These slides are part of the Audio Feedback Toolkit. You are free to use these resources. Further ideas, guidance and information is available in the toolkit and elsewhere on the MELSIG site.

1. Audio Feedback
design, models, benefits and tips
MELSIG: Audio Feedback Toolkit
http://melsig.shu.ac.uk/?page_id=1196
Andrew Middleton, NTF
Head of Academic Practice & Learning Innovation, Sheffield Hallam University
@andrewmid
With thanks to Anne Nortcliffe, Michelle Blackburn and innovators everywhere

2. Introduction
We will find out about audio feedback
 Consider many models for designing and using audio feedback
 Understand when and why to use it within a feedback strategy
 Hear what academics and students think about audio feedback
 Consider the benefits of using audio feedback
 Look at tips for giving audio feedback, technically and pedagogically

3. Definitions and descriptions
What do we mean by audio feedback?
What is audio feedback?
 the recording and distribution
of spoken feedback given on a
student's work using diverse
media

4. Definitions and descriptions
What do we mean by audio feedback?
 each academic devises a
model of feedback that
works for them and their
students
Audio feedback
 takes many forms
 needs to be fit for purpose
 needs to be designed

5. Definitions and descriptions
What do we mean by form or model of audio feedback?
Forms and models
Media
TechnologyContext
Pedagogy
Academic designers will need to
consider each of these dimensions

6. Audio – an adaptable space
When to use audio feedback
Audio feedback is spoken
…it has different properties to written feedback
 Some studies ask – “is audio better than written
feedback?” (Fawcett & Oldfield, 2016; Nemec & Dintzner, 2015; Voelkel & Mello, 2014)
 Audio is a powerful part of your feedback toolkit
 Ask,
 How does audio fit into your assessment
strategy?
 How does it combine with other methods?
Which peg
will fit the
round hole?

7. When to use audio feedback
Audio – an adaptable space
Micro
Basic technical
matters of
writing, e.g.
spelling, grammar
and referencing
conventions
Middle
Supporting
student’s ability
to produce
quality ideas
and support
these with
evidence
Global
Overall structure,
academic
argument and
organisation
(Hatziapostolou & Paraskikis, 2010; Ice et al., 2010; Stern & Solomon, 2006)
Correction Detailed Constructive Criticism

8. Why use audio feedback
Is it really effective?
What is audio feedback?
Effective and fit for purpose
 Quick to turnaround and
manageable
 Timely
 Clear
 Personal and meaningful
Audio feedback is effective when designed for context

9. Analyse the context
Be clear about what you are trying to achieve
When is the feedback needed and when exactly will the
feedback have most effect?
What do your students need to think about at this point?
How can this connect to learning in other modules, now
and later?
What, if nothing else, do they need to hear?
Motivation - why will the students want to listen and
learn and what can you do make their use of the
feedback more likely?
A designed space
We are designers of experience that leads to learning
It is what we make it
Analyse
ADDIE

10. Design for context
Design specification - know specifically how you will give
the feedback and how it will be used
Usage – what impact, when? How will it be accessed and
where? Will it be reused? Why and when?
Detail – decide what to include and what to leave out
“Voice”, tone, intimacy – the special personal ingredient
How you will refer to the student's work in the feedback
How you will relate it to other feedback or teaching
activity
A designed space
We are designers of experience that leads to learning
It is what we make it
Design
Analyse
ADDIE
Ask – if I could have just five minutes
with this person, what would I say?

11. Develop for context
Think about your context as tutor-producer
Time-based media are simple – saying is making
Assume a simple “Press the red button” mindset
Keep the message brief, clear, focussed and
manageable
Remember: voice is rich and personal
Be direct, be close, let them know you care…
How can voice promote their sense of belonging and
becoming?
A designed space
We are designers of experience that leads to learning
It is what we make it
Design
Develop
Analyse
ADDIE

12. Implement – the feedback model
(technical)
Decide how the feedback will be made and
distributed
Find support, involve students and trial it
Tools
 people use audio recorders, smart phones and
tablets, PCs, USB headsets
 VLE, standalone audio
 software, apps
A designed space
We are designers of experience that leads to learning
It is what we make it
Design
DevelopImplement
Analyse
ADDIE

13. A designed space
We are designers of experience that leads to learning
It is what we make it
Design
DevelopImplement
Evaluate
Analyse
ADDIE
Evaluate – the feedback model
Did this achieve what you set out to do?
 Ask your students, check access data,
measure impact on engagement and
impact on learning
 Ask yourself – did this feel right?
 Evaluate… and improve

14. Reflectionmoment
A designed space
Feedback is..?
Why do you give feedback..?
 Because I have to
 Justify my marking
 Bring my module to a suitable close
 Correct student mistakes
 Explain and clarify knowledge
 Reiterate what is important
 Expand upon key ideas
 (Re-)orientate, motivate and challenge my students
 Develop self-directed learning and self-esteem
 Feed-forward learning and content knowledge for future
engagement
 Because I have to
 Justify my marking
 Bring my module to a suitable close
 Correct student mistakes
 Explain and clarify knowledge
 Reiterate what is important
 Expand upon key ideas
 (Re-)orientate, motivate and challenge my students
 Develop self-directed learning and self-esteem
 Feed-forward learning and content knowledge for future
engagement

15. 2 4 6 8 10
ANOTHERMODULE
“Good assessment engages students with
the curriculum; it creates opportunities
for dialogue and ultimately stimulates
learning.”
see ESCAPE Project Russell & Bygate 2010
2 4 6 8 10
AMODULE
Assessment & Feedback Strategies
Formative low stakes
Summative high stakes
Feedback
How can we position feedback? e.g…
A designed space
Understanding feedback in the context of learning, teaching and assessment
From: Russell, M. & Bygate, D. (2010). Assessment for learning: An introduction to the ESCAPE project. Blended Learning in Practice, March 2010, pp. 38-48.
How do we connect feedback across and through the course?

16. Why we use it
Academics say
The feedback is
fresh. It's feedback
that is alive rather
than something
that is dead on
paper.
You can get some
of the kindness
that we intend
...into how you talk
about it."
[It's] easier to more
clearly indicate
what has been
good or bad about
their work
It's ever so easy to record.
I've done it with my little
MP3 audio recorder but
actually my mobile phone
is a very good MP3
recorder and I've always
got it with me.
from research conducted by Andrew Middleton and Anne Nortcliffe

17. Why we use it
Students say
I listen more
when someone
is talking to me
than if I'm
reading it.
[A few] weeks later, I'm sitting down
to do a bit more work on this
assignment project. I'm thinking
"What did she say?" ... It's right
there. Press it. Brilliant!" Everything
she'd said, all the suggestions she
made, were right there.
It's just there on
your computer - at
home, at
university.
Anywhere, any
time.
We got the
feedback back
really quick – I was
surprised by that.
More later from students...
from research conducted by Andrew Middleton and Anne Nortcliffe

18. Question: Where do we learn? How do
we learn?
Where and how will we listen?
 Everywhere.
 Anywhere.
 In between and across locations…
 Lecture theatres, classrooms, corridors, outside, pub, home office,
student rooms, workplace, placements, professional settings,
international settings, online, on the move…
Learning Space – places for learning
Home
Formal
Informal Work
Design for learning context
Audio feedback is part of a mobile pedagogy…
Learning context can be significant
Reflectionmoment

19. Preparing students for feedback
Do you talk to your students about how to use
the feedback you give them?
…About reading places and listening places?
Learning Space – places for learning

20. Where do we teach? How do we teach?
Where will we record?
 Everywhere.
 Anywhere.
 In between and across locations…
 Lecture theatres, classrooms, corridors, outside, pub, home office,
workplace, placements, professional settings, international settings,
online, on the move…
Design for teaching context
Feedback is often produced in spaces and situations
that work for you, where you feel right
Learning Space – places for learning
Home
Formal
Informal Work

21. Your teaching context
Feedback is often produced in spaces and situations that work for you
Tutorial conversations – offices, cafes, quiet corners
Marking scripts – office, home, waiting to pick the kids up…
Assessing studio-based learning – in front of the work with images or video
Processes and activity – observational video commentary e.g. Coaches Eye app
Screencasts - usually at the PC incorporating student’s work
Authentic situations - WBL or field-based study, etc
Learning Space – places for learning
Home
Formal
Informal Work
Teacher's Context SMARTPC
Quiet
Authentici
Immediate
Live and active
Calm
Focused
Structure
QuietScale
Situated
Systematic
On task
Convenient
Expedient

22. Media-Enhanced Assessment
Digital media-enhanced Assessment for Learning
Extending the opportunities for personal engagement and clarification
See MELSIG website: http://melsig.shu.ac.uk
Digital and social media can be used to enhance assessment for
learning in many ways
 Course - orientation, support, challenge, motivation, reflection
 Audio Briefing - clarity, emphasis, meaning, perspective,
engagement
 Audio FAQs - one to many, clarification, belt and braces,
continuous engagement
 Assessment Objects - case studies, diagrams, real world artefacts
 Audio Summaries & Revision Notes - succinct and manageable,
peer reviewed, communal, multiple purposes over time
 Screencast Moderation – modelling and managing consistent
team marking
 Media-Enhanced Feedback - audio, screencast, smartphone,
video, web-based media, audio annotation

23. Commonly audio feedback is given by the academic to a
student by recording at a PC with a headset using
software such as Audacity (see Personal tutor
monologue later).
 Staff enjoy personally engaging students - showing they
care
 Getting close - the 'radio voice'
 Quick to do (never edit - just start again or enjoy the
rough edges)
 It can be used to complement other objective methods,
like assessment grids
 Often distributed through the VLE
Audio feedback models
Technical overview
Audio feedback

24.  Mostly audio feedback, but personal devices and apps
create potential for many flexible methods.
 Some academics use MP3 recorders.
 Tutorials, informal 'corridor' tutorials and field-based
activities can be recorded and shared with participants
immediately.
 Personal and portable devices can make it easier to
manage give and turn around feedback while marking.
 The mobile technology can help to capture previously
ephemeral formative conversations
 Easy, immediate distribution via apps to online
services
Audio feedback models
Technical overview
Smartphone and tablet feedback
e.g. Voice Record app
or GarageBand

25.  A talk through recording of the PC screen
showing student's work
 Essay scripts, project reports, posters,
photographs, wikis and websites... anything that
can be displayed on screen.
 Shows the academic giving due consideration to
the students work.
 Feedback on outputs of project group work can
be returned for review by groups e.g. on group
project plans - "cinema feedback"
Audio feedback models
Technical overview
Screencast feedback - 'talk throughs'
Open Screencast-o-Matic.com to make a screencast

26.  Using small cameras with video options or web cams
 Commentaries on action, performance analysis
 Easy to do
 Using web cams, academics at Reading and Plymouth liked
'being in the picture’ (see Jisc ASSET project)
 Video feedback of:
 workshops
 labs or studio 'crits'
 location specific work/ engagement
 portfolios
Audio feedback models
Technical overview
Video feedback
Use web cams, video camera
apps e.g. Coaches Eye

27.  Some Office tools (e.g. Powerpoint) have options
for audio annotation or screen recording
 Apps like iAnnotate allow you to add audio
annotations to PDF documents
 Be careful, this can be time consuming. Consider
producing a screencast as a more efficient way
of producing audio feedback on work or use
your word processor’s review and commenting
tools.
Audio feedback models
Technical overview
Audio annotation

28.  Skype
 Google Hangouts
 Webinar environments, e.g. Blackboard
Collaborate, BigBlueButton, Zoom, etc.
 All allow visual artefacts (pictures, diagrams,
videos, charts) to be reviewed by one or
more people.
Audio feedback models
Technical overview
Web-based media discussion boards

29.  Works well as part of a marking approach
 Tutor works through many submitted assignments
 Can be used in combination with other methods, e.g.
assessment rubrics, annotated scripts or generic feedback
 Allows for a reflective and supportive voice that can help
to challenge the student about to improve
 Tone of voice can help to clarify marks and marginalia,
adding meaning and encouragement
 Usually, selected significant points are usually identified
for each student in a 3-6 minutes audio file…
 …though some commentators (e.g. Ribchester et al.,
2007) believe that feedback should be extensive.
Audio feedback models
Pedagogical model
Personal tutor monologue
Use the Pause button
 Tip: Mark commentary numbers
on the student's text and
reference these in the audio
commentary (Rust, 2001).

30.  More than formal tutorials.
 Tutor-student conversations can be timely, rich and formative.
 Conversations can be daunting to students who feel anxious
about discussing their work and the formative opportunity
can get lost.
 Capture conversations between student and tutor, e.g. where
the tutor is offering feedback on work-in-progress.
 Students can focus on the live conversation in situ and
together agree actions - and then review it later.
 Recorded by either student or tutor as a summary
conversation to highlight the points raised in a discussion
about a student’s work.
Audio feedback models
Pedagogical model
Personal feedback conversations
e.g. studio, lab, or field
conversations
Tip! - Ask the student to
record and then send you a
list of agreed action points.

31.  Broadcast or generic feedback considers cohort performance
 It is quick to turn around, e.g. use an early sample of marking
 Tutor records a single summary message focused on strengths,
weaknesses and clarification.
 Members of the class are not singled out but encouraged to compare
their own performance against points raised.
 It can be distributed without concern over privacy.
 Can be reused to prepare subsequent cohorts.
 However, listeners must see relevance to them, so structuring feedback
against criteria is useful.
 Best when combined with personal feedback e.g. rubrics or self-
assessment tools, and action planning activities
Audio feedback models
Pedagogical model
Broadcast or generic feedback
Tip! - Ask students to self-
assess and then send
three agreed action points
based on how they
estimate their
performance.

32.  Students give each other feedback, 1 - 1 or team-team
 Giving constructive feedback is challenging (Gibbs, 1999)
 Need to introduce students to how giving good feedback
 Valuable as much for the person giving it as it is for the
recipient.
Benefits
 Promotes co-operation and shares knowledge and methods.
 Encourages student professionalism and develops
communications skills.
 Knowing how to give feedback is a valuable skill.
Audio feedback models
Pedagogical model
Peer review audio feedback
Be aware:
 Quality and consistency of the
feedback may be disputed
 May be rivalries within the cohort
 So, award some marks for quality of
feedback given

33. Tutors record tutor group conversations as,
 Generic feedback – “How did the cohort do?”, or
 Personal feedback – co-marking assignments, or
 Modelling exemplary arguments
Two examples informed this model:
1. First, demonstrating consistent marking and thinking
across the teaching team;
2. Second, generating feedback given during a field trip
where the excitement and authenticity of the trip was
not only evident in the student’s work, but also in the
tutor’s reflection upon it.
Audio feedback models
Pedagogical model
Tutor conversations
Tip! – Good academic CPD
promoting consistent tutor
team thinking across
module and course

34.  a broadcast stem is produced and this is
appended with a message targeted at individuals
(Ribchester et al., 2007)
Tutor,
 summarises cohort performance and clarifies
general misconceptions
 Copies the generic stem and appends personal
feedback
 (Copy & Paste in Audacity)
Audio feedback models
Pedagogical model
Generic+Personal

35. Audio feedback research
What do we mean by audio feedback?
Research on audio feedback
 Audio feedback is designed for context
 Case studies tend to be used
 Caution: Even with large data sets, difficult to generalise and
extrapolate findings from one context to another.
 Often confusion about causality, e.g. assumption that
engagement causes learning
 Lack of context including experience of academic innovator
However,
 many common issues
 much agreement about the benefits and principles

36. Audio feedback research
Student experience of audio feedback
What some students* say
Nearly all (92.6% of 78) indicated a
preference for audio feedback
Several intersecting reasons:
1. Accessible - easier for them to
listen to feedback than read it
2. Explaining - found audio more
focused, clearer and more helpful
3. Interactive - tone of voice
heightened comprehension
4. Supportive and personally
engaging and sense of care
• From a data set
collected by Anne
Nortcliffe, SHU, 2013.
• Anne Nortcliffe is
experienced at
designing and using
audio feedback.
• Her students in this
case were engineers
“There was more room for explanation
with the audio”
“Hearing an actual voice explaining in
detail an evaluation of my paper is much
more effective than reading short little
comments here and there on a paper.”
“a lot easier to understand exactly what
I needed to do”
“…you were able to elaborate…”
"I can understand better through your
tone”
"It makes more sense"
“It’s like your in class”
"It showed me what you thought of my
paper"

37. Audio feedback research
Literature
Audio feedback benefits (1)
 Timely – received when useful and available when needed
(Nortcliffe & Middleton 2008)
 Clear and comprehensible - tone, nuance, and personal input add layers of
meaning for the recipient, better than illegible handwritten
(Carruthers et al., 2015; Laughton, 2013; Gould & Day 2013; Olesova & Richardson, 2011; Middleton et al.,
2009; Davies et al., 2009; Davis & Ryder, 2009; Nortcliffe & Middleton 2008; Walker)
 Formative - it reinforces the construction of knowledge and leads to
‘feedforward’ actions
(Nortcliffe & Middleton 2008)
 Personalised - the use of voice powerfully connects the tutor to the student,
emphasising a sense of care and direct interest in the student’s work
(Chalmers et al., 2014; Lunt & Curran, 2010; Dixon, 2009; Merry & Orsmond, 2008; Nortcliffe & Middleton,
2008; Ice et al., 2007; Rotherham, 2007)
 Richer and more authentic - the giving of feedback is more easily situated in
meaningful real world situations and activities (King, McGugan and Bunyan, 2008)

38. Audio feedback research
Literature
Audio feedback benefits (2)
 Promoting a dialogic relationship - the capture of spoken feedback
emphasise the value of conversation and interpersonal interaction to
learning
(Orsmond et al., 2013)
 Time efficient - recorded feedback is often quicker to produce than written
feedback
(Lunt & Curran, 2010; Dixon, 2009; Rotherham, 2009; Ice et al., 2007; Nortcliffe & Middleton, 2007)
 Engaging and replayable - students like to pause, rewind and listen again
(Rotheram, 2007)
 High quality and great quantity - providing detailed explanations to clarify
concepts and processes
(Voelkel & Mello, 2014 ;Merry & Orsmond, 2008; Rotheram, 2009)

39. Tips!
Audio Feedback Checklist
Preparation
1. Decide on the best method for your context.
2. Be realistic.
3. Do a non-critical dry run and involve your
students if possible.
4. Prepare students: rationale, learning
enhancement benefits, check it works technically,
discuss how you expect them to use feedback.
5. Identify the right space and put a ‘Quiet
Recording’ sign up if necessary!
Recording
6. Keep close to the microphone to reduce
background.
7. Monitor or test the recording level – is it clear
and loud enough?
8. Use the Pause button for thinking time.
9. Never ever edit! Just start again.
10. Get used to the sound of your own voice!
Content
11.Include the student's name, assignment title,
and date at the start of each recording. Name
the recording systematically so you can
browse the recordings to organise them.
12.Use the medium for its strengths – be
sensitive, personal, clear and direct. Be
interested in the student and their work.
13.Conclude with a summary of actions you
expect them to take
14.Evaluate and develop the approach.
15.Remind the student to store, revisit and
review the feedback.

40. Visit the Audio Feedback Toolkit http://melsig.shu.ac.uk/?page_id=1196
Particular thanks to Anne Nortcliffe and to academic innovators everywhere