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Atlanta-Based Sara Parker-Wallace to lead Southeast regional coverage for EQ Office
Sara Parker-Wallace, Senior Vice President, Southeast, EQ Office (Photo: Business Wire)
Sara Parker-Wallace, Senior Vice President, Southeast, EQ Office (Photo: Business Wire)

ATLANTA–(BUSINESS WIRE)–EQ Office, a leader in creating inspiring workplace destinations and Blackstone’s office portfolio company, today announced it has hired Sara Parker-Wallace as its new Senior Vice President, Southeast to be based in Atlanta.

In the newly created role, Parker-Wallace will be responsible for the day-to-day oversight of the company’s existing portfolio in the region and help EQ Office establish and expand its presence, with an initial focus on Atlanta, Nashville, Charlotte, and Raleigh/Durham.
EQ’s current portfolio in the region includes: Anthem I & II, a fully-leased technology hub in Midtown Atlanta; 1020 Spring, a ground-up development with Portman Holdings also in Midtown Atlanta; 3 Ravinia, in the Central Perimeter; and Fifth Third Center, a Class A office tower located at the epicenter of Nashville’s Central Business District.
“Sara’s deep relationships and knowledge of the Southeast will help position EQ for long-term growth and success in the region,” said Alex Vouvalides, Chief Executive Officer at EQ Office. “The significant in-migration of talent over the past several years makes it rich for organizations to establish an office presence in these markets. Having Sara as our local, boots on the ground representative will help drive our company strategy and help ensure we are delivering best-in-class service to our customer and partners.”
Wallace most recently served as an Associate Vice President of investments at CIM Group, where she led the firm’s real estate equity investment sourcing in the region, working on such notable developments as Centennial Yards, a large master development in downtown Atlanta. Prior to that, she was involved in acquisitions at Exeter Property Group and held multiple roles in business and financial consulting at several firms, including Parthenon, the global strategy consulting arm of Ernst & Young.
“I’m excited to join a company that has such an outstanding team and strong platform,” said Parker-Wallace. “EQ Office is well equipped to continue to lead the industry with best-in-class office assets in high-quality locations. My experience investing over the years in the Southeast and relationships with local owners and brokers will help us deliver inspiring workplace environments to our tenants in this dynamic region.”
About EQ Office
EQ focuses on the experience its 20 million square feet provides – how space feels, activates and performs by incorporating the most valued elements of home and hospitality into the office. We’re proud to work hand-in-hand with more than 1,500 customers of all sizes, from Fortune 100 companies to emerging startups. Our diverse team of 200+ professionals is responsible for creating inspired office environments in major markets across the country including Atlanta, Boston, Chicago, Los Angeles, New York, San Francisco and Seattle. As Blackstone’s U.S. office portfolio company, EQ has the knowledge, reach, and scale to lead the changes happening in the work space. Explore your space for greatness at www.eqoffice.com.
For Media Inquiries
Elliot Golan
Allison+Partners
[email protected]
For Media Inquiries
Elliot Golan
Allison+Partners
[email protected]

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Featuring the Adaptive Circuitry recently introduced on their Halcyon Green Overdrive, Origin Effects have brought us a pedal with a character all of its own and a new flavor of drive.

Origin Effects introduce the new M-EQ DRIVER mid booster & drive pedal. Based on a vintage Pultec studio EQ, this unique pedal offers a range of mid-focused tones, from a subtle mid boost to thick, resonant overdrive. Featuring the Adaptive Circuitry recently introduced on their Halcyon Green Overdrive, Origin Effects have brought us a pedal with a character all of its own and a new flavor of drive.
​A choice of three mid-range frequencies ensures that you can boost just the right part of your guitar signal and, when pushed harder, can elicit a range of saturation from a classic “mid-hump” overdrive to fierce “cocked wah” distortion. Thanks to the Adaptive Circuitry, the high-end roll-off of the Cut control is reduced as the pedal cleans up. This allows for a smooth transition from warm overdrive to bright clean tones in response to playing dynamics or guitar volume knob changes.
​Built-in the UK to the highest standards, the M-EQ DRIVER continues the Origin Effects tradition of vintage, studio-inspired tones in modern guitar pedals. The Origin Effects M-EQ DRIVER is available now from Origin Effects dealers worldwide.
RRP: 259 GBP (Inc VAT) / 319 USD (Ex TAX)
For more information, please visit origineffects.com.

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Happy Friday! Here’s all the architecture, art, and design news to make you the most interesting person at the party this weekend:
The Port of Los Angeles is reviewing plans for a waterfront amphitheater with abundant outdoor space as part of its public-private-partnership almost-under-construction West Harbor seaside development. Local firm Studio One Eleven produced renderings in the report.
The complex, at the southernmost area of West Harbor, would contain a 40-foot-tall, 10,000-square-foot bandshell facing at 23,000-square-foot lawn and a 28,000-square-foot terraced seating area. It is all part of The Ratkovich Company and Jerico Development’s West Harbor, a plan that will bring 335,000 square feet of retail, restaurants, and entertainment to the area.
Urbanize LA reported that the environmental review discusses another fun project adjacent to the amphitheater: a gondola tower that would ferry up to 15 passengers at a time 115 in the air to take in a birds eye view of North America’s largest port. 
H/t to Urbanize LA
This week Public Services and Procurement Canada (PWGSC) released six finalists for Block 2, a major development across from the Parliament Hill in Ottawa. A longlist of contenders was revealed last June. 
Canadian Architect said that “[the] renewal of Block 2 is a critical piece of PSPC’s Long Term Vision and Plan for the Parliamentary Precinct. The goal is to transform this mix of buildings into an innovative complex that will meet the needs of Parliament and the public now and into the future.” The six finalists are:
Renders and proposals for each of the six finalists can be found here. The winning project will be selected at the end of April, but before then, the finalist video presentations will be available on PWGSC’s YouTube. 
H/t to Canadian Architect
Cold Spring, New York’s Magazzino Italian Art, a museum and research center devoted to exhibiting postwar and contemporary Italian Art, is collaborating with Manitoga / The Russel Wright Design Center to present Formafantasma at Manitoga’s Dragon Rock: Designing Nature. 
Andrea Trimarchi and Simone Farresin’s Formafantasma, a research-based design studio based in Milan and Rotterdam, will present work that engages Manitoga, the modernist Hudson Valley home, studio, and landscape of American designer Russel Wright. The show focuses primarily on Formafantasma’s early works and is the first site-specific show for the studio in the United States. The exhibition opens May 13 at the Design Center and runs through November 14, 2022.
More information can be found here.
Since 2013, the Metropolitan Museum of Art has commissioned an artist for an exhibition on its outdoor Roof Garden. However, this years’ commission, from Los Angeles artist Lauren Halsey, has been postponed due to “logistics issues.”
“It is a large and ambitious project, and we are all in a logistically challenging time,” the museum said in a statement reported by the New York Times. “As partners we agreed that the best approach is to give the project the time it needs and to postpone it until next spring.”
Halsey said that she and the Met decided together to move the installation to next year because “this additional time will allow me to do this project in the fullest way possible.” (“I’m a maximalist,” she added.)
The installation was slated to open in May and run through October 23. The roof will still be open for visitors to take in the sunshine and expansive views over Central Park. 
H/t to the New York Times
Washington, D.C.-based nonprofit Woodworks ­– Wood Product Council and the Think Wood communications campaign have released a follow-up to the Mass Timber Design Manual, an 80-plus-page interactive guide published last March featuring details on the newest mass timber products and information on a range of related topics, including tall wood construction and best design practices. It was downloaded more than 16,000 times last year alone. The second edition debuted earlier this week at the International Mass Timber Conference in Portland and includes 30 pages of additional content including ten new case studies, technical resources, Q&As with experts, and more.
The 2022 Mass Timber Design Manual can be downloaded for free here.

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From DJs extending breakbeats with just two turntables and a mixer to producers composing pause tape beats with tape decks, rap music has a long and storied history of embracing—while pushing against—the limitations of existing technology.
Yet for a culture that has benefited so much from innovating in the face of limited resources, an opaque code of “keeping it real” and a resentment toward anyone who breaks the code has often been pervasive among rap purists. This line of thinking led to many heated debates when Image-Line‘s revolutionary digital audio workstation, Fruity Loops, first came onto the scene. In the late ’90s and early 2000s, devotees of vintage samplers saw the program as an inferior means of production.
The software first began taking shape in Belgium during the early ’90s, when Image-Line co-founders Jean-Marie Cannie and Frank Van Biesen hired a 19-year-old developer named Didier “Gol” Dambrin.
Though Dambrin started out as the mastermind behind first-person shooters like Eat This, he developed the first iteration of Fruity Loops in 1997 after trying other early music software like Hammerhead and Rebirth. Despite Dambrin’s interest making a fun program for musicians to mess around with, he never thought his creation would morph into a powerful pattern-based DAW used by many industry behemoths.
“It hadn’t started very seriously,” he told Noisey in a 2015 interview. “It was absolutely nothing like what it is today.”
Dambrin’s bosses also had no idea Fruity Loops would turn into a massive success. When he passed version 1.0 off to them in 1997, they were unsure how to sell it.
“When he dropped it on our machines it was a simple, MIDI-only step sequencer that we were having trouble placing in our existing product range,” Cannie wrote in a history of the company on its website.
Even still, the company’s servers were overwhelmed by enthusiastic downloaders just a few days after the first version of Fruity Loops went up on the website. During this wave of surprising initial support, Cannie and Van Biesen made the decision to give existing customers free updates for life—a generous offer they continue to give to paying clients.
The popularity of Fruity Loops during product launch gave Cannie and Van Biesen signs of hope, but they had a hard time getting people to buy it instead of settling for a free demo during the DAW’s first years of existence. Over time, the program slowly found its footing with a user base of young, eager producers who wanted to make beats, had access to a computer, and couldn’t afford a traditional sampler.
Pirated versions on peer-to-peer networks like Kazaa also helped the software gain a fair share of users, such as Grammy Award–winning producer Hit-Boy, though it is difficult to formally weigh how much piracy hurt FL Studio (as Fruity Loops would later be renamed) during its formative years vs. how much it helped spread the brand and user base.
These days a staunch anti-piracy article exists on the Image-Line website, while Dambrin himself seems to have a much more casual view on the matter.
“No one should pay for software if they can’t even buy food, and I assume those that use it seriously enough will end up buying it,” he told Red Bull Music Academy in a 2015 interview.
Beyond demo and pirated versions of the software spreading through high schools and college campuses like wildfire, the almost immediate use of Fruity Loops on official rap releases helped further signal boost the brand and introduce it to the masses.
[Listen to a playlist of songs made with Fruity Loops/FL Studio as you read.]
Jugga The Bully’s 1999 effort Hostile Takeover may be the first album to feature beats made exclusively with the software—with CunninLynguists rapper/producer and Oregon/Atlanta native Kno crafting half of the instrumentals using the primitive version 1.2.10. (Click here to see YouTuber Wilizm using this version.) Kno also produced CunninLynguists’ 2002 underground breakthrough Will Rap For Food on Fruity Loops, with the original version of the cut “616 Rewind” dating all the way back to 1998.
Fruity Loops version 3.1.1 allowed him to create the beats for the group’s ambitious 2006 concept album A Piece of Strange, a project XXL recently hailed as “one of the finest hip-hop albums created.”
Right before Jugga The Bully’s Hostile Takeover dropped, Jamla Records owner and Grammy Award–winning producer 9th Wonder met Grammy-nominated artist Phonte Coleman and Rapper Big Pooh at North Carolina Central University, eventually leading to the formation of Little Brother. Undeterred by price-prohibitive samplers of the day, 9th produced Little Brother’s entire 2003 debut The Listening and several other defining works from his extensive catalog with the software.
The Listening earned positive reviews from the likes HipHopDX and Vibe, and—along with his unofficial God’s Stepson remix album—led to 9th Wonder album placements with some of the biggest names in the industry. He created Jay-Z’s “Threat” in 20 minutes, earned a slot on Erykah Badu’s New Amerykah Part One (4th World War) with a five-year-old beat, and won a Grammy for his work on Mary J. Blige’s The Breakthrough—all in a three-year span, using Fruity Loops as his primary weapon.
Though some hip-hop purists scoffed when they learned how 9th had constructed the beats on The Listening and beyond, he saw his use of the program as no different than hip-hop pioneers making due with limited resources in the culture’s early years.
“In 1973, when they took all the money out of New York public schools for arts and music, kids [went to] the corner, set up turntables, and threw parties,” he told XLR8R in a 2008 interview.
As 9th Wonder began to establish himself as an industry presence, Fruity Loops officially changed names to FL Studio in March of 2003 with version 4.0. Despite the change, a large contingent of producers used the original name for many years after the switch.
While a bit of company rebranding was taking place, a 12-year-old kid named DeAndre Cortez Way received a demo version of FL Studio from a relative. Now known to the world as Soulja Boy, he started posting songs on SoundClick in 2005 and opened MySpace and YouTube accounts in 2006. By the time he turned 16, he created beats with unbelievable speed and efficiency. “I was doing, like, 10 to 20 beats a week,” he told Noisey in a 2016 interview. “Every day when I’d get home from school, I’d make a beat.”
In 2007 Soulja Boy decided to channel his manic beatmaking energy into a more ambitious release than his previous SoundClick and MySpace work. Using nothing but FL Studio stock sounds while working on an unregistered version of the program that had a short trial window, he created his breakthrough hit “Crank Dat” in a matter of minutes.
Aided by a low-budget music video, celebrities like Beyoncé and Samuel Jackson filming themselves doing the song’s trademark dance, and an appearance in HBO’s Entourage, “Crank Dat” soon became a Billboard chart-topping single that went triple platinum the same year it was released. Much like 9th Wonder, Soulja Boy believes the program gave him an affordable and attainable way to turn his ideas into a tangible piece of music. “It gave access to create,” he told Noisey.
“Crank Dat” may have been an overwhelming commercial success for Soulja Boy, but the song had more than its fair share of detractors. In fact, genre elder statesman Dave of De La Soul defended the young artist during a 2009 concert because the blowback against him had grown so intense.
With Image-Line’s flagship software now armed with a multi-platinum single to hang its hat on, there was a renewed sense of uneasiness directed at the DAW—and the implications of what its popularity might mean for the future of rap music. “Is Soulja Boy the future of production,” XXL wondered in a 2007 article. “Or some guy who caught lightning in a bottle with a kitschy rap dance?”
Flash forward to 2009, the same year Image-Line introduced FL Studio version 9.0, and a whole new generation of producers found unprecedented levels of success with the program.
Among this new wave of FL Studio power-users to emerge in 2009 was a then-18-year-old Suffolk, Virginia native Lex Luger, who obtained a pirated copy of FL Studio from friend and fellow producer Urboyblack.
After some time spent mastering the FL functions, Luger produced his breakthrough song “Hard In The Paint” on a laptop while sitting in his dad’s kitchen, according to this 2011 New York Times profile. Once Waka Flocka Flame transformed his beat into a Billboard R&B/Hip-Hop hit that spent 20 consecutive weeks on the charts, Luger went on to craft hits for Rick Ross, Kanye West and Jay-Z, Snoop Dogg, and many others.
“We’re part of a whole new generation. A generation of computer kids, the voice of the next young hot producers and our success was made possible by FL Studio,” he said in an interview on the FL Studio website.
Around the time of his initial success, Luger and Atlanta producer Southside formed 808 Mafia while they were signed to Gucci Mane’s 1017 Brick Squad Records. Though Luger is no longer a member, 808 Mafia has since turned into incredibly successful production team that features Southside, TM88, DY, MP808, and several others.
Southside alone has a discography that boasts co-production on several multi-platinum hits and credits with 2 Chainz, Future, Gucci Mane, Young Thug, Kanye West, Jay-Z, and many more. And though he still uses FL Studio, he expressed frustration with Image-Line in recent years for failing to recognize that he, Metro Boomin, TM88, and Sonny Digital helped FL Studio infiltrate the EDM scene and boosted the DAW’s overall popularity across many genres.
Another prominent member of the 2009 breakthrough was Toronto’s Boi-1da, who exploded on the scene with “Best I Ever Had” from Drake’s famed 2009 mixtape So Far Gone, “Over” for Drake’s platinum debut studio album Thank Me Later, and a lengthy list of hits that exceed the capacity of this article. He continues to innovate and find different ways to add layers to his music while sticking with FL Studio, from sampling windshield wipers on Meek Mill‘s 2011 song “Tony Story” to incorporating a choir and live instrumentation on Nicki Minaj‘s 2012 track “Up In Flames.”
After creating four multi-platinum singles with FL Studio in the past decade, Boi-1da also co-produced Drake’s Grammy Award–winning “God’s Plan” with Yung Exclusive and Cardo Got Wings. Fans streamed the song a mind-boggling 82.4 million times in its first week of release as it went on to become the most-streamed song of 2018 on Apple and Spotify. As of June 2018, “God’s Plan” is 8x platinum.
Both Boi-1da and Cardo Got Wings have since confirmed that they used FL Studio to create “God’s Plan,” though Cardo is hesitant to reveal his secret sauce and the VSTs he used to achieve one of the biggest rap records in years. “Every magician can’t give their damn tricks out,” he told Digital Trends in a 2018 interview. “All I’ll tell y’all is you can make anything out of anything. That’s a fucking fact.”
2011 and 2012 saw yet another new wave of producers change the game with FL Studio, as Atlanta producer Sonny Digital broke onto the scene with YC’s gold single “Racks.” Meanwhile, Los Angeles DJ and producer Mustard scored a 4x platinum hit with Tyga’s “Rack City” in 2011, started using FL Studio in late 2012, and has used it on hits like Ella Mai’s “Trip” in the ensuing years. In Chicago, Young Chop scored a major hit with Chief Keef‘s “I Don’t Like” and became a high demand producer at the young age of 19. All three artists continue to work with some of the biggest names in the biz.
Next up was Atlanta’s Metro Boomin, perhaps the most commercially successful rap producer to use FL Studio. Like many other producers who have made a name for themselves in recent years, he studied the success of his FL Studio forefathers. “I had followed Soulja Boy, and I knew that’s what he was using,” he told Fader in a 2014 interview. “I knew 9th Wonder had used it too, and that a lot of EDM and dubstep was being done through it.”
Since getting his foot in the door through work with Gucci Mane during his junior and senior years of high school, Metro has produced and co-produced an astonishing 15 multi-platinum songs for artists like 21 Savage, Future, Migos, and Big Sean in a matter of five years—often collaborating with the aforementioned Sonny Digital, Southside, TM88, and other members of the 808 Mafia in the process. And as this article goes to print, he’s only 25.
Surprisingly, the aforementioned list of FL Studio power users only scrape the surface of the vast, varied, and talented group of artists making use of the software today. Aone Beats, Jahlil Beats, Hit-Boy, Young Carter, Swiff D, Mike Will Made It, Vinylz, WondaGurl, and countless others have also become extremely successful and sought-after producers through their use of the program. The incredible feats achieved by star users may seem overwhelming to beginners, but Vinylz took to Twitter in 2016 to demystify his use of the DAW and let people know that its powers can be accessible to anyone.
“Facts Only,” he wrote. “I only know the basics in FL Studio. I don’t know how to automate. I only have 4 VST plugins. I don’t mix any of my beats.” In other words, it doesn’t take any special ingredients to make a hit with FL Studio, just a lot of practice and the right work ethic.
Image-Line also deserves credit for the ongoing success of FL Studio—its latest incarnation is FL Studio 20.5—along with the celebrated and ever-growing list of power users. They introduced FL Studio Mobile for iOS and Android several years ago, created the ILRemote Midi controller app, and have continually tweaked and evolved their DAW to ensure it maintains a foothold in a very crowded field. Despite other programs like Ableton Live becoming very competitive in recent years, FL Studio continues to endure and succeed.
“We don’t have a crystal ball here, but we’ve seen the number of users grow every year for 15 years now,” co-founder Jean-Marie Cannie told Speakhertz in a 2013 interview. “As I mentioned earlier, we can’t do a lot more than develop our products further and offer them as a free update to existing users.”
Though the software has profoundly altered the landscape of rap and other sample-based/electronic music, helped many producers establish careers and become stars, given access to more potential artists, and helped generate scores of hit records, the program’s creator still keeps a level head about the massive success of his invention.
“To me, it doesn’t matter whether amateurs or only pros are using it,” Dambrin, who left Image-Line in 2015, told Noisey. “All that matters is that some people have made amazing things using FL.”
If the track record of the people using the DAW is any indication, producers will continue to make amazing things with FL Studio for many years to come. And with the prevalence and popularity of online video, it would be a welcomed addition to see the company producing more tutorials with rap producers like this one with Metro Boomin. Since the genre has played such a significant role in the growth and popularity of the software, it seems only right.
About the author: Gino Sorcinelli is the writer, creator, and editor of Micro-Chop, a Substack newsletter that dissects beatmaking, DJing, music production, rapping, and sampling. His articles have appeared on Ableton, HipHopDX, Okayplayer, Passion of the Weiss, Red Bull Music Academy, and Roland.
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OpinionBarry Howard  |  October 26, 2022
In the novel The Picture of Dorian Gray by Oscar Wilde, there’s a line that says, “I don’t want to be at the mercy of my emotions. I want to use them, to enjoy them, and to dominate them.”
In recent years, leadership training events have emphasized the importance of emotional intelligence. But emotional strength and balance are important for everyone, not just those in leadership roles. Utilizing the tools available to help us to manage our emotions is especially important for followers of Jesus.
Barry Howard
What is emotional intelligence? Emotional intelligence, also known as emotional quotient, refers to our ability to monitor and control our own emotions. Your emotional quotient, also known as EQ for short, is not the same as your intelligent quotient (IQ), but it is just as important.
Developing a high EQ will reduce mental stress by equipping you with self-awareness, self-regulation and good communication skills. This will help you to elevate your confidence and make you emotionally stronger.
What are the primary human emotions? Several years ago, psychologist Paul Eckman identified six basic emotions he suggested are universally experienced in all human cultures: Happiness, sadness, disgust, fear, surprise, anger. He later expanded his list of basic emotions to include such things as pride, shame, embarrassment and excitement.
If it feels like your emotions are “all over the map” during this season following the pandemic, you are not alone. In addition to altering our schedules and delaying many of our plans, the closures and life interruptions of the past two and a half years have challenged our sense of emotional balance.
Here are eight tips to help us navigate our emotions:
John Seymour contended, “Emotions make great servants, but tyrannical masters.”
Strengthening our emotional intelligence is key to keeping all the other dimensions of life in harmony. Proverbs 4:23 cautions, “Above all else, guard your heart, for everything you do flows from it.”
Barry Howard serves as pastor at the Church at Wieuca in North Atlanta. He also serves as a leadership coach and columnist with the Center for Healthy Churches. He and his wife, Amanda, live in Brookhaven, Ga. Follow him on Twitter at @BarrysNotes.
 
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The largest T. rex to ever live may have weighed up to 33,000 pounds.
There’s no denying that Tyrannosaurus rex was one of the biggest and baddest dinosaurs to ever walk the planet. But exactly how big could this ferocious dinosaur get? In a new investigation, researchers attempted to answer that question.
Paleontologists from the Canadian Museum of Nature in Ottawa, Ontario, estimated that the largest T. rex may have tipped the scales at a whopping 33,000 pounds (15,000 kilograms), making it heavier than an average school bus, which weighs about 24,000 pounds (11,000 kg). The scientists presented their findings on Nov. 5 at the Society of Vertebrate Paleontology’s (SVP) annual conference in Toronto.
Currently, the heftiest T. rex on record is a specimen nicknamed “Scotty,” which weighed 19,555 pounds (8,870 kg) when it was alive — about as much as 6.5 Volkswagen Beetles. 
According to the new research, the largest T. rex “would have been about 70% bigger” than Scotty, said study co-author Jordan Mallon (opens in new tab), a research scientist and head of palaeobiology at the Canadian Museum of Nature. “That almost doubles the size of T. rex,” Mallon told Live Science.
To reach this weighty conclusion, the scientists first examined the fossil record, which shows that approximately 2.5 billion T. rexes once lived on Earth. However, only a small fraction — just 32 adult fossils (opens in new tab) — have ever been discovered, giving the scientists a limited amount of information to pull from.  
Related: ‘Bold theory’ that Tyrannosaurus rex is 3 species gets stomped to pieces
Mallon and co-author David Hone (opens in new tab), a senior lecturer and deputy director of Education at Queen Mary University of London, also looked at population numbers and average life spans to create a model of the largest possible T. rex. They also considered variations in body size based on sexual dimorphism — size differences between the sexes of animals within a species.
“We wound up building two models — one exhibiting zero dimorphisms and one with strong dimorphism,” Mallon said. “If T. rex was dimorphic, we estimate that it would have weighed up to 53,000 pounds (24,000 kg), but we rejected that model because if it were true, we would have found even larger individuals by now.”
Using this data, the scientists were able to model T. rex’s growth curve throughout its lifetime — and estimate how big an adult might have grown. 
Mallon cautioned that until a T. rex is found that is comparable in size to the one in the model, the model’s conclusions are purely speculative.
“This is simply a thought experiment with some numbers behind it. It’s something that’s fun to think about,” Mallon said. 
Indeed, the investigation highlights how challenging it is for paleontologists to draw conclusions about dinosaur species from a very limited fossil record.
—Why did T. rex have such tiny arms?
—Not just tiny arms: T. rex also had super small eyes to accommodate its big bite
—Famous T. rex had a bone infection, new medical scans reveal
“This reminds us that what we know about dinosaurs isn’t much at all, since the sample sizes are so small,” Thomas Carr (opens in new tab), a vertebrate paleontologist from Carthage College in Kenosha, Wisconsin, who wasn’t involved in the new research, told Live Science. “Right now, we are nowhere near the sample size needed, especially when compared to other species of animals.”
Carr, who attended the SVP conference, added that it’s plausible T.rex may have been much bigger than any individual scientists have found so far
“It’s truly a stupendous animal,” Carr said. “To imagine a T. rex of that magnitude is extraordinary, and I think an animal of that size is within reach statistically.”
Jennifer Nalewicki is a Salt Lake City-based journalist whose work has been featured in The New York Times, Smithsonian Magazine, Scientific American, Popular Mechanics and more. She covers several science topics from planet Earth to paleontology and archaeology to health and culture. Prior to freelancing, Jennifer was a reporter at Interior Design Magazine, and before that she held an Editor role at Time Inc. Jennifer has a bachelor’s degree in Journalism from The University of Texas at Austin.
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A music production intern of God of War Ragnarok states that she wasn’t credited for her work on the game despite its huge success.
Update 11/21: A previous version of this article incorrectly identified Mao as God of War Ragnarok's music producer.
A music production intern of God of War Ragnarok states that despite the game's production value and her contributions to it, she was not credited for her work. The game has recently launched to positive reception, with fans and critics stating this to be one of the best games of 2022. This release has been one of the most widely anticipated games of 2022, alongside juggernauts such as Elden Ring, Pokemon Scarlet and Violet, and other similar big-name titles. Despite this, it appears not every single member of the team ended up being credited for their work.
This was stated by God of War Ragnarok music production intern Jessica Mao in a thread that was posted on her Twitter page. She started off positively, noting how she was in charge of the music in certain aspects. This includes the Freya chase scene along with the boss fight with Thor in the game. Mao notes that Thor's boss theme was one of her favorites in terms of arrangement, especially considering the bombastic nature of the theme and the fight associated with it. However, she notes that she wasn't acknowledged for this once the credits rolled.
RELATED: God of War Ragnarok Side Quest Has Touching Tribute to Late Dev
Mao states that she was disappointed to hear this news, noting that when she asked why she wasn't included, it was revealed that her contribution didn't meet the "minimum criteria" to be credited. She notes that she is still unsure of what that minimum requirement could be and notes that her credits can't be retroactively added with a patch update to God of War Ragnarok.
Mao ends her thread off with her disappointment in this and hates for other aspiring game developers joining the industry to also potentially go uncredited. Her last tweet calls upon other game development studios to credit everyone who had been a part of the project, as "it only makes sense." This got the support of other fans and developers, including Sean LaValle, a senior audio designer at Sony Santa Monica, to see if she could be added to the game's credits.
This issue with game development members going uncredited for not meeting a certain criterion is a widespread problem in the industry. Many fans also called foul on Mao's exclusion and thought that the credits could be updated in a patch to credit all the developers. Many expressed their sympathies for Mao, calling for Sony Santa Monica to do the right thing and credit the team members that helped make the game special.
God of War Ragnarok is available now for PS4 and PS5.
MORE: One Small God of War Ragnarok Detail Makes the Ending Even More Heartbreaking
Freelance writer and enthusiastic gamer regarding all things Sonic, Mario, Yakuza, Persona, and much more.

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A team of researchers from the University of Rochester’s Eastman School of Music, Warner School of Education & Human Development, Hajim School of Engineering & Applied Sciences, and School of Arts & Sciences, along with Northwestern University’s McCormick School of Engineering, are collaborating to leverage and better utilize Artificial Intelligence (AI) to empower musicians to produce and disseminate their art more effectively and independently.
This project, which received a $1.8M grant award from the National Science Foundation Future of Work at the Human-Technology Frontier program, builds on the preliminary work of an interdisciplinary team of sixteen faculty, staff, and students across the fields of music, audio engineering, ethics, and education. Five principal investigators lead the team – the University of Rochester’s Raffaella Borasi (Warner School of Education), Rachel Roberts (Eastman School of Music, Institute for Music Leadership), Zhiyao Duan (Hajim School of Engineering & Applied Sciences), and Jonathan Herington (School of Arts & Sciences), and Northwestern University’s Bryan Pardo (McCormick School of Engineering). This grant marks the first sizable NSF-funded research project with deep collaboration between Eastman, Hajim, ASE, and Warner.
Raffaella Borasi, the lead principal investigator, says of the collaboration, “The most exciting and rewarding aspect of this project is the opportunity to work together with people contributing such different expertise to address the many complementary components of a complex problem.”
There is a growing demand for digital music content, including music for film, television, games, and advertising, as well as the traditional recorded music market. AI-powered tools have the potential to enable musicians to create digital music products on their own and at a very low cost in ways that are not yet possible. By eliminating their dependence on centralized music production, musicians will achieve greater creative freedom and reach larger audiences while increasing their chances of making a living with their art.
However, musicians must overcome many obstacles before realizing this potential. Despite significant advances in audio AI research, today, only a few musicians (even among electronica and hip-hop artists who have made the most use of technology in their work) are using AI-powered tools. Obstacles that need to be addressed are cost, limitations of currently available tools, specialized technical skills needed to use specific tools, as well as musician concerns about how use of AI may impact their creativity, intellectual property, and professional identity.
Two essential things need to happen to unleash AI’s full potential in music production. First, more robust and user-friendly AI-powered tools to support various aspects of music production need to be created and disseminated. At the same time, researchers continue to create novel, deep-learning AI models, so this is only a step towards building user-friendly tools that most musicians can use. Second, we need to empower more musicians to use these new tools in creative and transformative ways in their everyday endeavors.
The project, titled “Toward an Ecosystem of Artificial-intelligence-powered Music Production” (TEAMuP), proposes to achieve these goals by working in the following complementary areas:
Through this project, the research team aims to increase the democratization of music production by helping musicians become self-sufficient in their music creation. The open-access framework they will develop will also accelerate research in audio engineering by providing a vehicle to effectively deploy and refine new AI models for music production. Insights gained from this project will be relevant for many other occupations at the human-technology frontier besides musicians. Those insights include how to create more ethical and user-friendly AI-powered products, develop the mindsets and skills needed by domain specialists to leverage technology, and understand the implications of the pandemic.
Media only:
Lauren Sageer, Assistant Director of PR and Digital Content, Eastman School of Music at University of Rochester, (585) 451-8492, [email protected]
Amanda Morris, Senior Science and Engineering Editor, Northwestern University, (847) 467-6790, [email protected]
###
About the University of Rochester:
The University of Rochester is one of the nation’s leading private research universities, one of only 62-member institutions in the Association of American Universities. Located in Rochester, NY, the University gives undergraduates exceptional opportunities for interdisciplinary study and close collaboration with faculty through its unique cluster-based curriculum. Its College, School of Arts and Sciences, and Hajim School of Engineering and Applied Sciences are complemented by the Eastman School of Music, Simon School of Business, Warner School of Education and Human Development, Laboratory for Laser Energetics, School of Medicine and Dentistry, School of Nursing, Eastman Institute for Oral Health, and the Memorial Art Gallery.
About the Eastman Institute for Music Leadership:
The Eastman Institute for Music Leadership (IML) was the first center of its kind in the country, created in 2001, with a particular focus on the changing state of classical music, with generous support from the Andrew W. Mellon Foundation. Always at the forefront of educating musicians of the future, the Eastman School of Music is dedicated to the comprehensive education of world-class musicians, scholars, and leaders. The IML serves as a center – and benchmark – for music leadership programs and activities and respond to and help shape America’s changing musical and cultural environment.
The establishment of the IML, along with the generous support of foundations and philanthropists, has allowed the Eastman School to create an atmosphere where ideas can flourish, and students can develop the skills and networks they need to adapt to the changing arts world. The IML leads, reacts, adapts, and morphs its curriculum to meet the needs of the challenging musical world that our students will inhabit as professionals.
About Northwestern University:
Founded in 1851, Northwestern University is one of the country’s leading private research and teaching universities with an enrollment of approximately 8,000 full-time undergraduate students, approximately 8,000 full-time graduate and professional students, and approximately 2,000 part-time students on campuses in Evanston and Chicago, Illinois, and Doha, Qatar. Northwestern combines innovative teaching and pioneering research in a highly collaborative environment that transcends traditional academic boundaries. Northwestern provides students and faculty exceptional opportunities for intellectual, personal, and professional growth in a setting enhanced by the richness of Chicago.
Find us on:
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Data EQ: Using Emotional Intelligence To Build Consensus Around Data  Forbes
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Digital Transformation Is 80% EQ And 20% IQ  Forbes
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The pair explain their hybrid approach to recording new Crazy Horse album World Record
On the eve of the release of World Record, his new album with Crazy Horse, Neil Young has been talking alongside producer Rick Rubin about how it was made.
In a new interview with Apple Music’s Zane Lowe, a behatted Young and barefoot Rubin sat down in the rainy garden of the latter’s Shangri La Studios in Malibu, California, and one of the first subjects up for discussion was how the new album was recorded.
“This is a hybrid,” says Young. “This was done to tape and immediately to digital, so it was only on tape for a split second and then it was digital. But we still have the original tape. So then after that we’re working with the digital copy of it.”
Young refers to the move into the digital realm as “that dark step where nothing is real”. However, “it was [real] before you got here,” he adds. “And that’s where we made the record [digitally]. And then we went back to the place [analogue], and whatever we used that was acoustic, getting back to the place through the [analogue] board. If there was ever any acoustic echo or anything that got used, or anything that was added from the board, the sound of the board, all of that, that all went to analogue. But our original tones came from an analogue tone to a digital tone, where we worked with the digital tone and blended it to an analogue tone.”
If he’s not keen on working digitally, though, why did Young and Rubin choose this method? The answer, it transpires, is control.
“There’s a lot you can do with digital that’s really convenient that you can’t you can’t do with analogue,” says Rubin. “Or – I don’t want to say can’t do it with analogue – but if you did it with analogue, you wouldn’t get the same benefit that you get if you do it digitally, because you have to make copies. And they’re going down generations. Whereas if you can get into the digital realm immediately from analogue at the highest quality, if you’re playing in that world, it’s not degrading.”
There was a further element to this hybrid production method, too, says Rubin: “We mixed to analogue again after it went into the digital realm. We mixed to analogue tape.”
Despite his partial move to the ‘dark side’ of digital, Young still believes in the benefits of recording to analogue tape, but admits that it can be a capricious medium to work with.
“When you go over the analogue [tape] head recording something analogue and then you capture it right away, it’s not the same as going over the analogue head, capturing it, and then going back and playing it again, to listen to it, because it changed the second time it’s being played. It’s not the first time.
Don’t miss the latest deals, news, reviews, features and tutorials
I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 
MusicRadar is part of Future plc, an international media group and leading digital publisher. Visit our corporate site (opens in new tab).
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Five Reasons Professional Service Leaders Should Prize EQ Over IQ  Forbes
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Sixty-eight per cent of master’s students who participated in Nature’s latest graduate-student survey say that they are satisfied with their current programmes, a level of contentment that puts them ahead of PhD-student colleagues (60%). And 79% say that they are also satisfied with their decision to pursue a graduate degree, compared with 74% for PhD students.
This is the first Nature graduate-student survey to include master’s students, and they had much to say about their training and futures. The survey drew responses from 756 self-selected master’s students, who made up 23% of the total sample (see ‘Nature’s graduate student survey’). Forty-one per cent of the master’s degree respondents are studying in Asia, 30% are in Europe and 14% are in North or Central America, with a few responses coming from Australasia, Africa and South America. Fifty-two per cent of the master’s student respondents identify as female, and 46% as male.
This article is the fifth of six linked to Nature’s global survey of graduate students. The last article in the series will examine respondents’ experiences of racism. Previous articles looked at finances, mobility, career progression and other aspects of graduate-student life. The questionnaire was created with Shift Learning, a market-research company in London, and was advertised on nature.com, in Springer Nature digital products and through e-mail campaigns. It was offered in English, Mandarin Chinese, Spanish, French and Portuguese. The full survey data sets are available at go.nature.com/3dyefwg.
All face their own challenges and uncertainties, but many find that the higher degree they are pursuing is a valuable and rewarding part of their training — whether or not they intend to go on to a doctorate, says Elizabeth Friedman, who reviewed the survey results for Nature. She is a researcher in science, technology, engineering and mathematics (STEM) education at the University of Illinois Chicago. “There’s an entire world of successful master’s students, especially in STEM, who are on exciting career paths,” says Friedman, who is also the co-founder of the National Professional Science Master’s Association, an advocacy group based in Salt Lake City, Utah. “The master’s students I’ve interacted with are far more satisfied than the PhD students.”
Master’s students are generally happy with their programmes, and many are already looking ahead to the next step (see ‘The master’s student experience’). Fifty-nine per cent of respondents say that they are planning to pursue a PhD eventually, whereas more than one-quarter aren’t sure whether they’ll do so. Friedman says that, in her experience, students who complete a master’s degree in a STEM field have plenty of job options if they decide not to continue their education. “Master’s students learn transferable skills,” she says. “Their career path can offer them more choices than a PhD student who has been hyper-focused on a particular research topic.”

Survey respondent Ethan Solomon, a second-year master’s student in microbiology at the University of Toronto in Canada, says that he has no plans to pursue a PhD after finishing his programme. This is mostly because he doesn’t want to commit another four or five years to education. “I was reluctant to spend so many years before you can get started building a life,” he says. “A PhD just isn’t valuable enough.”
Solomon is not exactly sure what type of job he’d like to pursue — an entry-level position at a scientific-supply company is one option — but he believes that he’ll be prepared for the next step. He already has a work-like schedule that has him checking into the laboratory around 8.30 a.m. and leaving around 5 p.m.. “I like the structured work hours,” he says. In the survey, PhD students were more likely than master’s students to say that they worked more than 50 hours a week, with 43% and 35% reporting those hours, respectively.
When asked what they appreciate about their programme, many master’s students said the element they enjoy most is working with interesting and bright people (54%); the second most-popular response was the intellectual challenge (47%).

Nature special: Young scientists

Nature special: Young scientists
Joshua Caley, a second-year master’s student in biochemistry at the University of New South Wales in Sydney, Australia, appreciates the rigour of his studies. He’s pursuing his programme on a part-time basis while he works as a product developer at a medical-device company. The job helps to pay the bills in an ultra-pricey city, but Caley says that he’s more engaged with his master’s programme than with his paid employment. “The stuff I’m doing at work is interesting, but it’s not really my kind of target,” he says.
Caley says that he plans to pursue a PhD eventually, because it’s the only way he can continue doing research on his topic, which involves investigating the underpinnings of age-related disease. “I’m really interested in this particular field of research, and getting a PhD is the way that I can stay in it,” he says.
Elizabeth Friedman is co-founder of the National Professional Science Master’s Association, a US advocacy group.Credit: Alon Friedman
In the survey, 43% of master’s students say that they wouldn’t do anything different if they were starting their programme again, but there were some misgivings. One-third say that they would change their institution, and one-fifth would change their area of study. A biotechnology master’s student in India wrote in the comment section: “After this degree, there is a scarcity of jobs with a decent pay scale. I wish that I would have opted [for] software designing instead.”
Another, studying biology in the United States, commented that she would change several things about her programme, starting with the stipend, which at the time of the survey was less than US$23,000 a year (see also Nature 611, 189–191; 2022). Graduate students at her institution are prohibited from taking outside jobs, she says, which makes it almost impossible to live comfortably. She adds that she is happy with her adviser and with their relationship, but would like her programme to start formally evaluating advisers and maintain a standard for working in that role. “I have a wonderful adviser, but I know many peers who struggle with their advising relationship,” the student says.
Career advice is clearly an area of concern among respondents (see ‘Degree of difficulty’). Less than one-quarter (22%) strongly agree that their supervisor “makes time for frank conversations about my career”. Twenty per cent strongly agree that their adviser “has encouraged me to attend career training and events”.

The survey suggests that master’s students have different career aspirations from doctoral students. Fewer than one-fifth say that they would prefer to land a job in industry ultimately, a noteworthy contrast to the 32% of PhD students with that goal. A slight majority (51%) say they are more likely to pursue a research career now than when they started their programme. Only 32% of PhD students say the same.
Friedman says that master’s programmes in STEM often manage to promote and maintain an interest in research by giving students a chance to work in the lab or field while building other skills on the side. “If they’re in geology, for example, they’re out there doing the fieldwork,” she says. “They are also taught things like public speaking, written communication and project management.”
Experiences can differ depending on the department, the university and the field, Friedman adds. She applauds any effort to improve understanding about this sector of trainees. That sentiment is shared by a master’s student in Canada, who finished her survey responses with this comment: “Thank you for including master’s students in this edition of the survey! We are an often-overlooked part of the graduate community.”
Nature 612, 575-576 (2022)
doi: https://doi.org/10.1038/d41586-022-03758-6
PhDs: the tortuous truth
‘Not even enough money for food’: graduate students face cash crunch
Stress and uncertainty drag down graduate students’ satisfaction
The scientific workforce in 2022
Career Feature 14 DEC 22
How UK science is failing Black researchers — in nine stark charts
News Feature 14 DEC 22
International students are returning to the United States, but will that last?
Career News 12 DEC 22
International students are returning to the United States, but will that last?
Career News 12 DEC 22
AI bot ChatGPT writes smart essays — should professors worry?
News Explainer 09 DEC 22
Are your students using AI to write papers? Take Nature’s poll
Career News 08 DEC 22
The scientific workforce in 2022
Career Feature 14 DEC 22
NIH plans grant-review overhaul to reduce bias
News 09 DEC 22
More support for chemists with disabilities
Correspondence 29 NOV 22
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PhDs: the tortuous truth
‘Not even enough money for food’: graduate students face cash crunch
Stress and uncertainty drag down graduate students’ satisfaction
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It’s an exciting time to be a Hawkeye and to witness the campus transformation that will take place beginning in 2023. As part of the University of Iowa’s 10-year facilities master plan, projects will include state-of-the-art buildings, equipment, learning spaces, and other amenities.
Some work already is underway on the west side of campus, where other projects await that will help the university deliver on its missions of educating Iowa students and caring for Iowa patients.
The progress will cause some short-term disruption for students, faculty, staff, patients, and visitors, but the long-term benefits of growth and modernization will position the university for continued success.
“As with any major construction project, we will put a high priority on minimizing the impact for our campus community, patients, and visitors,” says Rod Lehnertz, senior vice president for finance and operations and university architect. “These temporary inconveniences are enabling an exciting campus transformation that will benefit generations to come.”
In January, UI Health Care announced plans for a new inpatient tower made possible by a $70 million gift from the Richard O. Jacobson Foundation. In order to build the state-of-the-art tower in its planned location and connect it to the current hospital complex, several other projects will need to be completed first.
The new tower will be built on the footprint of three existing structures: Hospital Ramp 1, a water tower, and the Wendell Johnson Speech and Hearing Center. Several projects starting in spring 2023 will make this possible:
Finally, construction of the new inpatient tower is expected to begin in late summer 2025. The tower will add more beds for UI Hospitals & Clinics, which is consistently at or above capacity. The additional space will significantly improve operations and help the hospital to continue providing access and care for complex patients who come from every county in Iowa.
“The addition of the new inpatient tower will help ensure the continued world-class patient care at UI Hospital & Clinics that all Iowans have come to rely on,” Lehnertz says. “This modernization plan is visionary and will establish the University of Iowa as a destination for students, faculty, staff, and patients well into the future.”
Projects that are part of the 10-year facilities master plan will be paid for with a mix of donor funding, state funding, hospital revenue, and other sources.
The Board of Regents, State of Iowa, in January granted the UI permission to proceed with planning projects that are part of the 10-year plan. Once projects are developed and funding commitments have been identified, individual projects will go before the Board of Regents for design and budget approval.
The plan, which spans the next decade of campus development, is expected to evolve and change over time.
Goschke Family Wrestling Training Center
Construction of the Goschke Family Wrestling Training Center began in June. The center is being built adjacent to Carver-Hawkeye Arena, the home of Iowa wrestling for almost 40 years. A tunnel will connect the new center to Carver-Hawkeye Arena.
Emergency Department expansion
UI Hospitals & Clinics is expanding its emergency department to meet the needs of more complex patients, including complex psychiatric patients, and to improve the flow of patients through the ED. Highlights include expanded space for behavioral health, relocation of the crisis stabilization unit to be adjacent to the ED, a new dedicated pediatric space, and supportive technology.
Expansion of John Pappajohn Pavilion
UI Hospitals & Clinics is adding two floors onto John Pappajohn Pavilion to add more patient beds. An additional inpatient unit is being created on the new level nine. Mechanical equipment to support all floors will be moved to a new level 10 and existing floors seven and eight will be renovated to add additional capacity. The expansion is in the planning phase and is expected to be complete by summer 2025.
South Wing level 2 renovation
UI Hospitals & Clinics will add 13 inpatient beds by renovating level two of the South Wing, located between General Hospital and Roy J. Carver Pavilion. This project was approved by the Board of Regents in November and is in the planning phase, with construction expected to begin in spring 2023.
Outpatient clinic development
UI Hospitals & Clinics is seeking a third-party development team to acquire land, design, plan, construct, and own a medical office building in Iowa City. This will increase access to primary medical care for the local community as well as train physicians in a setting similar to other primary care offices in Iowa.
Office of Strategic Communication, [email protected]

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Live-cell micromanipulation of a genomic locus reveals interphase …  Science
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This article was published on April 12, 2022
Tristan is a futurist covering human-centric artificial intelligence advances, quantum computing, STEM, physics, and space stuff. Pronouns: (show all) Tristan is a futurist covering human-centric artificial intelligence advances, quantum computing, STEM, physics, and space stuff. Pronouns: He/him
Anytime you use a video teleconferencing app, you’re sending your audio data to the company hosting the services. And, according to a new study, that means all of your audio data. This includes voice and background noise whether you’re broadcasting or muted.
Researchers at the University of Wisconsin-Madison investigated “many popular apps” to determine the extent that video conferencing apps capture data while users employ the in-software ‘mute’ button.
According to a university press release, their findings were substantial:
They used runtime binary analysis tools to trace raw audio in popular video conferencing applications as the audio traveled from the app to the computer audio driver and then to the network while the app was muted.
They found that all of the apps they tested occasionally gather raw audio data while mute is activated, with one popular app gathering information and delivering data to its server at the same rate regardless of whether the microphone is muted or not.
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Unfortunately, as this research remains unpublished, we’re unable to confirm the specific apps tested. So, for now, we can’t name and shame them.
However, the efficacy of this paper isn’t necessarily in doubt due to the fact that it’s been accepted to the 2022 Privacy Enhancing Technologies Symposium. We’ll just have to wait and see who gets name-dropped when the paper is published in June.
However, that doesn’t mean we can’t draw some conclusions. According to the researchers, this data could be used to extract meaningful information. And, with a little machine learning, that information can paint an incredibly vivid picture of a user’s reality — again, even with your microphone muted in the app.
The research team was able to determine what specific audio was being sent during testing and, by extrapolating that data, they were able to predict what inferences big tech could make.
Of course, big tech uses AI to parse everything. So the researchers built their own algorithms to study the data. What they found was astonishing.
Per the unpublished paper’s abstract:
Using network traffic that we intercept en route to the telemetry server, we implement a proof-of-concept background activity classifier and demonstrate the feasibility of inferring the ongoing background activity during a meeting — cooking, cleaning, typing, etc. We achieved 81.9% macro accuracy on identifying six common background activities using intercepted outgoing telemetry packets when a user is muted.
In other words: grad students at the University of Wisconsin-Madison were able to build machine learning models capable of determining what a teleconference app user was doing while their microphone was muted with greater than 80% accuracy.
File under: Imagine what Google or Microsoft could do with their massive AI models. Yikes!
Neural’s take: Should you be concerned? Yes. Absolutely. Should you stop using these apps? No, because that’s not really an option for everybody.
Our real concern is that big tech either doesn’t care whether users know they’re being recorded even when they’re muted, or it never stopped to think users would care. Either way, it shows a disturbing level of detachment from the user experience.
Big tech’s unspoken mantra is “data at all costs,” and this just goes to prove how thirsty the beast is. There’s no good reason not to explicitly inform users in large print that the mute button doesn’t stop their audio feed to the server.
Luckily, you’ve got options. If you truly want to mute your audio feed, you need to perform a double mute. If you’re fortunate enough to own a headset that has a physical mute button on it, use that to mute your headset and then use the button in the app as an extra layer of muting.
If your headset doesn’t have a physical mute button, or you’re using an onboard microphone to communicate, you’ll need to do a system mute by muting your microphone from the system settings in your operating system, as well as muting in the app.
At the end of the day, it’s unclear exactly what big tech’s doing with this data. The scope of the study didn’t involve investigating big tech — and we’ll update this piece if Zoom, Microsoft, or Google get back to us with a statement.
But, no matter what, the fact that it’s being collected under such misleading circumstances is cause for major concern.
Forcing users to go into operating system menus in order to ensure they’re achieving a modicum of privacy is an anti-user policy. And, furthermore, it demonstrates how much more sensitive our audio data can be than our video data.
As lead author on the study Kassem Fawaz said in the university press release:
With a camera, you can turn it off or even put your hand over it, and no matter what you do, no one can see you. I don’t think that exists for microphones.
Don’t forget to double mute, folks. You’ll probably forget to double unmute from time to time, but the trade-off is keeping Google, Microsoft, and all the others from training their machines on the ambient sounds of your private life.
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March 07, 2022 05:51 ET | Source: Fortune Business Insights Fortune Business Insights
Pune INDIA
Pune, India, March 07, 2022 (GLOBE NEWSWIRE) — The smartphone music production software market size was USD 73,341 thousands in 2021. The market is projected to grow from USD 78,609 thousands in 2022 to USD 142,692 thousands in 2029 at a CAGR of 8.9% during the 2022-2029 period. This vital information is presented by Fortune Business Insights™, in its report titled, “Smartphone Music Production Software Market, 2022-2029.” Factors such as rising interest in the creative sector, rising penetration of mobile devices, and integration of AI and ML will increase the footprint of the market during the forecast period. Additionally, increasing demand for cloud-based software will boost the market.
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Companies Profiled in Smartphone Music Production Software Market the Market
COVID-19 Impact
Software Development & Increased Mobile App Spending to Bolster Growth During Pandemic
The COVID-19 pandemic forced various organizations of smartphone music protection software to shut down by means of imposed lockdowns and restrictions on the general population. However, artists found a workaround by finding new methods to reach their consumers through online, live streaming, and various social media platforms. Various sections of the workforce were forced to work from home to curb the spread of the virus, triggering increased demand for software developers. The general trend indicated an overall increase in downloads, further allowing the market to grow.
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Segments
Type, Application, and Region are Studied
Based on type, the market is divided into editing, mixing, and recording.
By application, the market is broken down into music production companies, independent musician, and home studios (personal).
In terms of geography, the market can be categorized into North America, Latin and South America, Europe, the Middle East & Africa, and Asia Pacific.
Report Scope and Segmentation-


Report Coverage
The market report for smartphone music production software highlights critical aspects such as leading regions, future market trends, and ongoing industry developments. Additionally, the report also covers the factors that are expected to impact the market in a positive/negative manner. Also, the report encompasses various types and applications, further categorized into leading categories.
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Drivers & Restraints
Rising Number of SMEs and Integration of Cloud-Based Software to Augment Growth
Factors such as the creation of multiple music production software for smartphones and integration of artificial intelligence (AI) within these platforms will boost the smartphone music production software market growth during the forecast period. Additionally, the ability to access a professional studio remotely and the rising number of start-ups will increase the footprint of the market. Also, increasing the availability of software options and rising investments toward R&D activities will further drive the market growth.
However, limited features will limit the growth of the market during the forecast period. Also, lack of performance will further cause hindrances toward the growth of the market.
Regional Insights
North America will Dominate Market due to the Region Being World’s Largest Music Market
North America will occupy the largest smartphone music production software market share during the forecast period due to the region being the world’s largest music sector and the rising watch-time of the average consumer.
Europe will witness a considerable market share in terms of global contribution due to rising digitalization, increased development of new business models, and rising competitive landscape from international players. Changing music scenario will further fuel the growth of the market during the forecast period.
Asia Pacific will hold a significant market share, owing to the presence of emerging economies such as South Korea, Singapore, Taiwan, Hong Kong, Australia, and Japan.  
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Competitive Landscape
Increasing Product Launches & Rising Development Activities to Augment Market Growth
The sector for smartphone music production software is highly fragmented and occupied by dominant players. These players are constantly striving to develop the latest generation of products to maintain a competitive edge over others. For example, in June 2021, Avid Technology announced a collaboration with Remote Picture Labs for providing a common platform for their consumers globally. This platform can be accessed from anywhere by the user through Avid Media’s composure & Avid’s NEXIS software. Players are also focused on offering a free version of their application containing limited version functionality to attract a varied consumer base.
Industry Development
Table of Content
TOC Continued……
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OBS Studio is the streamer’s program of choice, but sometimes it has issues connecting to the internet.
OBS Studio is a perfect choice if you're looking for an app to record or stream your screen. This free open-source application has plenty of configuration options that give you more control than other similar apps.
However, misconfigured in-app settings, outdated OS, and Windows Firewall are a few reasons why OBS Studio shows "Failed to connect to server" error. If you've run into the same problem, go through the listed solutions to resolve it quickly.
The "Failed to connect to server" is among the most common errors you will come across while streaming or recording in OBS studio. Some of the common culprits behind this error are:
Having identified the reasons behind the issue, let's get into fixes that helped others users troubleshoot the problem.
The first thing you must do to troubleshoot the problem is to restart OBS Studio. The best way is to close all the OBS Studio-related processes from the Task Manager. Then, start OBS Studio again and check if the problem continues.
OBS Studio is available for both 32 and 64-bit computers. While you can install the 64-bit version on a 32-bit computer, it will create different issues if you try to run it.
Therefore, you must check the Windows version of your computer and install OBS Studio accordingly. To check the Windows version, follow the below instructions:
Under the Device specifications section, check the value next to the System type.
The error message can also appear if you try to run OBS Studio without administrative privileges. To fix this, right-click the OBS Studio executable file and choose the Run as administrator option.
Lack of administrative privileges will cause different issues now and then. To avoid this, you must configure OBS Studio to always run as an administrator. Here's how to do it:
That's it. Launch OBS Studio and check if the problem persists.
If you are also running one of the best OBS Studio alternatives on your PC, it can result in a software conflict. To stop this from happening, close all these apps and their background processes. You can also uninstall them if you use them sparingly.
The "Failed to connect to server" error is likely to appear if the Bind to IP option is not correctly configured in OBS Studio. To fix this, you will have to change this option to the network connection name with the IP address. Here's how to do it:
Relaunch OBS Studio and check for the problem.
The error can appear if your current streaming server is overloaded. The solution, in this case, is to switch to a different stream server. You can do this by following the below steps:
OBS Studio's files can get corrupted for various reasons, which can cause problems like this one. In this situation, you can do an integrity check to scan your OBS installation for corruption and redownload the broken and missing files.
Wait until the process is complete. After that, relaunch OBS Studio and check if the issue continues.
You can also try updating OBS Studio to fix the error. To do so, launch OBS Studio, click Help, and then select Check for updates. If any updates are available, they will be downloaded automatically.
If OBS Studio is blocked under the Windows Firewall setting, you are likely to see "Failed to connect to server" error. You'll have to allow OBS Studio in the Windows Firewall settings as a solution. Here's how to do it:
That's it. You will have to restart your computer (see the different ways to restart your Windows computer) for the changes to take effect.
If you're still facing the issue, you can try lowering the MTU (Maximum Transmission Unit) size. You can do this by following the below instructions:
The MTU size is now changed. Launch OBS Studio and check for the problem again.
OBS Studio is everyone's first choice to stream online, and there is a good reason behind it. But sometimes, misconfigured in-app settings can cause various issues, including the "Failed to connect to server" error. Fortunately, you can quickly troubleshoot this error by following the above fixes.
Aman is a Windows specialist and loves writing about the Windows ecosystem on MakeUseOf. He has a Bachelor's in Information Technology and is now a full-time freelance writer with expertise in Windows, iOS, and browsers.

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