Digital Noise: Music and Tech

Yesterday, I compiled my list of the five most welcome products for digital audio that came out in 2009. Today, I'm following it up with my list of the year's five biggest digital audio duds.

An image from the infamous online commercial for Songsmith, Microsoft's reverse-karaoke software.

(Credit: Microsoft)

Zookz. The breathless pitch got me interested: a mysterious online service was getting ready to compete against subscription-based download service eMusic. But where eMusic limits users to a set number of downloads, this mystery service would offer unlimited music and movie downloads. How could this be? Wouldn't users just download all the material they wanted then cancel their subscriptions? How could content owners let this happen?

The trick: Zookz was based in Antigua, and according to the company, this meant it wasn't subject to those silly little things known as U.S. copyright laws and royalty rates. Unfortunately, the country of Antigua didn't agree, and days after the public beta launched, Zookz disappeared into the digital ether with a promise to refund subscribers' money.

Jango Artist Airplay. I liked Jango's online radio service back when it launched in 2007. This year, in what looked like a desperate bid for new revenue, the company launched a service called Artist Airplay, in which bands could pay for placement on appropriate Jango stations. While Jango's CEO tried to tell me this was a reasonable new marketing opportunity, I saw it as a new form of the old pay-for-play deal that beginning bands often fall for.

With regular marketing, everybody pays more or less the same amount for the same class of services and the music sinks or swims on its own merits. With pay-for-play, artists buy exposure. There's only one problem: the resulting conflict of interest drives discerning listeners--including people who might actually pay you for your music--away. Jango Artist Direct may not be as stark as those pay-to-play "showcases" and "band battles" where all the audience members are other bands and their friends, but I believe it's better for beginning artists never to start down this slippery slope. Then again, I thought users would never be ignorant enough to click on search advertisements in massive numbers, which is one reason why Sergey Brin and Larry Page are multibillionaires and I'm not.

Vevo. As long as we're talking about Google, let's talk about YouTube, which the search company owns. It's a great source for music videos, and its APIs have formed the basis for music-finding apps like Muziic and TubeRadio. Users love it. Unfortunately, the companies and artists who own the copyrights to many of those music videos don't love it--the videos are expensive to produce, and the ad revenues from YouTube and other online video sites are scanty to nonexistent. Google is also lukewarm about music videos on YouTube, finding that the cost of policing copyright and complying with take-down notices is more than the money they can earn from selling ads.

In December, two record companies--Sony and Universal--joined together with Google in a new joint venture, Vevo, to address the problem. This was supposed to be a back-end business-to-business kind of deal, where YouTube users wouldn't know (or care) that certain videos were actually being provided exclusively by Vevo, which would sell short video advertisements to run before them. Unfortunately, the glittery launch party drew undue attention to Vevo's own site, causing its servers to buckle under the load. The entire episode left music fans scratching their heads.

Songsmith. The idea wasn't all that bad. Karaoke is fun. Making music on computers is fun. So why not, reasoned some Microsoft researchers, create a program that fills in audio accompaniment as users sing. Unfortunately, the $29.95 price and unbelievably mockable promotional video turned Songsmith into an Internet laughingstock. Later videos featuring Songsmith's accompaniment to the vocal tracks of songs like Queen's "We Will Rock You" and Van Halen's "Running With the Devil" highlighted the silliness.

CMX. In August, reports broke that the four major record labels were considering a new type of "digital album" format that would include album art, lyrics, and extra content. There was just one problem: Apple was already building its own competing format, code-named Cocktail and eventually released as iTunes LP. I think the entire concept of a digital album is weird anyway: I'm not convinced that lack of album art is a big reason why users are buying singles instead of albums. (The real reason is the Chumbawamba factor, or the fact that a lot of albums contain only one or two good songs.) And iTunes LP doesn't exactly seem to be taking off, although some of the extras--outtakes and videos--are actually quite valuable. But creating a competing format that wouldn't be supported by Apple? That's just plain dumb. To be fair, we haven't heard anything about CMX since iTunes LP launched. Here's hoping this product is killed before it's ever born.

The economy took its toll on digital audio in 2009, with CD sales continuing to decline (even as vinyl makes a resurgence), digital start-ups going bankrupt or disappearing after takeovers, and labels expressing dissatisfaction with would-be digital saviors like MySpace Music. Even so, there was actually quite a lot to cheer this year. The following five products aren't necessarily the best, but to me, they did the most to move the state of digital audio forward in 2009.

Outside the tech press, the Zune HD didn't get the love it deserved in 2009.

(Credit: Microsoft)

Windows 7. Microsoft appears to have recovered from Vista with a new OS that runs efficiently, looks good, and satisfies users. Released on October 22, the latest version of Windows also includes some important new features for digital audio lovers. I was pleasantly surprised by Microsoft's decision to support for Advanced Audio Coding (AAC), which is the default format used by Apple's iTunes. With this simple move (along with native H.264 video support), Microsoft has finally acknowledged that Windows Media isn't taking over the world any time soon, and will hopefully move to the much more sensible strategy of making Windows a sort of "Swiss Army knife" of digital media. In addition, the new Remote Media Streaming feature lets you access the media library on your hard drive from any PC over the Internet, reducing the need for third-party solutions like JukeFly or online music lockers like Lala. Plus, for professional audio recording, Windows 7 is much more stable than Vista was at launch. Love it or hate it, Windows is still the OS used on more than 95 percent of computers worldwide, and Windows 7 is probably going to be around for a long time--like XP was--so these advances, however overdue, are major news.

Spotify and Rhapsody on iPhone. Music fans have been waiting for the celestial jukebox--the ability to listen to millions of songs on demand from anywhere--for years. In 2009, the music industry finally started coming around to the idea that on-demand access to millions of songs could be the digital business model that saves it. Nowhere was this clearer than in Apple's decision to approve iPhone apps from Spotify in August and Rhapsody in September. These two subscription services--Rhapsody in the U.S., Spotify in Europe--give iPhone users access to millions of songs, on demand, for a few bucks a month. Single-song downloads have been great for Apple, helping iTunes become the top music retailer in the U.S. starting in 2008, but the company may be coming around to the idea that subscriptions--or at least on-demand streaming--represents the future, as evidenced by its acquisition of Lala earlier this month. When Apple finally takes the plunge, Rhapsody and Spotify subscribers can be smug, knowing that they've been able to stream songs to their iPhones since 2009.

Sonos S5. I've been singing the praises of Sonos's multiroom home-audio system for a couple years now. There's no other equivalent system that offers such easy set-up, solid sound, reliable streaming (thanks to its dedicated wireless network), and slick user interface--including an iPhone controller. The only drawback has been its relatively high price of entry, especially compared with cheaper competitors like Logitech. The release of the Sonos S5 this November (read the CNET review) is a major step forward in affordability, giving you single $399 device--receiver, amplifier, and speaker, all in one--that lets you get started down the Sonos path. You'll still need a $99 bridge if you have a wireless home network and want your S5 to be in a different room than your router, but the S5 is Sonos's most affordable product to date, and a move in the right direction for multiroom digital audio.

iConcertCal for iPhone. For live music fans, nothing's more frustrating than missing a show because you happened to miss the listing in your weekly paper. This year saw the release of several iPhone and iPod Touch apps for finding and tracking local gigs, but my favorite remains iConcertCal, released in July for $2.99. (It was briefly removed from the iTunes Store earlier this month to fix a bug, but it's back now and working fine.) Unlike other gig-finding apps, iConcertCal doesn't require you to enter a list of artists you want to track--instead, it grabs all the artists whose music you have on your iPhone. If you want an even bigger selection, you can download the free iConcertCal desktop add-in for iTunes (useful in its own right), link it to your iPhone with a user name and password combination, and the iPhone app will then track every single artist you list in iTunes. You can also use it to see all local shows happening in the next couple of days.

Zune HD. At last! The latest version of Microsoft's portable music player, released in October, has everything its predecessors lacked. Classy industrial design. Touch screen. Gorgeous on-screen interface that makes it easy to find favorite songs or music you've recently added and scrolls through images of artists as you play their songs. Well-designed PC client software that does everything you've come to expect from iTunes and looks way better doing it. It's not perfect--the browser and lack of app store are kind of weak, and I'm still bothered by what sounds like a bass roll-off and lack of oomph in the midrange--but the Zune HD has so many features that iPods still lack, like wireless sync, a built-in subscription music service (with 10 permanent monthly downloads to boot), and the ability to add songs to a currently playing playlist, that it makes my iPods seem a bit out of date. Unfortunately for Microsoft, the Zune brand is still tarnished by its initial weak launch, and outside the tech press, the Zune HD didn't get the love it deserved. Perhaps when (if?) Microsoft moves these features into the next version of Windows Mobile, we'll finally see Microsoft considered as a viable competitor to Apple's mobile music juggernaut.

Tomorrow, I'll follow up with the five least welcome digital music products in 2009.

Amidio makes some heavy-duty musical apps for the iPhone and iPod Touch; I was particularly impressed with StarGuitar, which gives you a virtual guitar with a bunch of preset rhythms, letting songwriters create quick sketches of ideas when they're nowhere near a guitar.

I created a nice vocal loop from the new Beach House single, then dropped it into Pink Floyd's "Astronomy Domine." It took me about five minutes.

On Tuesday, Apple approved a new Amidio app, called TouchDJ, for the iPhone and iPod Touch, and it's both very impressive from a technical standpoint and a heck of a lot of fun. The iPhone can only play one audio track at a time, but TouchDJ essentially fools it into placing two MP3s side by side for simultaneous, real-time manipulation and playback. It's like a two-track digital DJ setup right on your iPhone.

You get a crossfader to control the balance between the two tracks, plus individual controls for each track's volume, pitch/speed (which aren't independent from one another, unfortunately), equalization (three bands), and effects (the built-in real-time effect sounds like a kind of flanger, and there are several lame samples of a low-pitched robot voice, but you can upload your own). Each track is represented by simple waveform images that use a different color for the bass, which helps you match beats more effectively. A tempobend effect, which lets you quickly bend the speed up or down on either track, also helps you get in sync.

The looping functions were most impressive--you can create a cue and loop mark at any point in either track, then return to the cue with the rewind button, move to the loop mark with the fast forward button, or create an endless loop between the two points. All of this is in real time. If you've got an audio splitter, you can even create a separate cue track for your headphones--for example, to set up a loop in your second track while the first one is playing, without exposing your experimentation to your audience--although this requires some serious processing power, and is recommended only for an iPhone 3GS.

There are a couple caveats.... Read More

Yesterday, I blogged about how the forthcoming Droid won't be an iPhone killer because it lacks the simple sync interface provided by the iTunes desktop application. I neglected to mention an excellent application called DoubleTwist, which offers the easy sync experience of iTunes for a much wider variety of devices, including all the Android phones currently on the market, most BlackBerrys, Sony's PlayStation Portable, and a huge range of other non-Apple products--as well as the iPod and iPhone, if you're so inclined.

DoubleTwist has a large orange Sync button in exactly the same location as iTunes.

Created in part by Jon Lech Johansen (aka DVD Jon), who's best known for helping crack the encryption system used on video DVDs, DoubleTwist is available as a free download for both Windows (including Windows 7) and Mac. Plug in any supported device, and DoubleTwist immediately recognizes it, lets you choose content to sync (pictures, videos, and either all your music or select iTunes playlists), and then begins syncing that data with a single click of a button. It also boasts integration with Amazon's MP3 store, giving you a rough equivalent to the iTunes Store. DoubleTwist also has an interesting sharing feature that lets you select any piece of content from within the program and e-mail a link to a streaming version of that content to your friends (the content itself is stored on DoubleTwist's servers). This feature integrates with e-mail address books from Gmail and Yahoo Mail if you want to spread that latest remix far and wide.

DoubleTwist co-founder Monique Farantzos e-mailed me specifically about yesterday's post, so it's a safe bet that the application will support Droid. More to the point, as phone makers continue to miss the importance of iTunes, DoubleTwist is essentially becoming iTunes for those devices. There's one crucial difference: Apple either ships a disc with iTunes with its devices, or prompts you to download iTunes when you install them. For these other phones, you have to know where and how to get DoubleTwist.

Apple outstripped Wall Street's expectations for the quarter ended September 30, and while the blowout quarter was mostly thanks to higher-than-expected Mac sales, the company also sold a record 7.4 million iPhones. But a lot of commentators think that the iPhone is finally going to meet its match with Droid.

You don't need an instruction manual to figure out how to get music onto your iPhone.

Announced this weekend by Verizon in a cheeky TV commercial, the Droid is a Motorola phone running Google's Android 2.0 operating system. The advertisement notes that the Droid will do things that the iPhone won't, like take pictures in the dark and run simultaneous apps (apparently playing music in the background, as the iPhone can do, doesn't count), and touts its open development process (a head-scratcher for non-techies, but it could mean more apps than the iPhone, someday). The first preview I've seen, from Boy Genius Report, was also positive. People are excited, and for good reason--competition drives innovation, which is good for consumers.

But here's the thing: one reason for the runaway success of the iPhone--and one of the reasons why Apple still continues to sell more than 10 million iPods per quarter--is iTunes. Not so much the store, although that's an important component, but the software. Of course there are plenty of other applications out there that help you rip CDs and organize your digital music collection. And there are plenty of other sources for online music. But the real strength of iTunes is in the sync process--you plug your iPhone in, iTunes opens up automatically and recognizes it. Hit the large "Sync" button and it automatically loads your music (and video, and apps, and anything else you choose) onto it. (With some devices, depending on your settings, you don't even need to hit "Sync.") That's the simple, consumer-friendly, end-to-end experience that Apple figured out first.

Contrast that with the multi-step process required to transfer music from a Windows PC to the first Android phone that was available in the U.S., last year's G1. Amazon provided over-the-air MP3 downloads for that phone, giving it a rough equivalent to the over-the-air version of the iTunes store, but let's face it: most digital music is not purchased, but is ripped from a CD or comes from some other source (legal or not).

Verizon, Motorola, and Google haven't said much about music for the Droid. Maybe they still have a musical trick or two up their collective sleeves. But without some sort of equivalent to the iTunes desktop application, the Droid may be a great phone, but it won't be a great music phone.

The more time I spend with my Zune HD, the more I like it. Sound quality aside--and I know opinions differ dramatically here, but I'm stuck with my ears and my preferences--there are a bunch of features that make Apple's products seem like they've fallen behind the curve. Here are five things in particular that I miss when I use my iPhone or one of my iPods:

Zune Pass Apple has long maintained that people want to own rather than rent their music. I counter that a subscription-based music service, combined with a state-of-the-art player, is one of those features that you have to try before you realize how fantastic it is. It reminds me of the first time I beta-tested the Xbox Live gaming service back in 2002--I didn't understand how addictive online console gaming could be until I spent eight hours playing Moto GP without even looking at the clock.

Here are a couple of real-world examples from yesterday. First, a friend came over for brunch and we began talking about Gram Parsons, one of those towering influences whose music is sorely lacking in my collection. In the past, we might have talked for a minute, maybe gone online to hunt down some ancient YouTube videos, and then forgotten about it. But with the Zune Pass, we were able to walk over to the Zune HD (which I have plugged into a first-generation AV dock and connected to a Bose Wave player in my living room), connect to the Marketplace through my home Wi-Fi network, and sample a bunch of Gram Parsons songs while we ate.

A Zune Pass makes the Smart DJ function into a great music-discovery tool.

Later, I ripped the nervously funky Can LP "Ege Bamyasi" to my hard drive. Curious to discover some similar music, I used the Zune software's Smart DJ function, then listened as it drew music from the Marketplace that I don't know very well, like Kraftwerk, Brian Eno, Gong, and my favorite discovery, Faust. Trying the same thing with iTunes' Genius function suggested plenty of new music from the iTunes Store but to hear it, I'd have to buy each song as a download. (Note: you can't create a Smart DJ playlist on the Zune HD device itself, although I expect that feature to be added later. Instead, you have to use the Zune software, then save it as a playlist.)

These are the kinds of music-discovery features that make the Zune Pass a great deal at $14.99 a month. And on top of that, each month you get 10 MP3 downloads to keep.

Quickplay This feature lets you "pin" favorite songs, albums, playlists, or other types of content to the front menu of the Zune HD. It also has a "New" section that automatically displays the six items you've most recently added to your collection, a "History" section that displays the last six things you've played, and a spot to access any currently playing song that you've paused. I miss this instant gratification, particularly quick access to recently added music, on the iPod.

Background art Remember how cool it seemed when you could first look at album covers as you played songs on your MP3 player? The Zune HD makes this seem hopelessly obsolete--instead, it scrolls through album art and pictures of the artist as each song plays. No purchase is required--it works even with the LPs I ripped. It's similar to how the Zune software (and iTunes) can populate your music collection with album art from a database in the cloud, only more sophisticated. (You can see this feature in action starting around 2:00 into this video demo.)

Wireless sync This feature has been part of the Zune experience since 2007, and once you get used to it, you'll hate dragging your iPod to your computer every time you want to load new music. Microsoft seems to have improved the sync experience in the Zune HD and Zune 4.0 software--all you have to do is leave the Zune HD's wireless connection on, and it will periodically sync automatically with your PC, even if you don't have the Zune app open.

See what my friends are playing Zune's social-networking functions haven't been very useful because of the relatively small number of people who own a Zune. I'm hoping this changes with the Zune HD. Already, the Gram Parsons fan says he's going to buy one. Once we connect to one another, I'll be able to see his playlists as he runs through Gram Parsons, the Flying Burrito Brothers, and all their musical neighbors. With a Zune Pass, I'll even be able to play any song that he's played, immediately, on my device, as long as it's available in the Marketplace. Again, this is an absolutely amazing tool for music discovery.

Apple's still riding high with the iPod, particularly the Touch, but the Zune HD is clearly moving ahead in terms of innovation. Now if Microsoft can open the Marketplace to third-party apps and fix the browser, Apple might have reason to worry.

Microsoft is making a selling point of the fact that the new Zune HD and associated software update are optimized for Windows 7, which is due out on October 22. I've got a copy of the final release code of Windows 7 on my work PC, and there is some useful synchronization between the two. For instance, the Quickplay menu in the Zune software--which lets you get immediately to music you've recently added, your Smart DJ stations, and any other favorites you want to "pin" to the list--is propagated into the Windows 7 Start menu. So even if you don't have the Zune software open, you can simply navigate to the Zune icon in the Start menu and all your Quickplay selections will show up.

The Zune software adds Quickplay selections to the Windows 7 Start menu.

Of course, Microsoft's had access to final Windows 7 code for a long time. But what about Apple? The company kindly sent me a new-model iPod Touch and Nano to test out, and I noticed that the boxes say they're compatible with Windows XP and Vista (and Mac OS X 10.4.11). Windows 7 isn't mentioned. I downloaded and installed iTunes 9 on my Windows 7 PC anyway, and I'm now happily syncing my music library. I haven't noticed any bugs or errors. (Your mileage may vary--this isn't a review, just my personal experience.) But this underscores my general impression of Windows 7 as a solid upgrade to Vista--not a fundamentally new OS, like Vista was to XP. As Microsoft has said, if your apps work with Vista, they'll almost surely work with 7.

Reverse-sync, one of my favorite features of the Zune software.

The more interesting question is how did I get my music library onto my work computer in the first place? Simple--the Zune software has, from the very beginning, had a reverse-sync feature. You simply drag all the songs from the Zune icon to the PC icon, and they go happily traversing your USB cable down into your PC. iTunes has no such reverse-sync, and in fact is pretty strict about only allowing you to sync with one library at a time, although there are plenty of third-party apps that can do it for you.

If you were hoping for Apple to announce a subscription-based music service for the iPhone and the iPod Touch on Wednesday like I was, suppress your disappointment: early this morning, Apple approved Rhapsody for iPhone, and it's available in the iTunes Store.

It's the second such service Apple has approved, but the first, Spotify, is not available in the United States. (The Rhapsody application is not showing up in search results quite yet, but it is showing up within iTunes.)

(Credit: Rhapsody)

Rhapsody was a pioneer in subscription-based music, and I'm a big fan of the service; in 2005, it was the first one to turn me on to the thrill of chasing your whims and surfing randomly among genres, which you can't do with per-download services like iTunes.

In my most recent trial late last year (in conjunction with the Sonos multiroom audio system), I wasn't able to find any significant gaps--if anything, there was too much music, including more versions of the novelty song "Kung Fu Fighting" than I ever imagined--and there is some excellent curation and editorial work, particularly for indie rock artists.

The iPhone app is pretty straightforward: you can search for songs, surf genres and chart-toppers, and create queues and playlists. If you're a fan of Pandora, you'll also appreciate the Rhapsody Radio feature, which creates tailor-made stations built around particular artists or genres. As long as you have an active Wi-Fi or 3G connection, the music should keep playing without interruption.

It's a free download, but to use it, you'll need a Rhapsody to Go subscription, which costs $14.99 a month. That's not quite as good a deal as Microsoft's Zune Pass, which costs the same and gives you 10 permanent MP3 downloads a month, but of course that service requires a Zune, which means that it applies only to about 1.1 percent of the MP3 player market (according to a statistic that Apple snarkily included in its presentation Wednesday) and exactly zero mobile phones.

Apple appears to have seen the light, as it is now allowing subscription-based music to come to the iPhone. It makes my phone's 8GB storage size seem a lot less limiting.

Follow Matt on Twitter.

This post has been updated. See details below.

I was excited to try out the new Home Sharing feature in iTunes 9. The feature isn't as new as some reports suggest--it's been possible to share iTunes libraries among computers in a home network for years now, but the experience was pretty limited.

You couldn't play DRM-protected songs in a shared library, couldn't create playlists from a shared library, and most importantly, couldn't physically transfer songs from a library on one computer to a library on another. Home Sharing promises to change all this, so I gleefully updated iTunes on my Windows XP PC and my MacBook (which my wife has adopted), and enabled Home Sharing on both.

For a brief shining moment, my Mac (which is almost music-free) was able to see the 3,500 songs stored in iTunes on my PC. The transfer button was just sitting there, waiting for me to start moving as much of my music as I wanted over to my Mac.

Now you see it...

But instead of moving ahead, I had to mess around. Long story short, my wife and I have separate user accounts on the PC. There are some songs by some artists (like Journey) that are in my wife's iTunes library on the PC but which I've made sure never show up in mine (I can't stand Journey). So I decided to try to share her library with the Mac.

I closed iTunes on the PC, logged off, logged onto my wife's user account, opened iTunes, and tried to set up Home Sharing. It let me authorize with iTunes--which is necessary for turning Home Sharing on--but as soon as I authorized, the Home Sharing icon in the left-hand column disappeared.

OK. So I logged off my wife's account, logged back on to the PC as myself, and went back to my iTunes library. Now I couldn't see Home Sharing at all. I used the Advanced menu item to turn Home Sharing off and back on--no luck. I went to the Mac and turned it off and back on--no luck, and that made Home Sharing disappear on that copy of iTunes as well! I rebooted both machines multiple times--no luck.

Now every single time I want to turn Home Sharing on, it lets me authorize, then as soon as I hit the "Done" button, the Home Sharing icon disappears. My guess is that it has something to do with trying to authorize two libraries on the same PC with the same iTunes account, but there's no online support for iTunes 9 yet, so I can't tell. (And before you ask, yes, I have both the "Share my local library on the network" and "Look for shared libraries" boxes checked on iTunes on both computers.)

Now you don't.

Lesson: if it's working, don't touch it! Transfer that library, and get the heck out. And if anybody else has had this bug and knows how to fix it, please let me know in comments below.

Update, September 11: I turned on my Mac and PC this morning, started up iTunes, and the Sharing folder and Matt Rosoff's Library icon appeared on both. I haven't changed any settings in iTunes or in my firewall software. I'm not sure what happened, but my advice to those of you who are seeing this apparent bug--and judging from the comment stream, it's not uncommon--is to shut everything down, start up again, and make sure that iTunes is open on both computers.

Follow Matt on Twitter.