Jennifer Qu (she/her) is an artist and arts administrator with a background in events and communications. With roots in Toronto, she is now based in Banff, where she works as a Program Delivery Specialist with the Leadership team at Banff Centre for Arts and Creativity. She holds a BFA in Photography and a Graduate Certificate in Arts Administration and Cultural Management. Most recently, she worked with The Bentway Conservancy, supporting the production of community events and large-scale arts programs. With over five years of experience in Canada’s not-for-profit arts sector, Jennifer is passionate about supporting artists and building community through an accessible lens.

Wil Fraser (he/him) is the Program Associate and Elders/Knowledge Keepers/Participant Support for Indigenous Leadership and Cultural Leadership Programs at Banff Centre for Arts and Creativity. In this multifaceted role, Wil provides holistic care and cultural support to Elders, Knowledge Keepers, faculty, and participants, fostering a welcoming and inclusive environment throughout each program.  With a deep commitment to Indigenous ways of knowing and community-building, Wil plays a vital role in ensuring participants feel safe, supported, and empowered during their time on campus and works closely with Leadership team to uphold the integrity and spirit of the programs.  Wil is also currently pursuing his Master of Arts in Interdisciplinary Studies at Royal Roads University, further deepening his knowledge and expanding his capacity to serve through education and leadership. His work is grounded in respect, relationality, and the belief that meaningful cultural exchange, informed by wise practices and right relations, can transform individuals and communities alike.

Morten Lindberg (b. 1970, Norway). Recording Producer and Balance Engineer with 46 American GRAMMY-nominations since 2006, 38 of these in craft categories Best Engineered Album, Best Surround Sound Album, Best Immersive Audio Album and Producer of the Year. Founder and CEO of the record label 2L. Grammy Award-winner 2020.

About our approach recording music in immersive audio: The beauty of the recording arts is that there is no fixed formula and no blueprint. It all comes out of the music. Every project starts out by digging into the score and talking with the composer, if contemporary, and the musicians. It is not our task as producers and engineers to try to re-create a concert situation with all its commercial limitations. On the contrary; we should make the ideal out of the recording medium and create the strongest illusion, the sonic experience that emotionally moves the listener to a better place.

The music captured by 2L features Norwegian composers and performers and an international repertoire reflected in the Nordic atmosphere. The immersive recordings not only transform the entire listening experience, but also - more radically - these innovative recordings overturn some very basic concepts regarding how music is composed and performed. 2L emphasize immersive audio with Pure Audio Blu-ray and HiRes file file distribution and streaming, and have garnered no less than 46 GRAMMY nominations, 38 of these in craft categories Best Engineered Album, Best Surround Sound Album, Best Immersive Audio Album and Producer of the Year. In 2020 the album LUX won the GRAMMY for Best Immersive Audio.

2L record in spacious acoustic venues: large concert halls, churches and cathedrals. This is actually where we can make the most intimate recordings. The qualities we seek in large rooms are not necessarily a big reverb, but openness due to the absence of close reflecting walls. Making an ambient and beautiful recording is the way of least resistance. Searching the fine edge between direct contact and openness - that’s the real challenge! A really good recording should be able to bodily move the listener. This core quality of audio production is made by choosing the right venue for the repertoire, and by balancing the image in the placement of microphones and musicians relative to each other in that venue.

There is no method available today to reproduce the exact perception of attending a live performance. That leaves us with the art of illusion when it comes to recording music. As recording engineers and producers we need to do exactly the same as any good musician: interpret the music and the composer’s intentions and adapt to the media where we perform. Immersive Audio is a completely new conception of the musical experience. Recorded music is no longer a matter of a fixed one- or two-dimensional setting, but rather a three-dimensional enveloping situation. Immersive Audio is a sculpture that you can literally move around and relate to spatially; surrounded by music you can move about in the aural space and choose angles, vantage points and positions. Rather than reproducing a concert situation we consider the Recording Art a discipline on its own. It gives us the possibility to place the listener in an ideal position and become an actual party to the event. Thru a dedicated production of the music we can maximize energy, reveal all the small nuances and avoid disturbing distractions. The emotional impact can be made massive. The conductor’s position is the seat no audience can afford — until now with these dedicated recordings.
 

Allie Su is an internationally recognized collaborative pianist and chamber musician whose performances and teaching engagements have taken her across the United States, Asia, and Europe. Acclaimed for her specialization in wind and brass repertoire, she has collaborated with leading artists including Christian Lindberg, Nitzan Haroz, Carol Jantsch, Charles Neidich, Carol Wincenc, Benjamin Kamins, and Alexa Still. Her festival appearances include the Perlman Music Program, Interlochen Center for the Arts, American Viola Society Festival, Cooper International Violin Competition, and the Meadowmount School of Music. In 2025, Su presented a lecture on the topic of “The Collaborative Piano Landscape in China” at the CollabFest, the leading festival dedicated to advancing the art of collaborative piano.

As an active chamber musician and educator, Su has performed and presented masterclasses at Oberlin Conservatory, the University of Texas at Austin, University of Denver, University of Colorado Boulder, Cleveland State University, Taipei University, Tunghai University, Sun Yat-sen University, Seoul National University, and Yonsei University. She is also a versatile vocal collaborator, having served as a coach and pianist for the Land of Enchantment Opera, Butler Opera Center, Franco-American Vocal Academy, ISING Festival in Suzhou, and Lingua e Canto in Italy.

Su is currently on the faculty of The Tianjin Juilliard School, where she teaches in the Graduate Studies program, coaches chamber ensembles, and coordinates the staff pianist area. She earned her DMA in Collaborative Piano from the University of Texas at Austin and her MM in Piano Performance from Arizona State University.

Artistic director, scenographer, and costume designer with over 25 years of international experience. She has designed more than a hundred productions across theatre, circus, opera, and visual arts. A multidisciplinary artist, she has collaborated with Michel Lemieux & Victor Pilon (4D Art), The 7 Fingers (Shana Carroll, Gypsy Snider), magician Luc Langevin, Jean Grand-Maître (Alberta Ballet) 2014-2021, and Cirque du Soleil since 2003 on major productions: 

Delirium Arena (2005)_Iris Los Angeles (2010)_Pan American Games Toronto (2015)_Paramour – New York (2016)_Volta – Big Top (2017)_Crystal – Arena (2018)_Vitori – Malta (2019)_Alegria – Big Top, Montreal (2019)

Currently in creation: LUDO (11th collaboration with Cirque du Soleil)

Since 2020, her company has been based in the Eastern Townships of Quebec, where she develops unique and intimate performance evenings in the small town of Waterloo. There, she owns her creative studios and runs a unique cultural bar in the region: SISSI BUVETTE.