• Apple Music Library Organization & Marvis

    A few weeks ago I began using an iOS app called Marvis (which, I cannot recommend enough for helping to organize and find albums/playlists in your Apple Music). Using Marvis, I’ve created a few rule/filter sets that help me surface albums I haven’t listened to in a while.

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    However, what I am finding is a disappointingly large number of albums I have ripped or collected in MP3/FLAC over the years are incomplete. 

    Take this Neil Young album, After the Gold Rush for example:

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    Why in the world am I missing track 3?

    I know that I own this CD and ripped it myself. I’m totally confused as to why the track is missing. At first I thought Apple’s Cloud Sync was somehow to blame and that this track was just missing in my Apple Library but not on the actual filesystem. No such luck. It’s missing on my external SSD as well as on my backup drive. 

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    I am totally confused about what’s going on here! 

    The Great Purge

    Marvis has helped me realize that I have a bunch of albums in my Apple Music Library that I am never going to listen to. Stuff that I’ve acquired over the past 20 years or so. In the early years of digital audio, in a frenzy of “digital music acquisition syndrome” I just piled my external drives up with all sorts of garbage as friends and I would trade drives. For example, I like some Bjork now and then, but do I need her complete library? Prob not.

    Anyway, I have set a goal to reduce my Apple Music Library to just the essentials. I’ll keep complete albums that matter to me and remove stuff that I’ll probably never spin. But while I remove the cruft from my Apple Library, I’ll keep the source files on my filesystem/external drive so that if I ever want to reimport them, I can. 

    Which leads me back to my incomplete album problem. Some of the albums I want to keep in my Library have ended up being incomplete which is a bummer.

    As usual, Doug AdamsDoug’s Applescripts site has a script I can run to help me at least determine which of my albums are incomplete. Albums Amiss has proven especially helpful:

    This script uses track information to calculate whether a particular batch of tracks with the same Album title represent an incomplete or over-complete album, with either too few or too many requisite album tracks. Such batches will be copied to a discrete results playlist where they can be examined. The entire Music library or an individially selected Smart playlist can be scanned. (To be clear: the script does not check some kind of online database; it uses the extant local track entry information. Thus, tag accuracy is essential.)

    Of the 2,400 or so albums currently in my library (I’ve already purged about 300, so, progress!) this AppleScript found 700 that are incomplete. Now, at least some of those are because my track entry tags are missing but a lot are just plain incomplete albums. So this helps jumpstart the purge in 2 ways:

    • Start by reviewing the albums that are missing tracks for stuff I’ll never listen to and remove it from my library
    • Determine which incomplete albums I want to rerip from CD (and do so in some kind of lossless format this time around)

    Hopefully when this little project is done, I’ll have an Apple Music Library that consists of complete albums that I want to listen to and not a lot of cruft. From there, I ought to be able to build out some especially useful/inspiring lists in Marvis. 

    This, combined with my current habit of buying vinyl from artists I’m currently digging, makes me feel like I’m moving just the tiniest bit away from streaming as my preferred way of listening to music. 

    Anyway, if you are interested in learning more about Marvis, here is a terrific writeup of the application from Marc Barrowclift.


  • The Tyranny of the Filing Cabinet

    I have been thinking a lot about the relative merits of two different ways of storing files: a robust and well-executed hierarchical folder/file system vs tagging/metadata files. I’m thinking about this in the context of a work project but also in light of something L.M. Sacacas wrote a while back in, A World Ordered Only By Search, one of his excellent newsletters from Convivial Society.

    “There comes a point when our capacity to store information outpaces our ability to actively organize it, no matter how prodigious our effort to do so.”

    For many computer users of my generation, the filing cabinet has been a very useful metaphor for a computer’s directory system. Organizing computer files in nested folders is a reasonable extension of how the physical office space has always worked. That said, I’ve been considering a few of the limitations of the file/nested folder metaphor on computers that is probably hitting almost 30 years old at this point, if not more.

    1.) As this metaphor has been the primary way of understanding file organization for almost 30 years, we now have a generation of computer users who have never seen an actual filing cabinet or manilla file folder. The metaphor and filing system are lost on them, especially as this generation has almost certainly grown up using gmail or similar for their email which relies on searching, not organizing emails into folders.

    2.) In the file/folder model of file storage, a file can only exist in one place at one time. In this case we’ve taken a limitation of the physical world (“get me the invoice for last month from the Facilities folder”) and carried it over to the digital domain (“let me save this invoice in the Facilities folder”). In the world of tagging and metadata though, a file can exist in multiple places at the same time. (“Let me tag this document as an “invoice” and as related to “Facilities.”) The same instance of a file can live in multiple collections at once, transcending the limitations of the physical filing cabinet.

    3.) Now, getting back to that Sacacas quote from above: folder hierarchies require some internalized understanding of how the filing system works. It is very rare to encounter a hierarchical file system that is self-documenting enough that a new employee could file a document without any sort of training.  Moreover, as anyone who has maintained even the most well-manicured and maintained hierarchical file system knows, sometimes you’ve got to fall back on searching because you just can’t recall where it made sense to put some document. Tagging removes the burden of having to recall the “why” of a folder system.

    All of this said, searching is an imperfect solution. Just creating some kind of junk drawer for your data, the hot mess that Sacacas refers to in his piece, is not sustainable for an organization. Some kind of tagging needs to be implemented if searching is going to work. However, tagging does introduce some friction into the file management process, so we’re trading the present convenience of quickly being able to drop a file into a folder in some well-manicured hierarchy for the tedium of tagging a file when it needs to be saved with the future promise that this document will be easier to find. Either way, if not at the individual level than absolutely at the organizational level, our curation, collection and creation of digital data has totally outpaced our ability to manage it using the outdated metaphor of a filing cabinet.

    “We build external rather than internal archives. And we certainly don’t believe that interiorizing knowledge is a way of fitting the soul to the order of things. In part, because the very idea of an order of things is implausible to those of us whose primary encounter with the world is mediated by massive externalized databases of variously coded information.” 

    That quote is from the same Sacacas piece where, citing Illich, he goes on to discuss how when the “text” became detached from the “book” the individual became detached from the community. Much of this makes me think about how work will change:

    When an office migrates to tagging and becomes detached from the geological layers of meaning embedded in its folder structures, what will happen to shared understanding of the business that was represented by those folders?

    I’d love to hear any thoughts/feedback on this. Feel free to get in touch.


  • 2021 Year End Music Review

    Started writing this in my journal but figure it’s probably something share-worthy, here’s a quick look at what I listened to in 2021. Planning on using last.fm this year to better track this stuff.

    Telecaster/Guitar music

    Earlier this year during lockdown I picked up a very nice used American Telecaster. I love it. It’s the opposite end of the spectrum from my Gibson 335. They both have their place in my playing/songwriting. Anyway, picking up the tele got me listening to way more tele players including a lot of Kenny Vaughan and Marty Stuart.

    Reading a bunch of Kenny Vaughan interviews, he kept mentioning Hollywood Fats, Roy Nichols and Roy Lanham so I did a lot of digging on their playing over the past year.

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    Somewhere in that dive on tele players, I came across Ripley Johnson who is not at all like Kenny Vaughan but as soon as I heard him playing with his Rose City Band, I immediately went over to the Thrill Jockey website and bought all of the Rose City Band albums on vinyl. There’s something that reminds me of the more melodic exploration/noodling of Jerry Garcia’s playing in Johnson’s playing and I love his tone and the sound environment of the Rose City Band albums so he was a really welcomed accidental discovery this year. He reminds me a bit of William Tyler, too, but maybe more accessible or less demanding than Tyler who I didn’t listen to as much this year as I did in 2020.

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    I listened to the Jerry on Jerry audiobook this year which I highly recommend for any fans of Jerry Garcia and his playing. So much good material in there and it’s Jerry’s actual voice on the interviews so that’s a joy, too. He mentions this fiddle player, Scotty Stoneman, in a couple of the interviews and that ended up being a very useful vein to mine on the streaming services and it yielded a live show where he’s playing with Clarence White though you can’t hear Clarence too well on the recording. Still great listening and I could hear that sense of abandon and really long melodic phrases in Stoneman’s playing that Jerry was so drawn to.

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    Pop/Country, etc.

    I continued my deep dive into Bahamas. During a break in covid my son and a friend of mine headed up into NY to see Afie Jurvanen at Webster Hall and it did not disappoint even though it was a solo show and it would have been great to see him with a full band but, man, what a great player/performer/songwriter. I’ve gone back to his Live to Tape videos on YouTube so many times this year.

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    Also listed many times to Sierra Ferrell’s Long Time Coming. Great songwriting, fantastic performances. Such a listenable ablum, i should buy the vinyl version if its available (or would if they were not all sold out!). Her album deserves to be sold out, all killer, no filler!

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    Also, waded a bit into the Hiss Golden Messenger waters. I heard Way Back in the Way Back on our local 90.5 The Night radio station on my way to a gig. Immediately after hearing it on the radio I fired it up on Spotify and listened to it about 5 times in row. Love the guitar tone on the outro solo. I listened to a few albums and spun Quietly Blowing It many times and while they were all good, nothing grabbed me like that first song.

    Same is mostly true about The War on Drugs latest, I Don’t Live Here Anymore. I spun that album quite a few times. I’m not sure if it’s because of a lack of hooks or just my lack of attention but nothing from those repeated listening really stuck with me though when I fire it up when I’m putting the dishes away in the kitchen, etc, there is a really nice comfortable familiarity to the album so it may just be taking a while for it to stick.

    My son had been telling me about King Gizzard for months now and every time I put them on I just wasn’t feeling it. Until I heard their latest release, Butterfly 3000. Perhaps my favorite album of 2021. I love everything about this album from the songwriting to the sonic landscape. It’s all so new and fresh to my ears and melodic, too.

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    John Mayer Sob Rock. A few tracks on this really stuck with me and I love the whole shitpost vibe of the album and the sounds are just incredible and are like a nostalgia bath for the ears.

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    Other

    I have no idea how I landed on this album but I must have listened to it 25 times this year and still find it to be one of my favorite to listen to when I’m up before dawn waiting for a reasonable hour to start making coffee:

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  • iOS and Last.fm

    Really a bummer that iOS makes it so tricky to log listening to last.fm. While on vacation this week I haven’t been sitting at my computer that much and have been doing a bunch of listening on my iPhone and iPad and very little of what I’ve listened to is showing up in my log over at last.fm. I’ve discovered some great music this week and feel like a bunch of those discoveries are gone now because I have no easy way of resurfacing them. Agh. So frustrating.


  • Support artists, buy vinyl?

    I’ve been buying albums from new artists for the past year or so. If I find myself repeatedly listening to a new release on Spotify or Apple Music, I buy the record. It’s usually about $30 w/ shipping which is steep but I’ve long suspected that the margin is pretty good for the artist so, why not.

    A couple of recent purchases are Yola from the Easy Eye store and a couple of Rose City Band releases from Thrill Jockey. Have listened to them a few times and really like having the artwork/liner notes.

    Anyway, came across this today:

    A vinyl record costs ~$7 to manufacture, and a band typically sells it directly to fans for $25 — good for $18 in profit.

    By contrast, streaming services only pay out a fraction of a penny for each listen. 

    A band would have to amass 450k streams on Spotify to match the profit of 100 vinyl sales.

    So I think my assumption was correct that buying records from artists is a good way to support them. Anyway, so more interesting numbers around vinyl and supply chain are in the full article.


  • Getting better at tracking listening

    I use this service called readwise that helps me remember what I read. I’ve posted about it before. 

    Anyway, it occurs to me that I really need something similar for my listening. Like, what artists have I recently followed in Spotify or tracks I’ve dug Apple Music, etc. I think there’s probably some way to use iOS shortcuts to get at this info. Until then, I’ve resuscitated my last.fm account and paid for the year of Pro access so I can play around with the reports and API. I spent some time at lunch today hacking away at it. I think even just getting an email that looked like this grid below of my top albums from the past month would be a great first step. Note that some of these albums weren’t actually my top albums for the month but because of a bug in one of the apps I was using a bunch of songs got duplicate/triplicate counted. I think I’ve got that worked out. Anyway, nice little programming challenge for 2021!

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  • Focus mode for musicians on iOS

    I’m sure there are a bunch of really excellent use cases for the new focus mode in iOS but this one that I created yesterday is a total game-changer for me. On so many occasions I’ve been playing guitar or recording something in garage band and had a phone call or text interrupt the recording session and it is really a challenge to remember to put on do not disturb each time I launch a recording session in GB.

    Enter focus mode! I created a focus mode that turns off all alerts/interuptions called “Recording” and set it so that the mode is engaged every time I launch Garage Band. Focus mode is pretty intelligent and automatically puts all of my iOS devices in “Recording” mode as soon as I launch Garage Band. This is awesome and I highly recommend it!

     

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  • AirPlay 2 on Shairport

    This is still in its infancy but it’s fantastic to see AirPlay 2 support making its way into Shairport/Linux. I haven’t tested this yet as I’ve been buying old AirPort Express (amazingly, they support AirPlay 2) devices to replace my Raspberry Pi’s but it’ll be fun to pull out a raspberry pi and try to get synchronized audio playing out on my patio speakers.


  • Long Form Article Reading on Kindle, Improved

    Over the past year I’ve been using a service called Readwise.io to surface highlights from books I read on my Kindle and from articles I read on my iPad using Instapaper.

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    The service has its flaws but all in all has been useful to me in helping me to remember what I’ve read and found important.

    That said, I’m finding myself less inclined to wanting to read long form journalism on my iPad, especially at night in bed when I’m trying to stay away from screens or at the beach where my Kindle feels easier to read than my iPad.

    I have spent the past couple of weeks cobbling together a collection of tools that makes reading long articles on my Kindle easier as well as saves any article highlights I’ve made to Readwise.

    I wish that I could use Instapaper for this workflow but, while you can read Instapaper articles on the Kindle pretty easily, tracking highlights doesn’t work so well. So I’ve landed on the following:

    Push to Kindle from fivefilters allows me to easily push web articles to my kindle from my Mac (via Safari extension), iPhone or iPad (nice, easy to configure dedicated iOS app)

    I then read/highlight on my Kindle paperwhite

    When I plug my Kindle into my Mac’s USB connection, the highlights are automatically sent to my Readwise account

    This last bit requires a good bit of AppleScript sorcery but it’s pretty easy to achieve using EventScripts.

    Basically, EventScripts notices when my Kindle is plugged in. Once it sees the Kindle is plugged in, it executes this AppleScript which emails the My Clippings.txt file automatically to readwise who then imports it.

    Really pretty elegant stuff here that, I hope, shows the value proposition of many small/lightweight tools loosely coupled as opposed to some monolithic solution.


  • Apple Lossless Dolby Atmos

    I scored a great deal on a NAD receiver/amplifier (with a phono preamp!) recently and finally had a chance to run it through its paces into my KEF Q150s. I primarily listen to vinyl through this setup but also have an older AirPort Express going into an outboard DAC via optical out so that I can stream music from Apple Music and Spotify via AirPlay from my iPad/iPhone.

    Which is how I stumbled across the opportunity to check out some of Apple’s new Dolby Atmos versions of albums. First up was a quick run through Rush’s Moving Pictures. The Dolby Atmos logo showed up under the album art and I sent Tom Sawyer over to the NAD via AirPlay ready to have my socks blown off.

    And it sounded like garbage. I did some A/B between the Apple version and the Spotify version and the plain old Spotify version sounded way better. So I did some digging and it turns out I was doing it all wrong.

    The thing with Atmos-enabled albums is they should only be played on Atmos-capable speakers/headphones (like AirPod Pros or HomePods via Apple TV) not on a pair of regular KEF’s. It took me a while to figure out that it’s important to sanity check the Music settings on your iOS device to make sure everything is all cool before sending music over AirPlay.

    When you go to Settings->Music->Dolby Atmos on your iPhone or iPad make sure it’s not set to Always On! If you put it on Automatic what happens is if you are playing through AirPod Pros (or other Atmos-enabled speaker) is that it plays that Atmos-version of the album but if you AirPlay to a regular stereo, it plays the Lossless instead.

    I confirmed this and now when I choose to AirPlay to my HiFi system the logo under Moving Pictures changes from “Dolby Atmos” to “Lossless.” Pretty cool.

    So, the regular stereo Lossless stuff sounds, as expected, pretty excellent through the NAD->KEF setup. Also, the Atmos stuff sounds pretty cool through the AirPod Pros I have, not sure if it’s anything more than a novelty at this point. Some mixes just sound a little wider but others (I stumbled on I Want You Back by Jackson 5) you can really hear the soundstage way more distinctly in the Atmos version as opposed to the plain stereo version.

    I don’t do a lot of serious listening through my AirPods but if you have a pair and want to hear something really cool, click this link and wait about 10 seconds and then start to turn your head from side to side. Pretty cool, right?

    So the next step here is to check out some Atmos stuff on my pair of stereo HomePods. I have a pair of the original HomePods and they sound killer as a stereo pair. Unfortunately you can’t airplay right from your phone to the HomePods and get Atmos-enabled sound. Instead you need to send audio from an Apple TV to the HomePods to get the Atmos features. Which isn’t too big of deal since we’ve got an Apple TV in the room with the stereo pair. I’m looking forward to checking that out.


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Reading Notes

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