Tag Archives: music

Benny’s Top Tunes

photo showing iPod dock clearance specials and other accessories

At its peak, the Australian Apple Premium Reseller known as Next Byte had more than 20 stores around the country, and I spent most of my earliest possible employment years at just one: Next Byte Hobart.

Today, the Apple landscape in Australia is a lot different to what it was over a decade ago. Thanks mostly to the iPhone, Apple is the largest company in the world. Apple owned-and-operated retail locations don’t so much compete with general electronics retailers as much as they offer an experience of their own. But as any reseller will tell you, slim profits on Apple products means it’s extremely difficult, if not outright impossible, to match Apple when it comes to the unparalleled customer experience that Apple Retail can offer. Any third-party Apple presence is either small enough to fly under the radar, or niche enough to carve out a market of their own. For the rest of us, Apple retail stores in every capital city CBD besides Melbourne, Darwin, and Hobart means out in-person sales and service needs are fulfilled, with any gaps covered by Apple’s online store and mail-in repair programs.

I have plenty of stories from my time at Next Byte. Maybe one day I’ll even write about a few of them, once I’m a little more comfortable the statute of limitations has passed. The one I’m telling you about today is about the music we listened to while in the store, but also about the music I listen to.

Background music. Unless there is none, you never really notice it. Which is exactly how good background music works, seamlessly blending into the background of whatever you’re doing, and subtly preventing an eerie silence from descending. If you’ve been to any retail store lately, chances are it’ll be there if you listen for it, but otherwise it’s just providing a little filler noise to create a comfortable atmosphere to do your shopping in.

In the early days at my place of employment, there wasn’t any mandated background music. No specific genres, and certainly no set playlist. That meant we could, more or less, play whatever music we wanted. Provided there was at least some reasoning applied about what was and wasn’t appropriate for the retail setting we were in, we were given total freedom over what we chose to play, and there wasn’t really any limit on what could and couldn’t be played. No death metal and nothing religious, obviously, but pretty much everything else was fair game, or at least was until someone questioned it. After all, it was just background music. It was supposed to be unnoticeable. Maybe not unremarkable, but certainly not outlandish enough to draw attention.

And boy, did we play pretty much everything. There was a lot of pop, which I was completely fine with. But I remember a lot of indie stuff being played, a lot of soft-rock, gentle/casual stuff, and plenty of stuff from Triple J, back when it was good. Even plenty of stuff from local Tassie artists and bands, which I thought was pretty cool. It was sometimes surprising what we got away with, but it turns out that if you play something quietly enough, no one notices. Which is perfect for background music.

Because we were an Apple retailer, an added bonus was that we got to play it on some truly great sound systems. There was the venerable iPod Hi-Fi, of course, which we used an AirPort Express to AirPlay music to. When Sonos systems became a thing, we started using the Sonos Mac app even though it didn’t integrate with iTunes to begin with; I think we started using (the now-defunct) Rdio for that specific reason.

We had plenty of iPod docks as well, none of which I remember the names of now, but the real standouts were always the higher-end docks and speakers from brands with known sound chops. Bowers and Wilkins was the most memorable of these. Even when the store was busy, no one really minded if you turned up a good-sounding dock to drown out everything else for a few moments, if you were doing it for the purposes of demoing it to a prospective buyer. Blasting something, anything, was certain to draw the attention of everyone in the store. Customers and staff alike would have their conversations interrupted momentarily and look up to find the source of the din. But even then, raising the noise level above ambient was fine as long as you didn’t play anything questionable, or turn it up too loud for too long, they realised soon enough that you were just giving a demo to a customer, and went back to what they were doing.

The thing about background music was that no one really wanted to spend too much time on it. Between serving customers, and selling Apple products, background music joined a list of administrative tasks that needed to be done, but wasn’t as important. As much as great background music was entirely unnoticeable, the best background music was the playlist you could cue up at the start of the day and only worry about if it stopped playing, or wasn’t resumed after being paused.

For that reason, we had pre-prepared playlists of retail-appropriate background music ready to go. They contained easy listening tunes we liked. Music that created a chill atmosphere. Remember, all of this predated music streaming, back when people purchased their music off the iTunes store or acquired it through other means. Playlists were a much bigger deal because in those days, you couldn’t just outsource your playlist creation to everyone else or just let the algorithm take the wheel (all praise the mighty algorithm). When we were doing our prep for the day, we’d start a song from one of several playlists, set iTunes to shuffle and repeat all, and that would be it. The best background music was entirely set-and-forget.

But on the days that I worked, I occasionally eschewed the normal playlists in favour of my own. Sometimes my playlists were exclusively newer pop hits or whatever brand-new album I had purchased at the time, and other times they contained my favourite subset of the existing retail playlists mixed in with a few of my pop favourites.

Whether intentional or not, these playlists meant that other staff would hear the same songs, over and over, on the days that I worked. There was nothing wrong with the tracks I had in the playlists, but by some accounts there may have been too few of them. This meant that some songs were played more than once per day. Generally not more than a couple of times per day, but over consecutive days, it became noticeable.

Which is how “Benny’s Top 40” came into being.

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Compact Disc

IMG_1766Like everyone else, I stopped buying physical CDs for music years ago. The main computer I use these days doesn’t even have an optical drive, and the only use my PC optical drive gets is to occasionally read a CD full of film photo scans every now and again.

But to be honest, I was never a huge buyer of CDs for music or games. My collection of physical media for music and games isn’t anything to write home about, since I’ve always preferred digital downloads. Steam and iTunes have mostly sated my needs for both forms of media.

As with anything, there are a few edge cases.

If there’s a cool “Collector’s Edition” of a game that I’m somewhat into that has cool physical or digital bonuses, then I’ll pick up a copy of the game. It’s kind of how I ended up with two copies of Dishonored. I picked up the PC version of the game first and played through that. I liked it so much that I gave it my game of the year award for 2012 (wow, was it really two years ago?), only to be disappointed there wasn’t a Collector’s Edition of the PC version, which came some super cool, Dishonored-themed tarot cards. I’m not sure who thought it was a good idea to have special editions of only the console versions of the game, but a quick trip to eBay later and I was the proud owner of the Dishonored Collector’s Edition — for Xbox 360. I’m pretty sure the game itself is still in the original shrink wrapped packaging.

Which brings us to the point of today’s post, the edge case of buying music on physical CDs. I used to buy CDs from artists that I liked, but gave that up a few years ago when physical media fell out of favour. These days, I pirate or stream pretty much everything, only buying digital when I really, really like the artist and album.

I’ve been listening to Taylor Swift’s 1989 for weeks now, and Shake It Off for months before that, but when I heard about the awesome collection of polaroids included with every copy of the album, it was Dishonored all over again. For the briefest of moments I contemplated buying multiple copies of the album, seeing as there’s actually 65 “Photos from Taylor” you can collect — you get 13 with one copy of the album — but I quickly realised that was a little too crazy. I mean, it’s a good album and all, and Taylor Swift is* incredibly pretty, but buying multiple copies of the album is crazy talk.

And yeah, I had a bit of a look on eBay for just the polaroids, but I couldn’t find anything reasonably priced. They’re also not actual Polaroids, seeing as that would be prohibitively expensive — they’re more photos printed on glossy paper to look like Polaroids, but they’re still insanely cool. I don’t have my favourite lyric from the album in the set that I got, but I’m cool with that, too.

These words part of Blogvember, a thing I just made up right then about getting back into blogging. You can read more words about Blogvember right over here, but the gist is that I'll be attempting to post something up on the blog every day in November 2014. Read other Blogvember posts.

Spotify and Me

Spotify launched in Australia around a month ago, during which I was able to give it a red hot go. I wrote on MacTalk about my experience with the all-singing, all-dancing streaming music service:

On the face of it, Spotify is brilliant. Who doesn’t want a music collection the size of the iTunes Music Store for free? All the big names are on-board: Universal Music Group, EMI, Sony, Warner, and so on. Spotify means that anytime you want to listen to a track — be it something that you’ve just Shazam’d or something you heard on the radio a few days ago, you can open up Spotify, search for your track or artist of choice, and listen to their music, completely free of charge.

[…]

When I first started out, I wasn’t so sure about Spotify, either as an iTunes replacement or as a standalone music ecosystem. I had my doubts about how Spotify could work for me, especially with such a heavy emphasis on the social and music discovery (and it’s not just because I have what some would call an extremely varied music taste, either). The fact that Spotify prioritises the social aspects of music over some of the intelligence of iTunes should give you some idea as to whether Spotify will work for you. Maybe the world doesn’t need to know you love listening Carly Rae Jepsen as much as you do, (which is exactly why there’s a Private Session feature). You can share tracks, artists, albums, or playlists to pretty much anywhere you can think of. There are still things that irk me a bit about the service, such as the fact the range of metadata is paltry, no, basically non-existent, in comparison to iTunes. You don’t get play counts in Spotify, Last Played info, number of skips, or any of that kind of information. It’s basically just track name, artist, time, and album. That’s it.
But you know what? Not having all of that metadata is strangely liberating, too. It means I don’t have to worry about meticulously keeping my library organised, or worry about album art, because Spotify does all of that for me. I get that Spotify isn’t for everyone — if you’re into very specific music genres or particularly obscure stuff (you hipster, you), maybe Spotify isn’t exactly what you’re looking for in a streaming music service. But hey, that’s what the 30-day trial is for, right?

At the end of the day, I’m not sure whether I’ll continue with Spotify or not after my trial is up. It’s a great service, and there’s a lot to love. Being able to look up and play almost every artist I can think of is extremely, extremely cool; it innately satisfies the desire for instant gratification everyone seems to have these days, and perhaps for that reason alone, means that Spotify will be hugely successful. On the other hand, I miss my metadata and my smart playlists terribly. Having none of that info in Spotify is a pretty big blow to how I’ve been listening to music in the past.

Earlier this week, I cancelled my Spotify subscription. As it turns out, I did miss that kind of metadata more than I might have originally let on. The thing is, I rely on play counts to tell me how much I “like” certain music. Last played information, combined with play counts, tells me how long it’s been since I’ve listened to heavily-played tracks in my library, like Call Me Maybe. I’m convinced that Smart Playlists are the best thing since sliced bread, and losing them in Spotify was too much of a compromise, seemingly for the advantage of music availability and discoverability.

Which is kind of a shame, because there’s lots to love about Spotify Premium. Having the biggest music library accessible wherever you have a data connection is nothing short of amazing, and it comes in ridiculously handy forms: a few friends wanted to listen to a song, and instead of looking it up on YouTube, I simply opened up Spotify, put in the artist name, and there it was — because if nothing else, isn’t technology supposed to make this kind of stuff more accessible to people? Isn’t technology like Spotify meant to lead to greater enjoyment of the things you love the most, i.e. music?

I liked how Spotify because it scrobbled to Last.fm on mobile. I liked how having Spotify on my phone meant I didn’t have to carry around all the music I wanted to listen to. I liked (in part) how Spotify was all about the social — sharing music to others, listening and subscribing to playlists others had made, and even all the discovery features to help you to discover new music. In the end though, paying $12 a month for those privileges didn’t seem worth it to me, especially as I started listening to my own music within Spotify towards the end of my subscription. I mean, doesn’t that kind of defeat the purpose of having the largest music library, literally at your fingertips?

Thankfully, there’s good news. The difference between Spotify and Rdio is that Spotify has a free tier, too: for exactly nothing, you can use Spotify as a preview of whether you’ll like a new album by an artist, or if you’re just looking to play a song that you don’t own and don’t want to go track down. You don’t get access to the mobile version of Spotify on the free version nor any of the ofline features, but that’s not a big deal when you’re listening to local files you own, anyway. Plus, I don’t mind syncing music to my device even though it takes up precious megabytes. All this means that Spotify on the desktop still manages to satisfy that “instant gratification” drive I have when it comes to music — I can still listen to any song I want to, just with a short ad interspersed between tracks.

In fact, just the other day I opened Spotify to listen to a Pink song I had heard before but didn’t own — after playing that a few times in Spotify, I acquired a copy and now it sits on some 68 plays in my iTunes library.

If you haven’t given Spotify a go yet, you should. It’s a good service with many neat features — it’s just that for the way I personally listen to music (i.e. going for the overplay with one, two, or a whole album at a time and swapping between artists and albums I love), Spotify and Me just weren’t meant to be.

And I think I’m okay with that.