Producer | Recording & Mixing Engineer | Tonmeister | Educator | Author
Miles Fulwider is an accomplished music producer, recording and mixing engineer, Tonmeister, educator, and author whose career bridges musical artistry, recording technology, and immersive audio. A multi-instrumentalist with extensive national and international touring experience, Miles brings a musician's perspective to his work, combining creative expression with technical precision. His production and engineering experience spans a diverse range of genres and disciplines, including rock, pop, jazz, classical, and world music, as well as film scoring and immersive audio. Throughout his career, he has produced and engineered chart-topping and award-winning recordings while collaborating with numerous GRAMMY®- and Emmy Award-winning artists.
His extensive credits include Wynton Marsalis, Willie Nelson, Norah Jones, Chick Corea, Jon Batiste & Stay Human, Joe Locke, Grinder Blues, Rob Mathes, Lawrence Brownlee, Damien Sneed, the Jazz at Lincoln Center Orchestra, the Fort Wayne Philharmonic, the Lincoln Symphony Orchestra, and many others. His work also includes productions for SiriusXM Satellite Radio and film scores associated with acclaimed documentary filmmaker Ken Burns.
Miles holds a Master of Music in Music Technology from New York University's Steinhardt School of Culture, Education, and Human Development, as well as an Advanced Certificate in Tonmeister Studies from NYU. His formal education, combined with decades of professional recording and performance experience, informs an approach to production that balances musical sensitivity, creative collaboration, and technological innovation.
Beyond his professional recording career, Miles has devoted more than a decade to higher education, developing and leading academic programs in music technology, audio engineering, and digital media. From 2013 to 2016, he served as Instructor of Entertainment Industry Studies and Coordinator of Sound Recording Technology at Delta State University, working within the Delta Music Institute. From 2016 to 2025, he served at the University of Saint Francis in Fort Wayne, Indiana, holding several academic and administrative leadership positions, including Associate Division Director for Creative Arts, Associate Professor of Music Technology, and Program Director of Music Technology and Digital Media programs. His commitment to advancing audio education has also extended to professional service, including several years as Vice Chair of the Education Committee of the Audio Engineering Society (AES).
A published author and researcher, Miles has contributed to the advancement of immersive and multichannel audio production and education. He is co-author, with Eric Kuehnl, of Surround Mixing and Immersive Audio Featuring Dolby Atmos, and a contributing author to Immersive Sound, Volume II: The Design and Practice of Binaural and Multi-Channel Experiences, edited by Agnieszka Roginska and Paul Geluso. His research, publications, and educational work explore immersive recording techniques, spatial audio production, and creative approaches to multichannel and object-based audio. He has also developed comprehensive immersive audio curricula and instructional resources, including Dolby Atmos-focused coursework licensed for use by universities and educational institutions internationally.
Currently, Miles serves as President and CEO of ADK Microphones, leading the company's continued development of professional recording microphones and technologies. He also owns and operates The Puzzle Kitchen, an independent audio production and consulting company specializing in music production, recording, mixing, immersive audio, and professional audio consulting.
Throughout his career, his work has been shaped by a passion for music, a commitment to education, and a curiosity for the evolving technologies that influence how sound is captured, created, and experienced. Whether working with artists, recording orchestras, developing new audio technologies, or educating the next generation of professionals, his approach remains grounded in the belief that technology should serve the music and the creative process.