AES Member Profile

Leslie Gaston-Bird AMPS, MPSE

Leslie Gaston-Bird AMPS, MPSE

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Audio Fields:

  • Recording Industry - Post Production
  • Recording Industry - Music Recording/Mix Studio
  • Broadcasting - Studio
  • Acoustics, Psychoacoustics, Hearing - Measurement and Instrumentation
  • Educational Institutions - Educator

Job Duties:

  • Educator
  • Mixer
  • Musician/Talent
  • Production Sound Mixer/Sound Recordist
  • Recording Engineer
  • Re-Recording Mixer
  • Researcher
  • Sound Supervisor


Leslie Gaston-Bird (AMPS, MPSE) is author of the book "Women in Audio", part of the AES Presents series and published by Focal Press (Routledge). She is a voting member of the Recording Academy. Currently, she is a freelance re-recording mixer and sound editor and owner of Mix Messiah Productions. Prior to that, she was a tenured Associate Professor of Recording Arts at the University of Colorado Denver (2005-2018) where she also served as Chair of the Department of Music and Entertainment Industry Studies. She led groups of Recording Arts students in study abroad courses in England, Germany, and Italy which included participation in AES Conventions.

Leslie has done research into Dolby Atmos, audio for planetariums, multichannel audio on Blu-Ray, and a comparison of multichannel codecs that was published in the AES Journal (Gaston, L. and Sanders, R. (2008), "Evaluation of HE-AAC, AC-3, and E-AC-3 Codecs", Journal of the Audio Engineering Society of America, 56(3)).

She frequently presents at AES conferences and conventions, including:

Gaston, L. et al (2014) Case study: University Recording Arts Program seeks to Educate, Engage and Recruit High School Students. Convention Paper TBA. 137th Convention of the Audio Engineering Society. Los Angeles.

Gaston, L. et al. (2010) The Influence of Individual Audio Impairments on Perceived Video Quality. Convention Paper 8151. 128th Convention of the Audio Engineering Society. London.

Gaston, L et al. (2008) Methods for Sharing Stereo and Multichannel Audio among Planetariums. Convention Paper 7474. 124th Convention of the Audio Engineering Society. Amsterdam, the Netherlands.

Gaston, L. and Sanders, R. (2007) Evaluation of HE-AAC, AC-3, and E-AC-3 Codecs. Convention Paper 7049. 122nd Convention of the Audio Engineering Society. Vienna, Austria.

Gaston, L. (2006) Tactile Strategies and Resources for Teaching Multichannel Sound Concepts. Convention paper 6689. 120th Convention of the Audio Engineering Society. Paris, France.

Other papers and articles include:

Rodigast, Rene and Gaston, Leslie (2010) The Sound of Space: A Look at the History and Future of Audio in Planetariums. International Planetarium Society Conference 2010. Alexandria, Egypt.

Yu, Ka Chun et al. (2007) Gaia Journeys: A Museum-Based Immersive Performance Exploration of Earth. Proceedings of the 5th International Symposium on Digital Earth, June 5-9, Berkeley, CA.

Gaston, L. and Sanders, R. (2006) Drei Mehrkanal Codecs im Vergleich. Proceedings of the 24th Verband Deutscher Tonmeister conference. Leipzig, Germany.

Gaston, L. (2014) "Video Vérité". Sound on Sound. London.

Non-AES Awards & Award Nominations

2019: Heartland Emmy nomination for "Enough White Teacups" (dir. Michelle Carpenter)
2018: Utah Film Fest nomination for Best Sound for "Klocked" (dir. Michelle Carpenter)
2014: Nominated participant in University of Colorado Denver "Excellence in Leadership" program.
2011: Fulbright Award for Research and Teaching at the University of York
2000: Edward R. Murrow Award (Large Market Documentary) for "A Columbine Diary" (with Kelly Griffin and Dan Drayer)

Education Background

PhD Student at the University of Surrey's Institute of Sound Research (IoSR)
M.S. Recording Arts
B.A. Telecommunications
A.S. Audio Technology, Indiana University

Employment History

1995-present: Owner, Mix Messiah Productions
2005-2018: University of Colorado Denver
2002-2005 Post Modern Company
1995-2002 Colorado Public Radio
1991-1995 National Public Radio

Related Experience

Several films on IMDB, see

Music recordings including classical, rock, and experimental genres. Clients include the Colorado Symphony Orchestra, Gregory Walker, Beth Perry and Chris Doney, Ezmeralda, Greenhaus, and others.

Why Am I An AES Member?

The late Roy Pritts and the late Rich Sanders were mentors of mine who encouraged me to get involved with the AES. Later I held officer positions (secretary and chair) in our Colorado Section. I feel like the AES is a family, I have met many friends and colleagues who share my passion for all things audio. I am currently chairing the AES Diversity and Inclusion Committee whose mission is at With these activities, I am committed to expanding the appeal of the AES and growing a stronger Society.

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