Matthew Davison is an audio and embedded software engineer, with a research focus on  enabling and interrogating bidirectionality in digital musical instrument design.

He completed a BSc in Music and Sound Recording (Tonmeister) at the University of Surrey in 2021. This included modules on acoustics, electronics, audio engineering, and software development alongside recording of both popular and classical music. Recordings include the Cambridge University Wind Orchestra, Hannah Shilvock’s arrangement of Debussy’s Cello Sonata for Bass Clarinet, University of Surrey Gospel Choir, and the Oxford University Sinfonietta. He undertook a final year project exploring how the addition of haptic feedback can improve interaction with touchscreen virtual faders compared to regular mixing desk faders. Alongside his degree, Matt also worked as a live sound engineer for theatre, music, and comedy at various venues in Cambridge, Guildford, and the Edinburgh Fringe Festival.

After undertaking a year-long placement in software testing, Matt then rejoined DiGiCo as an embedded software engineer working on developing digital mixing consoles for many of the world’s largest venues. Alongside redesigning and rewriting firmware to deal with the 2021 chip shortage, his main work was on the flagship Quantum 852 console. This work included development of firmware in C and C++ for the control surfaces and I/O module (including control of audio I/O, timecode processing, MIDI I/O, TCP communication, embedded GUI design). This console is now used for major arena tours, festivals such as Glastonbury and Coachella, theatre shows (e.g. Starlight Express, London), and installed in venues such as the Royal Albert Hall.

In 2023, Matt began his PhD within the lab at Imperial. His primary interest is in how haptic feedback technologies can increase the perceived coupling between a digital musical instrument and the musician – looking at approaches to bidirectional tactile interaction. This interest in bidirectionality and intercoupling also extends beyond the tactile domain and into other domain crossings - such as between the electrical and digital domains.

— BSc Music and Sound Recording (Tonmeister), University of Surrey