if you change your selection.

Start date:

If your desired start date is not available, try selecting a different study option.

Why study Advanced Music Technology with us?

Why study Advanced Music Technology with us?

What our students say…

The facilities were fantastic, lecturers really helpful, and the extracurricular activities were brilliant! The best part of being at LCM was the networking opportunities. I got to liaise with industry professionals in master classes, and I got job opportunities from these events. My course was fantastic.

Dr Jo Lord, former student
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London College of Music: founded in 1887
Graphic stating "one of the largest studio complexes in the UK"
UWL boasts a 200-seat fully equipped studio theatre
study full time or part time
Course detail & modules

Course detail & modules

The course focuses on current topics, from direct-to-stereo and ambient recording through non-linear techniques to the evolving arena of surround-sound mixing and recording. It will also encompass software interface programming and its use within electro-acoustic composition and performance.

There will be plenty of scope for you to experiment and apply what you are learning. The London College of Music (LCM) has more than 20 studios, including 5.1, 3D sound and a dedicated radio studio.

In addition, you will have access to an extensive range of specialist equipment including:

  • vintage outboard
  • Kyma
  • 2" tape
  • an RS8000 modular synthesiser
  • Ambisonic rigs
  • CLASP
  • a classic VCS3
  • hi-end plugins.

In the final stages of your course, you will undertake an ambitious, self-managed practical project on a topic of your choice. This is your chance to build on what you have learned and display your full range of abilities.

As part of LCM, you will be able to call on a diverse range of musicians to collaborate, record and network with throughout the course. This facility extends even further, to collaborations with students from media, moving image (video and film), digital animation and games-design backgrounds from across the University. By taking advantage of these opportunities, you can enhance your CV and build your professional network even before you graduate.

You will study in west London, the hub of the UK's music and media industries, at one of the largest audio complexes in Europe. When you graduate from the MA, you will have the technical mastery of the latest hardware and software which will make you attractive to a wide range of employers and competitive in the constantly evolving music industry.

Find out about our successful course alumni.

You must take all compulsory modules and may choose one of two optional modules: 

  • Game Audio OR Approaches to Recording

Compulsory modules

  • Interface Design for Music

    This module will give you a practical introduction to the software design and programming techniques involved in designing contemporary audio applications. You will focus on the Max language and its wide variety of uses, studying the theory, design and architecture of synthesizers, samplers, effects, sequencers and composition engines. You will then develop and demonstrate your own original application.

  • Immersive Audio

    You will explore many of the concepts, research and techniques associated with various aspects of immersive audio in a focused and detailed framework. You will study 3-D audio, through both binaural approaches when working with 360 video – typical of contemporary virtual-reality applications, and speaker-array reproduction using Dolby Atmos as is increasingly used for cinema sound.

  • Interactive Music Technology

    You will be schooled in concepts associated with contemporary electronic sound-art, music and sound design for multi-media-installation art, interactive music software and electronic/electroacoustic composition. You will select a particular area for a research, production and performance project of your own. This project will culminate in a performance or installation involving audio technology in a public space as part of LCM’s 'Electric Music' series.

  • Advanced Hybrid Production

    You will learn about the evolving notion of the contemporary audio producer as a reflexive, multidisciplinary and innovative sonic artist. You will engage with parallel analogue and digital, software and hardware – hybrid – production workflows (recording, sampling, synthesis, programming, mixing and mastering). You will be able to apply advanced audio techniques, pushing the expressive boundaries of the sonic medium and contextualising current practice.

  • Research Methods

    You will be trained in research methods and critical methodology as preparation for undertaking research that supports and advances the project work in your course. You will define, articulate and critically reflect upon the research concerns of your own practice, thereby underpinning and enhancing your knowledge and understanding of your chosen field of study. You will present your work at the multi-disciplinary LCM postgraduate conference.

  • Masters Project

    For this module you will undertake an ambitious and self-managed large-scale practical project on a topic of your choice. The project will be framed by a study of contemporary research around your topic, and will be designed to expand and enhance the skills and knowledge around a specialised area. The project makes an excellent showcase to kickstart your future career.

Optional modules

  • Approaches to Recording

    You will analyse and study methodologies, practices and positions on recorded ‘realism’ and be introduced to more experimental approaches to recording that might subvert this. You will be given the opportunity to conduct self-directed research into both development and future use of microphone & recording technology via both stereo and surround microphone techniques.

  • Game Audio

    This module focuses on music composition and sound design in video games. You will gain considerable practical experience in composing music and creating sound design for games using specialist game-creation software, while analysing and responding to the unique challenges posed in composing nonlinear and interactive music and sound effects.

Entry requirements

Entry requirements

You should have an honours degree (2:1 or above) in music technology or a related subject from a UK university or equivalent. We may also offer you a place based on substantial industry experience or training, normally from within the work environment. All applications are considered individually. 

Find out more about our processes for recognising previous experience.

On your application form, highlight the full range of your music technology endeavours, for example:

  • live recording
  • production
  • software programming
  • studio work.

Give as many details as you can in relation to why you would like to study this course, as well as any other relevant activities, for instance: your compositions, performances or industrial experience.

Mature students should highlight previous employment that may positively impact on their application, for example if you have been working in areas of the music industry or even relevant ‘hobbyist’ activities.

After initial application, you will be asked to submit an audio portfolio that best represents the full range of your relevant achievements. Prepare for this in advance, and choose only the best example of each type of work that you have undertaken. Examples might be:

  • 1 x studio production where your role was producer
  • 1 x live recording when you acted as sound engineer 
  • 1 x video clip where you dealt with some part of the audio 
  • 1 x track where you acted as programmer.

Represent your own specific profile. Work in contrasting genres is encouraged for submission. Ensure that you submit an accompanying text that explains your particular role in each project, and highlights areas of which you are particularly proud.

If your application is successful and you are offered a place, accept promptly to secure the place.

6.5 IELTS or above

You need to meet our English language requirement of 6.5 overall score for IELTS, with a minimum of 5.5 for each of the 4 individual components (Reading, Writing, Speaking and Listening). Visit our English language requirements page for information on other English language tests we accept.

You also need academic qualifications at the same level as UK applicants. In some countries where teaching is in English, we may accept local qualifications. Check for local equivalents.

We offer pre-sessional English language courses if you do not meet these requirements. Find out more about our English Language courses.

On your application form, highlight the full range of your music technology endeavours, for example:

  • live recording
  • production
  • software programming
  • studio work.

Give as many details as you can in relation to why you would like to study this course, as well as any other relevant activities, for instance: your compositions, performances or industrial experience.

Mature students should highlight previous employment that may positively impact on their application, for example if you have been working in areas of the music industry or even relevant ‘hobbyist’ activities.

After initial application, you will be asked to submit an audio portfolio that best represents the full range of your relevant achievements. Prepare for this in advance, and choose only the best example of each type of work that you have undertaken. Examples might be:

  • 1 x studio production where your role was producer
  • 1 x live recording when you acted as sound engineer 
  • 1 x video clip where you dealt with some part of the audio 
  • 1 x track where you acted as programmer.

Represent your own specific profile. Work in contrasting genres is encouraged for submission. Ensure that you submit an accompanying text that explains your particular role in each project, and highlights areas of which you are particularly proud.

If your application is successful and you are offered a place, accept promptly to secure the place.

Fees & funding

Fees & funding

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The fee above is the cost per year of your course.

If your course runs for two years or more, you will need to pay the fee for each academic year at the start of that year. If your course runs for less than two years, the cost above is for your full course and you will need to pay the full fee upfront.

Government regulation does affect tuition fees and the fees listed for courses starting in the 2025/26 academic year are subject to change.

If no fee is shown above then the fees for this course are not available yet. Please check again later for updates.

Funding your studies

If you are studying a Masters course you may be eligible to apply for a Postgraduate Loan, this may help contribute towards your course fees and living costs.

Additional funding is available to some types of students, such as disabled students or those with dependants.

We offer a range of scholarships and bursaries, including awards for specific subjects.

Awards for music students are also on offer.

View full details, including conditions and eligibility.

{{ formatCurrencyValue(currentVariantData.field_p_cv_int_main_fee.name) }} per year

The fee above is the cost per year of your course.

If your course runs for two years or more, you will need to pay the fee for each academic year at the start of that year. If your course runs for less than two years, the cost above is for your full course and you will need to pay the full fee upfront.

Government regulation does affect tuition fees and the fees listed for courses starting in the 2025/26 academic year are subject to change.

If no fee is shown above then the fees for this course are not available yet. Please check again later for updates.

International students - funding your studies

We offer scholarships for international students including International Ambassador Scholarships. 

Further information about funding and financial support for international students is available from the UK Council for International Student Affairs.

 

Teaching staff

Teaching staff

Justin Paterson Profile Photo

Professor Justin Paterson

I am a Professor of Music Production at the London College of Music. My research has an international profile and has ranged from interactive music-app design to music-production techniques in mixed reality. I have led several research project funded by the AHRC and Innovate UK, and chair the Innovation in Music conference series (http://www.musicinnovation.co.uk/), and I am also an active professional music producer.

I am a Professor of Music Production at the London College of Music. My research has an international profile and has ranged from interactive music-app design to music-production techniques in mixed reality. I have led several research project funded by the AHRC and Innovate UK, and chair the Innovation in Music conference series (http://www.musicinnovation.co.uk/), and I am also an active professional music producer.

Study & career progression

Study & career progression

A man mixing at a sound desk

Previous graduates have gone on to work in a variety of roles, including:

  • founder and CEO of 3D audio company 1.618 Digital (whose clients include Google, Comic Relief and Ford)  
  • head of audio at RAW Video (who have worked with, among others, Florence and the Machine, Hot Chip, Beverley Knight and Sigur Ros, and for clients including MTV, XL Recordings and Channel 4)  
  • head of higher education for Tech Music Schools  
  • house engineer and producer at Pocket Studios, Toronto  
  • live sound engineer for the Oscars  
  • producer for Imagine Dragons, Britney Spears, Li’l Wayne, Dr Dre, Eminem and Rihanna 
  • producer for Christina Aguilera and Tinie Tempah
  • producer of orchestral sessions for films including the Harry Potter series
  • product developer for FXPansion 
  • remixer for Beyoncé 
  • sound designer/composer for EA Games, Shanghai
  • work with Placebo, Radiohead, Snow Patrol and Dido
  • writer-producer for Bono, Nicole Scherzinger, 50 Cent, Alesha Dixon and Dr Dre.

You may also want to explore a related area of study at postgraduate level. Please see our full list of further study options.

How to apply

How to apply

ARTSFEST

Someone operating a sound desk during a dress rehearsal

Find out more about the work our students produce and view some of their recent work by visiting our Music Technology ARTSFEST page.

Facilities

Close up of a monitor in an LCM recording studio

At a glance

Our specialist music technology facilities include:

  • 18 professionally designed studios
  • nine live rooms
  • 10 large format analogue consoles with extensive outboard equipment
  • five professional-standard performance and recording spaces
  • five DiGiCo Live consoles
  • full Dante / Rednet integration across the entire site
  • 64 channel location recording facilities
  • three Mac labs with 24 hour access
  • comprehensive range of microphones and backline
  • Steinway pianos throughout the school (37 in total)
  • links to multiple London venues for performances and recitals.
A range of music equipment inside Vestry Studio 1

Paragon Annex Studios

Our newest facilities, the Paragon Annex Studios are useful for a wide range of tasks – from tracking live bands, to recording Foley, to mixing in Dolby Atmos.

Each studio comes with extensive outboard systems a variety of digital and analogue synths and an extensive mic stock, giving you the best tools to create your recordings. 

All tracking rooms enjoy access to one of three shared live rooms of varying sizes, with a Steinway Baby Grand in the largest room, which is fully capable of accommodating a full band. 

Watch video tours of all seven Paragon Annex Studios on our YouTube page.

sound gear and equipment in a music studio.

Vestry Hall

Studio 1: This studio represents a dedication to quality signal-path and a combination of classic and contemporary recording capabilities.

Facilities include:

  • Custom Series-75 Neve console
  • Otari MTR90 Mk2 24-track 2” analogue tape recorder,
  • Pro Tools HDX with Apogee Symphony AD/DA and monitoring by ATC and Amphion.

Studio 2: Recently rebuilt, this studio is designed around a 17-channel 3D speaker array, capable of both Dolby Atmos and Auro 3D® monitoring.

Extensive outboard and synth/sampling hardware plus flexible speaker array make this studio a collaborative and experimental-audio powerhouse.

The studio is connected to Vestry Hall, a large orchestral recording space, and a separate, fully isolated, drum and amplified-instrument live room.

Basement Studio 1

St Mary’s Road Basement Studios

These rooms feature either a Digidesign C24 control surface or an Audient ASP 8024 analogue recording console and are also equipped with Protools HDX and Focusrite RedNet IO hardware for high-end AD/DA.

Each studio comes with its own Dynamic and Condenser Microphone kits of a professional standard, giving you the best tools to create your recordings.

All tracking rooms enjoy access to live rooms of varying sizes and many feature multiple isolated booths which feature acoustic pianos by Steinway.

MA Advanced Music Technology alumni

The London College of Music stands at the forefront of the academic study of music technology and record production. On graduation, you will join the ranks of our successful alumni, including: 

  • Sam Wheat - music producer, songwriter and mixer. Has worked with: Pharell Williams, Rihanna, Paloma Faith, John Legend, Amy Winehouse, Van Morrison, Ellie Goulding, Foals and The Rolling Stones. Has won a Grammy with Kendrick Lamar and an Oscar with Common and John Legend.
  • Phelan Kane - programmer, producer and engineer. Has worked with: Placebo, Dido, Snow Patrol, Beggars Banquet and Boy George.
  • Alex da Kid - musician, record producer, songwriter and record executive. Has worked with: Rihanna, Imagine Dragons, Christina Aguilera, Skylar Grey, Eminem, Dr Dre and Nicki Minaj. Has multiple Grammy nominations.
  • Roland Shaw - sound design: VR, games and film. Has worked on: Half Life: Alyx, Dota 2, Team Fortress 2 and Alice: Madness Returns. Music & Sound Awards 2021 finalist for Half Life: Alyx. 
  • Ryan Wilkins - CEO of Raw London. Has worked with: Florence and the Machine, Lily Allen, Beverly Knight, Babyshambles, Keane, Katy Perry, The Drums, Hot Chip, Sigur Ros and The Kooks. Has also worked with companies such as Twitter, Vodafone, Save the Children and Marie Curie.
  • Oliver Kadel - founder and head of audio at 1.618 Digital. Clients include: Ford, HSBC, Google, PWC, FIFA, JC Decaux, O2 Academy. Won two Emmy awards for Micro Monsters with David Attenborough.
  • Steve Massey - audio engineer, composer and owner of Freezabox Records. Has worked with Robbie Williams, Primal Scream, Beady Eye and Jarvis Cocker. Clients include BBC.
  • Laura Beck - sound engineer at British Grove Studios. Has worked with: Robbie Williams, Anne Dudley, Paloma Faith. Grammy-nominated with Prince of Egypt. 
  • Martin Knight – producer, engineer, mixer, live-sound engineer. Has worked with Bastille, New Order, Katie Melua, Gary Numan, Pixie Lott, Steve Hackett. Has won a Grammy with Snarky Puppy.

Important notes for applicants

Disclaimer

*Modern universities - defined as higher education institutions that were granted university status in, and subsequent to, 1992.

**The National Student Survey 2022 and 2023 - Based on an average of all 27 questions. Excludes specialist institutions.

Testimonials - our students or former students provided all of our testimonials - often a student from the course but sometimes another student. For example, the testimonial often comes from another UWL student when the course is new.

Optional modules - where optional modules are offered they will run subject to staff availability and viable student numbers opting to take the module.

Videos - all videos on our course pages were accurate at the time of filming. In some cases a new Course Leader has joined the University since the video was filmed.

Availability of placements - if you choose a course with placement/internship route we would like to advise you that if a placement/internship opportunity does not arise when you are expected to undertake the placement then the University will automatically transfer you to the non-internship route, this is to ensure you are still successful in being awarded a degree.