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The Australian National University

Dr Samantha Bennett

Associate Professor
ANU College of Arts and Social Sciences
T: +61 2 6125 5761

Research interests


(2018) Modern Records, Maverick Methods: Technology and Process in Popular Music Record Production 1978-2000. New York: Bloomsbury Academic. ISBN: 9781501344091

(2018) Peepshow (33 1/3 series edition on the album by Siouxsie and the Banshees) New York: Bloomsbury Academic. ISBN: 9781501321863

(2018) Critical Approaches to the Production of Music and Sound. Eds. Bennett, S and Bates, E. New York: Bloomsbury Academic. ISBN: 9781501332050

(2018) Popular Music, Stars and Stardom. Eds. Loy, S., Rickwood, J. and Bennett, S. Canberra: ANU Press

Edited Edition

(2016) Perspectives on Popular Music and Sound Recording. Eds. Klein, E. and Bennett, S. iaspm@journal. Vol. 6, No. 2. ISSN: 2079-3871

Published Articles & Book Chapters

(2017) 'Intermixtuality: Case Studies in Online Music [Re]Production.' In: Eds. Bennett, S. and Bates, E. Critical Approaches to the Production of Music and Sound. New York: Bloomsbury Academic ISBN: HB: 9781501332050

(2017) 'The Production of Music and Sound: A Multidisciplinary Critique.' In: Eds. Bennett, S. and Bates, E. Critical Approaches to the Production of Music and Sound. New York: Bloomsbury Academic ISBN: HB: 9781501332050

(2017) Songs About Fucking: John Loder's Southern Studios and the Construction of a Subversive Sonic Signature. In: Journal of Popular Music Studies. Vol. 29, Iss. 2. Wiley Periodicals Inc. DOI: 10.1111/jpms.12209

(2016) Time-based Signal Processing and Shape in Alternative Rock Recordings. In: iaspm@journal [online] Vol. 6, Iss. 2 ISSN: 2079-3871

(2016) Behind the Magical Mystery Door: History, Mythology and the Aura of Abbey Road Studios. In: Popular Music. Vol. 35, Iss. 3. Cambridge: Cambridge University Press. ISSN: 0261-1430 

(2015) Never Mind the Bollocks... A Tech-Processual Analysis. In: Popular Music and Society - Special Edition on the Sex Pistols. Vol. 38, Iss. 5. London: Routledge/ Taylor & Francis. ISSN: 0300-7766

(2015) 'Gus Dudgeon's Super Sonic Signature' In: (2015) Eds. Johnson, H. and Chapman, I Global Glam and Popular Music: Style and Spectacle from the 1970s to the 2000s. London & New York: Routledge Studies in Popular Music. ISBN: 978-1-13-882176-7 

(2015) ‘The Listener as Remixer: Mix Stems in Online Fan Community and Competition Contexts.’ In: Eds. Rambarran, S. and Whiteley, S. (2015) The Oxford Handbook of Music and Virtuality. New York: Oxford University Press. ISBN: 978-0-19-932128-5 

(2015) 'Parallel, Series and Integrated: Models of Tertiary Popular Music Education.' Carfoot, C., Allen, C., Millard, B. and Bennett, S. In: Eds. Brennan, M., Kirkman, P., Moir, Z., Rambarran, S. and Smith, G. The Routledge Research Companion to Popular Music Education. London: Routledge. ISBN: 978-1-4724-6498-9 

(2014) An Imaginary Subject? Designing Music and Digital Media for a Post Conservatorium BMus Programme. In: Proceedings of the SEMPRE MET 2014: Researching Music, Education, Technology: Critical Insights. Eds. Himonides, E. and King, A. London: Institute of Education, University of London. pp. 41-44. ISBN: 78-1905351299

(2012) ‘Revisiting the ‘Double Production’ Industry: Advertising, Consumption and ‘Technoporn’ surrounding the Music Technology Press.’ Ed. Kärjä, A. V. In: Music, Law and Business Anthology. Vol 5. International Institute for Popular Culture. ISSN: 1797-318X

(2012) Endless Analogue: Technological Precursors in Contemporary Recording Practice. In: Journal on the Art of Record Production. Issue #7. ISSN: 1754-9892.

(2009) Examining the Emergence and Subsequent Proliferation of Anti Production amongst the Popular Music Producing Elite: An Overview of Doctoral Study. In: Proceedings of the 2nd International PhD Music Students Conference. pp. 165-172.

(2009) Revolution Sacrilege! Examining the Technological Divide amongst Record Producers in the 1980s. In: Journal on the Art of Record Production. Issue #3.  ISSN: 1754-9892.

Technical Papers

(2017) Audio Archive Preservation Challenges and Pedagogical Opportunities: School of Music RePlayed. 143rd Convention of the Audio Engineering Society. E-Library Convention Paper No. 9815. Available at:

(2017) The ANU School of Music Recording Studios: Design, Technology, Research and Pedagogy. 143rd Convention of the Audio Engineering Society. E-Library E-Brief No. 397. Available at:


(2017) Keynote Interview - Imogen Heap. At: InMusic 17, Innovation in Music Conference. University of Westminster. September 6th-8th 2017.

(2016) Southern Studios and the Construction of Punk's Subversive Sonic Signature. At: Keep it Simple, Make it Fast! DIY Cultures, Spaces, Places: Faculdade de Letras da Universidade do Porto, Portugal. July 18th 2016.

(2014) Rock, Recording and Rebellion: Technology and Process in 1990s Record Production. At: American Musicological Society/ Rock and Roll Hall of Fame and Museum Lecture Series. At: Rock and Roll Hall of Fame and Museum, Cleveland, Ohio. November 12th 2014.

(2014) Production Mayhem: Tech Processual Unorthodoxies in Popular Music Recording. At: Music, Mayhem and Change: Postgraduate Research Symposium. Queensland Conservatorium, Griffith University. 9th – 10th June 2014.

Conference Papers and Research Symposia

(2017) Performing Cinema: Siouxsie and the Banshees' Peepshow. At: Performing History: Combined Conference of the Musicological Society of Australia and the New Zealand Musicological Society, December 8-10, Conference Centre, Faculty of Creative Arts and Industries, the University of Auckland, Aotearoa/New Zealand.

(2017) On the Tech-processual Aesthetics of Siouxsie and the Banshees' Peepshow. At: Mixing Pop and Politics: Subversion, Resistance and Reconciliation in Popular Music. IASPM-ANZ 2017 Conference. December 4-6, 2017, Massey University, Wellington, Aotearoa/New Zealand.

(2017) Film and the Fairground in Siouxsie and the Banshees' 'Carousel'. At: 10th Biennial International Conference on Music Since 1900 and Surrey Music Analysis Conference (ICMSN/SurreyMAC 2017) September 11-14 2017, University of Surrey, UK.

(2017) The Tech-Processual Construction of Siouxsie and the Banshees’ Panoramic Peepshow. At: EuroMAC 9th European Music Analysis Conference. University of Strasbourg, France.

(2017) Not Left to Our Own Devices: Analysing Music Together (With André Dohering and Ralf von Appen) At: Popular Music Studies Today - 19th International Biennial Conference of IASPM. University of Kassel, Germany.

(2017) School of Music RePlayed: A Case Study in Audio Archiving Preservation and Pedagogy. At: International Association of Music Libraries and Archives and Documentation Centres IAML Congress, National Library, Riga, Latvia.

(2016) School of Music RePlayed: Audio Archive Preservation and Pedagogy. At: Getting it Done: Crunch Time for Audio Archives. ASRA: Australiasian Sound Recordings Association Conference. National Film and Sound Archive, Canberra.

(2016) The Tech-processual Staging of Siouxsie Sioux's Voice Inside the Panoramic Peepshow. At: From A Whisper To A Scream - The Voice in Popular Music. 2016 EMP Pop Conference. Seattle, Washington.

(2015) Gus Dudgeon’s tech-processual construction of space in Elton John’s ‘Rocket Man’ and David Bowie’s ‘Space Oddity’ At: IASPM-ANZ 2015 Conference: Popular Music, Stars and Stardom. The Australian National University, Canberra.

(2015) Time-based Signal Processing and 'Shape' in Alternative Rock Recordings. At: 'Back to the Future: Popular Music and Time' 18th Biennial IASPM Conference, 29th June – 3rd July. Universidade Estadual de Campinas, São Paulo, Brazil

(2014) Never Mind the Bollocks… Here’s the Classic Rock Mix. At: IASPM ANZ 2014 Conference: Into the Mix: People, Places, Processes. University of Otago, Dunedin, New Zealand 5-7 December 2014

(2014) Recording the Musical Underworld: John Loder's Southern Sonic Style. At: Worlds of Popular Music. Biennial Conference of IASPM UK Ireland. University College Cork. 

(2014) An Imaginary Subject? Designing 'Music and Digital Media' for a Post-Conservatorium BMus Programme. At: Researching Music, Technology and Education: Critical Insights. Society for Education, Music and Psychology Research [SEMPRE] At: Institute of Education, University of London.

(2014) Virtual Remixing: Competition, Creative Commons and Copyright. At: Creativity, Circulation and Copyright: Sonic & Visual Media in the Digital Age. Centre for Research in the Arts, Social Sciences and Humanities [CRASSH] University of Cambridge.

(2013) Intermixtuality: Mix Stems, Fans and the Popular Music Intertext. At: Popular Music Communities, Places and Ecologies. IASPM ANZ 2013 Conference. Queensland Conservatorium, Griffith University.

(2013) The Virtual Remixer: Mix Stems and Online Communities. At: Music and Metamorphosis: Joint Conference of the Musicological Society of Australia & the New Zealand Musicological Society. Queensland Conservatorium, Griffith University.

(2013) Pokey LaFarge and the South City Three - 'Fan It'. At: Fieldwork Playlist Conference. Goldsmiths College, London. 

(2013) Behind the Magical Mystery Door: History, Mythology and the Challenge to Abbey Road Studios. At: ‘Bridge Over Troubled Waters’: 17th Biennial International IASPM Conference, Oviedo, Spain.

(2013) Modern Records, Maverick Methods: Technological, Processual and Analytical Considerations in Popular Music Record Production. [Invited] At: Popular Music Research Group. Goldsmiths College, London.

Bennett, S. and Moore, A. (2012) Tech Processual Shaping of Recorded Popular Song. At: Music and Shape Conference. AHRC Research Centre for Musical Performance as Creative Practice. King’s College, London.

(2012) Vintage Sound Recording Technology: Practicality, Source and Place. [Invited] At: Cambridge Branch of the Audio Engineering Society, Anglia Ruskin University.

(2011) Back to the Future? The Quest for Sonic Perfection in the Age of Digitalization. [Invited] At: Digital Pop and the Death of the Musical Artefact – Popular Music Symposium. Goldsmiths College, London.

(2011) Endless Analogue? Situating Vintage Technologies in the Contemporary Recording & Production Workplace. At: 7th ARP, San Francisco State University, USA.

(2011) Industry Standard? Adopting Digital Technologies in the Early 1980s Recording & Production Workplace. At: Artistic Work and Creativity in the Digital Era. University of Avignon, France.

(2010) Production Anti Production At: 6th ARP, Leeds Metropolitan University, Leeds, UK.

(2010) Revisiting the ‘Double Production’ Industry: Equipment Manufacturing, Consumption and the Music Technology Press in the late 2000s. At: Music, Law & Business - Biennial Conference of IASPM Norden, Hanasaari Cultural Centre, Helsinki, Finland.

(2010) The Listener as Remixer. At: Experience, Engagement, Meaning - Biennial Conference of IASPM UK/ Ireland, Cardiff University, UK.

(2009) No Way Computer! Risk Aversion as an Influence on Equipment Choice among Popular Music Producers of the Late 1990s. At: 5th ARP, University of Glamorgan, Cardiff, UK.

(2009) Examining the Emergence and Subsequent Proliferation of Anti Production amongst the Popular Music Producing Elite: An Overview of Doctoral Study. At: 2nd International PhD Music Students Conference, Aristotle University of Thessaloniki, Greece.

(2008) Revolution Sacrilege! Examining the Technological Divide amongst Record Producers in the 1980s. At: 4th ARP, University of Massachusetts, Boston, USA.

Public Lectures

(2014) Pop Eats Itself: The Impact of the Sampler. Milestones in Music Lecture Series, School of Music, ANU.

(2013) Popular Music and Subculture. Canberra Museum and Gallery, Canberra ACT.

Awards and grants

  • AHRC Doctoral Scholarship | University of Surrey | 2007
  • ANU Humanities Research Centre Fellowship | Australian National University | 2016
  • ANU Major Equipment Grant | Australian National University | 2015
  • ANU Linkage Teaching & Learning Grant | Australian National University | 2014
  • ANU Conference Host Grant | IASPM ANZ 2015 | Australian National University | 2014
  • RCUK GradSchool - Residential Research Programme | 2007
  • Vice Chancellor's Teaching Fellowship Award | University of Westminster | 2012
  • Outstanding Teacher | University of Westminster Students Union | 2012 [nominated]
  • Innovation in Teaching | University of Westminster Students Union | 2012 [won]
  • Sony Engineering Student of the Year | 2000

Professional Membership

  • Senior Fellow of the Higher Education Academy [SFHEA]
  • Association for the Study of the Art of Record Production [ASARP]
  • International Association for the Study of Popular Music (UK / ANZ) [IASPM]
  • Audio Engineering Society (UK) [AES]
  • American Musicological Society (US) [AMS]
  • Royal Musical Association (UK) [RMA]
  • Institute of Musical Research (UK) [IMR]
  • Musicians Union (UK) [MU]
  • Performing Rights Society (UK) [PRS]
  • The Joe Meek Society (UK)


Samantha Bennett is a sound recordist, guitarist and academic from London, UK and Associate Professor in music at the Australian National University. She is the author of two monographs, Modern Records, Maverick Methods (Bloomsbury Academic) and Peepshow, a 33 1/3 series edition on the album by Siouxsie and the Banshees (Bloomsbury Academic). She is also a co-editor of Critical Approaches to the Production of Music and Sound (Bloomsbury Academic) and Popular Music, Stars and Stardom (ANU Press). Samantha has published numerous book chapters on the technological, sound recording and production aesthetics of recorded popular music and her journal articles are published in Popular Music, Popular Music and Society, The Journal of Popular Music Studies and IASPM@journal. In 2014, Samantha gave the biannual American Musicological Society Lecture at the Rock and Roll Hall of Fame and Museum Library and Archives where she also held a research fellowship in 2015. As an AHRC Doctoral scholar, she completed her PhD in popular music recording techniques and analysis under renowned musicologist Prof. Allan Moore.

As an educator, Samantha has fifteen years curriculum design, authorship and quality management experience and is the recipient of multiple teaching awards, notably a Vice Chancellor’s Teaching Fellowship at the University of Westminster (2012). She is a Senior Fellow of the Higher Education Academy. Since arriving at the Australian National University in 2013, she has authored a broad music technology and popular music curriculum and, after securing a $250,000 major equipment grant, led the refurbishment of the School of Music's recording studio facilities to include the installation of a 48-channel Neve Genesys console and a blend of vintage and contemporary microphones and processors.

Researcher's projects

I am currently working on two co-authored books in the areas of music production and an edited book on popular music analysis. Also under contract:

- Book chapter for the Bloomsbury Handbook of Rock Music Research

- Book chapter for the Oxford Handbook of Punk Rock


Current student projects

Stuart Gregg - Ludic Yugen: Aesthetic as Method in the Art of Recording [PhD by Practice]

Wendy Suiter - Fuzzy IDEAS: Using Fuzzy Logic to make sense of  Avant - garde music. [PhD] 

LeTuyen Nguyen - A New Voice: Vietnamese Guitar Music with Australian Influences [PhD by Practice]


Past student projects

Paul Richards: '500 Facebook Users and the Music they Consume' [University of Westminster]

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Updated:  21 March 2018 / Responsible Officer:  Director (Research Services Division) / Page Contact:  Researchers