iPad pros and cons

Good discussion of the iPad and Apple's brave new vision for the Web (from jim, a web developer I'm privileged to know and whose patience with me is about at an end), the .h264 vs Ogg Theoria video spec (amazing technical discussion from mark, an expert in the compression biz), and how these topics interrelate. The Ogg issue came up as evidence of Apple's tendencies to world domination (that argument was my contribution)--Jobs & Co. refused to use that standard, which the open source guys came up with, ostensibly because of the "threat of submarine patents," which is not about submarines but does involve bottom dwellers.

What I take away from the discussion is the iPad locks you, the ordinary user, out of being able to tinker with your computer as part of the general idealistic process of moving applications to the Web where they run on someone else's server (gmail is an example). The idea is we will no longer be tied to large "home mainframes" but can travel light and do our computing wherever we go, and will no longer have large caches of data and programs susceptible to viruses and other meltdowns. We are assured that Apple took the lead in developing specs for this next generation of light, mobile computing, for itself, yes, but also for The People. You will still be free to surf the web on your iPad and use whatever applications are available online.

For most people with iPhones and iPads, though, "the Web" will be what you buy in the Apple Store (media and applications for your Apple hardware), which is censored by Apple (if you can't throw a virtual shoe at Bush imagine finding an app relating to organized political protest). To me the central contradiction of the Apple apologist argument is that a company that made its money dumbing down the computer for amateurs, turning file-sharing into a safe-for-corporations profit zone, and steering people from the Wild Web into centralized databases, is somehow going to set us free.

One Day at the "Green" Deli

"What muffins do you have?"
"Corn, with chocolate chips; banana nut, with chocolate chips; apple cinnamon, with chocolate chips, and carrot raisin, with chocolate chips."
"Do you have any without chocolate chips?"
"No, I guess not."
"Scones?"
"They all have chocolate chips."

Another customer chimes in, "I'll have your chocolate chips--I love'em."

(apologies to Monty Python and Spam)

"H.M.M.M. 2"

"H.M.M.M. 2" [6.2 MB .mp3]

hallenbeck_studio

Remix of some live-in-the-studio music by Travis Hallenbeck. As described in an earlier post, his music setup includes a midi step sequencer, midi mixer, sound module (see YouTube demo), and a vocal synthesizer that responds unpredictably to audio from the above gear. The midi mixer doesn't just mix but changes parameters by altering control messages for pitch, delay, etc in real time. Hallenbeck works these sliders pretty hard so the music changes constantly and unpredictably.

The diagram above is from his flickr page. The vocal synthesizer is not in this diagram, and Sound Club (a tracker-like software sequencer) wasn't used in this recording.

My remixed version was done with Cubase, virtual reverb and a drum-sampler with my Sidstation kit. It's a fairly aggressive mix, cutting up the live recording and making loops that are then moved around to change order of the phrases, or repeat a phrase more times than it originally appeared. Aggressive in the service of bringing order to Hallenbeck's carefully-wrought chaos so there may be a tug of war of sensibilities here.

One thing I learned after the recording was how the sounds are produced by the Roland sound module: a late-'80s process called Linear Arithmetic synthesis, described on Wikipedia as follows: "a form of sample-based synthesis combined with subtractive synthesis, to produce its sounds. Samples are used for attacks and drums, while traditional synthesis assures the sustain phase of the sounds." Meaning the "attack transient" that makes, say, a characteristic piano sound is followed by a synthesized sustain that can be altered, filtered, and warped out like a synth.

This explains the slightly halting, lo-fi-but-not-to-the-point-of-being-raspy quality of the sounds. It's another of those abandoned avenues of technology, like 8-bit music (but more fleshed out) that became obsolete when chips got faster and could store more "complete" sounds. It's aesthetically interesting now because the clever and economical sound-generation method for most practical purposes no longer exists, making it pleasing and slightly exotic to ears attuned to today's slicker, fuller sampling regimens.

Hallenbeck's gear includes a current hardware step sequencer (the MFB Step-24) and my mixing software is new-ish so this is "hybrid" music rather than antiquarian.

Update, Feb 28: Made a few minor tweaks and reposted. Am resisting the urge to bump the volume to "CD level" as I think that will make it too harsh.