Tonight I reached 7500 tracks in my iTunes library. A far cry from my husband’s 15,600 tracks (he’s got more CDs and Creative Commons tracks than I do), but that’s still 20.5 days of non-stop listening. For years we were only buying CDs, but 2009 was the year where we went mostly digital after iTunes went DRM-free. For us, that was the key to move to digital. I started collecting free promo mp3s sporadically back in 2006, but it was in 2009 when their numbers exploded in my iTunes library. In fact, I’ve noticed that especially after 2007, there’s a stream of freeware promo mp3s out there that gets bigger and bigger every year. Some indie artists give 1/3 of their album for free these days (e.g. Cold Cave)! Anyways, here’s the breakdown:

7500 tracks, 44.5 GB on disk, 20.5 days

2000 were bought from iTunes in 2009-2010 (we spent a fortune!)
300 were bought from Amazon in 2010
3700 are freeware, legal promotional mp3s or Creative Commons
1500 tracks were ripped from some of our bought CDs

2430 tracks were released in 2009
4000 were released in 2008-2009

5150 are tagged as “Alternative”
1180 are tagged as “Rock”

Only about 20%-30% of the tracks are from artists signed to major labels.

4150 tracks are starred so far:
660 tracks have 5 stars
1300 tracks have 4 stars
1635 tracks have 3 stars

Most played tracks:
1. “The Keys” by Dolorata
2. “Gold for Bread” by Blitzen Trapper
3. “The Tornado Lessons” by Cloud Cult
4. “Heads will Roll” by Yeah Yeah Yeahs
5. “Sci-Fi Kid” by Blitzen Trapper

Most tracks by the same artist:
1. Madonna (190)
2. Depeche Mode (113)
3. Blitzen Trapper (68)
4. Portugal. The Man (62)
5. Coldplay (53)

Oldest track added in iTunes library:
“New Years” by Asobi Seksu: 10/17/2006 11:08 PM
Newest track added:
“Vapor Trail” by The West Exit: 1/15/2010 12:43 AM

Shortest track:
“Foreword” by Linkin Park: 14 seconds
Longest track:
“Rime Of The Ancient Mariner” by Iron Maiden: 13:35 minutes

Lowest Bitrate:
“Induction” by Broken Spindles: 32 kbps
Highest Bitrate:
Various at 320 kbps (mp3)

UPDATE:
I was reading an article at OSNews and tried to answer the “is there profit in a world of file sharing” question (in my case legal promo mp3s, since I don’t pirate media). So I went back to my “Purchased” section of iTunes, and checked it out. I found that from the ~2000 iTunes tracks I bought:

1. 900 tracks were bought (just in 2009) because I discovered these bands via their promo mp3s in the last TWO years of collecting legal promo mp3s.

2. 350 tracks were bought after discovering the bands due to word of mouth (e.g. from friends on Twitter or IM).

3. 750 tracks were bought from bands I got to know by traditional media, e.g. TV/radio, over my LIFETIME. However, about 300 of these tracks are purchases made FOR my husband, and are not the kind of music I’d normally buy (while the numbers above are all for music bought for my own music taste). So this leaves the “traditional PR” artists with just 400 bought tracks.

So within a single year of starting buying digital music, I bought 900 tracks from bands I discovered just in the last 2 years. And only 400 tracks were bought for bands that I’ve known for many years via traditional means. I’d say that promotional, viral, mp3s work best for heavy internet users, way more than radio/TV promotion.

This is a frame snapshot out of an already twice re-encoded 720p video, shot with the Canon SX200 IS. A friend of mine shot this recently, all “auto”. When light is adequate, the result is fabulous with these small Canon cams. Click for a larger PNG version.

Love it or hate it, it’s in fashion. As Stu Maschwitz many times explained on his blog, the “teal” color is used a lot in the last 10 years in Hollywood. Either as teal, or towards blue or green, but definitely not “natural” red though. I used the same convention for the music video I shot a few months ago.

Yesterday someone asked me how it was done, so I decided to put this blog post together. Click the following image to view the arranged Vegas plugins used.

This is my mountainous village where I originate from, Skiadas. I lived there from the ages of 2 to 4, and 9 to 12. It’s what I consider home. My father’s house can be seen in the picture too. I can’t believe how easily I was able to run through the climbs to reach other houses when I was a kid. If I would try the same thing today I’d probably die of a heart attack mid-way. My 82 year old grand father doesn’t have a problem with the landscape though, he still pushes through like a teenager. Anyways, I miss my home, I’m just mumbling.

Click picture for a larger view. Picture by Kostas Dimeris

From Wikipedia: Skiadas took that name because the ancient Greek God of the dead, Hades, would sometimes come out of his underworld to seek for some daily light (which its supposed entrance is only a few miles away from Skiadas at the nearby Serziana village — that my mother is from). But because he was sensitive to sun light, he preferred to stay near Skiadas where sun doesn’t shine before 11 AM and there’s lots of shadow (because of a high mountain in front of the village). ‘Skiadas’ means “the shadow of Hades” (in Greek: Σκιά του Άδη).

Skiadas is part of the Souli region, a collection of mountainous and hard-to-reach villages that never succumbed to Turks during the 400 years of Turkish occupation (well, not until a Greek traitor showed the Turks a secret passage). Interestingly, my grand-mother on my father’s side had the same surname as that traitor — a shame that we try to not think too much about in my family. 😉

FCC Disclaimer: The following are my very own personal & truthful opinions.

Enthusiasts usually want the latest and greatest. They often go and buy expensive camcorders, dSLRs, or even 35mm adapters for them, only to never use them again after the novelty wears thin (and I’ve been guilty of it too). Or, more often than not, they use them, but they never fully use the equipment on its best of its ability. I know people who bought an HV20, and yet they always shoot in “auto” mode. They don’t take advantage of all the other features and settings the camera has to offer.

As some of you know, I’m a fan of the Canon SX200 IS, a $300 digicam that shoots 720/30p, and has more video manual controls than any other P&S digicam (read my review about SX200 IS’ video mode here). Around the same time the SX200 IS was announced, Canon also announced the SD780 IS. The SD780 IS has almost the same manual controls the SX200 IS has: exposure compensation & locking, contrast/saturation/sharpness control, manual white balance, macro/infinite focus modes, and focus lock. The only thing that’s missing compared to the SX200 IS is that it doesn’t have a manual focus mode, and that its lens is smaller, therefore letting less light hitting the sensor (so it’s noisier). But it’s $200, compared to the SX200 IS’ $300, so it’s acceptable.

My point is that these cams shoot good-enough video for the kinds of videos most people shoot. There is no reason to buy a camcorder, or even a dSLR if you’re not really serious about video. While a few more options would be nice (e.g. additional 24p frame rate, shutter speed support), even without these features, these digicams can offer amazing quality for the price. All it requires is to know how to shoot properly.

I wish people stop buying these terrible digi-recorders instead. They buy a Flip HD or the Kodak Z-series, while these Canon cams are actually much better for the same price: they have optical zoom, they’re smaller, they shoot still pictures too, they have optical stabilization, better lenses, higher bitrate codec, some exposure control, and other settings. Apparently, they also have a better microphone than any digirecorder, or Panasonic/Kodak P&S digicam too. In fact, the Sony and Panasonic digicams announced today at CES still don’t offer all the Canon video features, and Sony seems to be playing with our nerves for using just 6 mbps bitrate for their 720/30p video capture! Consider Canon’s 24 mbps.

I found this useful add-on for the SD780 IS that allows you to attach an ND filter and sunhood. For $50 you can get all three. The ND filter would help bring down the shutter speed, that’s normally too high on these cams, and the sunhood would help to not get CCD light artifacts.

So, while I already own an SX200 IS, I’m thinking of buying an SD780 IS to shoot a music video for a local band. Sure, I own an HV20 and a 5D MkII too. But I want to use the SD780 IS as part of “a project”. A project that details how to shoot properly, and what you can do with these small cams, in order to get an acceptable result out of them. I just want to prove to many people that you don’t need the best tool to create something that’s viewable. It’s not the camera that matters, it’s how you use it. From the moment you have the minimum acceptable tool in your hands, then all it takes is talent, not hardware. This proof of concept idea will end up costing me over $200 (I will probably buy some extra batteries too), but if I can convince one consumer, and one rock band to go that route instead of spending hundreds or thousands of dollars in equipment they don’t really need, it might actually worth it.

What has both surprised me and saddened me deeply is that after relentlessly searching for “artistic” or “atmospheric”, let’s say, videos on Youtube and Vimeo that were shot with either the SX200 IS or the SD780 IS, I found almost nothing! Except my own SX200 IS videos on Vimeo and this video, I found nothing else similar around. Every person who bought these cams (and they’re a lot of them) seem to be busy shooting their cats instead — handheld. They could do so much more! Same goes for most of the people who actually bought camcorders that don’t use in their fullest.

Such a waste.

I spent two very nice hours with JBQ tonight deconstructing music. JB has studied theory of music, so he delivered on my hopes to make me understand why I don’t like the hipster bands, namely Animal Collective (AnCo), Dirty Projectors (DP), and Grizzly Bear (GB). So we compared them with my favorite experimental band, the Cloud Cult, and a few other bands. Here’s what we found out:

1. We found that Cloud Cult, one of the few experimental bands that I like, actually pass themselves as experimental, but the constructions of their songs is very classic: there is always a rhythm, albeit usually hidden from the listener, but still there to not throw him/her off. And there’s melody and harmony at all times. One of the great features of Cloud Cult songs is how they start with 1-2 instruments, the song then transforms to a classical piece, and then somehow transforms back to rock. In contrast to most experimental bands out there that change their songs mid-way, Cloud Cult never change their tempo, even if they change music styles within the same song. Also, the songs’ transformation is slow enough that the listener can follow the genre changes without feeling that he has had the carpet pulled out of his feet. So basically Cloud Cult is more of a smart classic band rather than full-on non-accessible experimental.

2. I always thought that what drove me crazy with AnCo’s music is that it has no melody. Apparently, it’s not the melody, but the rhythm/beat. AnCo’s electronic music is very jazzy usually, where the instruments don’t play in sync with the vocals or other instruments. This jazzy feel confuses me musically because I don’t know to which instrument I should be holding on to in order to find enjoyment. A massive proof for that is that I LIKE the few AnCo songs that are faithful on a rock-style (as opposed to jazz-style) rhythm! Namely: Grass, My Girls, Summertime Clothes. I can’t stand jazz, so it’s no surprise that I don’t like most of AnCo’s songs. I need a “beat” to music. An instrument or vocal that tells me WHERE to latch my brain and follow it. Jazz is the exact opposite of that, and I guess, I’m just not used to it. Then again, most people don’t like jazz (at least in the environment I grew up). Some of their songs, also lack harmony (e.g. “Guys Eyes”).

3. Further proof for all that is the fact that I don’t like Nine Inch Nails either (I like maybe 2-3 songs overall from them too). While NiN are not as jazzy as AnCo, the vocals are usually off the beat, enough for me to dislike their songs. Red Hot Chili Peppers are also off in their drum and bassline, but they somehow complement each other every time in a way that does not throw me off. So NiN are out, Red Hot Chili Peppers are in, even if they’re not exactly classic in terms of music construction.

4. For Dirty Projectors, we agreed that they have no harmony. There is a melody, and there is rhythm. But there is no harmony in the vocals, so their songs sound like a bunch of kids who don’t know how to sing. The music itself feels bare and undeveloped too. The band tries to break conventions in order to “break new ground”, but all it does really is breaking well-researched parts of music theory. This is no different than the market being full of finger-friendly capacitive screen smartphones, and these guys decide to create a new phone that uses a stylus! It’s not pretty. It’s doing it differently for doing it differently, and that’s just not good enough for me to like something. As JBQ put it, that’s just a band to piss off your 40 year old parents when you’re 16 and angry at them. They offer nothing more useful than that to my ears. Without harmony in the vocals, some of their songs feel like when my neighbors are fighting for attention.

5. Grizzly Bear have harmony, rhythm, and some melody. But they’re boring as hell. It feels like they didn’t even try to write music. It’s like a bunch of lazy kids sitting on the balcony and getting sun, and someone walks to them and orders them to “write music, or there’s no dinner for you tonight”, and then they looked at each other and say “you write something”, and then they all reply “no, I don’t feel like writing anything, you do it”, “no, you do it, take one for the team”. Finally, someone replies, “oh, whatever, I’ll do it”.

Tonight we established that we don’t want to hear DP & GB ever again in our lives. They’re annoying as hell. We established that we, like most humans, require both rhythm, harmony, and melody, plus a joyous, and/or catchy beat. If all these requirements are met, we usually like the song. If not, they fall apart for us.

Today Canon announced a slew of new AVCHD camcorders, as they do every year at CES (I hope you didn’t buy an AVCHD cam for Christmas, always wait for CES). The particular model of interest for most readers of this blog is the new HF-S series, the HF-S21. The particular new features that are interesting to high-end consumers are only two:

1. True 24p. No need anymore for pulldown removal. Yay!
2. Touch & Track. You just click on the huge 3.5″ touchscreen LCD, and the system will automatically track the object while you move with the camera. Particularly useful if you’re using a steadycam for music videos or short movies.

The rest of the new features are just fluff for clueless consumers, or nasty software hacks (e.g. the claimed “better low-light support” that this camera now has, while it’s the same sensor/glass as the previous model).

However, the HF-S21 is still missing the point. No full manual control, no real focus ring, and no bigger sensor at around 1/2.0″ (to combat the dreadful low-light performance this sensor/lens combo has on that model). And no 720/60p either (the hardware can do it).

What’s important to remember here is that the Canon 7D is eating away the high-end consumer and much of the prosumer market. The 7D has the best performance/price ratio for what it gives you. And that includes good low light, a selection of lenses with focus rings, 720/60p for good slow-mo, and of course, full manual control. Any serious amateur filmmaker would root for the 7D instead of any of the AVCHD Canon cams.

In other words, the 7D has up’ed the bar. For the engineers at the consumer department at Canon to keep their jobs they MUST have offered the equivalent of a high-end consumer camcorder in the face of the HF-S21. They don’t have the luxury anymore to do incremental updates as they do every year. The high-end consumer model has to be _serious_. They needed a new HV20-style AVCHD camera feature-wise. When the HV20 came out in 2007, it changed the landscape. That’s the kind of product (in spirit of course, not in features) that Canon’s consumer department needed TODAY.

Oh, well, here’s one more year waiting for that Canon department to get off its ass. If I hadn’t already bought the 5D (for reasons I explained in a previous blog post), I would still be with the HV20 and not upgrade until Canon got it right.

U2’s Bono calls for control over internet downloads, says on his guest column at NYTimes.

I fail to understand how this can be done though. He mentions child pornography as being combated successfully by law enforcements, but thing is, child pornography is less widespread than… mp3s. And it’s ALL illegal, while not all mp3s are illegal. It would cost an arm and a leg to get officers tracking down every possible mp3 on the internet, since it’s not just bittorrent we’re talking about, but also a lot of “music blogs” that link to illegal files, and PR/artist/label/music magazines that link to LEGAL files. So how do you know which ones are illegal and which ones are promos/freebies? The only ways to really regulate the situation fast-enough, and cheaply-enough, are two:

1. Make ALL downloaded media file formats illegal. No exceptions. This of course is not a very practical or even constitutional solution.
2. Require that all WMA/AAC/MP3s files are digitally signed. Not DRM’ed, but signed with a license. It’s the only way to easily find out via a ‘crawler’ utility that FBI could build if an offered mp3 is a promotional free-as-in-beer file, or an illegally uploaded one.

And this would create massive problems to indie and Creative Commons artists, because it would make every artist a registered provider. Given that most of them can’t even complete their mp3 tags properly on their free promo mp3s before uploading on their server, I fail to see how the same people would be able to properly get a license to give out mp3s. Such a measure won’t only make users outlaws, but some of the artists as well! In other words, such measures for file distributions would have the exact opposite effect of what that Bono claims to “the young, fledgling songwriters who can’t live off ticket and T-shirt sales“.

The music magazines will also be hit with the problem because they won’t be able to give out mp3s as easily anymore. Which would mean less exposure to the artists. I mean, I spent most of my holidays tracking down legal mp3 promos. I added 2.7 GBs of legal mp3s in my music collection the past 10 days, and I found some really good artists this way that I actually later bought their full albums or more mp3s from them. Under a new regime, downloading mp3 promos would be an ordeal, and an added risk. The magazines wouldn’t bother, the users wouldn’t bother. Too much trouble about nothing. Who’d pay the price for it? The indie artists.

The major labels and artists won’t be hit much from it, since they almost never give out free promos anyway! If such a law ever passes, it will be a massive kick in the nuts for the indie industry and Creative Commons artists, because the promos or freebies are the only way for these artists to be heard. In fact, according to reports, the average indie artist is making increasingly more money these days rather than back in 2000 — despite the rampant piracy that’s going on in the last 10 years. Obviously, restricting the media transmission will bring the world back to a pre-internet era, where the major labels have the upper hand again, because they would be controlling the internet too, in addition to TV and radio, while the indie artists will be dying of hunger.

Not to mention that wild rumor that’s going around for a while now that RIAA is preparing an international copyright treaty where people would be questioned on the airports about where they got their music files from. Think of having to give out your iPod to a special machine during security checking to check for all the embedded licenses. What would happen on the older files that have no licenses? CD-rips? Not to mention that going through 120 GB of data is enough to make you miss your plane too (these hard drives are dead-slow). Sure, this is just a rumor for now, but there’s no smoke without a fire. This is why I _always_ update the “comments” tag of all legal mp3s I download with the URLs I downloaded them from, to prove that it was from either an artist/label/PR site, or a well-respected music magazine. Might prove me wise in a few years time.

And if airport checks might never realize, house-to-house checks might. I trust RIAA to lobby for things like that. Just like you get your door knocked in UK by officers to check for your TV license, there’s no reason why an officer wouldn’t knock your door to check for your mp3s on your computer, if such a law passes. I trust that if they find “what seems to be illegal” mp3s on your drive they won’t charge you with thousands of dollars per song, but certainly $100 or so. There would be enough volume to pay for these officers, and RIAA, and the government. Who loses again? All the citizens, artists and not.

Sure, this sounds like a “police state” to you, that “will never happen”. But if you had a time machine and you could transport yourself back to 1920s, and you mentioned to the people of that era that by 1980 everyone would need a license to have chickens in their garden, they would laugh at you and tell you that you’re fucking crazy. Sorry guys, but that’s how most political shifts happen in a capitalistic environment. Slowly, but surely, usually induced by lobbying. It’s never a swift change, it’s always done gradually.

And finally, the other problem of file-signing is technological innovation. If the governments of the world require all AAC, WMA and MP3 files to be digitally signed, then it might make it illegal to use a different file format, simply because the government won’t have ways to check licenses on newer media formats. And if not illegal, certainly a trouble-making experience. So basically, the media formats would be a “locked” affair, since no one would want to jump to another format, from fear of what might happen to them. This would kill R&D on audio and video formats. This is how technological innovation dies. With fucked up laws and regulations like the ones Bono aspires to.

So, my dear Bono, as South Park so elegantly put it, your ideas are the biggest pieces of crap in the world. Well, either yours, or the RIAA/UMG prick who wrote that article for you.