Over half of women in music have experienced gender discrimination – and a third have been sexually harassedOver half of all women in music have experienced gender discrimination, while one-third have been sexually harassed, according to the Women Musicians Insight Report.

READ MORE: Record labels should commit to regular publication of statistics on the diversity of their rosters to push back against “boy’s club”, says new report

The report comes from responses to the first-ever UK Musicians’ Census, operated by the Musicians’ Union and the charity Help Musicians.
It’s based on the responses of 2,526 UK musicians who identified as women, and finds that female musicians face higher levels of discrimination, sexual harassment, financial difficulties, and structural barriers when compared to men in music.
Not only that, but women in music are paid less and have less career longevity, even though they’re trained and educated to a higher level on average. Women earn almost a tenth less than men on average, and only 19% of those making £70,000 or more are women. However, more women have a music degree and postgraduate music qualification.
Meanwhile, almost three in ten women (29%) say family and caring commitments are barriers to career progression, with a lack of childcare access and an inability to work unsociable hours. Of other respondents, only 11% say this.
27% of women say they don’t earn enough money to support themselves and their families, while just 20% of men say the same. This has an impact on career longevity, too, with almost half of musicians (47%) aged 16-55 being women, but just 26% over this age being women.
Women report higher levels of age discrimination, too, with 30% of women reporting it in comparison to 21% of men.
Women are also underrepresented in certain roles, too. For example, women comprise just 29% of DJs, 24% of producers, 15% of live sound engineers, and 12% of studio/mastering engineers. In terms of genre, women outnumber men in classical and musical theatre, but nothing else. In UK rap, just 8% of women report working in the genre, compared to 16% of musicians of other genders. It’s a similar story in dance, too, where it’s 18% compared to 28%.
Sarah Woods, Chief Executive of Help Musicians and Music Minds Matter, says, “The findings of the latest Census report show there’s still so much work to be done to make sure that working as a musician is equitable for all. We hope these insights will encourage the industry to continue collaborating to reduce gender-based barriers and ensure gender equity in every part of music.”
“It’s alarming to witness the persistence of gender disparities highlighted by the UK Musicians’ Census, where discrimination, harassment, and unequal pay remain prevalent issues faced by women musicians, demanding urgent action,” adds Nadia Khan, founder of Women in CTRL. “This pivotal moment presents a unique opportunity for change ahead of the next musicians’ census. It’s vital that the industry makes genuine commitments and takes decisive actions to prevent the recurrence of the same data.”
The post Over half of women in music have experienced gender discrimination – and a third have been sexually harassed appeared first on MusicTech.

This Steve Jobs answer is super-true.

Pitch correction basics in Melodyne Essential. #musicproduction #Editing #vocals

Mixing SZA, Engineering Bob Dylan, Collaborating with Rick RubinThis week, Ari is joined by grammy nominated engineer and producer Dana Nielsen, to discuss his career journey, collaborating with award winning artists, and making it as a mix engineer.

Elon Musk says all Premium subscribers on X will gain access to AI chatbot Grok this weekFollowing Elon Musk’s xAI’s move to open source its Grok large language model earlier in March, the X owner on Tuesday said that the company formerly known as Twitter will soon offer the Grok chatbot to more paying subscribers. In a post on X, Musk announced Grok will become available to Premium subscribers this week, […]
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Weverse boss Joon Choi: ‘The potential for growth in the superfan business is limitless.’MBW speaks in depth to the leader of HYBE's much talked about superfan platform
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2024 Home Sweet Home Automation: SMS Controlled HeatingHackaday.io user [mabe42] works during the week away from their home city and rents a small apartment locally to make this life practical. However, the heating system, a night-storage system, is not so practical. They needed a way to remotely control the unit so that the place was habitable after a long winter commute; lacking internet connectivity, they devised a sensible solution to create an SMS-controlled remote heating controller.
The controller runs atop an old Raspberry Pi B inside a 3D-printed case. Seeing such an old board given a real job to do is nice. Connectivity is via a USB UMTS stick which handles the SMS over the cellular network. The controller knob for the heater thermostat (not shown) is attached via a toothed belt to a pully and a 28BYJ-48 5V geared stepper motor. Temperature measurement is via the ubiquitous DS1820 module which hooks straight up to the I2C bus on the Pi with no fuss.
The software is built on top of Gammu, which handles the interface to the UMTS device. Daily and historical temperature ranges are sent via SMS so [mabe42] can decide how to configure the heating before their arrival. The rest of the software stack is in Python, as per this (German-language) GitHub project.
While we were thinking about storage heating systems (and how much of a pain they are), we came across this demonstration of how to build one yourself.

Green Day at the House of Blues, AnaheimIn mid-March, punk powerhouse Green Day was neck-deep into its four-day Saviors rehearsal at Anaheim’s 2,200-capacity House of Blues. But playing to a virtually vacant venue wasn’t a particularly telling measure of the band’s bearing and it lacked the all-important audience energy. So the trio elected to put up an actual show and at noon on Monday, March 18, a pop-up at Anaheim’s House of Blues was announced for the following day. Like a Taylor Swift show squared, the intimate jamboree sold out in minutes rather than hours.

In a case of tasty timing, Punk opener Ultra Q – fronted by Billie Joe Armstrong's youngest son Jakob – had released its second record Empty Eddy on March 13. Following the solid thirty-minute warm-up set, Green Day took the stage and launched into “American Idiot,” its de facto signature anthem. Throughout the hundred-minute, thirty-song performance, every track from the fifteen-song Saviors was played, virtually in order, save for the title track. “Saviors” was delivered second, which marked its live debut, as did several other first-time tunes, as below. Selections from American Idiot and Dookie – which this year celebrate their twentieth and thirtieth anniversaries, respectively – were likewise sprinkled in. Accordingly, bangers such as “Homecoming,” “She” and show-closer “Minority” electrified show-goers. Spotted in the audience was Green Day’s longtime master mix engineer and friend to Music Connection Chris Lord-Alge accompanied by his assistant Brian Judd.

After the post-show house lights had come up and the crowd had thinned, drummer Tré Cool doled out drumsticks from the stage, which had the feeling of an after-dinner mint. The remaining flock of fans couldn’t have been served a daintier dessert. Produced by longtime collaborator Rob Cavallo alongside the band, Saviors dropped on January 19. The world tour kicks off May 30 in Spain.

Setlist

American Idiot

Saviors

The American Dream Is Killing Me

Look Ma, No Brains!

Bobby Sox

One Eyed Bastard

Dilemma

1981

Goodnight Adeline

Coma City

Corvette Summer

Suzie Chapstick

Strange Days Are Here to Stay

Living in the ’20s

Father to a Son

Fancy Sauce

Burnout

Chump

Pulling Teeth

Coming Clean

She

F.O.D.

Give Me Novacaine

She’s a Rebel

Extraordinary Girl

Letterbomb

Homecoming

Whatsername

Encore:

All By Myself

Minority

2024 Hackaday Europe: Workshops Announced, Get Your TicketsThere are only a few weeks left until Hackaday Europe takes place in Berlin on April 13th and 14th. With only one full day of programming, we simply can’t run as many workshops as we do at Supercon, but what we do have should tickle your fancy. As if that weren’t enough, there will be at least a few other impromptu workshops and activities to distract you from the talks.
If you’re thinking of attending, get your tickets now for both the event and the workshops of your choice. There are only a few left, and workshops sell out like hotcakes.

Official Workshops

Jaap Meijers
Light modulation: Listening to Light, Seeing Sound
Ever wondered what light sounds like? In this workshop you will make the visible audible and the audible visible. By means of a small solar panel and loudspeaker you will discover the hidden frequencies that surround us. You will also experiment with sending music via visible light.

Paul Beech
Loud Bangs. Uncensored Robot Carnage.
You’ll be given a microcontroller, code examples and a bunch of wheels, mounts and other frills. With the support from a couple of tinkerers you have to build a robot to complete five simple tasks. Robots can be remote controlled or autonomous. Bonuses for autonomy. Prizes for innovation, hilarity and maybe even for completing the tasks.

Matt Venn
Tiny Tapeout
In this workshop you will get the opportunity to design and have manufactured your own design on an ASIC. You will learn the basics of how semiconductors are designed and made, the basics of digital logic, and how to use an online digital design tool to build and simulate a simple design. All participants will be able to get their design manufactured free of charge thanks to Efabless sponsorship. Physical chip and PCB are sold separately and are available to purchase during or after the workshop. Participants will need a laptop. Mouse strongly advised.

Unofficial Workshops

Kevin Santo Cappuccio
Building a Jumperless Probe and Poking Stuff
In this workshop, you’ll build your own personalized probe for a Jumperless breadboard and then use it to poke out some 7400-series logic circuits super quickly. You’ll also learn the ins-and-outs of using a Jumperless for other things. At the end, we’ll hold a race to see who can wire up a given circuit the fastest. Kevin will have Jumperless boards available for sale for those who want to take one home.

Bart Derudder
UV Tape Wall
Bart’s UV Tape walls have showed up at a number of European hacker conventions, and he’s volunteered to set one up for us! He’ll be running a short workshop to get the ball rolling for people to keep adding their own creations. No need to register, just bring your ideas!

Hackaday conferences are participatory, and we want you to bring whatever you’re interested in as well. If a Workshop isn’t your style, but you still have something to share, plan on giving a lightning talk Sunday morning! We’d love to hear what you’re up to.

Universal Music invests in ‘superfan’ platform Weverse, as it strikes new 10-year agreement with HYBEHYBE has struck an expanded long-term agreement with Universal Music Group
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Roland launch GO:KEYS portable keyboards The GO:KEYS instruments take a simple approach to production, but still boast some more advanced features that allow for more involved work as users develop their skills.

Akai Professional’s stem separation software MPC Stems is now available for its MPC desktop softwareAkai Professional has unveiled MPC Stems, an advanced feature for its MPC desktop software.
The feature allows you to separate vocals, drums, bass, and musical elements seamlessly for more freedom, control, and precision in sampling.

READ MORE: After its recent leak – the uber-compact Akai MPC Key 37 has officially landed

MPC Stems integrates with the iconic MPC workflow, and gives users the ability to extract drums, isolate bass lines, and work with a capella vocals.
The development of MPC Stems is the latest step in Akai Professional’s work in music production technology, which has been going for four decades. It’s fully supported by the following MPC hardware in Controller Mode: Live series, MPC One, MPC One +, MPC X, MPC XSE, MPC Key 61, MPC Key 37, and MPC Studio MK2.
Credit: Akai Professional
The feature is also supported by the new 2.14 Software/Firmware update for the MPC Desktop Software.
Andy Mac, Head of MPC Artist Relations, says, “Building on our legacy, MPC Stems represents a monumental leap forward in sampling technology for producer communities around the world. With MPC Stems, we’re pioneering a future where producers have unparalleled creative freedom. This is the next chapter in music production, and we are very excited to see what people create.”
MPC Stems is powered by a separation engine from zPlane to deliver optimum sound quality and give producers the chance to access and manipulate samples with an interface that’s easy to get around.
Among the notable fans of MPC Stems include Pete Rock, Ski Beatz, Marco Polo, Damon Flores, and Cookin Soul, the latter saying, “Stems changed the way I listen to records. It changed the way I create my music. When looking for samples I know I can flip parts of songs that were not possible.”
MPC Stems is available from the MPC website exclusively for $9.99. It’s compatible only with MPC Desktop Software, and you can find out more information on Akai Professional’s website.
The post Akai Professional’s stem separation software MPC Stems is now available for its MPC desktop software appeared first on MusicTech.

Meze Audio Empyrean II headphones are for very serious music fans£2,749, mezeaudio.com
Romania-based brand Meze Audio builds bespoke, high-end headphones using hand-crafting techniques and, hot on the heels of its flagship Elite model, now comes an update to its much-loved Empyrean, the Empyrean II. Though retailing for £1,000 less than the Elites, these are still seriously pricey cans at almost £2,800. Their unique design and planar magnetic technology lifts them into a category above the kinds of dynamic headphones most people will be familiar with.

READ MORE: Meze Audio Elite are stunning planar magnetic headphones with supreme musicality

What are planar magnetic headphones?
For the uninitiated, planar headphones employ a thin, flat diaphragm with a magnet suspended next to it and an electromagnetic signal running through wires to vibrate the diaphragm to generate sound. They are usually lighter but larger than dynamic headphones.
The Empyrean IIs in use
Meze Audio Empyrean II build vs Elite
The Empyrean IIs are quite light at 385g minus the earpads and use a fibreglass frame. This is perfectly robust but feels a little less premium than the admittedly luxurious tungsten and aluminium used in the Elites. It’s one of the main differentiators between the models and, just in terms of build, it’s a compromise you might be willing to make considering the price difference.
Like the Elites, they use a braided cable with detachable mini XLR plugs that connect to the cups. There’s a choice of connector cable types and though you get one with your purchase you can also order others. The choices are 4-pin XLR or TRS jacks at 2.5, 3.5, 4.4 or 6.3mm. Most people would probably go for the 3.5 or 6.3mm options to work with audio devices or hi-fi separates, while those with high-end hi-fi or pro audio desks might opt for the XLR connection.
Internally, the headphones use Rinaro Isoplanar diaphragms weighing only 0.16g while also having 4,650mm2 of active area. This means they are much lighter than conventional dynamic headphones and also shallower, having a greater surface area.
Each cup employs two voice coils: a larger one for lower frequencies positioned in the upper area and a smaller one for mid and high frequencies located in the lower zone.
The cups are large enough to completely enclose your ears during listening (two pairs of different thickness are provided) but are very comfortable and don’t become hot or irritating even during long listening sessions. The headphones aren’t exactly unobtrusive, with their large band that sits across the top of your head, but they’re surprisingly comfortable to wear.
The Empyrean IIs with a turntable
How do the Empyrean IIs sound?
The phones are a circumaural, open-back design which means that they provide excellent transparency when listening. They allow some sound to escape and so prevent the kind of boxiness or low-end booming that can result from closed-back models.
While some people like that sense of exaggerated bass, it’s actually an artificial result of a specific type of design. If you’re paying this much for your headphones, it’s likely you’d place yourself on the audiophile side of any argument about bass and accuracy.
Of course, open-backed phones leak sound so they’re not generally useful for tracking vocals or instruments — that’s not an issue when mixing or mastering for example. And, for general listening, your only concern is other people hearing what you’re listening to when you crank the volume.
And so to the numbers. The phones have a remarkable frequency response of 8 Hz to 110 kHz, far in excess of most headphones’ 20Hz-20kHz. It’s not quite as crazy as the Elites with their 3 Hz to 112 kHz but it’s still a spectacular frequency range. Both these ranges surpass the hearing range of the human ear, which might make it sound like a redundant effort on Meze’s part. But you can at least be sure these expensive headphones are delivering the absolute maximum amount of frequency detail.
The Meze Audio logo on the Empyrean IIs
Here’s an odd thing that caught us by surprise – while we kind of expected these numbers to be more impressive on paper than in real testing, we found the slightly wider range of the Elites actually did make a difference. They really did go a little lower and the top end did have just that little bit more sparkle. Remember though, that for this and a more luxurious build, you would be paying an extra thousand pounds. Given the previous observation about the human range of hearing it’s possible that this is also partly down to a slightly different tuning or minor design differences, but in a real world listening scenario, the Elites felt that bit more detailed.
It’s perhaps a quirk of the job – we reviewed the Elites first – that we’re able to tell this. Most people wouldn’t have these two models to hand for A/B testing, and you’d expect the priciest model to have the best specs. And it’s absolutely no slight to the latest Empyreans, which sound excellent.
With similar components and design to the Elites, this wasn’t a surprise. Smooth and superbly balanced, the Empyrean IIs are adept at placing sounds accurately in the soundstage, achieving wonderful separation. Like the Elites, they reveal a tremendous amount of detail about the mix of any particular track, its stereo behaviour and the way it was mastered. Here, too, you hear elements in familiar tracks that you have simply never heard before.
While you’d ideally be listening to uncompressed audio sources on headphones of this calibre, they also perform impressively with streamed tracks from Apple Music and Spotify, a result perhaps of what has been achieved in the field of audio compression in recent years. Granted, very delicate tracks will have that bit more detail in uncompressed formats and anyone spending multiple thousands will probably be on top of this issue anyway.
The Empyrean IIs in their case
Should you by the Meze Audio Empyrean II?
Like the Elites, the Empyrean IIs bring – or return – a sense of joy to listening. There’s a feeling that you’re hearing this music exactly as its creators intended. Every frequency band is perfectly reproduced, at just the right level. Even if you’re the kind of person who uses software or hardware EQ, you almost certainly won’t want to with these.
It’s true that the flagship Elites have slightly more extension at the top and bottom, and do just pip the Empyrean IIs for sheer expansiveness, but at a significant price uplift. Almost £3,000 is still a lot to pay, but if you’re intensely about your music and demand high performance from your gear, these are wonderfully capable headphones.
Key features

Open-backed, circumaural design
Rinaro isodynamic Hybrid Array drivers
8 Hz – 110 kHz frequency response
32 Ohm impedance
Total harmonic distortion of less than 0.05%
Removable, magnetic ear pads
XLR cables with a choice of connectors
385g weight without cups
Fibreglass infused frame
Repairable components

The post Meze Audio Empyrean II headphones are for very serious music fans appeared first on MusicTech.

KRK’s new ROKIT Generation Five Studio Monitors “cover all bases for today’s music makers”KRK has launched the fifth generation of its ROKIT Studio Monitors. Offered in three sizes, the models feature three new voicing modes, an enhanced tweeter design, and a refreshed LCD.
The Gibson-owned brand says that the monitors were created to “meet the diverse needs of musicians, composers, producers, and sound engineers” by providing the tools needed to “reproduce every nuance of a production with astonishing clarity”.

READ MORE: Sonus faber and IsoAcoustics collaborate on new $750,000 Suprema sound system

Available in five, seven and eight-inch designs, the new ROKITs offer a Mix Mode, providing a flat frequency and phase response ideal for mixing, mastering, and critical listening, as well as a Create Mode to provide “more inspirational voicing”, best used for writing, producing, and casual listening. Additionally, a Focus Mode brings a mid-focused voicing for critical analysis of the midrange band, where vocals and instruments have the most energy.
25 evolved DSP boundary and tuning EQ combinations now help minimise and correct problems in acoustic environments, and the newly designed tweeter utilises a highly damped acoustic silk dome diaphragm for improved phase performance and an extended frequency range (up to 40 kHz).
Users can also enjoy a simplified calibration process with a refreshed, amber-coloured LCD DSP interface featuring new tuning options.
Check out more below:

“Featuring KRK’s world-renowned sound along with new technology and tuning parameters to truly dial-in the listening experience, the KRK ROKIT Generation Five is a must-have studio solution for the most demanding creators,” says Sterling Doak, Senior Director of Marketing for Gibson.
“KRK engineers continually pull from the brand’s legacy of trust and performance to refine its studio monitors — blending cutting-edge technology with the time-tested principles of audio engineering. The same holds true for this latest development. As the most advanced monitor in its class, the KRK ROKIT Generation Five is powerful enough to handle the rigours of professional use but basic enough for emerging producers, engineers, and artists.”
Find out more over at KRK Systems.
The post KRK’s new ROKIT Generation Five Studio Monitors “cover all bases for today’s music makers” appeared first on MusicTech.

Vox Samples Releases FREE Pitchmunk Pitch Shifter Plugin
Vox Samples has just released Pitchmunk, a freeware pitch shifter plugin for Windows and Mac (64-bit). I have to admit that I am not up to date when it comes to pitch shifters. I make fiddly electronic music, so vocals aren’t usually in my wheelhouse. If I have to keep to a pitch, Melodyne is [...]
View post: Vox Samples Releases FREE Pitchmunk Pitch Shifter Plugin