Hardware for audio and music is subject to inscribed social processes and can bringthem to appearance through visual cues and language. This dissertation investigateshow established hardware for audio and music can communicate issues related togender. In particular, it looks into (1) how language of live interfaces in music caninform about whether and how gender shapes musical tools; and (2) to what extentcan gender bias in the design of musical interfaces be detected through visualcues. With a mixed methods approach, this thesis aims to create a richer picture onpotential gender identities in hardware for music. Two studies are presented: aninterview analysis with expert women from music technology and a quantitativestudy on gender reception of audio and music hardware. The findings and resultssuggest that gender perception for established hardware in audio and music exists.To follow up, design recommendations are proposed on how to approach the developmentof interfaces under the notion of pluralism. This implicates to involvepeople with different backgrounds in musical hardware and DMI design processes,with implications for academia and industry in order to make musical hardwaremore accessible.