Thoughts on the Apple TV: Hard Drive Perils

Part of the Thoughts on the Apple TV Series

  1. Thoughts on the Apple TV: Hard Drive Perils
  2. Thoughts on the Apple TV: Format Woes
  3. Thoughts on the Apple TV: A Possible Alternative

AppleTV

So the much-anticipated Apple TV has shipped and, of course, the extreme early adopters are having a field day tearing the thing apart to find out what it can do. Some clever folks have already been able to install larger hard drives, more video codecs, and even the full version of Mac OS X, rendering what Cult of Mac calls a “Mac Nano.”

To be sure, it looks like an impressive device. But I probably won’t be buying one for two principal reasons, neither of which is the fact that I don’t have an HDTV set.

Reason 1: The perils of hard disk storage

Having been a participant in the digital media revolution for 10 years, I see some parallels between the state of video today and the state of audio in the late 90s. A decade ago, you were lucky if you had more than 10 GB of internal storage in your computer. With the overhead of operating systems and applications, there was a limited amount of storage on that drive for the MP3 scene’s early adopters. Even at just 3 MB per song, that drive would fill up fast. An external drive would cost you $300-400 for 6 GB of space, but that too would fill up before too long. At the time, one solution was the small, but growing market for writable CDs, which cost about $2 for a single 650 MB disk (in addition to the several hundred dollars for the 2X burner itself).

Similarly, while storage conditions have kept pace with growing file sizes, today’s digital video market faces some of the same logistical hard disk challenges for the end user. Apple’s own estimates say that a 45-minute TV show will run you 200 MB and a full-length movie is 1.0-1.5 GB. A modest collection of 100 movies will cost you 100-150 GB of hard disk space. Add to it complete TV seasons and expect that to grow substantially. Using Apple’s numbers, the entirety of the Star Trek franchise would use ~155 GB of disk storage.

To be sure, today’s hard drives are indeed up to the task of holding a large video library. 500GB disks can be had for less than $200, ensuring plenty of room for an expanding selection of movies. But whether you encode videos yourself or buy from the iTunes Store, that library will represent a hefty investment of time and money. And the most dreaded event in computerdom can wipe it all out in an instant: a hard drive crash.

Any reasonable, non-risk-taking person is going to want to implement (and practice) a regular backup plan for their media. The most convenient choices are to purchase a second (and possibly third) drive to house copies of all the video files, or make regular trips to the DVD-R burner for offline backups. The hard drive option would offer nearly instantaneous recovery to an iTunes+AppleTV-based media system, but it would double (or triple) your upfront costs. Additionally, if and when one of those drives fails, it will have to be replaced at the current market price for hard drives.

True, the arguments I made in defense of digital music can apply to digital video as well. But, for the present, there’s a matter of scale which makes the effort more cumbersome for video. Plus, a music library containing a large number of songs with short playing times benefits more from the instant accessibility and portability of the iTunes+iPod model than a video library with relatively few entries and long playing times.

Thus, for me, the more appealing scenario for personal digital video is that of the burned DVD because, with the right DVD player, your “backups” can double as working copies. Thankfully, it’s also much, much cheaper per megabyte than CDs were 10 years ago.

Which brings me to:

Reason 2: Incompatible video formats.

Yeah, What They Said 3/23

Yeah, What They Said is a new feature on tunequest. Some people call it “link sharing.” These links won’t necessarily be music or iTunes related, but I’ll try not to stray too far from the topics on this site. Mostly though, it’ll be stuff that’s cool, but that I don’t have time to write about.

Behind the Mario Maestro’s Music:
Koji Kondo was in his mid-20s when he wrote the iconic music for The Legend of Zelda and Super Mario Bros. for the NES, but he doesn’t compose much these days. Wired takes a look a him.

10 Albums in 10 Minutes: Classic albums cut up and squeezed into 60 seconds of playing time.

Millions Dream of Megamillions: Compete blog charts the rise in Internet activity as the recent Megamillions Jackpot increased.

If You Can Read This, You’re Hired: How would you find a really good typographer? Would you use dingbats? If you can decipher these ads by 3/25, you could get a 1-year subscription to Indesign Magazine.

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Bonus video: here’s Koji Kondo playing Super Mario Bros on the piano:

Air – Pocket Symphony: A Little Side Step

For these past couple weeks, tunequest has been counting down to Air’s fifth full-length record, Pocket Symphony, which was finally released a few days ago. I’ve had it long enough to give it a handful of thorough listens and I can tell you that this thing oozes craftsmanship. The numbers don’t lie and after rating all the songs on the album, I’ll confirm that this is good stuff.

Upfront, let me say that I like Pocket Symphony. It is quintessentially Air; there’s no doubt about that. Sensually cool, in that singularly French way, Pocket Symphony lives up to expectations. But… it all feels a little too familiar.

Don’t get me wrong; I’m going out of my way to say that I really enjoy this record and that I don’t think that it’s artistically disappointing in any way. It’s just that there’s nothing particularly ground-breaking at work here. Perhaps after ten years, the band has hit its stride and is confident in its sound. But for a group who has sounded just-so-perceptively different on each album, it’s hard to not have been eager to hear whatever new departure or tangent the duo had decided to explore. Pocket Symphony sounds like it could have been recorded at the same time as Talkie Walkie.

To be sure, the mood is different: more sombre and tense than the “mellow exuberance” that marked Talkie Walkie. Still, its form, if not its function, are similar to its predecessor. Indeed, Pocket Symphony might well be called “Talkie Walkie After Dark,” but don’t go searching for it á Quartier Pigalle. With its precisely crafted, yet restrained sound, this music sounds like it would be more at home at a stiff, upper-crust soiree than in the back room of an after party at a trendy night club.

But if courtly dress up affairs aren’t you’re thing, Pocket Symphony also makes for some perfect wind-down music for a 3AM drive through the city.

The album’s first single, Once upon a Time, features afrobeat pioneer Tony Allen on drums (to great effect). Watch the video:

My Library

Air: Pocket Symphony (2007)
13 tracks (of 13)
Average Rating: 4.25
Median Rating: 4
Mode Rating: 4
Signature Track: Mer du Japon
[audio:070308MerduJapon.mp3]

Air – Talkie Walkie: Mellow Exuberance

After being somewhat let down by 10000 Hz Legend, I’d have thought that my interest in Air would had wained, but when Talkie Walkie was released in 2004 I was surprised by how eager I was to get a hold of it. When I did, my surprising anticipation was validated, in spades.

I’ll just come out and say it: Talkie Walkie is a beautiful record. In direct contrast to its predecessor, the whole thing goes down smooth and is way easy on the ears. For 44 minutes, each song is like a tiny massage for your eardrums.

It’s earnest. It’s serious. It’s playful. It’s compelling. It’s heartfelt.

But Air doesn’t accomplish that by hearkening back to their earlier sound. There’s no attempt here to recapture the feeling of Moon Safari or any sideways glances toward retropop. It’s just an expansively rich aural canvass. While I don’t think it quite surpasses Moon Safari comes damn close though, it does one-up it by having nothing but four and five star song ratings.

Whereas 10000 Hz Legend could be interpreted in a tongue-in-cheer manner, Talkie Walkie exudes earnestness. This thing has soul.

  • Cherry Blossom Girl’s sweet melody infects the brain and its minimalist chorus makes sure it stays there.
  • Surfing on a Rocket is social and political commentary that’s not only a new level of seriousness for the band but is also one of the best songs in the catalogue. I can’t get enough of that simple guitar riff.
  • Alpha Beta Gaga is positively one of the most happy-go-lucky songs I’ve ever heard. It also features one of the most effective uses of a banjo outside of bluegrass.
  • And don’t get me started about Universal Traveler; that thing just blows my mind.

Talkie Walkie, without a doubt, is a masterpiece. If you don’t have this one in your collection, you need to go get it. now. If you need some convincing, here are some videos.

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Surfing on a Rocket

Alpha Beta Gaga

Cherry Blossom Girl

Beautiful song. Explicit video. Seriously, don’t watch this one if you have any romantic illusions about the song.
My Library

Air: Talkie Walkie (2004)
10 tracks (of 10)
Average Rating: 4.3
Median Rating: 4
Mode Rating: 4
Signature Track: Universal Traveller
[audio:070303UniversalTraveller.mp3]

air - universal traveler at itunes

Air – 10000 Hz Legend: Frustrating Brilliance

air promo

Released in 2001, 10,000 Hz Legend is Air’s first proper follow up to their smash Moon Safari. Coming three years after taking the world by storm, the record was much anticipated. Air had carved out a particular niche of upbeat, laid-back retro-electro-lounge and the fans wanted more. MORE!

Sadly, anyone who was expecting that was sorely disappointed. Including myself. I admit, it took me a long time to fully appreciate this album. I didn’t even pick up my own copy of it for months.

Gone is the light, airy feeling that made earlier works so attractive. In their place is a decidedly denser, darker, more down to earth record. It is less electronic though there’s still plenty of it; more organic and human. Yet, it is simultaneously both more conventionally pop and more experimental than the easily digestible tunes of Air past releases. And that is the source of frustration with it.

Yes, there is a certain je ne sais quoi that brands this as distinctly “Air,” but at times it just proves hard to listen to. Don’t Be Light, for example, has its moments, but it is so spastic–just all over the place–that it can’t muster up more than three stars. Wonder Milky Bitch plods along, like the soundtrack to a demented home on range, and is just downright weird. Conversely, Radio #1 exudes pure cheese: an over-the-top, over-produced mélange of sound, but it really isn’t that bad on the ears.

But for all its stubbornness, 10,000 Hz Legend is the kind of album that benefits from repeated listening. Layered and complex, the album reveals new tangents every time. The more I listen to it, the I want to listen to it. This stuff is ponderous; it get stuck in your head.

But it’s not all deep-thinking intellectualism and satire. Radian, the disc’s highlight, is pure pleasure. With a lofty flute melody, sensual strings, and a wonderful accompanying guitar, the song harkens back to the kinder, gentler Air from the past.

In retrospect, 10,000 Hz Legend is probably the best career move the band could have made at the time. It deftly avoided pigeonholing the band as a novelty lounge act and showed that they could use a larger aural canvas and think big. It reminds me of how Nirvana decided to, with In Utero, make a record that would discourage their new-found fans in the wake of Nevermind’s success. But they ended up cementing their reputations as the leaders of rock. Likewise, 10,000 Hz Legend pinned Air with lasting artistic credibility.

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A fascinating video for Electronic Performers:

Air – The Virgin Suicides: Downtempo tension

Several degrees of Air. Or, what’s it take to get Air to remix a Beck song?

  1. Air gets Beck to remix Sexy Boy and provide vocals on Don’t Be Light and the Vagabond.
  2. Beck dated and is married to Marissa Ribisi.
  3. Marissa Ribisi has a twin brother: Giovanni.
  4. Giovanni co-stars in Lost in Translation.
  5. Lost In Translation is directed by Sofia Coppola.
  6. Sofia Coppola also directed The Virgin Suicides.
  7. The Virgin Suicides’ score was written by Air.
  8. Air is on the same record label Astralwerks as fellow French band Phoenix and the two groups plan to play a show together this June at Versailles. Phoenix is also the backing band for a remix of Air’s Kelly Watch the Stars.
  9. Phoenix’s vocalist, Thomas Mars has a daughter with Sofia Coppola.
  10. The soundtracks to Sofia Coppola’s Lost in Translation and Marie Antoinette both feature a song by Phoenix and a song by Air.
  11. Air remixed Beck’s Missing for his remix album Guerilito.

Ok, that’s just an elaborate way of introducing the next record on the tunequest countdown the Pocket Symphony: The Virgin Suicides. Released in 2000, The Virgin Suicides is the directorial debut of Sofia Coppola. Driven by the demands of a soundtrack, this album can’t really be considered a proper follow up to Moon Safari, but it is a nice “bonus disc” of smooth downtempo music as only Air can provide.

Playground Love, the film’s theme, starts the album and provides it with a backbone on which to rest. The song is one of Air’s most conventional in terms of structure and its soulful saxophone melodies are pure delight, setting a perfect mood. From there, The Virgin Suicides is mostly appealing atmospherics. Having not seen the film, I can’t comment on its screen effectiveness, but musically, it is stellar. Somehow, it manages to be tense and laid-back at the same time.

However, downside is that, due to the requirements of being a dramatic underscore, there are few jump-out-and-grab-you moments on the disc, as the music must be subtle enough to blend with the film. As a result, not much stands out from the whole, even though that whole is generally gratifying.

Additionally the record is peppered with the complex compositional influences of prog-rock, yet most of the songs are rather short, which doesn’t give them enough time to really work themselves out. At less than three minutes each, most tracks start off enthusiastically, but prove to be somewhat unfulfilling when they end before reaching a satisfactory conclusion.

The exception is Dirty Trip, which clocks in a just more than six minutes. Fueled by a fat, in-your-face bassline, the song is the swagging monster of the disc. It’s easily the highlight of the soundtrack.

Overall, the score to The Virgin Suicides comes highly recommended. I just wish it were a little longer.

Playground Love video:

My Library

Air: The Virgin Suicides (2000)
13 tracks (of 13)
Average Rating: 3.85
Median Rating: 4
Signature Track: Dirty Trip
[audio:070227DirtyTrip.mp3]

Air – Moon Safari: A lunar adventure

This post is part of the countdown to Air’s fifth album, Pocket Symphony, which will be released March 6 in the U.S.

Moon Safari
moon safarimoon safarimoon safari

If Premiers Symptomes found our protagonists as the house band at “Le Casino dans la Lune,” then Moon Safari surely finds Air on its titular sojourn, casting off the confines of the lounge scene and setting off on a mission of exploration.

This, Air’s first album proper, launched the band’s career with spectacular fashion. It received nearly universal praise, debuted at number five on the U.K. charts and built a legion of die-hard fans “Air-heads?”. From its first moments, it is clear that Moon Safari is more adventurous than its predecessor. It still embraces the astro-pop sound of the 70s, but its scale captures much more grandeur. The rhythms have more funk, the melodies are complex and addictive, and the arrangements are layered into a dense and multifaceted pastiche of sophistication.

For nearly 25 minutes, through its first five songs, this record knocks out hit after hit, with each song ranking as five stars. The performance of that opening sequence is unmatched by any album in my iTunes library.

Powered by a mesmerizing bassline, La Femme d’Argent features sparkling synthesized melodies which quickly set the spaced out tone of the record. Sexy Boy follows with a pop formula that easily explains why the song was the album’s breakout single. Incidentally, that song, along with its b-side Jeanne, are the only instances of the [french band]’s use of French lyrics in their ten year history. Next up is All I Need, which brings the tempo down a notch, but the song is no less captivating for it. Kelly Watch the Stars picks up the pace for a fantastically fun aerospace romp that only has one sung line. Talisman then brings the house down with an ominous slow-building tension that battles with a powerful, sweeping string section.

After climaxing with Talisman, Moon Safari takes a turn toward the somber and contemplative. Whereas the first half of the album features some rather robust tracks, the second half turns decidedly low key. All in all, it’s still excellent, just not as breathtaking as the preceding songs. The only real sore spot on the record is You Make it Easy, a slow tempo love song with a few awkward transitions. Straying uncomfortably close to smooth jazz adult contemporary, the song earns the album’s only three star rating.

Redemption, however, comes in the form of Le Voyage de Penelope, Moon Safari’s finale. Featuring this incredibly dirty, distorted electronic melody, the song soars to new heights as the lunar adventure comes to an end.

Moon Safari is, without a doubt, a masterpiece, a perfect piece for cranking up and chilling out. It has been a personal favorite for nearly nine years now and it gets better with every listen. If you’re unfortunate enough to have not experienced it, here are a couple videos to get you started:

moon safari download at itunes

Kelly Watch the Stars:

Sexy Boy:

My Library

Air: Moon Safari (1998)
10 tracks (of 10)
Album Rating (average ): 4.5
Median Rating: 5
Mode Rating: 5
Signature Track: Talisman
[audio:0702224Talisman.mp3]