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The Less-Crazy Mythbuster on Tech Annoyances

(From Popular Mechanics)

He comes off as a tad cranky at times, but I definitely like his idea for modular rechargeable battery cells…

New Offices in our Future?

Our building got bought about a year ago by a new owner, who’s been aggressively undertaking various construction projects, albeit mostly on the building next door, which was virtually gutted. For our building, it’s mostly been about constant roof work, as well some office consolidation on our floor which resulted in the hall outside our office looking like a mine shaft entrance for several months. One real bonus, however, was the installation of a card security system on the outer doors, preventing intruders like the one I ran into outside our server room at 3:30 in the morning some time back.

But the real drama began with a one-line addition to our January rent bill labelled CAM charge: $424.

“Waitaminnut!” I said, “our CAM [Common Area Maintenance] charge is built into our square footage!” Basically, our lease calls for us to pay for more square footage than is actually in our office suite, the extra rent going to pay for the halls and other common areas of the building. There shouldn’t have been an extra charge on top of that so far as I could see.

Apparently, however, all that construction didn’t come cheap, and I was told that the new, apparently monthly charge was part of a clause in our lease allowing for adjustments in our CAM charge reflecting increased costs after the first year. Since 15% of our space was charged as CAM already, this meant that the costs must have gone up something like 150% — either that, or something was very, very wrong.

I got on the phone to our property manager to discuss the situation, and, after a bit of back and forth, we got into a sort of “good news/bad news” situation. The good news: I’d only have to pay the new charge for one month. The bad news: when our office lease comes up in May, the new owner is looking for a rent increase of over 30%.

Now, it’s possible the situation’s changed in the 20 months since I last looked into it, but for 30% more than we’re paying now, I’m sort of thinking that we could get ourselves something with a bit more “s” in the “swanky” department…or at least some cool miner hats with lights on them for when we walk down the hall to the bathroom.

I think it’s time to start calling some commercial realtors…

The Age of Mid-Fi

I love music. I listen to it pretty much constantly; play a couple of instruments (some even competently!); and have bought about a bajillion CDs in my life. But I’ve never truly been a hi-fi purist like some of my fellow music-lovers—at least when it comes to listening to it outside of a recording studio control room.

A few years ago (a referenced in my earlier Tech Carnage post), I decided to “rip” my walls full of CDs to MP3 format in order to remove three entire storage racks of them from my living room, as well as be more easily able to listen to them when I was in different rooms or at my computer. At the time, I used a bitrate 50% higher than standard: 192KB/s, because cymbals in particular tend to fall apart on 128 KB/s MP3s. (Like most musicians, I tend to automatically tune in to my own instrument when listening, so as a drummer, 128 KB/s MP3s are pretty awful for me. 192 KB/s MP3s, on the other hand, hang together pretty well in all but my best listening environments.)

And that was part of my big realization when undertaking that project. Sure, if I close my eyes sit at the point of an isosceles triangle with my best speakers at the other corners, I can usually detect the difference between a low-bitrate MP3 and a CD, particularly on music with some subtlety and dynamic range. But when the heck do I listen to music like that anymore?

Let’s face it: 99.8% of the time I’ve got music on, it’s either coming from 1.5″ speakers under my computer monitor; the set of headphones which came with my iPod; amidst the road noise and weak speakers of my car stereo; or—if I’m lucky—on a slightly less weak set of speakers mounted to the walls of my study. An audio engineer would bust a blood vessel pointing out the huge ranges of frequency in all these environments which are either over-accentuated, obscured, or missing entirely.

Worse yet, most of the time I’ve got music on, I’m not listening to it: at least not in the sense that I’m blocking out all other external stimuli and really focusing on it. Sure, there’s some part of my brain that’s busy grooving along and memorizing every insipid lyric on the latest White Rose Movement album, but the rest of my brain is usually working on other things, like…err… blogging.

While closing your eyes and bathing yourself in the aural splendor of true high-fidelity music is a wonderful (though tiring) experience, we live in the age of “mid-fi”: music that sounds reasonably good, delivered with no irritating skips, scratches, or tape hiss…to distracted people listening in noisy environments on bad speakers. And we’re OK with that.

Rolling Stone has an excellent article on this in their latest issue (thanks, Hud for pointing it out!), including talk about how heavy use of volume compression has made virtually everything we listen to on the radio sound louder than in the past. It’s fascinating stuff.

The Tech Carnage Continues

I’m taking a perverse pleasure in going through my closets and storage areas this Christmas break, and chucking out huge piles of tech gear that just isn’t doing anything for me anymore. In addition to the previous carnage, here’s a fresh list of victims:

Destroyed: DAT tapes (lots of them!)
Cause of Death: Insufficient capacity.

Once, I was able to make multiple copies of every single file I’d ever created on a single 2 GB DDS1 DAT tape. For years, I stayed with DAT as my backup medium of choice, suffering through multiple $1,000 DAT drive failures, and upgrading from DDS1 to DDS2 to DDS4—ostensibly with 40 GB capacity per tape (but in reality, more like 25). DAT was also one of the only reasons to keep investing in SCSI cards, since (for reasons I still can’t fathom) none of the DAT drives I’ve ever owned ran on Firewire or USB. Still, hard drives continued their geometric increases in capacity, and by the time it became clear that I had to leave DAT behind, it was taking something like 45 DDS4 tapes to do the first full backup of the network (involving almost a week of tape switching). Although I like the idea of being able to stick a copy of my network backup in an offsite safe deposit box, I eventually had to switch to hard disk backup. A couple of years later, I decided it was time to destroy the boxes and boxes of DAT tapes I used to use for what now fits on a couple of hundred dollars worth of hard drives.

Discarded: Virtually all of my analog telephone equipment
Cause of Death: (1) For voice: a complete switch to cell phones in the house, rendering useless all those phone jacks, extensions,  and splitters. (2) For data communication: a combination of wireless, Cable modems, and a Sprint PCS card for road use.

I still keep simple test phone around for testing lines around the office, but for home use, analog POTS (Plain Old Telephone Service) is dead.

Decimated: Data CDs
Why: There’s virtually nothing stored on a five year old CD which isn’t easier to find new, and in a more appropriate format, on the internet.

Particularly hard hit by this phenomenon was my old collection of clip and stock art. As designer, I’m a packrat for interesting images, backgrounds, and textures which I can either use directly, or get inspiration from. Once, stock photography was like precious gems: doled out in 75-image chunks per $300 CD. Today, it’s easy to find incredibly high quality images of any description either in giant collections (such as Digital Juice’s fantastic Juice Drops), or on a per-image basis for a few dollars per use.

Moreover, images, like anything else, have a fashion to them, and older ones tend not to be very useful either in terms of content and style, or in the image formats and resolution themselves. After being spared several previous purges, dozens of such CDs hit the bin this time around—so many that I actually was able to remove an entire storage rack from one closet.

What about audio CDs? A few years back when I ripped my CD collection, I boxed up all 800 or so CDs I own and stuck them in storage boxes in the garage. That way, I figured, I could always go back to the original source material whenever it was needed, and preserve my karma—and the license—to the original music as it was played on my various MP3 players I own. Although I currently rip my CDs at a higher bit rate than before (usually 320 KBs or lossless these days), I’ve never really felt compelled in the years since to revisit the original CDs that I ripped at 192 KBs. They sound just fine as is.

I’ll be moving my CDs into a series of smaller boxes and hauling them up to the attic soon. The temperature extremes up there can’t be good for them, and I may be condemning them to a slow death, but at this point I think I’m OK with that. If I were gutsier, I’d just dump the originals now, but I’m not quite there yet. Still, CD’s are really just a distribution media for me at this point: the actual music is always played from some other media: usually a hard drive.

Tech Gear: Out With the Old…In With the New

As part of my end-of-the-year tidying up, I’ve been doing a big sweep of the house and posing Janet Jackson’s immortal question to my various pieces of tech gear: “What have you done for me lately?” If the device in question doesn’t have an answer (or more frequently, if it has a 1/4″ layer of dust on it), it gets sent on a trip to either eBay, Craigslist, Goodwill, the curb (with a big “Free!” sign on it), or my quickly overflowing dumpster.

Sure, a lot of these things were the cats pajamas in their day, but as often as not, that day was when I walked around in my Sisters of Mercy T-shirt. (OK, fine, I still walk around in a Sisters of Mercy T-shirt, but you’re missing the point…)

For the sake of posterity, here’s a partial casualty list of End Of Year Cleanup 2007 (and what replaced the device in question):

Discarded: The TV and FM antenna on top of the house (and about a mile of coax cable that used to connect it to various rooms.
Cause of Death:
DirectTV—and the realization that the 3 weeks I spent commuting with only Bay Area AM and FM radio to listen to was enough hell for one lifetime. Plus, the entire analog TV spectrum is due to go off the air in February 2009. What better time than the present to clean up my roofline?

Discarded: My Opcode Studio 5 MIDI Interface. An impossibly complete (and complicated) 16-port MIDI interface that was once the heart of my home recording studio.
Cause of Death: The end of serial ports, the death of Opcode Systems, and the lack of compatibility on anything past a PowerPC 8100.
Survived By: A new, USB MIDI interface with about 10 times the speed and half the cost. Oh, and it works with computers manufactured this millennium.

Discarded: A Lexicon LXP-5 Reverb and MRC (MIDI Remote Control)
Cause of Death: Modern digital effects and computer plug-ins. There’s just not the need to waste the cables and rack space (not to mention signal path noise) on outboard signal processors like we used to. I’ve kept a few of my better effect units for now, but the writing is clearly on the wall for these as well—at least in any situation where a computer is part of the mix. The LXP-5 was expensive as heck in its day, and it did one trick—reverb—really well. But it had no interface to speak of, requiring a whole separate unit (the MRC) to program the darn thing. The garbage can claimed both of these.

Sold: SliMp3 Squeezebox: the coolest streaming music device I’d ever seen, and which let me put my entire 800 CD music library at my fingertips.
Cause of Departure: The arrival of the iPod Classic 160 (which finally can hold the same amount of data as my old dedicated music server), as well as the streaming music capabilities built in to the Playstation 3. No matter how I look at it, or what situation I can think of to play music, it just became totally redundant. (Which is shame, because it really is a wonderful device in its own merit. It just no longer had any use for me).

Donated: My upconverting DVD player
Cause of Departure: The arrival of the similarly upconverting Playstation 3. A man just doesn’t need two DVD players hooked up to his TV.

Discarded: The last of my SCSI hard drives
Discarded: About a million cables for converting the 4 different standards of SCSI devices I once had, terminating various ends both actively and passively, and diagnosing signal loss from when things weren’t connected, converted, or terminated properly.
Cause of Death: Like you need to ask…

Capitalism Rocks!

Man, but I love capitalism! Prior to Thanksgiving, there was absolutely no need for 6-3/4″ circular rubber mufflers, or steel reinforcing plates in the form of a shoe, but thanks to a popular new music game, and the miracle of capitalism, we now have both.

Right around Thanksgiving, Rock Band shipped, and thousands upon thousands of people started playing with it. Immediately, they discovered things about the included instruments that needed fixing or improvement. A big problem with the drum pads were that they were so “clacky” when you hit them that unless you played with the game volume cranked, it sounds like you were tapping on the tables of a high school cafeteria while someone played a boombox version of the song at the other end of the room. Immediately, the message boards were full of ideas for a solution, including everything from Plasti-dipping the drumsticks to covering the pads with felt to cutting up mousepads and pasting them to the pads to muffle the noise. Within days, a brilliant composite solution was posted, complete with pictures. I can already attest that this has caused a run on black self-adhesive foam at the local craft stores (and probably nationwide). Someone even came up with a commercial version and started selling them on eBay, complete with swanky product logo (and, unfortunately, the traditional extra markup of overcharged shipping!)

A couple of Rock Band fans who happen to work in a machine shop also managed to solve another problem with the game: the relatively fragile kick drum pedal. Some of the more lead-footed players of the game were actually splitting their pedals in half, so the machine-savvy duo started cutting up diamond-plate steel (the sort of non-slip material used on utility trucks’ tailgates) using a jig in the shape of the original pedal. A bit of drilling, grinding, and six self-tapping screws later, they’d created a nigh-indestructible after-market pedal for your Rock Band drums.

Capitalism: the ability to solve somebody’s problem and make a few bucks in the process—solves problems like this all the time. What’s rare is seeing how really quickly it works its magic. It really was about two weeks from “Augh! Why does nobody make a product which solves this?!” to “Here’s the answer: what color would you like it in?”

I just wonder how long will it be before someone with the necessary plastic-tooling and electronics manufacturing facilities realizes what a huge profit is waiting if they can solve the “Can’t find an extra PS3 Rock Band guitar controller to save your life” problem?

Robotic, Self-Tuning Guitar

Robot Guitar

Now this is cool: Gibson just announced a “robot guitar” with a built-in auto-tuning system. Servos in the string winders are coupled with pitch detection to let the system automatically put itself in tune. You can choose both standard and custom tunings, letting you switch between standard and, for instance, Drop D tuning in a couple of seconds with the touch of a button:

[youtube=”http://www.youtube.com/watch?v=WetVXbYRfWk”]

(Music Trivia: ever wonder why Big Rock Musicians lug about 30 guitars onstage with them? It’s not just the guitarist’s gigantic ego…OK, most of the time, it’s not just their gigantic ego. Sound and style are part of it, but the need to quickly switch between different tunings depending on the song is at least as much, if not more, of a driving factor. It’s just no fun waiting for the guitarist to retune six strings to another set of notes while trying in vain to keep up stage banter, so they just bring extra guitars, pretuned to the various song requirements)

The tuning system was created by German engineer Chris Adams and his company, Tronical GmbH. It’s available both as an after-market add-on to many existing guitars under the name PowerTune, and as part of the limited edition Gibson pictured above.

For more details of this cool (but still a bit pricey) technology, check out the Gibson site at http://www.gibson.com/robotguitar/index.html.

 

Big Numbers: A Marketing Challenge

One of the biggest problems we have in doing ComicBase (or for that matter, Atomic Avenue) is trying to make big numbers meaningful. It’s the downside of running the biggest, baddest comic book database in town—at some point, you start to feel like you’re just babbling when you try to convey the sheer amount of information involved, or how much it’s grown from year to year.

For instance, ComicBase 1.0 contained some 20,000 issues from 297 titles—all the issues from every title I owned at least one copy of at the time. For the past fifteen years, we’ve worked tirelessly to add to the database, both in scope and in the amount of detail on each issue. First, it was hundreds of titles and a few thousand issues per version. Then it was thousands of titles and tens of thousands of issues per version. Within a few years, ComicBase had become the largest database of comics ever published, but we kept right on adding issues (and adding more detail to each issue as well). But how to put a face on this?

ComicBase 12 just added some 25,000 new issues (for a total of over 325,000!), and involved changes and updates to over 100,000 more—all since the previous year. It sure sounds like a lot (and it was!) but what if we’d settled for doing half the work: say, adding just 12,500 new issues, or making “only” 50,000 updates? Without some sort of context it all just seems like a bunch of large numbers are being thrown around, and there’s really no additional sales appeal conveyed by all our extra effort.

One place where I think we’ve done a reasonable job of it is on Atomic Avenue where, as I write this, some 610,000 comics are available for sale. The relevant comparison is that it’s almost seven times the number of comics available in all of eBay’s auctions, combined. Here, at least, it seems easy for folks to figure out that if you’re looking for a comic—any comic—there’s an awfully good chance you not only can find it on Atomic Avenue, but you’re likely multiple copies for sale in whatever condition you need (and you’ll also experience a lot less hassle in the process!)

But we could really use your help: What comparisons would you suggest if we wanted to talk about, say, the addition of another 15,000 cover images to the Archive Edition (for a total of over 200,000)? Is it meaningful to say things like, “It’s like discovering 75 long boxes full of comics that you’ve never set eyes on before!” or “If you looked at each comic in ComicBase 12 Archive Edition for just 10 seconds each, you’d need to spend over 277 hours to view them all!” Anyone got something more punchy or vivid?

Best “It Shipped” Notice, Ever

From a recent purchase I made at Despair, Inc:

Again, thanks for your recent order from Despair, Inc.

If you have received this email, it means that your credit card information proved valid and that your order has been sent. You might assume now that we have your money that you’re in for better treatment. You might also assume that if you try really hard, you will succeed. But your assumptions would, in both cases, be completely wrong.

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Tech Purchases of Yesteryear

When I pulled down the Christmas decorations from the attic this weekend, I noticed that we’ve actually been in our house long enough that some of the file boxes we’d put up with “destroy by…” dates seven years in the future had actually come due. “What the heck” I thought, “Let’s do some shredding!”

Let me tell you now: the process of feeding old financial records into a shredder for hours on end does not a heartwarming trip down memory lane make. (Mostly it just made me think, “Jeez, have I ever blown a lot of money on stuff over the years!”) There were a couple of nice surprises when I found registration cards from customers of ComicBase 1.0 who said kind things about us—and it was even better when I realized that the name on the top of the card was still a customer over a decade later. The other highlight was coming across the source code for an online D&D game I wrote for a CDC Cyber mainframe back in high school, as well as a BBS system I wrote during a college summer I spent working in Michigan for Dow. There was even the manual for a quiz-making program: my first professional programming gig—for the TI 99/4A computer. All of these got spared the shredder’s wrath.

Not so lucky were the countless receipts for tech items and office equipment. Mostly these just served as a vivid reminder of the relentless march of progress, and how much cheaper and better computers have gotten over the years. I knew it was bad, but some of the receipts were almost physically painful to read, like the first time I bought a hard drive with more than 1 GB of space—for a mere $1,300. The $419 I apparently spent for a 9600 baud Hayes Smartmodem (circa the time ComicBase 1 was written) also hurt.

I was also shocked to see that the first CD-R drive I bought: a crazy-fast 2X model with a drive caddy for loading disks, cost exactly as much ($999.95) as the crazy-overpriced Blu-ray burning drive we bought last year so we could ship ComicBase Archive Blu-ray Edition and claim eternal bragging rights as the first PC software shipped on Blu-ray. A little over a decade earlier, we were one of the earlier—but nowhere near the first—software to actually fill up a CD with all of our picture and movie content for ComicBase 1.3.

At the same time, I noticed that the prices I’ve been paying for electricity, paper, inkjet cartridges, insurance, and so on really seemed quite similar to what I pay now. Sadly, so is my cell phone bill, although it now covers two phones instead of one, and I can’t think of the last time I had to stare nervously over my statement wondering if I’d gone over my allotted minutes and ended up paying outrageous “overage” fees. And yes, about 1/4 of my cell bill today is still a laundry list of indecipherable fees, taxes, and surcharges, just like it was ten years ago.

Sigh. Cue the pretentious French saying about the whole “the more things change…” thing, I guess…