TNSS: It’s Your Funeral

Banner Picture from: https://commons.wikimedia.org/wiki/File:Jambalaya_1969_Jazz_Funeral_2.jpg

Yargh. Ran into this over coffee this morning…

If you’ve lighted over here from over there I welcome you to APITE. I posted the comment on Gearnews before writing this (and besides it’s about time for a new TNSS anyway, right?) so I’m expanding my diatribe from there along with a few updates.

(UPDATE – I posted my comment on Gearnews over 4 hours ago and I just checked – it’s not there. Will erase this update when (and if) it is but you can still read the post in the meantime.)

(UPDATE 2 – It’s 24 hours later and there are new posts there but my comment is still absent. Perhaps it’s my mistake, but pretty positive I hit the submit comment button. Perhaps I’ve struck a nerve?)

Let’s start with (as usual around here) it’s been a while since a TNSS post, because I really haven’t had any issues to report on since the last one. It’s that simple. I’ve had a few snags with various Plugins (and a particularly nasty one from Surreal Machines) – but those were fixed within days and are Plugin issues that we have all had regardless of Platform or Operating System or Processor Type. Bugs happen. Bugs get fixed.

Reaper is out of Beta (Universal App) and still working beautifully. Logic Pro is chugging along swimmingly. Ableton Live? Yep – no issues. Avid is always late to every party, and I don’t really care for Pro Tools (reasons below) so maybe that’s what people are harping on here. But if you are a PT user you have been dealing with this for decades now and it should be no surprise at all so you have nothing to complain about. Maybe Cubase is still a mess (I had endless problems with it on Intel machines – the iOS version is surprisingly rock-solid however).

The only Plugins I’m having issues with are the d16 Group ‘Classic Boxes Collection’ which they acknowledged over a year ago would need major updates, and I’ve found workarounds for those in the meantime if I need those types of sounds. I do believe I’ve talked about this before.

Another reason for my slowness around here is aligned to everything about the linked article at the top – I’m only going to post when I think it’s relevant or useful to the conversation. 

And that’s why I’m posting this and why I commented on that article. Go ahead – read it if you haven’t already. I’ll wait…

Notice anything unusual? Were you able to glean any references to the issues noted? I couldn’t! And this is the problem I have with the post – it’s word jambalaya with no references, links, or real usefulness. It’s typical of the FUD (Fear, Uncertainty, Doubt) School of Modern Reporting (not even going to refer to this as Journalism) and MUST GET EYES ON PAGE Webposting. It’s not marked as opinion, it’s not tagged as anything other than just another article.

And it stinks.

I check a lot of Music Pages over java in the morning: KVR, Sonicstate, Matrixsynth, SynthAnatomy, MacOS Audio, and even Gearnews, just to name a few. I used to like Synthtopia years back (not linking it), but I had had enough of their wretched moderation of the Commentariat (not to mention the wretched Commentariat in general) and the propensity for doing the same nonsensical posts like this one above. Bookmark delete – never checked again.

I understand some people do this for a living. You need audience engagement. You need to pay the bills. But at what cost are you making that happen? I’ve seen this kind of ‘reporting’ popping up a lot in the Music Trades as of late (or maybe I’m just now noticing it), but it makes my ‘Betteridge’s Law’ hackles go up and then it just makes me angry because I. Did. Not. Come. To. Your. Site. For. This. Assault. On. Intelligence. I came here for actual information.

If I see it once then I let it slide because maybe it was a slow news day for you. If I see it there again I am never going back to your site because you have accepted this as normal.

APITE is my baby. It’s my opinions and my experiences and I know that yours may be completely different! It’s not perfect and it’s not something I think anyone would want to read on a daily basis, but I do the best I can to present the most accurate info I find. If I mess up I will correct it. All I want to do is present what I encounter so that it might help someone else along the way. That shared knowledge is what makes us all greater in the long run, and is the true intent of ‘The Power of the Interwebz’.

And I want to keep that going. We should all strive to keep that going no matter the genre or interest. Just give us the truth and don’t be afraid to say when you’ve gotten something wrong. Drop these basic tenets and you’ve lost me as a reader. Betting I’m not alone here either…

So Gearnews, I plead with you – keep reporting on the new and cool in the Music Sphere. Show me the ‘Leaks’ that are intriguing, but I know (and you allude) are likely BS. Do in-depth reviews of tools and toys. But please stop doing these inane posts unless you are committed to doing the deep dive into why.

Because there’s just too much crap out there already.

My opinion of Apple’s M-series (Apple Silicon) hardware still stands: it’s the future of the Platform and just run rings around Intel’s processors as of this writing. They are solid computers with absolute minimal issues for all of the Musicware (and software in general) I have installed on both Edsel (Mac mini) and Josephine (MacBook Air). I also test a lot of Beta software, and have yet to see an issue from any of those I’ve tested other than bugs within those programs. My two M1’s are not ‘locked down’ either – I check for updates at least once a week, so they are running current software. As I’ve said many times before, do your research well and  always check on a machine that isn’t Mission Critical for your work.

/end Rant.

Let me leave you with a some goodness before I go. If you haven’t caught it already, both Audio Damage and ToneBoosters have set some of their ‘legacy’ Plugins free (click the links above for the downloads). AD is Mac-only, but ToneBoosters are cross-platform. For the TB Plugins, click the link above and scroll down to the bottom to the ‘Where can I find older (legacy v3) plugins?’ Text is and click that to access the downloaders. About 70% of the Audio Damage stuff will still run on Apple Silicon mostly Rosetta2) but all of the Tone Boosters Plugins work fine as of MacOS 12.2.1. Nice trend happening here.

Lastly, I’ve been thinking about building a ‘Retrotech’ music computer and might make it a companion to the TNSS series (I’ve even got a silly name for it obvs.). As much as I’d love to go back in time to the heady days of MacOS 8 or 9 and the joys of Opcode’s StudioVision Pro (man, I miss that program), I think it’s going to be more cost-effective to go with something from the last decade or so (mostly for Plugins). For now it’s just a thought, but I like the idea and am actively looking for the hardware. Let me know if it’s something you might be interested in or if I’m just getting Hipsterish in my old age. 🙂

Until next time…

TNSS: Hammer into Anvil

MacOS Monterey (aka MacOS 12.0.1 as of this writing) dropped yesterday afternoon here. I took the plunge and used Josephine as the Guinea Pig. Sizable update with about an hour total install time, but no hitches or glitches or witches (it’s Halloween Season too – so of course had to put that in here.) 🙂

I have been slowly prepping the Josephine for the update over the past few weeks. I went through the process of getting the Universal Audio software installed since they say it’s now usable with Big Sur (MacOS 11), and did a hefty round of both software and plugin updates to match what was already on Edsel. Everything was checked for usability with Big Sur before Monterey was due for release, and I found nothing other than the ‘usual’ problems I’ve had with Bug Sure® over the past year, the biggest two are talked about below. 

The Banner Pic above was my biggest problem. That’s supposed to be GForce Software’s Oddity2 ARP Odyssey emulation. It’s one of the first Plugins I purchased way back when and has always been one of my absolute favorites (just like the real hardware). No matter what I tried (reinstallation, Rosetta mode, waving chicken bones over the computer) it would produce sound as normal, but the graphics were gobbledegook – meaning no adjustments could be made to the on-screen controls. Although I have a few Presets for it as ‘starting points’ I like to tweak and create. Whatever was happening here made this impossible…

So this morning I tried opening Oddity on Josephine in ’standalone’ mode. Holy Cats It Works Again!!!! I closed the App and launched Logic, which was still in ‘Rosetta Mode’ to authorize the UA and IK Multimedia Plugins that prefer to be AU Validated that way. Sure enough, Oddity looked as it did before Bog Sore®. I quickly created a MIDI Pattern in Logic and let it run while I twiddled with knobs and sliders – it was so good to have it back again…

Out of all those updates I did before prepping Josephine for MantaRay®, Oddity2 was not one of them. I did update to the latest Logic Pro (10.7), so wondering if that fixed it I opened Logic on Edsel which is still running Blag Sour®. Nope – even with the Logic 10.7 update (and the 11.6.1 ‘Security Update’ that came out yesterday) Oddity still has the graphics issue. Not sure what Monterey Jack® did, but this is great news. However, I tried to install d16 Group’s Nepheton (another old fave) on Josephine and it unfortunately still crashed Logic when I tried to Authorize it. In their defense, the d16 Crew states they are aware of this issue and a fix will happen sometime. Insert Sad Trombone sounds here because I use these a lot too…

D16 Error

I will check the few other Plugin issues I had and put those results in a future post. For now I’m just happy that I have my beloved Oddity back in action. I got the Korg Odyssey as a part of their Collection 3 Bundle Upgrade, and although it’s a great little synth, it just doesn’t have the sound the GForce version has. I tried to match sounds I’d created in Oddity2 on the Korg, and although I could get close, the Oddity just runs rings around it as far as I’m concerned. 

The other major annoyance I had with Bag Slur® is this:

DMG Eject

This would happen on the odd Installation, and there is no way to get the damned thing to eject other than a User Log Out (which might bring up the Force Eject Dialog Box to allow you to get rid of the Disk Image once you log back in) or just doing a Restart which guaranteed its removal. Again, no amount of shenanigans and goings-on I tried would alter either of these two solutions, and it didn’t happen with every .DMG – just plain unrepeatable and weird. I have yet to encounter this on MacOS 12 as of yet, and will let you know if I do.

As for everything else I have no complaints. My Productivity Apps continue to allow me to be productive, and what few Utilities I’ve needed have performed as expected. Would I recommend you update before the ‘Recommended Point One’ version?

Not really.

If you’ve been reading this series then you know the drill: if what you have is working the way you need it to, don’t upgrade until you can take the time to work out the problems or you have another machine to test on. However, if you are having the same kind of Plugin issues that I was having with the Oddity, it might be worth the hassle. Not sure what Apple did here, but kudos to the Programming Team. 

So I did have a question asking if I was going to upgrade to one of the newer MacBook Pros with the M1x/M1Max chipsets. The simple answer is ‘Sure, I’d like to have one, but not right now.’ From everything I’ve read so far they are incredible computers, but honestly I’m still impressed by the power of the original M1’s in both Edsel and Josephine. That 14’ is the sweet spot for me, but my MacBook Air is really close to that size now.

The Dolby Atmos® and Spacial Audio updates in Logic Pro might require a future upgrade (thinking a year or so) but both of my machines handle these just fine in the simple tests I’ve done. I also have other things I need to take care of beforehand with my pittance of savings…

I’ll call it here for now. Monterey (what – no snarky Portmanteau?) works, fixes some annoyances (at least on my devices), and other than (again) resetting every one of my Mission Control Desktops to a retina-searing color scheme (easily fixed) is so far a better version of Big Sur (yep – snark over…) – very similar to the old Lion/Mountain Lion upgrades of yore.

At least for the time being. 🙂

Until next time…

Life Slips By (and I Want You)

(Image Credit)

Hi everyone – still here, still extraordinarily busy with EduCorp®, and still (mostly) doing well with the M1 Macs. Waiting on Monterey to drop before the next TNSS post so I can give you an idea of how everything is jacked up yet again. Stay tuned…

In the meantime, I wanted to drop a few things from the past week I found significant.

The passing of Richard H. Kirk from Cabaret Voltaire/Sandoz/too many other Projects to list here was the kicker for me last week. Kirk has been a long-time influence on art, music, and music technology for me since I started dabbling with it in the early 80’s. So although I’ve spent the last few days reminiscing by listening to a bunch of his tracks, about all I can say is thanks for the influence Sir and you’ll be very much missed in my little world.

High point for the week: I have no idea how I’ve missed this for so long, but I just discovered it Friday and now you should too.

For the uninitiated, Martyn was the founder of The Human League back in the late 70’s before being tossed out. He and HL bandmate Ian Craig Marsh went on to form the British Electric Foundation and eventually to notoriety with Heaven 17

I’ve been pouring through the interviews, and they are just addicting. Yes, there’s a lot of music geekery in there (tech heads rejoice!) but there’s also a lot of history about the early electronic music scene and behind-the-scenes of who did what and how and where and when. Hearing Stephen Mallinder and Chris Watson (both original CabVolt founders) wax on about early days and current affairs riveting listening, and although Martyn says he wanted to but never got to interview Richard Kirk, I have a feeling that Kirk’s penchant for solitude would have amounted to nothing ever being recorded anyway. 🙂

This is one of those ‘must listen’ audiocasts, even if you were just a fan of the music and care nothing for the business or tech behind it. He’s up to 57 episodes as of this writing, so get cracking… 

Until next time…

TNSS: Checkmate

This Episode is a short one – busy as always here in APITEland…

All is working smoothly on Edsel and Josephine for my day-to-day tasks. There are a few odd issues here and there – mostly with Plugins that haven’t been ‘Big Sur’d’ yet. Some d16 Group ones that can’t be registered along with a couple from Full Bucket Music that refuse to show any on-screen knob, slider, or button movements are the main ones that come to mind. Nothing that can’t wait for fixes as they don’t interfere with what I need to do.

So the worthiness of this post (and a quick giggle) is that EduCorp® got me a new computer after about five years.

I now have another Clara Jane.

I didn’t have the heart to tell IT that my M1’s will eat this thing’s lunch so it will look as brand new when they come to collect it in another five years or so. I’m also betting by that time I will get a second-gen Apple Silicon model from them while I’ve been doing actual work on a third- or fourth-gen machine personally purchased.

I’ve named it Grumpy after the sticker I slapped on it to prevent accidental usage. (Main pic above)

I really like our IT Team, but honestly this is just a waste of money and resources and will be near-obsolete in a few years’ time. They really need to think ahead on these things…

Until next time!

 

TNSS: Dance of the Dead

The Banner Pic for this Episode comes from Remko van Dokkum under the CC Attribution 2.0 Generic License.

Clara Jane has been sent off to pasture. Okay, she’s actually been sent off to a new owner who will certainly appreciate her more than I. As the M1’s are performing so well here at APITE Headquarters, it was either move it along or let it languish in a box in the closet. I’m tempted to say good riddance to the Intel-based Macs, but I still have my old 2012 Mac mini hiding in said closet in case of dire emergency. That old adage of ‘If you have one, you have none’ I just can’t shake. 

I’ve also debated on whether to replace my Synology home server with the old Mini – both have their strengths and weaknesses, but it really boils down to usability and interface (I use about a hundredth of what the Synology can do, and the Mini can also work as a functioning computer) and that the Mac uses about 6 times the energy. For something that mostly streams videos to an Apple TV for the youngest I’m not sure if it’s worth the hassle of setting up, migrating the data, and replacing one thing in said closet for another. We shall see.

So the big news is I got my Universal Audio Apollo Twin working on Edsel. I was a bit hesitant about booting into Reduced Security mode but after keeping an eye on their forums of people who have done this already with minimal issues, I decided it was time. The process was smooth and painless – essentially what installing UA software is like anyway, which is a bit more convoluted that just running a typical Installer. If you want to try it, the directions are here. My Apollo is an older Thunderbolt 2 model, but works perfectly with Apple’s Thunderbolt 3 to Thunderbolt 2 adaptor. I bought one of these for about $50 to use the UA hardware and software on Clara Jane.

The Audient EVO I talked about in the last installment is working well enough, but I did have to fiddle about with DAW/Mic balance during student project grading. It’s simple enough to do either on the interface itself or with their App, and it works as you’d expect it to. However, UA’s Console makes this automatic every time the Apollo is connected and a DAW is launched making it easier for my ‘set it up so you can forget it’ work style. I also like the added headphone gain that the UA’s have that others can’t do Bus-powered. So the EVO is now working as my iPad Pro audio interface and as a traveller for Josephine when needed. I’ll wait for the ‘official’ Installer from UA that does not require any fudging about in Recovery Mode before I install it on the Air.

I’ll pass along a neat trick from the UA installation directions – if Logic Pro has trouble Validating Plugins you can force Logic into using Rosetta in its Get Info window (go to the Applications Folder, select Logic Pro, and choose ‘Get Info’ from the File header in the Menu Bar. Click the box in the picture below to enable it). Then close the Get Info window and launch Logic. Once Logic is running under translation, you can launch Logic’s Plug-in Manager (in the Menu Bar go to Logic Pro > Preferences > Plug-in Manager…) and select one of the errant Plugins (look under the ‘Compatibility’ column for anything not ’Successfully Validated’) and click the ‘Reset & Rescan Selection’ button at the bottom left of the window. Repeat this procedure for any remaining Plugins.

This came in silly handy not just for the Universal Audio stragglers, but also for a few IK Multimedia refusals and even a Waldorf Edition 2 update that just wouldn’t pass AU Validation. Once you get them all up and running, quit Logic and then uncheck the ‘Open using Rosetta’ box in its Get Info window. The next time you launch any AU-capable DAW the Plugins will work as they should. Nice.

LPX Rosetta

Another bonkers thing that popped up was iLok License Manager missing something that disables it (did not get a screenshot of this, but you’ll get a Dialog Box about some Extension or whatever missing that causes it not to be recognized.) This happened after both the 11.3 and 11.3.1 updates. A quick reinstallation of the iLok License Manager software solved the issue each time, and I’m not sure if this is The Mothership’s fault or iLok’s. This also puts that nagging particle in the back of your brain of ‘what else got broken that I haven’t discovered yet?’ So far I haven’t encountered anything else weird, so fingers crossed it’s just an iLok software bug.

Don’t let this hold you back from installing the latest updates – 11.3 and 11.3.1 fix some serious Security Issues, so even if you’re running the Intel version of Big Sur just follow the System Update recommendations. There are even fixes up for Catalina and Mojave, so that should let you know how important these are.

That’s about it for this edition of TNSS. In somewhat-related news, I did get a 4-pack of Airtags even though I rarely lose my keys or other items. They are impressive technology if you have an iDevice with one of the U-series chips (iPhone 11 and above I believe) for really accurate location fixing. AppleInsider’s William Gallagher has been doing great reporting on them if you want more info. Now I’m just waiting on delivery of some cheap silicone cases that don’t cost as much (or more!) as one of the Airtags…

Until next time!

What I Did Over My ‘Summer Vacation’

(This Episode’s Banner Photo “Thinker thinks about how to take sun burst shot” by davidyuweb is licensed under CC BY-NC 2.0, and can he found here: https://www.flickr.com/photos/55514420@N00/4446734924)

So it’s not really Summer yet, but in The Sunburn State® it certainly feels like it. Hopefully your corner of the world is a tad cooler.

I decided to put a ‘Secret Experiment’ into effect over my April Break. 

This idea has been in the back of my head for a while – get some ideas out of my head, record them, and then post them online to a public-facing music site with no publicity, fanfare, or anyone else knowing about this. The plan is to see whether or not any of these can find some kind of audience and if they can, how long it might take – if ever.

My aim here is to fill up the ‘free’ amount of space allotted with the ’non-paying’ tier and then stop. After that I might do this again with another musical iteration if I feel it’s gaining any traction (or if I’m still full of weirdness I need to get out….) The idea is to see if they can get some kind of attention naturally – by pure discovery – so when I decide to ‘spill the beans’ on all of it is unknown as of this point. I will do on update on this in the future though just to let you know how things are progressing, if at all.

Yes, I understand that I have ‘beans all over the floor’ at this point by putting this here, but you don’t know all of the details – and I’m not divulging anything that will help you out just yet. There’s an ocean of music out there, so finding my droplets is going to be very difficult and incredibly time-consuming. I used the ‘Login with Apple’ service to keep things more anonymous, and although there are tiny giveaways planted here and there on the actual page, it should not trackback to me directly. Good luck if you feel like pursuing this, and with that said remember that I’m not asking anyone even try. This is an experiment in listenership, not in hacking. 🙂

These ideas are far, far off the beaten track. I like a good melody, so there is always going to be that element in whatever I do, but all of these tracks are pure childish playtime – tinkering with toys I haven’t played with (or played with enough) mixed with the usual oddities and sounds I have always loved. I don’t even know if anyone would consider this listenable except myself, so let’s find out. 🙂

In the meantime, some of the takeaways on the sorry state of affairs of Online Music Self-Publishing as I see it, with a actual high spot or two as the capper:

Within 30 seconds of creating my account (with nothing actually uploaded yet) I had my first follower – pr0n spam. Five minutes later I had my first offer for guaranteed followers (for a price, obvs.) Both were expedited to the Trash Bin and reported as Spam. I would like to again point out that nothing had actually been uploaded to the site at this point – just the account created. Insanity.

I checked the next day to see if magically anyone had found it. I actually got a like from someone who also wanted me to know they could guarantee followers in exchange for my cash. Several more of these popped up about every other day for the first week, so the Bots are omnipresent to fulfill their creators need of being a Middleman in return for doing absolutely nothing. Ignore them all, even if you are being serious about doing this.

Surprisingly after a few days I got an actual play by someone halfway across the globe, so there is life out there and a brave few are still actively searching for something new. This is welcoming news, but the big questions are will they come back? Will they spread the word? All delicious unknowns…

Over the next few weeks I uploaded a few more tracks (five total as of this writing) and three have received four total ‘likes’ (one of them has even gotten two!) but other than the one lone seeker, the rest are Repost Accounts and Botniks. 

So I’m in early days here (letting this run through at least the remainder of the year), but in the flooded backyard of ‘DIY Publicity’ it feels like some pushing of the brand is still a necessity for engagement, although I’m not sure what I would do that isn’t already being beaten to death out there already. I would be interested to hear Michael’s thoughts about this, although I’m sure there’s a bunch already on his Blog I’ve forgotten about. 

There is just so much available out there with everyone scrambling for the brass ring of notoriety that it almost seems futile to try anything – hence this experiment. Yeah, maybe with ‘poppier’ tracks I might have more success, but there’s a lot of that out there too waiting to be unearthed – and it’s really tough to find the rubies in the dust.

Again, I’ll do an update at some point on this. In the meantime, keep doing what you do best and just get it out there for others to find. That might be the best solution to an overcrowded market.

Until next time…

TNSS: Many Happy Returns

(This Episode’s Banner Image “Lemons” by Tim-Hoggarth can be found here and is licensed under CC BY-SA 2.0)

Holy Cats, it’s April already.

I’m sure everyone feels like it’s been a decade or so since we’ve been enduring the COVIDocracy, but at least there seems to be a light at the end of the tunnel that doesn’t look like an approaching train coming at us. In the meantime, continue to stay safe out there – mask up, keep your distance, and stay home if you can.

So over the last few weeks I’ve officially made the move to using Edsel as my permanent computing machine. Pretty much everything is up and running for my needs with the exception of just a few bits and pieces – more on this shortly and the workarounds I’ve had to put in place. 

I’ve grown to really like Big Sur (MacOS 11). The last few iterations are beautifully stable, and has tied in a lot of the janky things that iOS seemed to do better like Messages, Notes, Calendars and Reminders – those little things that are really useful when everything seems to cooperate together in the Apple Ecosystem. I’m hoping The Mothership® doesn’t break it all when they show off the OS updates likely due around June.

My love affair for the M1 Macs has also grown as I’ve been using them more and more. In fact, I have a confession to make – I bought another one to replace the MacBook Pro.

There were two main things that pushed me to send Clara Jane packing off to retirement: first, the fact that everything is speedier, snappier, and just more transparent (work-wise) on the M1 Macs. These machines are noting short of stellar and I’ll give you the main example of this later (at least with what I do at EduCorp®), but the real kicker was the damned fans on the 16” MacBook Pro . 

I’ve been using Macs since around 1985 or so, and computers in general since the very early 80’s. I’m betting that in that time I’ve owned at least fifty of them – and likely I’m undercounting by a dozen or so. I’ve bought them new, refurbished, and used, and in one way, shape, or form I’ve gotten years of use out of all of them. Sometimes they had to be replaced because of hardware or software deficiencies. Others could be upgraded with more memory or hard drive upgrades to keep them going, but I really can’t think of one that I would call a lemon – they just worked. Even with the ones that sounded like decrepit vacuum cleaners when they were put under a heavy workload earned their keep. But I’ve honestly never had any one of them annoy me as much as Clara Jane’s incessant noise. 

Of course, this could just be because I’m old and I’ve learned my lesson from years of hearing abuse. Or that I’ve been working in much more quiet environments since moving to the education realm. Or it could just be that every single simple task turns an 8-core Intel-blessed i9 wunderkind into a screaming jet engine in a matter of nanoseconds. Editing an Excel sheet? Whooooosh….. Have too many Safari tabs open? Whirrrrrrrr…. Wanna play a video? Break out the headphones…

Sure, I could have a dud – they do happen. But a bit of web research tells me I’m not alone in my feelings here. There are plenty of complaints about the heat and the fans on the 16” Macs. There are also many about the (near daily) dropouts of Bluetooth or WiFi like I get on Clara Jane. And again there are just as many gripes about the extremely slow Touch ID sensor. Yeah, It might be a clinker, but like the Butterfly keyboards a generation or so back there are lots of people affected by them even if collectively they are just a few drops in the ocean of products shipped and in use – and when you have one of them it just makes every single chore with it unbearable. By the way, if you take this paragraph in for a second you too will experience the incredible karmic irony at play here. It was in January that I decided I needed to move forward to find a replacement.

So of course I retaliated by buying another MacBook – an Air this time. Say hello to Josephine:

Josephine

(That’s Cherry Audio’s Polymode running on the Reaper ARM Beta)

Again, I’m not going to go into my naming strategy as of late – remember that you and I have access to the same Interwebz® and I discussed this back in Episode 1. The DNA between Edsel and Josephine is near-identical though. Same Processor and Cores, same RAM, same storage. One of them is just more portable.

You may be asking yourself why I chose a smaller ‘entry level’ 13” machine with two less USB-C/Thunderbolt ports after having a Pro model with more connectivity and more screen real estate?

Personal Preference.

Before I got Clara Jane I had a 2015 13” MacBook Pro, and I truly loved the size and portability. Unfortunately, the dual-core i7 was getting really slow for some of the tasks I need on a daily basis. So when I decided to upgrade I figured I would once again take a plunge for that ‘Monster’ computer that would do everything I needed now and for the foreseeable future, and would stay that way for years to come. Although I liked the screen size on the 16″, it was heavier and bulkier to move around after using a smaller model for several years prior. My experiences with the M1 Mac Mini and reading multiple reviews that the latest Air was only slightly slower than its MacBook Pro counterpart I knew I wanted to get back to having something that I could easily move about the house (or out and about when we finally can) for when I don’t feel like standing at my desk where Edsel is anchored.

I’m also aware that new M-Series Macs are due soon and a 14” Pro model might be in the cards. But I don’t want several months for that to become available. Also remember that we’re in a Supply Chain crunch as far as computer chips and other electronics go. Josephine was an affordable, powerful computer that was in stock and ready to ship. What comes in the future might be more difficult to get, more expensive to purchase, and may not even happen at all. The Air just fit the bill for what I needed now – and I’m silly happy (and happily productive) with my decision.

The Reaper ARM port is working well enough in its Beta form that I can use it for my grading purposes. Again, a sizable chunk of my Plugins are working on the M1 as Native or under Rosetta and perform as I expect them to. But there are rubies hidden in the dust too! Render speed (Bouncing audio files out) within Reaper is 30% faster on Edsel and Josephine that is was on Clara Jane. Workflow is smoother and doesn’t get in my way. Again, everything just works… These M1’s just absolutely crush while staying quiet, cool, and focused. I have also had none of the other nonsense with wireless disconnects or TouchID lag. Clara Jane can happily rock away on the porch (well, actually shutdown in a backpack) until it might come of need or get moved along to the next owner.

The two minor problems I had to deal with are Soundtoys (still no love for M1 Macs, but they are Big Sur on Intel approved) and Slo Tools, and I expect these to be fixed very soon – Pro Tools just announced Big Sur capability, but again only for Intel processors as of now.

The real issue is (still) Universal Audio. Although they have a ‘workaround’ for getting their software and hardware drivers to work on M1 Macs, it requires putting the Mac into a Reduced Security mode, which I’m not going to tinker with and would rather wait for an ‘official’ release before I can put it back to use. I swear by my Apollo Twin audio interface for its impeccable sound quality and rich feature set, but I still have stuff to do while they make sure everything works as they want it to. So I need a Plan B.

My venerable Focusrite Scarlett 2i2 (I think it’s a second generation) just works with all the Macs around the homestead and it even happily connects to the iPads if required – with no drivers needed. I’ve been enamored with Focusrite’s sound and quality for years, but I’m spoiled by that big beautiful volume control knob that also shows the current level right on top of the Apollo Twin and the dinky knob on the Focusrite just was driving me batty. So I took chance on one of these:

Evo4

(Oooohhh – lens flare…)

I’ve used Audient’s interfaces before and have been impressed, but when you have an Universal Audio one they just seemed a bit similar and yet no comparison when you factor in UA’s impressive software. But Audient’s EVO series seemed to press all the right buttons for what I needed: USB C connectivity, Bus Power, available with 2 or 4 inputs, Hi-Z (guitar) input, intuitive design, and all for just over a hundred bucks for the 2-input model. And it has a big beautiful volume control knob that also shows the current level. 🙂 Every function is easily set from the top panel, the sound quality is superb, and there’s more than enough gain on the headphone volume to drive every set I have in the studio (about at dozen at this point…) The build is solid, but it is plastic (corners have to be cut for this kind of pricetag), so although it’s portable I’d be take some precautions when transporting it – don’t just toss it into a bag or backpack willy-nilly.

That big green button on the bottom left is an auto-gain feature for the inputs. I’ll set my own thanks, but it works fine for those who just want to get a good level and start recording. It also has an loopback feature that actually works pretty well. Many interface manufacturers have added this feature for the Audio- and Videocast Set, but the EVO’s have a well-designed software panel that makes this quite usable. Certainly worth a look if you’re in the market.

That’s the state of The New Shiny-Shiny for now. Plenty more to come so pop by every so often to see what the latest hubbub is.

Oh, one more thing (had enough with the Apple cliches yet?) – I put Josephine on to charge last night and have spent today (since around 5 30 am) finishing up a bunch of installs and setting audio program prefs as well as messaging and web browsing and editing pics and writing this in between. At this time (4:30 pm) I have 52% battery left. Welcome to the future – don’t be jealous. 🙂

Be seeing you – until next time…

Happy Dynamic Range Day 2021!

Been listening to the livestream, and as usual there’s some great tips, tricks, and mostly a lot of positivity. You can catch the info and check out a replay by going here:

https://dynamicrangeday.com/dynamic-range-day-2021-live/

I must say that after several years of jamming Loudness Units and True Peaks and just not slamming everything into the Bus Processing as hot as possible, they *are* getting it.

And I still agree that you can be more creative dynamically rather than just making things loud.

Anyway, all good things – go check out the site above.

Before I go disappear into the eternal void of work and self-distancing I will say that I have the next installment of The New Shiny-Shiny coming up very soon. Progress is being made!

Hope all of you are staying safe, and have a fun and informative Dynamic Range Day!

Music Predilections for the Coming Year

Image Credit: https://www.flickr.com/photos/sheilascarborough/10782271033/

These are my own (overly optimistic) thoughts on what I think will happen in the musical sphere for the new year.  I culminated these ideas over the last week or so of 2020 and did a bit of tidying up on January 1st, Reading this back on January 3rd, I find it very ‘wishful thinking’ and honestly I want to label it ‘Fan Fiction’ in the Tagline, but I’ll keep it as it was created. The Header Image was surprisingly prescient.

In the spirit of of the ‘Mordant’ part of APITE (ie: Music. Media. Mordant.) I’m publishing it, and hopefully you’ll find a few tidbits of wisdom lodged in the chunks of insipidness. Regardless, let’s come back in year and see how dreadfully this pans out. 🙂

1) As we get ourselves slowly out of the Pandemic and can safely hang out with each other again (I expect this by late Spring/early Summer), the entire Music and Media Industry will explode. People will head out to the big shows first (because short memories on how ‘celebrities’ have acted during it), but will give way to local and Regional acts as the year passes the Three-Quarters mark. I say this because pent-up lack of musical expression will likely cause the rise of ‘scenes’ in local markets. I keep feeling the mid-70’s ‘Punk’ rebellion as the boilerplate here, with kids (and non-kids!) just doing it themselves as a reaction to the times, the freedom, and as a retort to ‘Big Artists’. Yes, the last decade has never been a better time to DIY, but we also have been through the kinds of changes that necessitate serious rethinking of well, pretty much everything. It’s high time for music (and just art in general) to be the Vox Populi again. Local bars and venues will reap the benefits and I can even see a ‘comeback’ in practice spaces and even recording facilities. As anyone can make a record on a cheap laptop or even a tablet these days, this may be very wishful thinking on my part. As this is an inclusionary process I’m thinking of here – not the ‘bedroom producer’ vibe – I don’t think I’m too far off the mark. However, it also depends on whether a lot of smaller bars and venues make it that long or can recover when it’s done. This may also lead to adventurous souls venturing into this space as the ’scene’ flourishes. 

(Sidebar: In order for this to truly work though, it has to stay ‘under the radar’ for as long as possible, which will be very difficult in the ‘Interwebz® Age’. Said Online Sharing may be needed to ‘copy/paste’ ideas from place to place, but it might be better to let areas develop in their own styles – look to any musical scene from around the mid-1990’s and earlier to see how this naturally happened. Manager/agents (and (I can’t believe I’m using this term, but it’s true) ‘Influencers’ looking for trends to latch onto) will eventually ruin this, since they will always worship money over substance. Remember though, that such people (minus Hated ‘Influencers’) are needed in the biz, so keep that in mind too. 

This may also coincide with a ‘Back to Local/Neighborhood’ movement as Conglomerates continue to Hoover up all the carcasses of failed businesses and services and the adventurous (as noted above) grab the leftovers. The giants are only in it for the Rentier Capitalism (warning – search this term and you will wind up saddened and eventually incredibly angry). Stay local!

2) Although Formulaic Pop and Sonic Wallpaper® will never truly disappear from the landscape, Gen Z has been slowly ploughing through their parents’ streaming services (or –gasp- record collections) and has come to the realization that music that has dynamics and key/chord/structure changes sounds much better then what they hear in the mainstream. This can lead to all kinds of great and crazy things, but the general gist I’m feeling is ‘early demo-tape Devo and/or Metal Box-era PiL’. This is undoubtedly a long shot, but raiding the past to find the future is an age-old artistic endeavor and we’ve seen it many times before. I see this happening already and have no doubt it will continue to gather steam as an ‘anticulture’ even if it remains just that – underground.

3) Speaking of Formulaic Pop, their songs will get shorter, more insipid, and ever more Formulaic (I believe to the point of no-one will honestly know who made what they will sound that similar) as the established artists grab the remaining slices of dwindling money cakes. This is the snake eating its own tail and happens with everything eventually – and is a slow motion train wreck to watch (maybe paint drying is a better term?) Gazing far off into the void, this will probably be blamed on AI by future historians. I really want to show my age here and use ‘BlipVerts’ as a tag for this – complete with people’s heads exploding… Oh, and this will not be limited to Pop – almost every other music genre becomes a lumbering dinosaur as it gets old and fattened. The coming generation will pick the usable parts from them and leave the carcasses to rot. However, expect plays-on-familiar Genre names until the music press catches up.

4) I predict no change in the technology of music-making. Companies will continue to mine the past for content or implement ‘AI’ goodies to shave milliseconds off routine tasks with no new breakthroughs that will be worthwhile. This has been the trend for decades now and honestly it’s getting pretty sad. New Tech does push New Ideas, but think of this is blessing in disguise. To quote one of my favorite phrases: ‘Use it up, wear it out, make due, or do without’ – so don’t believe the hype that some bit of hardware, software, or vaporware will make you the next Big Thing®. 

5) I talked about this a bit above, but the procedure for recording everything will go from ‘squeaky-clean and precise’ to ‘insanely simple and efficient’. The only way to counter the clockwork perfection is a complete 180 degree turn from it – stay off the grid, embrace Human foibles, and use the tech to capture reality and not to render it into something artificial. The ‘three chords and the truth merchants’ will welcome this first, with the true genii emerging from the fray. Collaboration, not computerization will be the key, with ‘practice makes (im)perfect’ the way forward. I’m probably about 10% right on this, but it’s worth tossing out there…

There is a lot of wishful thinking here, but we’ve all been through (and will continue to live with) major disruptions to our lives. Art reflects life and thinking that everything will magically go back to ‘normal’ is a fool’s errand. Of course, it could also just be “plus ça change, plus c’est la même chose.” Je ne sais pas…

Lastly, I leave you with the ‘Hot/Not’ Buzzwords of 2021. Feel free to put the ‘Hot’ ones out in the Memezone for everyone’s attention and misusage. 😀

-Hot: Screech, Cubist, Sector, Trank, and Manx.

-Not: Silo, Zoom, Influencer, Wellness, and Schaden-anything.

Farewell (and Good Riddance) 2020

Image Credit: https://www.flickr.com/photos/tydence/42324205195/

Just a quick one to wish everyone a Happy New Year and to let you know that more posts of The New Shiny Shiny are on the way – I just needed a break after the end of last year. Besides, not much has happened since the last post anyways…

I’ve also been fomenting a ‘Musical Psychic Predictions for 2021’ post that I started on New Year’s Eve. Might be fun to see if any of these come to light over the year. Pop by in a day or so and see if it materializes. 🙂

Anyway, I hope all of you had a few bright sparks over the Holidaze® to make you happy. I also hope there are many, many more of them for all of you in 2021.

Cheers!