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Delving Into De-mix Technology

Since Peter Jackson’s Get Back documentary about The Beatles, the use of De-mix technology has been more prominent in the public realm, and it is a truly intriguing technique. Even the term ‘De-mix’ is a fascinating one, that mentally evokes a challenge similar to ‘un-baking’ a cake.

In fact, the process of De-mixing has been used by Abbey Road Studios for some time, and the technique was developed in partnership with mastermind technical analyst James Clarke, who recalled that the idea first came to him back in 2009. The first project Clarke created was in 2011, with the reimagining of The Beatles Live At The Hollywood Bowl, with many classic Beatles records subsequently following, including A Hard Day’s Night (the movie), 1+, parts from Sgt Pepper’s Lonely Hearts Club Band 50th Anniversary and The White Album. Aside from The Beatles, David Bowie’s Life on Mars, Rush 2112 – The Live Concert, and material from Cliff Richard and The Shadows, as well as Yusuf/Cat Stevens, have been similarly reworked with the De-mix technology.

What is De-mix technology and how does it work?

Abbey Road Studios explains on their website that in its simplest form, the software enhances the original vocals and helps to amplify the bass, which is something that mixes in the late 1960s were often unable to do.

“Using algorithms that are trained on target instruments, De-mix can extract these components to enhance or reduce targeted EQ or isolation. Not only can De-mix be used to adjust the levels of musical elements within a mix, it can also make vocal isolation or removal a reality.

The new process unlocks mono recordings or those where full multi-tracks do not exist, allowing our engineers to adjust the balance and levels of instruments and vocals within a track to rebuild, rebalance and remix the recording. For remastering projects, De-mix allows our engineers to perform targeted EQ balancing. For example, the engineer can adjust and EQ a bass guitar without any impact on the vocals or drums.”

Abbey Road engineer Lewis Jones talked about working on vintage tapes by The Rolling Stones back in 2018, likening the De-mix process to remastering – he drew similarities between taking an initial stereo track, and then making a multi-track of that stereo in order to edit the parts more individually, and enhance them. In the case of these older tracks, however, the source is more often a mono track, which was commonplace in the 1960s.

The comparison to the remastering process makes the technology a little easier to digest. Delving deeper into the science of how De-mix works, Clarke explains:

“The process is that you create spectrogram models of the target instrumentation you’re looking for, so vocals, guitars, bass, drums, stuff like that. And then the software starts to look for patterns within the mixed version that matches those models. It then creates what are called masks, which effectively, think of them like a specific sieve, you just drop the audio through it and the mask catches the bits it wants to keep and lets everything go through. It then does the same for all the other instruments and eventually, it works out that this bit of audio belongs to the drum, or the vocal or bass guitar.”

Clarke also explained that if engineers were having issues while working with the De-mix software, he could tweak the code and the models to assist the process. And looking to the future, Clarke says he is currently moving into a deep learning approach that uses the same concept of generating these masks to un-mix the audio, however, the masks are learnt rather than derived and can be applied to any song. He states that “It’s producing some stunning results at the moment”.

What could be the impact of De-mix technology?

There appears to be only positive potential in the use of De-mix technology, the most notable being the restorative nature of its application – old, forgotten, or bootlegged tracks can benefit hugely from these techniques, and become resurrected to live a second life.

Abbey Road Studios already offer the De-mix service to clients as a remix or remastering option, and the possibilities for the future usage, licensing, or commercialisation of this technique look promising; should Clarke’s deep learning approach continue to create new versions of De-mix, it seems feasible that the technology could one day become widely available to producers and creators. If it can eventually be used as an adaptive preset (as Clarke described in his description of the technology’s deep learning potential), the impact would be huge. Ultimately, taking the innovation and quality of the Abbey Road techniques, and making the software available to use on records everywhere, is a very exciting prospect.

BandLab Mastering: A Review

I’d heard about BandLab Mastering a while ago, and was very curious to experiment with such an interesting bit of kit – a free, web-based tool that will quickly master tracks through the use of algorithms created by industry experts. What’s not intriguing about that? So, I sat down for an afternoon of mastering and re-mastering fun, to see what BandLab Mastering has to offer.

What is BandLab Mastering?

BandLab Mastering is a free online audio mastering service that all works via a web page or mobile app. BandLab Mastering lets you upload music unlimited tracks of under 15 minutes in length, and then experiment with the four preset mastering settings it offers. The software was made with world-class artists and engineers and designed with GRAMMY-winning multiplatinum collaborators such as Mandy Parnell, Mike Tucci, Maria Elisa Ayerbe, Justus West, and Will Quinnell.

The first thing I found was the ease of use of the BandLab Mastering website. I signed up to create an account via the homepage and was uploading my first track about a minute later. There is an ‘upload’ or a ‘drag and drop function, and the whole process with my particular internet speed, took around another minute to upload a 4-minute track and begin listening with the mastering options applied.

The four settings to choose from are clearly labelled with an explanation, as well as some suggested genres that work best with them:

Universal: Natural dynamic and tonal balancing – Rock, Pop, Electronic, Alternative

Fire: Punchy lows and midrange clarity – Trap, Hip-Hop, Experimental, Reggaeton

Clarity: Pristine highs with light dynamic expansion – Acoustic, Classical, RnB, Singer-songwriter

Tape: Warm saturation with analog dynamics – Jazz, Alternative, Indie, Rock

There are samples on the BandLab page to hear what each option sounds like, but I wanted to hear for myself how they all compared playing the same piece of music, and also where the strengths and weaknesses of each setting would lie.

Universal

The Universal setting was most pleasing on tracks that had lots of instrument parts and vocals, and it really ensured that the lead vocal sat prominently in the mix. The balance was perfectly nice for this preset and it felt like everything was boosted equally, while still being positioned in its right place. The Universal option would make a great default setting, and had the same feeling of equal boosts across the spectrum on all the tracks I used, ranging from solo instruments to larger band and electronic setups. Overall, it sounded pretty impressive with all of the styles I experimented with. Universal has a modern yet classic and inoffensive sound, and I’m sure many users could get by just fine using this setting alone.

Fire

The Fire setting sounded great on a retro-sounding band piece I had. This setting not only boosted the drums and bass in a very agreeable way, in keeping with the genre and my expectations but also added clarity and prominence to a piano that was in the middle of the mix. Synths and a lead vocal kept their place upfront and weren’t overpowered by the low-end, but the difference was significant. Overall, this setting fit perfectly for a track of this style, and I suspect any traditional band setup would sound quite nicely mastered with Fire. As I experimented with pieces of more variety, I kept coming back to Fire for tracks that needed that extra punch in the low-end, whether electronic or band based. While this preset wasn’t created to optimise softer pieces, the impact on bigger and more aggressive tracks across genres was highly rousing and effective.

Clarity

Clarity didn’t disappoint and was perhaps the unsuspecting hero of the group. It was my favourite setting to use for guitar pieces and really brought them to life. The high-end was pronounced, but without losing the warmth or depth of the low-end or mids, which is always a concern of mine with the guitar. It kept the feel open and balanced; the full range of the instrument was present, and it never sounded small or twangy. It also worked very nicely with piano pieces, as well as ambient electronic tracks. The revelation for me with Clarity was experimenting with rockier band tracks. Surprisingly, this didn’t lose any punch and still felt meaty, even though the airier high-end was quite prominently boosted in this master. For this reason, I felt Clarity was the most inclusive all-around setting, as it could cope with almost anything.

Tape

Tape was similar to the Fire setting in places, such as boosting the low-end, and working really well on more aggressive tracks. I felt like Tape also evened out any jumps or discrepancies in volume and compression between sections much more smoothly than the other options. This was a huge bonus for this setting, and pretty much every track of every genre that I played with Tape sounded warm, full, and pleasing. My only criticism of Tape would be that the ‘tape noise’ on extremely quiet parts is too noticeable and distracting. For example, on a live guitar or vocal recording where there is a natural break or diminuendo, the fuzziness of Tape detracts from the silence too much. Other than that, my love for the sound of analog days-gone-by would see me use this regularly myself.

The verdict

I was genuinely surprised by how far the BandLab Mastering effects exceeded my expectations. After much playing around with all kinds of tracks from classical, to electronic, to rock, I was not expecting the four preset options to all be so well-rounded and effective. None of the settings sounded ‘bad’, even when pushing the limits and trying music that wasn’t intended for that choice. To me, that’s a good sign about the quality of each default and makes it a very useable piece of kit, highly accessible to lots of different people. It’s worth remembering that the mastering function can’t solve problems in the mix – if a track has issues with balance, clipping, or bad recordings, this isn’t a magic remedy. If, however, you’re looking for loudness, clarity, a nice EQ spread, and a particular vibe, then BandLab Mastering has some pretty great options.

Pick of the Best Budget Synthetic Instruments & Amp Plugins

The current economic situation has meant that many creatives are experiencing uncertain and leaner times. Thankfully, one area that has been consistent throughout this difficult climate is the offering of reasonably priced, high-quality virtual instruments and plugins. Whether you’re unsure about making a big purchase or commitment to one library, there are an array of affordable sounds and tools out there, with many packages even available completely free.

Favourite free instrument sounds

Probably my favourite free instrument sounds of late are those in Spitfire LABS. This varied collection is extremely broad, ranging from realistic acoustic instruments to ambient and Avant-garde sampled sounds and textures. The plugins are extremely intuitive and easy to use,  with the huge bonus that they are compatible with any DAW, making them great for beginners and pros alike. The collection is updated regularly, and is always completely free, making it an all-around fantastic resource.

The Spitfire Product Library is a professional standard collection of instruments, many of which are regularly made in collaboration with the world’s biggest composers and creators. Spitfire often has package deals and offers on their products, and they also give 30% off for students and educators on all individual libraries. While a full professional orchestra library or an extensive synthesizer collection is pricey (though payment installment plans are available), many of the libraries and instruments are priced under $50 and $30 – a real
bargain if you’re after a specific addition.

In a similar vein to Spitfire, many other companies have followed suit in offering free products in parallel to their bigger collections. My favourites include the acoustic instruments from Orchestral Tools SINE factory and the eclectic collection of interesting sounds from Arturia that also include handy presets for easy variation and use.

Reasonably priced audio toolkit essentials

It’s worth signing up to company newsletters for offers and deals – this can be a lifesaver when there’s a particular product you’ve been saving for and waiting to upgrade. Promotions on iZotope products are featured regularly, with some free plugins always available, and smaller clean-up packages such as RX 8 Elements are currently priced at a very reasonable $29. Another one to watch is the Waves Plugins site, as the discounts on these products can make a huge difference – both to your collection and your wallet. With up to 80% off some items currently, there are also bundle deals and various offers to choose from. As Waves make such an array of products, being ready to pounce when sale time comes around can help to make a noticeable upgrade within a manageable budget.

Riding the Creative Cycle

Aside from the obvious devastation caused, the coronavirus pandemic has done a number on creative folks. I’ve observed struggles, transformations, career challenges, and cycles that would normally span decades condensed into a matter of months. It’s been fascinating to see how people’s creativity has evolved over this testing time, and the new directions that have emerged out of crisis, changes, and a renewed perspective.

Everything in life moves in cycles, whether in work, our relationships, a project, or ourselves. Cycles typically go through the phases of inception, birth, growth, decline, release, death, and rebirth. It’s rebirth that I find most fascinating: the dawning of a new age and beginning of a new cycle is always exciting to see.

In ancient Egyptian and Greek mythology, the legend of the phoenix is often referenced as the ultimate motivational idiom of forging a new path in life. As the story goes, the phoenix was a magnificent bird with red and gold plumage. Singing songs for the sun alone in the desert, the phoenix grew old and weak after living for 500 years. The phoenix then built a funeral pyre for itself before laying down and bursting into flames. Instantly, from the ashes the phoenix emerged even more beautiful and renewed, and would live for another 500 years, repeating the cycle again in perpetuity.

Trying something new

Whether rebirth is borne out of crisis or experimentation, a common artistic method for overcoming a creative block is to ‘try something new’. It’s a topic that never fails to crop up in conversation, because so often we feel stagnant and like we need to widen our net, even during ‘ordinary’ times. In welcoming in the new – whether that be a new sound, a new instrument, technique, or area of industry, we metaphorically channel our personal Sgt. Pepper, like our inner Dylan plugging in his guitar for the first time. We can push the boundaries of what is comfortable or expected as often as we like – every life chapter, career move, and creative offering can be as fresh and unpredictable as each new album from Radiohead or Bowie, embracing a direction that is ever-evolving.

Paradoxically, another theme that consistently appears alongside trying something new, is the drive to reconnect with what we loved about our art as a child or when we first became inspired. When your art is your career, this one can be more challenging to figure out. With an unexpected hiatus such as the pandemic, taking time and space to let the ideas flow again has helped some to reconnect with this initial spark.

But what of the times when our lives and careers crumble, when re-emerging from the ashes is more dramatic? Sometimes a new cycle is more akin to Dave Grohl forming the Foo Fighters after the end of Nirvana when an entirely new start is necessary in order to move on.

In the same vein, my favourite Rock and Roll life story has to be that of Stevie Van Zandt, who started his career as the guitarist of Bruce Springsteen’s E Street Band. After leaving the group at a high point in their popularity, Van Zandt faced struggles financially, emotionally, and spent a period of time without music in his life. However, his autobiography explains:

“Van Zandt left the band and transformed into a new identity, the first of many, and Little Steven became a political songwriter and performer, helping to mastermind the recording of ‘Sun City, an anti-apartheid anthem that helped get Nelson Mandela out of prison. By the 90s, Van Zandt had lived at least two lives – one as a rocker, one as a hardcore activist. It was time for a third – as Silvio Dante, the unconditionally loyal consigliere who sat at the right hand of Tony Soprano in The Sopranos. Underlying all of Van Zandt’s various incarnations was a devotion to preserving the centrality of the arts, especially the endangered species of Rock.”

Van Zandt is the epitome of the legend of the phoenix, changing direction, and making comeback after comeback from the ashes of his previous lives. While his first cycle came to an end with the band, he went on to use his skills and make an impact in a new way that wouldn’t have been possible without its ending. By modifying his creative mediums, Van Zandt affected one of the most notable political events in recent history and went on to be a part of the most renowned television show in the world. Even more, interestingly, he reconnected with Bruce and the band years later, and has been a staple of the group once again.

When cycles end as they inevitably do, embracing the situation and looking to art and stories like Van Zandt’s can give us hope that incredible things are possible, and when one chapter in our lives burns to the ground, it doesn’t necessarily mark the end of us. We might take a break, reinvent ourselves, or try something completely new, but every ending is a new beginning. Whether good or bad, the cycle will roll on, and rebirth always comes at the end of the sequence.

Britney Spears Wins Conservatorship Battle

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.

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Britney Spears: 13 years without Autonomy

 

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:

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.

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