The autumn of 2021 has brought a mix of news addressing the abuse of women in the music industry. The world saw R. Kelly found guilty of sexual abuse after a 25+ year string of horrific ongoing allegations. In the following week, UK pop singer Sophie Ellis Bextor and model Emily Ratajkowski shared in their upcoming respective autobiographies their stories of abuse – Ellis Bextor of being raped by a prominent musician when she was aged 17, and Ratajkowski of being groped by Robin Thicke while filming the Blurred Lines music video. It highlights a huge amount of work still to be done when it comes to protecting women and girls, and across these stories from recent times it’s quite unbelievable that there are even discussions – or legal battles – about what is and what isn’t acceptable when it comes to the physical, sexual abuse, extortion, coercive control and manipulation of human beings.
The #FreeBritney Campaign
Following the Britney Spears legal battle progress since the summer of 2021, it’s been some consolation to see the publicity around the case work in the singer’s favour, and to observe the end of the conservatorship from her father Jamie Spears. At the same time, it’s been bittersweet as more details have been revealed about the singer’s life over the last 13 years and the effect this has had on her.
Britney recently claimed her father had abused the conservatorship and that he had “ruined her life”. In July, her newly appointed lawyer Mathew Rosengart, (who Spears had hired herself) began the process to remove Jamie Spears. By September this finally came to pass, with Jamie Spears relinquishing the conservatorship and dropping his request to extract a multi-million-dollar settlement in doing so.
Judge Brenda Penny has assigned a new, temporary conservatorship over Britney Spears’ estate and financial affairs in accountant John Zabel, who was chosen by Britney and her legal team. This temporary measure is undoubtedly a huge win for the singer, who has had no say or control over her finances in 13 years.
What happens next?
Britney Spears’ legal team then submitted a request to have a new hearing take place that would address ending the conservatorship completely. This is scheduled for 12th November. It will be interesting to see what transpires from this request, as a ruling on either side will raise significant questions once more about the ethics of the singer’s ongoing situation; if Spears is ruled as capable and not in need of a conservator then it will beg the question of why this situation continued for so many years without opposition, and conversely, if she is ruled as incapable and in need of a conservator then we must ask whether it’s morally acceptable to expect someone to work without control of their payments.
Additionally, the technical details of this ruling from Judge Penny mean that Jamie Spears is ‘suspended’ and not ‘terminated’ from the conservatorship which is an important detail – by suspending him, means the courts can investigate further details from the case relating to allegations of his coercion and extortion. Most notably, these claims were highlighted in the recent documentary Controlling Britney Spears, outlining the information that the singer was bugged, monitored, and surveilled around the clock by a security company hired by Jamie, and that anyone close to her was obliged to sign a non-disclosure agreement. There are rumours circulating that Britney’s lawyer will pursue action against both Jamie Spears and the team behind the scenes who benefited from her work over these years.
As the next legal installment is prepared in the coming weeks, it’s safe to say that Britney is pleased with the progress thus far – the singer shared a video while taking a flying lesson on Instagram after her win, saying that she was “on cloud 9 right now”. The public reception to the news from fans and celeb friends alike has been overwhelmingly supportive. We hope the next November hearing has a positive outcome for the singer and will prove to be a step in the right direction in supporting women who are fighting for autonomy that rightfully belongs to them.
While pop music isn’t necessarily my go-to listening choice, it’s ever-present as an underlying soundtrack to our lives, marking the milestones we’re often unaware of until they’ve passed. Sometimes it’s not necessarily the music, but the personal stories that mark these moments. This is apparent when following the unfolding legal battle of Britney Spears, which in a nutshell has been an eye-opening story of the exploitation and suffering of a woman who at almost 40 years old, is under the control of her previously alcoholic, absent father.
Reflecting back on her public 2007 breakdown, I remember how I couldn’t have hummed any of her recent tracks, but her freshly shaven head was looking at me from every shelf in every shop, from trashy mag to ‘newsworthy’ rag. The world laughed and reveled in watching the downfall of a young, successful woman who was most likely battling post-partum depression at the very least. After years of media hounding and criticism for everything the pop star did, it seems unsurprising that she eventually snapped while in the middle of a divorce and custody battle over her children – stressful prospects on their own for anyone.
Perhaps it’s worth going back to 1998, when Spears first shot to fame as a pop singer with the single Baby One More Time, wearing pigtails and a revealing school uniform in the music video, while she was still legally a child. I find this problematic for so many reasons, but it’s particularly notable as for the last 20+ years this woman has been both infantilized and sexualized in tandem at every opportunity – a truly toxic combination that has been used to weaponize almost everything against her since the start.
Coming back to the current situation, Britney Spears is challenging the conservatorship that gives her father, Jamie Spears control over her life. So what does that mean?
Merriam-Webster’s definition of ‘conservator’ is given as: “A person, official, or institution designed to take over and protect the interests of an incompetent.” In its most usual context, a conservatorship is generally implemented as a means to care for vulnerable, often elderly people to prevent them from being conned or taken advantage of. It is also used to protect those who may be a danger to themselves in terms of forgetting or neglecting their own self-care.
Britney was placed under conservatorship in 2008, and this was initially supposed to be temporary, however, it was extended indefinitely later that year, and has now been in place for 13 years. At the start, she was given a court-appointed lawyer who she was unable to choose herself. To cancel this arrangement, a petition to terminate the conservatorship needs to be filed by the person in question (the conservatee), which Spears claims she was not told until recently. This is where we currently are, observing Britney’s attempts to remove her father’s control. As such, she is currently paying the legal costs for both sides in the case.
Obviously, as members of the public looking in, it’s impossible to know the whole truth of the situation, however, what we do know is that Britney has worked consistently through this time, including a four-year residency in Vegas, which is no mean feat. Knowing this, the question has to be asked: which is it – is she incapable or not? If she’s incapable, then how on earth can she be trusted to work a demanding residency for four years? Is this what ‘an incompetent’ looks like? And if this is how one of the most famous, high-earning, and successful women in pop music gets treated, then what is the treatment of others likely to be? How do women get treated when they have a lot less privilege, or face similar cases of ‘he said, she said’?
In court transcripts from June made by the singer, Spears explained that she has no say in making decisions about her own body – she has been placed on birth control and under the influence of extremely strong drugs without her consent:
“I want to be able to get married and have a baby. I was told right now in the conservatorship I am not able to get married and have a baby. I have an [IUD] inside of myself right now so I don’t get pregnant… but this so-called team won’t let me go to the doctor to take it out because they don’t want me to have children. So basically, this conservatorship is doing me way more harm than good. Lithium is a very, very strong and completely different medication compared to what I was used to. You can go mentally impaired if you take too much if you stay on it longer than five months.”
Spears also addressed the financial elements of the arrangement whereby she is refused access to her own money. Court documents confirmed that the singer was given a weekly allowance of $2,000, and her father Jamie earned $16,000 per month in addition to his office expenses and additional percentages of her income. She explained:
“I shouldn’t be in a conservatorship if I can work and provide money [for] other people. It makes no sense whatsoever for the state of California to sit back and literally watch me with their own two eyes, make a living for so many people, and pay so many people, [taking] trucks and buses on the road with me and be told, I’m not good enough. But I’m great at what I do. And I allow these people to control what I do, ma’am. And it’s enough. It makes no sense at all.”
Britney has also gone on the record saying that she had never wanted her father to become involved and that he “loved the control to hurt his own daughter” and worked her hard, punishing her if she didn’t follow his orders. She explained the complete lack of control over her own career, saying:
“My management said if I don’t do this tour, I will have to find an attorney, and by contract, my own management could sue me if I didn’t follow through with the tour, it was very threatening and scary. And with the conservatorship, I couldn’t even get my own attorney. So out of fear, I went ahead and I did the tour.”
While these elements of her lack of autonomy have shocked the world, there are also small things Spears is asking for that highlight just how tightly controlled she is – Britney wants to be able to visit nearby friends alone, pop out to the nail salon, and head out with her boyfriend in his car. She is not currently allowed to do any of these things.
The 2021 New York Times documentary Framing Britney Spears has raised awareness and backed the #FreeBritney movement which has gained momentum as more news has come to light. It’s interesting that following the documentary’s release and the June hearing which has attracted attention, Spears’ lawyer Samuel D Ingham III has stepped down along with her manager Larry Rudolph. Ingham had previously received $373,000 in 2019 in this role. Additionally, Spears’ financial management firm the Bessemer Trust has requested to resign in recent weeks.
The documentary not only explains the facts of the current legal battle in an easily understandable manner, but additionally outlines just how sickeningly well-oiled the misogyny media machine is, and how quickly it can turn on women such as Spears. The film also raises some important questions about how we treat those going through mental health struggles, how we continue to treat women in general, and moreover, how those in positions of authority in the legal system can take the word of an alcoholic, absent father over that of a successful, adult woman.
While there’s a glimmer of hope in the present climate as we reflect on what should now be seen as outdated and unacceptable behavior from a bygone era, we must address that there is still work to be done when it comes to how we value mental health, ensuring financial and bodily autonomy for all, and lastly, we desperately need to start actually listening to women, especially those who ask for help. The next hearing in the Britney Spears case is scheduled for 14 July.
How Do We Value Musical Equipment
Value, Quality, Price, and Branding
Recently, a friend of mine excitedly shared photos of their newest guitar purchase; an attractively restored Fender Telecaster. As we chatted, my friend elaborated that it was a Mexican model and that the staff in the shop had cheekily encouraged her to try the American-made alternatives (priced much higher). I reminisced about snobby attitudes I’d also encountered over the last ten happy years with my vintage strat, and started thinking how do we value a brand’s reputation, quality, and price point when it comes to musical instruments and equipment? I wondered if the criteria might be more relevant than ever before, following the financial uncertainty of the pandemic era and its effect on those in the Arts.
In pre-Covid times I’d noted the pleasant surprise that peers and friends would take from a quick dabble or closer inspection of my old strat, and conversely, those who would instantly disregard it when finding out its origins. While urban legend continues to hold onto the narrative that the American models play better, sound better, are built better and are priced accordingly, the definitive truth is less clear. Kyle Smitchens from Guitar-Muse spoke with Fender to pose these questions and find out. He explains:
The wood is the same for both, although the finish is different – Mexican guitars have polyester whereas the American models have a tougher polyurethane finish.
The hardware and electronics are where the main differences occur: as various manufacturers provide parts for different models depending on where the guitars are built, some parts are interchangeable. This is the biggest variable as there are so many possible permutations.
The manufacturing process itself shows neither guitar is more hand-built or machine built than the other: there is a strict, set criteria of QA for both countries when guitars leave en route to the main distribution centre in California, and all guitars are then put through a second round of QA when they arrive.
It seems that the cost of labour is actually the main reason the costs are so different.
While the electric guitar is absolutely not my area of expertise, I’d experienced the same issues and debates in the classical guitar world. As a student of the instrument, it was taught as gospel that Spanish-made guitars were of the highest quality and price, and Chinese-made guitars were to be avoided at all costs: rumours of badly manufactured, mass production factory lines with no QA prevailed. Unbelievably, it wasn’t until I’d been working for several years that I actually encountered a guitar shop that stocked a Chinese-made classical guitar for me to try out myself – and I loved it.
In music, these attitudes seem to span across the board – from music notation software to DAWs, and everything in between, many believe only the most expensive and well-used brand names are the real industry standard. We know the psychology of selling makes people skeptical in general of anything that seems under-priced or ‘too good to be true’, and are wary of the ‘buy cheap, buy twice’ philosophy, but we also trust that word of mouth is the most effective method of sharing good products. We ask one another what gear we are using, source recommendations, and share with our friends our latest finds and surprising bargains. There have been various ‘unbranded’ and reasonably priced products over the years that nowadays I couldn’t live without thanks to peers, friends, and knowledgeable internet strangers.
Behringer came to exist because the founder, Uli Behringer was a struggling musician and sound engineer back in 1989 – at this time, he couldn’t afford the necessary equipment for his own studio. He started by creating products for himself, but this soon grew into a business. Behringer’s philosophy is “to deliver life-changing products at prices everyone can afford.”
I’ve sadly witnessed a large number of my peers selling instruments, musical equipment, and gear throughout the last year since coronavirus took hold. It’s highlighted the financial struggles that were present before the industry shut down, that of course musicians and engineers will always need the right equipment to be able to work, and the cost quickly adds up. As well as being expensive, musical instruments and setups are often judged, so there is a distinct need for gear that’s reputable, reliable, sounds great, that also leaves enough change to grab some chips on the way home from the gig. While nobody wants substandard, cheap, nasty gear that doesn’t perform, the questions have to be asked: Is it not somewhat paradoxical to respect the Fender brand and reputation, yet view a huge number of their products as inferior? Shouldn’t Behringer be a little more celebrated for putting their philosophy into practice? Does a reasonably priced product automatically equate to a substandard performance? And shouldn’t instruments be judged by how they feel, play, and sound rather than where they were manufactured?
I hope as the world emerges from a gig-less and financially tough year, that we will be able to openly share the best bargains in our kit more freely, with a little less stigma than before. If something performs to a high level (or the adequate level we require and can afford), then surely we should enjoy that. Returning to work is likely to be an adjustment for those across the music and entertainment industry. If we can lighten the financial strain of replacing or upgrading necessary equipment by researching our product needs differently, perhaps this will help us all get back to working, creating and making noise once again, without breaking the bank.
Language And The Gender Gap: The Power Of Words
January 2021 has shone a light in several ways about just how far we still have to go in terms of the language and choice of words we use; not only in striving for professionalism and equity in the workplace but also because an insidious weaponizing of language contributes to a culture that is harmful to women.
Many in the music and audio community have been involved in a current debate about the company, Gearslutz following a petition that was launched requesting they change their name.
The petition on change.org was created by Cam Ran, who explained:
“This petition was created with the hopes of encouraging Gearslutz to change their name to something that more appropriately represents the gear community.
Gearslutz is widely regarded and refers to themselves as “The No.1 Website for Pro Audio.” Every engineer I know has used/uses it, and most of the engineers I know feel uncomfortable with the name. I have been one of two women sitting in an engineering class and a professor has uncomfortably mentioned the website, apologizing for the name, but bringing it up because it has been an important resource to use when learning about gear.
While there has been much progress in the gear community and audio world for women, we still exist in a time where every woman I know who works in audio has been asked which band member she’s dating when she’s loading in gear. Every woman I know has been called a slut in a derogatory manner. Every woman I know who works in a male-dominated field has felt objectified and patronized. And not every woman is offended by this name, but enough people are that it’s a frequent and recurring topic.
It might not seem like a big deal, and people will likely say that we should focus our energies on bigger issues of equality, but we can do both. We can talk about the things in our community that make us uncomfortable, starting with this website created by men, who have never been called “slut” in a hateful and derogatory way. Who have never had to prove their merit in their field simply because of their gender. Who have never had someone assume that their level of success was due to the fact that they slept with the right person.
Aside from making some people feel a bit upset, it’s also just a very unprofessional name that makes people uncomfortable in an educational environment or workplace, as you can see from the comments of signees below.
I’m looking forward to a brighter future where women and female-presenting people feel comfortable in all spheres of work and passion, and this small change would be a great step. If you’re angered or annoyed by this request, truly ask yourself why.”
Gearslutz.com co-founder Jules Standen has replied to the petition several times, initially saying in a now-deleted post:
“The word ‘slut’ isn’t necessarily just a derogatory word for women, it refers to someone driven by their lust more than by their brain – kinda like nerds who habitually spend money on a bunch of machines they don’t really need or are worthy of. The gear is no longer a tool but a self-purpose and is fetishized. ‘Slut’ is a good word to describe people who indulge in this behaviour.”
Standen then released a more detailed statement, saying:
“As the founder of Gearslutz, I chose the name as an ironic way of describing those who, like me, had no control over their desires for acquiring recording equipment. The name was and still is, not intended to send a derogatory message to women or to discourage them from participating in the forum. It was simply meant to poke fun at some people’s pro audio shopping habits.
I suppose it’s a question of not judging a book by its cover. If women who are put off by the name were to look at the forum itself, they would find it a very welcoming place. In fact, from the very outset, because male participants were in the majority, we have done our very best to make the forum a safe place for women in terms of the site content and visitor behaviour.
Regarding the name, I appreciate it’s not for everyone, but that is how we are known to our 1.6 million monthly visitors from 218 countries. For those uncomfortable with our logo, we have always offered an alternative option. This is available in a drop-down menu on the bottom left – it will display the alternate “Gearsz” logo.
We appreciate feedback about the forums and I reiterate that everyone is welcome to join in the discussions any time.”
An unexpected development to the story
Meg Lee Chin publicly commented on the petition and spoke out on social media. She posted her comment, outlining her previous role as the founding partner of Gearslutz with Standen back in 2000 and recounted her experience of waking up one day to discover she had been locked out of all the accounts relating to the site and the business. Chin’s statement recalls how she won the ensuing court battle that followed but was hit hard by the lawyer fees involved in the case.
Gearslutz Announces Name Change
Shortly after Meg went public with her story, it was announced via Working Class Audio that Gearslutz would in fact be changing their name, and you can listen to Jules Standen’s conversation with WCA about his decision here.
The Gearslutz conversation has raised some ongoing issues, both specific to the music and audio industry, and in a wider context for women and girls in general. We know that young girls have been consistently dissuaded from pursuing STEM subjects, and many have pointed out that the casual use of a word so often weaponized against women is not helpful in encouraging the next generation of women in audio. One commenter noted, “what we tolerate in language, symbols, and jokes all play a part in shaping this culture.” They also acknowledged the effect on the young girls who see pervasive misogynistic language – “perhaps the same harmful language that kids at their school are using to shame and hurt them – and think ‘Hmm, yeah, maybe this industry isn’t for me.’”
Everyday Sexism Project
Laura Bates is the founder of the Everyday Sexism project, a place for women and girls to share their accounts of harassment. In launching the project, Bates was shocked at how many accounts of sexist harassment were coming from mid-teen girls, and subsequently moved the majority of her work into a school setting. While conducting classroom discussions had been a positive medium for conversation initially, Bates then found an unexpected resistance:
“I started hearing boys at school who already felt that they’d been poisoned against the idea of even having a conversation about feminism. And they were coming out with some quite extreme things: feminism is a cancer, all women lie about rape, white men are the real victims of society… But the moment it all really clicked for me was when they started repeating, at schools from rural Scotland to inner-city London, the same wrong statistics. That’s when I clocked what was going on.”
Bates found herself delving deep into the online communities that operate uncensored, radicalising young boys across a vast network of websites and forums and described her experience with The Guardian in a 2020 interview. The most shocking takeaways from Bates’ findings were: the young age at which children were targeted (11+) and the traceable path that started with anti-feminist memes and jokes online, and then progressed to targeted acts of misogynistic violence against women and the adoption of neo-Nazi white supremacist beliefs.
Phil Spector Dies
At the same time, the Gearslutz petition was happening, news broke that music producer Phil Spector had died while serving a sentence for the murder of Lana Clarkson. Interestingly, the same conversations were occurring around the wording and reporting of his death from various news and media outlets. Subsequent editing and deletion has occurred across several platforms due to something of a backlash: The BBC had previously gone with the headline “Talented but flawed Producer Phil Spector dies aged 81.” while Rolling Stone published “Phil Spector, the famed ‘wall of sound’ producer and architect of some of pop music’s most enduring songs, whose legacy was marred by a murder conviction, has died.”
In the days that followed, a flurry of articles and conversations ensued around what is acceptable language when talking about men and the women they have harmed. Phil Spector’s ex-wife Ronne has been consistently open about the abusive details of their marriage since she escaped from their marital home, barefoot, while he screamed death threats after her. During their marriage, Ronnie had been coerced into abandoning her music career, adopting 3 children (notably, twins that Phil brought home as a surprise ‘Christmas present’), and was held prisoner in their house for years. It’s fairly well-known that Phil Spector claimed he had a gold coffin with a glass top that he threatened he would display Ronnie’s body in after killing her. Their divorce was rife with stalking, constant death threats, legal battles over their children, and the withholding of The Ronettes royalty payments. Despite public knowledge of his reputation for having a tendency to pull a gun on women he was interested in and the artists he produced, Phil Spector continued to work up until the early 2000s. When Lana Clarkson was killed from a gunshot to the mouth in 2003, it took several trials and retrials until Spector was convicted of murder in the second degree in 2009 – he had remained free for the six years in between.
Phil Spector was undoubtedly a pioneer in the music world, but at what cost? Ronnie Spector’s tribute to the news of his death stated he was a “brilliant producer, but darkness set in and many lives were damaged.” During my college years, I learned about Spector’s techniques and infamous acts of violence, noting that his behaviour happened to be an accepted, secondary by-product of his genius. Studying the ‘wall of sound’ in a real-time parallel to Lana Clarkson’s murder, I soon realised that this was the structure of things, and where we are told that women fit into the industry and the world. How many generations of women from the 1960s through to today have grown up observing this narrative – that their collective lives are ultimately worth less than one man’s talent? And now, fifty years after Ronnie Spector fled for her life, with Phil Spector 10+ years into his prison sentence for murder, we relentlessly keep positive language reserved for white men, no matter what they have done.
Words Matter
The selective choice of words when reporting on violent men is not exclusive to the music industry, nor to the rich and famous. Even the most mediocre men who kill and do harm are by default, written about in the media with an overly positive focus, while women are dehumanised. Journalist and author Jane Gilmore is the creator of #FixedIt which is a collection of such headlines that she edits to more accurately report the facts of a story, without the bias that is so prevalent. Gilmore has also published a book titled FixedIt: Violence and the Representation of Women in the Media as well as hosting a TED X talk about these issues. In her TED X talk, she demonstrates how unbelievably ingrained this attitude really is, showing examples whereby the mothers of men who have committed crimes are negatively reported on and held to account, while the stories omit any blame on their sons, the actual perpetrators.
It’s easy to see that in isolation, a ‘jokey’ word might not sound like a huge deal at first glance. It’s also frequently debated whether character should play a role in our appreciation of art. However, when we stop for long enough to listen to the actual facts and figures about the implications and outcomes these issues have been proven to have, we need to do better. If we know that language influences our societal norms and contributes to a culture that is rife with sexual harassment for our women and girls, we need to consciously break the cycle. If we are teaching 1960s music history and production in schools, colleges, and universities to young people around the world, maybe we shouldn’t laugh off and downplay violent ‘eccentricities’, but ensure that standards and structures are in place to prevent these working conditions from ever being the norm again. With the same conversations currently taking place across the industry, there is hope to be found in addressing the power our words can have – both for creating a more inclusive workplace, and a safer and more equitable world.
Overview of Music and Audio Software Programs
The coronavirus pandemic has brought new ways of working and creating remotely, with many music and audio companies offering free or reduced prices for their products. Whether you’re looking to experiment, diversify your software knowledge, or get started with a new DAW, here are some of the best free and professional standard programs on the market.
Best for music and audio production beginners
GarageBand is a fantastic Mac program that is great for both dialogue and music production beginners to learn how to start working in a DAW as it’s user-friendly, intuitive and clear. The layout for tracks, instruments, and plugins ensure that users can easily see and follow their audio or instrument tracks, effects rack and project layout without any complicated navigation. Recording and editing audio files are straightforward and pleasant thanks to the simplicity of the program – all of your commands take just a few clicks.
Another element that makes GarageBand great for beginners is the sample library of loops, software instrument sounds, and features like the virtual “Drummer”, which is a way of creating original beats for those who are unfamiliar with the conventions of the instrument or music theory rules. GarageBand is free for Mac users and is the perfect gateway DAW for those getting started in the worlds of audio and music production and editing.
The pros: It’s free, super easy to get started and is a great foundation for learning music and audio production.
The cons: It’s hard to find many downsides, although for professional music production users will eventually outgrow GarageBand and need to upgrade to a DAW capable of more.
Best for music and audio production at the next level
Logic the natural progression after mastering GarageBand as it’s the perfect stepping stone to understanding this Mac-based software. The standard of Logic is professional, yet the layout and features are similar to GarageBand, so it makes moving to Logic rather nice and not too overwhelming when learning the differences between the two. Music and audio recording and editing is intuitive and user-friendly, and the latest update of Logic has a tonne of improvements including more realistic MIDI articulations and expression settings, a better Sampler, and even more in the updated sound library. Although Logic is not a music notation program, the score function works remarkably well with MIDI instruments and can be easily edited to a simple standard.
Logic Pro X costs 200 GBP or USD and there’s the option to trial the software for 90 days, which is a nice touch to try before you buy! Apple has even provided a guide for those transitioning from GarageBand to Logic here: https://www.apple.com/uk/logic-pro/garageband-to-logic/
The pros: The free trial and reasonable price tag makes Logic an attractive option for music production and audio editing in general. It’s accessible and versatile, whether composing, arranging, recording, mixing and mastering, Logic can do it all.
The cons: The main con of Logic Pro is that many professionals and job studios cite Pro Tools as their preferred DAW of choice. If you can master Logic, then adding Pro Tools to your skillset should be a long-term but realistic goal of where to aim next.
Best for dialogue beginners
Audacity is a free multi-track audio editing program that is compatible with Mac, Windows and Linux. The main benefit of using Audacity is that it’s a simple workstation that allows for easy destructive editing of audio files and easy conversion, which is a bonus for most. The spectral display is a visual godsend for any dialogue editor, and this feature alone boosts the credibility of Audacity as a free program.
The pros: Audacity is free and capable of holding its own when it comes to an audio editing program for beginners and beyond. This software is fine for basic editing and is an excellent option for podcasts or simple audio editing to a decent standard.
The cons: The only option of destructive editing could be limiting in the long term, however, if this is the method that users learn to work with then it can be utilised.
Best for professional quality dialogue
Adobe Audition is a program for audio editing to broadcast standards for film, television, or radio. It’s intuitive enough for absolute beginners to work with quickly and easily with no prior knowledge of DAW’s. The quality of Audition makes cuts and editing tasks seamless and takes care of crossfades without any fuss.
The spectral display is of very high quality and highlights even the tiniest detail to assist the editing process. While this program could be used for music, personally I would opt for Logic or Pro Tools for music, and stick to dialogue editing with Audition. The effects racks can be used in much the same way as with most traditional music editing software, or effects and changes can be made to entire audio files or snippets depending on your preference and needs.
The pros: Audition makes audio editing unbelievably quick and easy, and brings this to users in an accessible way, whether seasoned professionals or just starting out.
The cons: With a professional-quality program comes a price tag – Adobe Audition is available on a subscription basis, which works out at just under £240 annually. Depending on whether you use other Adobe products, this can be combined for a better deal.
Best for music notation beginners
MuseScore is a free music notation scoring program that works on both Mac and Windows. It’s remarkably well-rounded for free software and doesn’t feel like it lacks any features of a pricier option. It’s built to meet the needs of composers, arrangers, hobbyists, professionals and teachers, and can handle different instruments, clefs and directions, and also has decent playback quality. MIDI and MusicXML export options are notable highlights, as is the option for keyboard MIDI input.
The pros: MuseScore has everything that users need when working with music notation. This program could be used from beginner to pro, and everything in between. For usability, MuseScore is on a par with other programs and is very similar in terms of what they offer. If there’s no urgency to upgrade, MuseScore would be the notation software of choice to see you through.
The cons: The playback sounds for some instruments aren’t the best, but if you can get over this and hear the notes over the sounds, there really aren’t many drawbacks to using MuseScore.
Best for professional quality music notation and scoring
Finale is the standout for industry-standard music notation software. It is the professional’s choice for taking care of everything from creation to publishing when it comes to sheet music. The playback sounds are as high as you would expect, though the price tag reflects all the elements Finale offers: the full version costs $600, while there are streamlined versions with fewer features for $120 on Windows. The full version as well as the 30-day free trial are compatible on both Windows and Mac.
The pros: The quality really is across the board with Finale, and as with some of the other software programs previously mentioned, there’s an expectation that professionals will be adept with the industry standard.
The cons: The price tag is the steepest in terms of bulk one-time payments, however, the 30-day trial can be fully utilised before you take the plunge and commit.
Reflections On A Pandemic
There’s a quote by an unknown author that states: “Every new chapter in your life will require a new version of yourself.” While new chapters in life are a universal theme for all of us, the Covid-19 pandemic has brought sudden plot twists to so many people’s lives. I’ve encountered stories of grief and loss and seen those who have made huge career changes and personal adaptations in the last six months. There’s little doubt that most of us will have looked at our lives and taken stock, contemplating what the future might hold, while reassessing our paths and goals.
The tagline “the new normal” has been a grating one; none of this is normal, and we need to remember that, both in our interactions with others and with ourselves. Acting with kindness is needed now more than ever to get through these times. It’s easy to feel low and disheartened when the collective worries of safety, careers, and the future hang in the balance of such uncertainty. So many in the creative industries around the world have been through hardships, and have had to find alternative work and lifestyle routines around the pandemic. Some have been shielding, others have had to take on full-time carer roles, and some headed out to work on the front line as key workers.
Oprah once said: “Do what you have to do until you can do what you want to do.” As we ponder where we are, and where we hope to be after the pandemic, it’s useful to remember that this chapter won’t last forever. Too many people are beating themselves up, worrying that they haven’t ‘got it all together’. Even during the best of times, the human condition can be a challenge, and when we are restricted by circumstances out of our control, we can’t hold our expectations up to our normal standards. Working in the creative industries in the pre-COVID world already came with its struggles, many of which have been illuminated by the pandemic. Campaigns such as #WeMakeEvents have shone a light on where live entertainment can improve, though when better days might come is still unknown. The emphasis on doing what you ‘have’ to do is strong, as we are quite literally in survival mode right now – there’s no template, no ‘one size fits all’ solution or ‘right way’ to maneuver through this chapter. But it is a chapter, and it will end.
I recently read about a phenomenon called “TIL Smile Mask Syndrome” where “depression and physical illness is a result of prolonged, unnatural smiling”. Discovered in Japan during the 1980s, it is thought that the result of this condition is due to a disparity between the sufferer’s actions and their emotional state. When these aren’t aligned, it seems natural that discomfort will arise, and that putting a brave face on things, or ‘faking it till we make it’ can sometimes do more harm than good. While mindfulness and gratitude are useful practices when faced with tough times, there is a balancing act to be had with the many layers of the current climate, and it’s ok to acknowledge when times are hard and we aren’t doing so well. Perhaps the best way to philosophise is by looking at Reinhold Nieburh, who said: “God grant me the serenity to accept the things I cannot change, the courage to change the things I can, and the wisdom to know the difference.”
None of us will look back on this chapter in our lives as a golden era, but we can reflect on what and who is truly important to us and try our best to find pleasure in the little things in life for the time being. While we collectively do what we have to do until things improve, kindness is key to wellness, good mental health and as a means of keeping community spirit alive and lending a hand to those hit hardest. We are living through a unique time, unlike anything that’s come before and ultimately it is deeply unsettling. This chapter has been sudden and has brought pain to so many. I cling to the knowledge that all things must pass, and live in the hope that we will see out this chapter and start a new, better one soon.
Editors Note: Taking care of your mental health during this time is important. Don’t be afraid to reach out. We recently hosted a webinar with Handling Trauma from COVID with therapist Kaprece Stallings.
Review of BBC Symphony Orchestra Discover
Review of BBC Symphony Orchestra Discover
I couldn’t quite believe my eyes when I saw Spitfire Audio was offering a smaller version of their BBC Symphony Orchestra titled ‘Discover’ at an affordable £49. Not only this but if users can’t afford the ‘buy it now’ price, Discover is available for free if you complete a short questionnaire and wait 14 days to download.
What is BBC Symphony Orchestra Discover?
So how and why has Spitfire done this? The concept behind Discover is to create an accessible gateway into orchestral composition for music creators at every level. Discover is a smaller version of larger BBCSO editions and features the same professional and detailed recording process for 33 instruments and 47 techniques, but is under 200MB.
Download and installation
The download process for BBC Symphony Orchestra Discover is extremely clear and simple, and options are given for choosing from a version for either Mac OS X 10.10 or later, Intel Core 2 Duo, or Windows 7, 8 or 10, Intel Core 2 Duo or AMD Athlon 64X2. Once you’ve selected the correct option for your computer, you can then open BBCSO as a plugin that is compatible with most music creation software and DAWs. The download and installation was quick, with easy to follow instructions and took a matter of minutes.
The Instrument Sounds
As soon as I’d installed BBC Symphony Orchestra Discover, I was like an excited kid, eager to open a project and start making noise. The first thing that struck me was the realism of the instrument sounds; Spitfire Audio did not skimp on the quality in Discover, and I was instantly impressed. Another element that I appreciated was that Spitfire kept the playable range of each instrument voice true-to-life; a decision that not only keeps the caliber of the sound where it should be but one that will also benefit learners who are finding their way around the orchestra.
The controls available to each instrument are intuitive and easy to navigate in the plugin window, and everything is labeled clearly. All instruments have three sliders that control the amount of expression, dynamics, and reverb.
Playing techniques are specific to each instrument, with options including long vibrato, spiccato, pizzicato and tremolo on all strings (minus tremolo on double bass). Woodwind and brass instruments offer long or staccatissimo. The percussion section provides realistic staccatissimo techniques for harp plucks, celeste, timpani hits and untuned percussion, tubular bells, marimba, xylophone and glockenspiel.
Another unexpected surprise in the plugin window is the easy editing option of instrument tuning, panning and volume controls.
Advanced Articulation
Depending on which DAW you are using, your articulation controls and methods will vary. Babylonwaves have created free Cubase Expression Maps and Logic Articulation Sets which are created to assist those who are struggling with these elements in Discover. This can be really helpful for learning and understanding how articulation can be used, and this shortcut should add to the creative experience rather than feeling like a separate and arduous task. The Babylonwaves free download is available here. https://www.babylonwaves.com/2020/05/07/free-art-conductor-for-spitfire-bbcso-discovery/
Other notable points
The library can be installed on up to two computers at a time, which is a nice option for people on the go, who are away from their main workstation. Spitfire has made it easy to copy the downloaded folder over to other devices for this purpose. With this in mind, owners of the Professional and Core versions of BBCSO will automatically receive Discover for free, and all editions are fully interchangeable and compatible with each other thanks to mode switching technology. The other editions of BBCSO are Core at £399, and Professional, which is £899.
The approach Spitfire Audio has taken with the BBC Symphony Orchestra Discover edition is one that provides high-quality instrument sounds to all, while also offering an insight into the more advanced packages that users can aspire to own when they have maximised their options and need to move on up. Personally, I can’t praise Spitfire’s approach enough; they have created a truly accessible option for orchestral composition without fault – there’s no catch, no compromise on quality and no hard sell. Discover is a highly pleasing product that stands alone, delivers more than expected, and authentically supports music makers and composers of the future.
Should we be readdressing how we split revenue for streaming?
As we approach the middle of 2020, there’s no doubt that we are increasingly living in an online world. While technological developments mean that many of us are lucky enough to stay connected with loved ones, the hit taken by those working in the music and entertainment business has been a big one. Since the Covid-19 crisis took hold a large proportion of industry professionals are struggling financially, unable to work, bringing the issue of musicians’ earnings to the forefront. In May the USA asked Congress for improved support for musicians in the next relief package, however, in the UK there have been several prominent conversations happening about music streaming payments.
Streaming revenues have gone up year on year and the IFPI announced 56% of $20 billion global revenues last year from streaming. The average payout per stream is £0.00076 on Apple Play and £0.0004 on Spotify. These numbers are an average as the calculations for payment are often complex and take into account many different factors. The overall split example of the current working model outlines:
Spotify keeps 30%
The Recording gets 57%
The Song gets 13% (of which publishers get half)
The writer(s) get(s) 6.5%
In the UK the Ivors Academy and the Musicians’ Union have formed the “Keep Music Alive” alliance and launched a petition to the Government for an industry review of streaming. Ivors Academy CEO Graham Davies believes the current model is out-dated and not suited to the way the industry currently works:
“It is time to replace the pre-digital record industry models with a system that is fit for our digital future. Currently, payments are still structured around record labels being exclusively responsible for recording, manufacture, shipping, and marketing. Those days are gone and now we see songwriters, publishers, performers, managers, and producers investing heavily in developing music and acts. They do this in their own studios, at their own cost, in their own time and at their own risk.”
Another campaign initiated by UK musician and PRS Director Tom Gray has been working for change in tandem by launching the #BrokenRecord campaign to #FixStreaming. Gray argues that the split amounts broken down further into their respective copyright areas highlight some of the problems when it comes to streaming.
The 4 associated rights with a song are:
The Master Right (the recording)
The Performance Right (the song)
The Mechanical Right (reproduction rights)
The Neighbouring Right (performers and players earn money from a broadcast of their performance)
Gray explains the current model states there is no broadcasting element to streaming, and so the Neighbouring Right doesn’t get taken into account at all and is eliminated from the equation. He argues the suggested songs that automatically play next on streaming platforms are more like broadcast radio and that this element should be changed. Another point he makes is the companies that own the Major Labels are also the biggest publishers in the world. If there are publishers working on behalf of songwriters then they will control the song, which means the Performance Rights and the Mechanical Rights goes to them.
Whilst Gray covers the legal and technical elements of ownership in-depth, he also equates how many streams it takes in the current model to afford various supermarket items, using practical examples we can all understand to demonstrate the stark reality of streaming for musicians.
Gray also highlights an interesting area of streaming that may have been unknown to most of us: your subscription fees do not necessarily go to the artists that you have listened to. “If you listen to one song in a month, of your £9.99 subscription, £0.005 would go to the one song you listened to. £3 would go to Spotify and £6.995 would go to music you haven’t listened to.”
Along with Gray, several arguments for a “user-centric” model have been made by others in recent years to address this issue. Stuart Dredge from musically.com explains:
“The current ‘pro rata’ system used by streaming services divides their royalty pool by each track’s share of streams in a given period. If Drake gets 5% of the streams, his rights holders get 5% of the royalties. Which means that even if you never play Drake’s music, he’s getting 5% of your subscription. However, under a user-centric model, the royalties from your monthly payment would only go to the tracks that you listened to.”
Dredge acknowledges it is unknown just how successful this change would be in practice, but also notes that Deezer plans to trial a user-centric model in France (with labels only) to find out how this might translate in the future.
While it still seems that the answer to fully addressing the complexities of streaming revenue may be some way off, it’s a topic that is getting a great deal of coverage with one main theme in common: the streaming market is largely unregulated at present and there seems to be a unanimous call to collecting societies to become more active and involved in this area.
As we know, March 2020 has been a strange time for most of the world due to the outbreak of COVID-19. Subsequently, the music industry at large has been extremely quiet, but before the outbreak and lockdown rules became widespread there were several interesting events and technological advances relating to music copyright law.
The start of March saw the current Led Zeppelin “Stairway to Heaven” legal battle rage on into its sixth year, with the band winning their latest appeal for a new trial – the group Spirit had previously won a case that ruled Zeppelin’s famous opening arpeggio riff had infringed the Spirit 1968 song “Taurus”. While it seems this particular feud may be far from being over, it was closely succeeded by another high-profile case days later.
Stairway to Heaven:
Taurus:
Following a previous lawsuit in 2019 that ruled Katy Perry’s song “Dark Horse” had copied the ostinato from Flame’s 2009 track “Joyful Noise”, the verdict was overturned on 17th March by federal judge Christina A Snyder. Judge Snyder stated:
“It is undisputed in this case, even viewing the evidence in the light most favourable to plaintiffs, that the signature elements of the eight-note ostinato in “Joyful Noise” is not a particularly unique or rare combination.”
While news of the judge’s decision to overturn the verdict came as a surprise, the sentiment of Snyder’s statement resonated with most musicians who had listened to the songs in question – you can read my comparison and analysis of the 2019 trial here
The latest Katy Perry development felt like a “win” for good musical sense, but where do we go from here? What might the future hold for common sequences and regularly used traditions of composition? Damien Riehl and Noah Rubin think they might have some influence on this – the duo has developed technology that is working to find the answer to the eternal question “Is the number of melodies in this world finite?” As there are only a finite number of notes, can they only be arranged in so many ways?
Rubin is a musician and programmer as is Riehl, who also happens to practice law. Together they have created an algorithm that writes 300,000 melodies per second to disc as a MIDI file, thus automatically copyrighting them. The data set parameters for measuring the melodies use a range of one octave (incorporating a major and natural minor scale), and counts up to 12 individual note values for the length of the melody line, as this range works well for the conventions of pop music.
The two big questions arising from this technology lead us to ask whether the pair have infringed on every existing song there’s ever been, and will the songs of the future infringe on them? Riehl says no to the latter – the intention of creating this technology is to put the findings into the public domain to make the world better and “keep space open for songwriters to be able to make music”. The technological parameters of the algorithms’ range are expanding and developing all the time – the pair are currently working with a pitch range of 12 chromatic notes which means that in terms of genre this covers more than pop music, such as classical and jazz melodies. Riehl is sure that one day the technology will be equipped to use “100 notes and every rhythmic and chordal variation in the future”.
From Riehl’s expert legal view the repercussions of this technology could be ground-breaking in ensuring creative freedom exists for composers; he believes the copyright system is broken and needs updating, explaining that the average legal fees for these cases are in the range of $2 million-plus a fee to the original songwriter. The consideration of whether the accused had access to hear the original song in question would still be taken into account, as would the idea of conceding that songs can be “subliminally infringed” without ill intent.
In explaining the mathematical programming element of the algorithm, Riehl borders on the metaphysical as he shares the findings that we have a finite number of melodic combinations available to us and that “melodies to a computer are just numbers – those melodies have existed since the beginning of time and we are only just discovering them”.
It’s an interesting juxtaposition that this new technology is strangely aligned with the ancient concept that we pluck or channel our ideas from an unknown aether where they have always existed. Who knows, but maybe we can find some comfort and feelings of connection with something bigger than ourselves as we work through these solitary times.
You can download all the music created by Riehl and Rubin plus the algorithm programme code at http://www.AllTheMusic.info
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