Meet the Masters – senior lecturer Stephane Elmosnino

Senior lecturer, Stephane Elmosino chats to SAE about his career in Audio Engineering and love of teaching Audio in the SAE postgraduate programs.
SAE Lecturer Stephane Elmosino faculty

– Faculty –

Stephane Elmosino

“My background is principally situated within music and sound. I have been involved in the music industry since the early 2000s, performing thousands of shows as a DJ and percussionist at some of the largest venues and festivals both in Australia and abroad (e.g. Stereosonic, Creamfields, Pacha Ibiza).

As an extension of this aspect of my professional practice, I have also worked as a composer for various mediums (personal music, tv series, film soundtracks, advertisement, game audio, and sample packs).

However, my passion lies in audio engineering. In that realm, I have worked as a mastering engineer from my Brisbane studio since 2010, working on hundreds of releases.”

Could you please share some details of past projects that you have worked on?

I have written a published a book. As perhaps a more current and relevant project to the Master of Creative Industries, I am currently completing a PhD looking at educational methods in critical listening.

Being roughly halfway through this journey, I have presented a paper last year at the Audio Engineering Society Convention in New York and am set to present another at the International Audio Education Conference in Nashville 2021.

What do you most enjoy about teaching the Master of Creative Industries program?

This may be a fairly selfish answer, but having written and now delivering study modules that are close to my heart (e.g. critical listening, mastering, performance) is a really enjoyable experience. I think students appreciate the authentic feel of class discussions in these modules.

What are some of the benefits you have seen students gain by studying the Master of Creative Industries?

I can really see the difference between undergraduate and postgraduate students in terms of “developing their own style”.

This may be due to the more intimate class groups compared to the larger undergraduate cohorts, but I think it also comes from the absolute freedom and encouragement to explore the topics that truly interest them from both lecturers and peers.

What drew you to the creative industries?

For me, it is the social aspect of the creative industries that is the appeal. Even though creativity is often a very personal and intimate emotion and process, the creative outputs are almost always experienced from a shared perspective.

For music especially, it is the social aspects of the industry that enticed me: performing, listening, dancing, networking, and so on.

Can you speak to the intersection and impact of technology on the creative industries?

In my opinion, advanced technological knowledge is something that can greatly enhance creativity. The better you understand and use technology, the more creative freedom you have since you are liberated from technological setbacks. Technological advances and cognitive outsourcing to me are yet another way to enhance creativity and advance the creative industries.

After a period of adaptation, these will lead to better products.

As an example, I have recently worked on some music for a local AI company,, and the stuff that they are doing, once it is ready for mass use, has the potential to completely reinvent the way music is created.

Check out Stephane’s work and publications


Elmosnino, S. (2018). Audio Production Principles: Practical Studio Applications. New York: Oxford University Press.


Elmosnino, S. (in press). Pedagogical considerations in critical listening education: Interviews with instructors. International Conference on Audio Education.

Elmosnino, S. (2019). Mental Representations in Critical Listening Education: A Preliminary Survey. In AES 147th Convention.


Elmosnino, S., & Maxwell, M. (2010). We Can Run (Extended Version). On Godskitchen 3D, DNA0072R [CD]. Sydney, Australia: Central Station Records.

Belbruno, M., Elmosnino, S., Marston, J., &; Panozzo, R. (2011). Hey Cutie (Nino Live & Rowan P Remix). On Safari Music ADE Sampler 2011, SAF045 [Digital Album]. Melbourne, Australia: Safari Music.

Coleman, M., Coleman, T, Elmosnino, S., &; Panozzo, R. (2011). Midnight Freak Circus (Bombs Away Remix). On Wild Nights 2011, DNA0103 [CD]. Sydney, Australia: Central Station Records.

Brown, C., Elmosnino, S., Lamontagne, M., & Maxwell, M. (2012). Higher 2.0 (Stark Lion Remix). On Higher 2.0 EP, SR029 [Digital Single]. Brisbane, Australia: Shabang Records.

Arnott, C., & Elmosnino, S. (2013). End Of Time (Jotheo Remix). On End Of Time, SR060 [Digital Single]. Brisbane, Australia: Shabang Records.

Elmosnino, S. (2013). You Win (Original Mix). On You Win, SR077 [Digital Single]. Brisbane, Australia: Shabang Records.

Elmosnino, S. (2016). Mansion House (Original Mix). On Mansion House, SAF202 [Digital Single]. Melbourne, Australia: Safari Music.

Film students working with a camera

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