Digital Noise: Music and Tech

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.

Star 6 is a fun beat-making iPhone and iPod Touch app from Agile Partners--makers of the incredibly useful Guitar Toolkit and Tab Toolkit for guitarists. First introduced last August, Star 6 offers five families of electronic drum beats in categories like Drum and Bass and Electro. You can also download many more free beats from the Star 6 Web site, or upload your own through your Web browser. (Your device has to be on the same wireless network as the computer you're uploading through.)

The six triangles at the top of the screen let you switch between beats. The six triangles below them let you control various tonal qualities by tilting your iPhone or iPod Touch toward and away from you.

Once you've picked a family of beats, you can switch among six individual beats, control the speed, and add wacked-out effects like delay and reverse by touching various icons on the screen. It also lets you manipulate tonal qualities such as pitch and gate by tilting the device backward and forward--it uses the iPhone's built-in accelerometer. (The "speed" setting controls the playback speed of the individual sample, not the beats per minute, or BPM, of the entire track.) You can create and name sessions to recall later, and all sessions are automatically saved in the state you left them.

It's a lot of fun to play with, and could be useful in certain professional situations: you could plug your device into an amp or a PA and use it as a simple drum machine, or to fill the gaps between songs in a live or DJ gig, or simply as an audio backdrop for a party.

Version 1.1. of the app, which became available last Friday in the iTunes App Store, adds a number of important usability improvements. First and foremost is something called "quantizing," which helps you switch between rhythms directly on the beat. Before, you had to hit the button at the exact right time, which could be pretty hard when playing a rave track at 170 BPM, otherwise you'd get an awkward transition. The BPM controller is now on the main screen, and has a new feature that lets you slide the rate quickly up and down. You can also have the BPM affect the pitch, in case you want your samples to sound like they've been inhaling helium as you increase the speed of the track.

It's currently available for an introductory price of $6.99, but will go up to $9.99 on January 18, 2010. So if you're interested, jump on it now. For what it's worth, I get a lot of iPhone apps to test out, and this is one of the few that I'll be keeping.

I had a fascinating conversation with MediaNet CEO Alan McGlade on Friday morning. Unless you're deeply involved in online music, you probably don't know MediaNet, but it's the back end powering a lot of music services you might have used, including MOG's subscription service that launched earlier this week, as well as Microsoft's excellent Zune Pass subscription service and iLike's online music marketplace. (MySpace acquired iLike in August, and in November, links to iLike's service began appearing directly in music-related search results on Google.)

Fox Interactive used MediaNet's technology to embed this list of Aerosmith songs in a story about the band. Readers could then listen to a sample or buy the song.

(Credit: MediaNet)

They've also got more history in online music than just about anyone. The company started off as MusicNet, with part-ownership by three of the then-Big Five major labels: BMG, EMI, and Warner. They powered RealNetworks' music initiatives before RealNetworks bought Rhapsody. They powered Yahoo Music. They powered MTV's online music store.

These early stores went nowhere. Content owners insisted on digital rights management (DRM) restrictions, which meant that content from these stores had restricted use rights and couldn't be played on every device--including, in most cases, Apple's iconic iPod. Setting up a store using MediaNet's platform often took 18 months and significant technical expertise. In the meantime, Apple focused on a dedicated online store for its own devices, and completely dominated the market for music downloads.

But the landscape has changed. Labels don't want to be beholden to Apple. They no longer insist on DRM for single-song downloads, and have realized that the more outlets there are for their digital music, the more customers they'll reach, and the more sales they'll have. (Amazing it took this long to figure out.) MediaNet is, in my opinion, incredibly well positioned to take advantage of this sea change.

In October, the company released a set of technologies called MN Open that make it almost trivially simple for companies to add a wide variety of music consumption options to their Web sites. Sure, companies can still use MediaNet to build an end-to-end service like MOG.

But say you're Fox Interactive and want to make a story about Aerosmith more engaging. Using a MediaNet component, Fox created a link for the first mention of the word Aerosmith that took users to a page with more information about the band, and links to play and buy some of their popular songs. Fox also posted Aerosmith songs in a box directly on the story page.

MediaNet handled all the heavy lifting: licensing the music, streaming the samples, and fulfilling the transaction. Fox kept its brand and design throughout the process, and users didn't have to leave the site to buy the song. Best of all for Fox, it didn't have to make any up-front payment to use MediaNet's technology. Instead, MediaNet takes the customary cut of any song purchased through the site (about 30 percent, if it's anything like Apple). The model's the same for sites that offer free ad-supported streams or subscriptions--MediaNet takes a portion of each transaction, then handles payment to the content owners.

Now imagine this kind of integration on sites for radio stations, record labels, or your favorite bands. Imagine your ISP or cell phone carrier offering you a music subscription service bundled with your Internet service or smartphone. In this world, users won't have to go to iTunes or Amazon MP3, or subscribe to Rhapsody (or MOG for that matter). Music will be available for consumption everywhere. And content owners will get paid regardless of where users buy it.

According to McGlade, it's already happening--he said MediaNet is adding about one new distributor per day, and has already got about 50 customers using the MN Open platform. One site, GetPlaylists.com, was able to add playable song samples and downloads-for-sale in only two days with MN Open, according to McGlade.

Thanks to this upsurge, the company--which is owned by a private equity firm and no longer has any direct ownership affiliation with the major labels--has recently crossed over into profitability. A rare situation indeed in today's online music landscape.

It's a great vision, and something that Microsoft, the original platform company, could have done. But Microsoft spent years pushing the Windows Media Platform, which made heavy use of Microsoft codecs and file wrappers (instead of MP3s, which were becoming the industry standard). Microsoft also spent a lot of effort trying to enable the labels' DRM demands--for example, by building a platform to enable subscription-based downloads to be transferred to portable devices. Then, just as the labels were getting ready to abandon DRM, Microsoft basically gave up pushing Windows Media as a general-purpose platform for distributors and device makers, and instead started trying to mimic Apple's end-to-end software+service+device with the Zune strategy.

Talk about an opportunity lost! Instead of struggling along with something like 2 percent of the digital media player market, Microsoft could have ended up powering the music technology on thousands of Web sites.

Another aside: while MusicNet offers a lot of flexibility for distributors--downloads, samples, free streams, or subscriptions are all supported--McGlade is most bullish on subscriptions as the digital business model of the future. He admits that old fogeys accustomed to CDs and vinyl will have a hard time giving up the concept of ownership, but suggests that today's teenagers don't care--they want music on demand from any device, any time, in any location, and don't need to have the files physically present. McGlade thinks that subscriptions will have the best chance of taking off if they're bundled with some other product, like ISP service.

Scoff all you want about subscriptions, but the concept keeps coming up: music industry expert Donald Passman also believes they're the best chance for the music industry to thrive in the future. Even Apple finally seems to be bending to the idea of streaming music with its acquisition of Lala, although Lala isn't a straight subscription service, but more of an online music locker with some free streams, plus fee-based individual streams.

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

If you listen to music on your iPhone or iPod Touch while you're driving, you probably don't exercise much control over your playlist--skipping and pausing songs without looking down at the screen is almost impossible. Fortunately, there are apps for that.

One of many background and font choices that come with SongVoo.

SongVoo, which released version 1.1 last week, is my latest discovery in this realm. It's similar to PlaySafe in that it places a skin on top of your iPhone's music player, superimposing the artist, song, and album name in large letters, and lets you control music playback with simple hand gestures that don't require you to look at the screen--in the case of SongVoo, you touch anywhere on the screen to pause, touch twice to fast-forward to the next song, and touch three times to reverse.

It has several advantages over PlaySafe, however. With PlaySafe, you have to choose songs or playlists and add them to the app before you can start using it, and it can take a little while for PlaySafe to index them. With SongVoo, this process is much more efficient--it added all 800-plus songs on my iPhone in under five seconds.

Alternately, you can begin playing your music from the normal iPod music app and then open SongVoo to superimpose SongVoo's skin on top of it. SongVoo also offers tons of backgrounds and fonts, and lets you switch among them simply by shaking the device. There are also smaller finger-buttons for setting your playlist to shuffle, to loop songs or the entire playlist, and to see detailed song information.

Version 1.1 of the app adds a couple of features that seem geared toward the attention-deficit-disorder set. You can preset the app to skip the intro and/or outro of every song (you set it by time length, such as 25 seconds), and post updates to your Facebook page simply by drawing a "W" on the screen with your finger. (By default, it posts "I am dancing to..." and the name of the song and artist, but you can change the message to something cheekier if you like.) Useful, fun, and only $0.99.

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 free ConcertVault iPhone app gives you streaming access to hundreds of live recordings.

Wolfgang's Vault is an online archive containing hundreds of high-quality concert recordings, mostly from big classic-rock artists like The Who and U2, but with a few newer artists, such as The Walkmen, thrown in as well. (Here's a complete list of performers whose recordings are available on the service.)

Last month, Wolfgang released an updated version of its much-lauded free iPhone application, Concert Vault, which gives you access to these amazing shows directly from your iPhone or iPod Touch.

The update adds a couple minor features, including a list of featured concerts--helpful for keeping track of shows that have been recently added to the vault--and fixes some reported problems with stuttering and stalling.

I've been listening to the Who's 1973 performances of "Quadrophenia" over a 3G connection for the last half hour, and so far, the app--and the band--are both performing flawlessly. This is a worthy update to a must-have download for live music fans.

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.