The below post was written by Lorenzo Bonoldi about his upcoming conference presentation.
I am pleased to share that my study exploring how hearing differences shape professional music mixing practices has been accepted for presentation at the Society for Music Production Research (SMPR) Conference 2026, marking what I see as an important contribution to the growing field of inclusive audio engineering.
My paper, “Assessing the Impact of Hearing Differences on Music Mixing Practices of Audio Engineers,” was developed as part of my PhD research at the University of Salford, in collaboration with Professor Trevor Cox and Dr Adam Hart.
In this work, I focus on the diversity of auditory perception, investigating how engineers with hearing differences—including tinnitus, high-frequency hearing loss, and asymmetric hearing—adapt their workflows and decision-making processes.
Based on qualitative interviews I conducted with twelve audio professionals, many practitioners rely on a combination of perceptual memory, visual tools, and reference tracks to compensate for changes in their hearing. These adaptive strategies include the use of spectrum analysers, mono compatibility checks, and mixing at varied volume levels to maintain accuracy and consistency.
One of my key findings is that hearing differences do not prevent high-level professional practice but instead reshape it. Engineers develop personalised techniques that integrate both auditory and non-auditory cues, offering new perspectives on creative decision-making in the studio.
My research also highlights broader implications for the music industry, including the potential for more inclusive production tools and workflows. Suggestions emerging from this work include audiogram-informed equalisation, perceptual simulation plug-ins, and alternative mix deliverables tailored to diverse listening needs.
In addition to technical insights, I draw attention to the social and psychological dimensions of hearing differences within the profession. Participants reported challenges such as reduced confidence in critical listening and a reluctance to openly discuss hearing issues due to perceived stigma in the industry.
The acceptance of this paper at SMPR 2026 reflects growing academic and industry interest in aural diversity—an emerging area that questions traditional assumptions about listening and advocates for more accessible sound practices. By documenting the lived experiences of audio engineers, I aim to contribute to a shift in how music production is understood and taught.
This project forms part of the University of Salford’s Aural Diversity Doctoral Research Hub and is supported by the Leverhulme Trust. I hope the presentation at SMPR 2026 will foster discussion among researchers, producers, and technologists on how best to design inclusive audio tools and workflows for a changing professional landscape.
As the music industry continues to evolve, this work signals a move toward recognising hearing variability not as a limitation, but as a critical dimension of creative practice.