Music Technology Products

Sound Hardware

Mixing desks can be used for live sound or studio recording. This can immediately affect the design and features of the desk, based on which environment the desk is being used in. This is important because it can dictate what kind of sound engineer you are targeting your desk at. Desks can be digital or analogue, and both can be used in either situation (analogue and digital in live or studio). A huge advantage to digital live sound desks is that they often have a digital output, due to the integrated interface, which can track the individual channels internally, post-fader, and give them their own track on a DAW, straight through the USB connection. This is important because it opens the market up massively for a target audience of both live sound and studio engineers. Digital desks also tend to be more compact, lighter, and can also include other digital perks, such as screens, which can display useful visuals, such as a spectrogram. Some engineers prefer analogue desks, such as the Amek Big by Langley, because of the analogue ‘feel’, which refers to both the physical touch of the parameters of the desk, which can relate to providing better control, or the subtle sound difference that some claim that they can hear when passing the sound signals through the analogue circuitry of an analogue desk. Analogue desks such as this one was designed to record directly onto analogue recording formats, such as tape machines, which meant that there was no software to alter basic mixing parameters, such as EQ and pan, so these parameters are available on most analogue sound desks. These (although they do the same job as software ones) are not as favourable in the digital era, since adjustments made to these parameters are often made as the signal comes through the inputs, which would make the alterations permanent. More people in professional environments (public venues and commercial studios) are moving across to digital desks, or, for home studio owners, even just having an interface with only the essential input parameters (gain, phantom power, pad, etc), and doing all processing possible on software, which is reducing the market for traditional mixing desks, especially analogue ones.

Hardware Plug-ins are used to effect audio signals by passing the signal through various pieces of circuitry. They are significantly less essential than they were just 20 years ago. However, while software plugins are very widely accessible (some are even free!), a lot of professional studios still also have hardware plugins. Like the use of analogue desks, a lot of people like the (not necessarily practical) perk of an ‘analogue sound’, which refers to the faint interferences caused by voltage which creates an authentic sound that can only be recreated by physical analogue hardware units. If hardware plug-ins were not around now, their place in the market wouldn’t really be missed, apart from by very nostalgic studio owners, which is a very small market. While hardware plugins do still sell, they are not necessary and, in a vast majority of situations, a software plugin can provide a completely satisfactory sound, with some even attempting to replicate these interferences, digitally.

Microphones have been used since the 1930s and, since their invention, their functionality has remained very much the same. Microphones can vary in polar pattern, frequency response, sensitivity and type (condenser, dynamic, ribbon, etc) and some microphones are even designed to take a stereo recording, such as the Neumann KU100 which, although it is designed to test headphones, its dummy head design does not stop it from being used for stereo recordings (with the selling point of ‘the microphones closest to recreating the experience of the human ears’, creating an authentic binaural effect) as it still just functions like a normal stereo microphone. This is important because it allows this product to be marketed to people who want to test headphones and/or those who want to just use a binaural stereo microphone that mimics human ears more closely than most other microphones. Another important aspect of this product is its unique and, therefore memorable, shape. A dummy head is not a common microphone shape, and this will stick in people’s minds and make them want to find out more about this product, giving Neumann the opportunity to try to sell it to them...

Overall, while the market for some sound hardware equipment that will always be required, such as microphones, which must be hardware units to capture physical sound waves, will almost definitely not shrink anytime soon, the market for sound hardware units, such as physical mixing desks and hardware plugins, is shrinking (and probably will continue to do so), as they are more expensive than their software equivalents, take up physical space, which not everybody has a lot of, and are just generally not as practical or necessary. This means that the increase of home-style studios (where space tends to be limited) will cause a decrease in the demand for some sound hardware units, such as mixing desks and hardware plugins, but as home studios are used to record audio. This means that there are more studios requiring microphones, which will create an increase in this market.

MIDI Controllers

MIDI Keyboards are designed to replicate the keyboard layout, but input MIDI information that relates to the corresponding pitch, instead of audio. This is useful because it allows you to connect it to any software instrument and play that instrument using an authentic piano key layout, but in the MIDI format, allowing you to alter the parameters of the information (note placement, note length, velocity, etc) after the recording with this product. This is important because it allows the user to input the information for the software instruments, that can be more easily corrected and altered, but have a more authentic playing experience (than inputting notes individually, with a mouse), which allows for a more realistic, human recording. Most MIDI keyboards have a few square pads, to input the same information, but are sometimes used more commonly for drums. This is because, although this information can be inputted using the keyboard, a lot of users of these products prefer the evenly spaced pads, as drums are not pitched in the same way other instruments are, so playing them on a layout designed for pitched instruments can be confusing. Drums are also designed to be tapped, instead of pressed, which means that having a different feel can create that separation in playing. MIDI keyboards also usually have some control parameters, such as knobs and faders, and modulation and pitch bend control. A lot of MIDI keyboards have smaller-than-standard keys and have less than pianos and keyboards traditionally do, but have octave controls (Oct +, Oct -). This is important because MIDI Keyboards are often used in/aimed at studios with less space, such as home studios, as bigger studios typically have the facilities to record the real instrument. This means that manufacturers adjusted these products to their audience’s needs. An example of this is the AKAI Professional MPK Mini line which, as the name implies, is designed to be smaller, which will cater to the needs of producers who are in smaller spaces, such as homes, of which there are many.

MIDI Control Surfaces are a similar concept to MIDI Keyboards, and a lot of MIDI Keyboards have these parameters on them, but Control surfaces are often sold to allow a producer to cater their control surface to their need. They might want longer faders than a MIDI Keyboard’s control surfaces have, for example. At face value, this seems impractical and unnecessary, but having dedicated control surfaces and tailoring these to the producer’s needs can have an impact on the quality of their work, depending on their level of professionalism and the kind of work they do. For example, the VS Fader box has deliberately long faders, uses a ’plug and play’ system (no driver or external power required), and has a very simple design. This appeals to audiences who want long faders for larger intervals between each of the 127 MIDI range points. This allows for more precise and accurate movement among parameters such as the automation of expression, or volume, with the plug-and-play making it user-friendly and simple to set up. If it wasn’t for these products, a producer would have to buy an entire MIDI keyboard for just a particular part of it which they like. It helps to be able to split these parameters up as much as possible, in additional products. There are even examples of custom-made individual faders and knobs on the market, which literally have the parameter, a number display for the MIDI value, and a connection. This is this product in its most basic, minimalist form, to appeal to the most people possible.

Overall, the market for MIDI Controllers is increasing. This is because this kind of equipment is extremely versatile, can require little space (or, if the space is available, more equipment can be added very easily), and is relatively cheap. This means that they are much more accessible for those who do not run commercial recording studios and opens a much bigger, ever-growing market. MIDI controllers are one of the most important aspects of the progression of music technology products, as they allow an entirely new way of recording music to take place, keeping human playing formats.

Audio Interfaces

An audio interface is a piece of technology that converts analogue electrical sound signals into digital, binary code ones. This is because microphones or direct lines pick up the analogue sound waves which travel down the cables as analogue electrical signals. Audio Interfaces will always be important for this purpose and are required to allow any audio to be recorded onto a digital format. Interfaces can simply have inputs and outputs for situations where an analogue mixing desk needs each of its outputs converting to digital, or they can be smaller and have their own gain dials, phantom power, and other functions such as this to control incoming signals. A new example of this kind of interface is the Neumann MT48, which is notable as it is the first interface by the extremely reputable brand, Neumann, who have been making microphones since the 1940s. Neumann’s main products include microphones, headphones and speakers, so them releasing their first of this product is a big deal for them, as it helps them move into the more ‘home studio’ category, which is the main kind of audience which will use this type of product, as traditional mixing desks and interfaces are too big and unnecessary. This is important because Neumann microphones, such as the TLM 103, are being used more and more by musicians who use home-style studios, and creating this product will consolidate Neumann’s relationship with this new target market: one that is becoming bigger, and much more popular, due to the availability of music recording equipment for smaller spaces, such as interfaces like this, DAWs only requiring a computer, and MIDI.

As the music-recording sector is dominated by DAWs, instead of analogue formats, such as tape, but still required for some analogue audio recordings, such as vocals (as unique vocals for a specific individual are impossible to recreate with other input methods, such as MIDI), and recommended for other audio recordings, where possible, such as guitars (as slides, fret sounds and strumming patterns are almost impossible to recreate with MIDI), this means that there will always be a requirement for those analogue audio signals to be converted to digital, binary code signals. This means that the market for this type of product will (at least for a very long time) be required in every music-recording scenario, for sounds that cannot be accurately recreated by MIDI.

Interconnectivity Technology

500 Series is a type of rack system which is supposed to rival standard rack mount systems, such as the Eurorack. The 500 series rack mount modules differ by all using the same power supply, as opposed to each module having its own, it also has much smaller modules and the 500 series racks are also much smaller, and therefore nicknamed the ‘Lunchbox’, after the original creator (API) named their version the Lunchbox. While there is a lot of speculation as to whether the 500 series is worse quality, there doesn’t seem to be really obvious differences in the quality and, when you consider the fact that the modules are smaller and cheaper, the seemingly-negligible difference in quality is more than made up for by these factors, making them good choices for producers with less money to spend, less space, or who just think that normal rack mounted units are unnecessary. This is important because these are 2 very substantial factors for people buying this kind of equipment, meaning that people will see how the benefits of cheaper units with more space hugely outweigh the benefits of alleged slightly better quality.

Bluetooth is a wireless system that can be used for many functions, but is very commonly used for musical devices, such as connecting smart devices to wireless headphones or speakers for listening to streamed and downloaded music. Bluetooth is mainly used for domestic purposes, as it was originally invented for functions where sound quality is (within reason) not a priority, such as phone conversations. This means that, according to lifewire.com, it has a “narrow bandwidth, which forces it to apply data compression to an audio signal”. This can negatively affect the fidelity of the audio, which makes it not ideal for clear wireless music transmission. This limits the market of Bluetooth, for music purposes, to those who do not need high-quality wireless reproduction, such as those who listen to music casually, for fun, and do not need/want to spend more money on extremely high-fidelity wireless equipment. This is important because, although the market for Bluetooth is restricted, the lack of focus and money spent on producing the best quality allows for Bluetooth devices to be cheaper, smaller and more accessible than high-end wireless music equipment, making it extremely popular and very commonly used within its restricted target audience, one which is large enough to allow Bluetooth to be profitable.

ADAT (Alesis Digital Audio Tape) is a kind of system that was originally used to record onto S-VHS tapes, digitally. Its most common use in the music industry now is to use the optical cable to add more inputs to an audio interface. As it was originally used for 8 tracks, the ADAT connection is now used to add specifically 8 extra tracks (16, including ins and outs) to a compatible audio interface. This is important for allowing users to add to their existing equipment, should they need more inputs, instead of having to buy all new (unless the old interface does not have an ADAT input). Although this product was originally designed for a now out-of-date product (Alesis ADAT ‘Black Face’), the product has been very versatile in keeping up with the changing technology so that it can be used with modern equipment, such as the Audient iD14 mk2 audio interface, which has an ADAT in and can be expanded with a product such as the Audient ASP800 mic preamp. This combines the 2 channels on the iD14 and 8 on the ASP800, to create a total of 10. Using ADAT requires a setup which is slightly more complicated than the ‘plug-and-play’ system which more and more home studio-style equipment is using. With ADAT, you have to set a master and slave device which then has to have its sample rate synced with the software. It is important to note that the higher sample rates reduce the number of available inputs.

The market for interconnectivity technology varies wildly, depending on the specific product. While some systems are adapting to/invented for the modern markets, some were used mainly for equipment that is no longer (or very rarely) used. This is important because, while some people do use interconnectivity technologies, such as modular synths, because they enjoy using the hardware equipment and, most importantly with module-based equipment, building their own device with various modules, the practical side of these technologies doesn’t really exist anymore, which puts no real reliability on them and risks their place in the market.

Sound Software

DAW (Digital Audio Workstation) is a type of sound software used for music production, whether it be recording music, programming music, recording sound design, mixing, mastering and more. They typically have a selection of basic plug-ins, sampler instruments, synths and samplers. DAWs are used on both personal and professional levels which is important to consider when planning target audiences and pricing structures. FL Studio is an example of a DAW with multiple ‘packages’, which refers to the accessibility of certain features in the version downloaded. This ranges from the £85 ‘Fruity Edition’, to the £409 ‘All Plugins Edition’. There are a total of 4 packages, as well as a Free Trial, which all allows customers to pick a version of the same basic software abilities based on how serious they are about their music, how professional their needs are, what tools they need and how much they can afford, with the only difference being the additional features, which are only really required by professionals, anyway. This is important for appealing to a much wider range of producers, from the brand-new producer to the experienced industry professional with a commercial studio, which can allow more sales and, although it is less money for a smaller package, you are getting features that are proportionate to this. Luna from Universal Audio has the highest quality plugins and has only 1 version and, although this can be made cheaper, it requires the purchase of a Universal Audio interface to do so, which is different to FL’s ‘try to appeal to everyone’ approach. This is because Luna is supposed to be the highest quality, and is aimed only at professionals, which may be due to trying to maintain a reputation of only being the very best, most professional and luxury DAW (which is also the impression given in its branding), or because there is no way to make it cheaper due to the way the highest-quality plugins are integrated into the DAW’s most basic functions. This is important because it can affect the target audience and potentially the success of a DAW by relying on a higher rate of a certain type of customers to buy it, which can either make people feel the exclusivity of the DAW and make them recognise how high-end and powerful the plugins are, making people want to use such an exclusive product and make the small target audience work, or can cause the downfall of the product, if the marketing is not precisely appealing to most/every member of the target market.

Streaming and Download platforms are a new part of music consumption history. The purpose of digital download is to add the file of the master of the song to a device so that the user has a copy of the song that they can listen to. The purpose of streaming is that a user can access a bank of millions of songs, which can then be played without any download space or time, providing that the user has internet access. Download is beneficial for those with a smaller repertoire, who want to listen to fewer songs or albums, and may not want to pay subscription fees, or have internet access. Streaming is beneficial for those who want to listen to a greater variety of music and tend to explore more songs, albums and genres and who do not want to pay for each new song they listen to. Spotify is one of the most popular streaming platforms. Spotify has used its platform to make the process of music streaming much more personal, so that the user can see their music taste summarised in creative, interesting formats. For example, ‘Spotify Wrapped’ is an annual summary of a user’s most-listened-to songs, artists and genres in a colourful, well-animated, slide-style format. Wrapped also provides interesting stats on, for example, what percentile of listeners of that artist the consumer is in. This allows the user to view their listening habits for the past year, in a colourful, fun summary. Features, such as this one, are important for making Spotify so much more interesting and personal, as a product, and making much more than simply a platform to listen to music on. Spotify took the fact that the user must make an account to subscribe, and used that to view as a person, not just to bill, but to analyse the listening habits of, and offer these summaries to, as well as allowing users to ‘follow’ people.

Sound software show no sign of becoming any less popular. They have a very strong market position since, for both examples, they lead the progression in their sector of the industry. This is important because it suggest that any big, unforeseen change in the music technology product industry, which could completely alter loads of the fundamental requirements of all the products that I have mentioned, is the only thing that could stop these products from being the most progressive products on the market.

Digital Sound Packs

Sample Packs are used much more with the popularity of Hip-hop since the 1980s and 90s. While samples started as a physical product, such as on CDs or records, they eventually, like many things, became more widely available digitally. The most common place to find sample packs is websites, such as Splice or Loopmasters. One of the biggest problems with the sampling market is copyright. The only way to get around this problem is by using samples that are in the Public Domain or get permission. Websites such as Piano Book (www.pianobook.co.uk) allow people to upload samples that can be used for free and royalty-free. This opens the market for this website to those who oppose the use of copyrighted samples, and those who don’t want to be tied down by/keep track of where they need to send royalties to. There are still people who do not use sample packs because they want to create their own sound, but that is just an opposition to the nature of sampling and what it actually is. Sampling websites are a way for people to share their work and allow people to use it in their own and, while sampling is most associated with hip-hop, samples can be used in any genre, allowing a very wide market for these websites. People are willing to pay for sample packs, but any website than can offer them for, mainly, royalty-free, will be more successful as, no matter what the market is, everybody loves the financial disincentive of cost to be removed.