Critics frequently attach the phrase “lock-in” to Apple’s iTunes Store – iTunes – iPod/iPhone combination. But, in the post-DRM age, what does that mean, exactly?

First, you have to recall that while for many of us the manual drag-and-drop music management is appealing, it isn’t so for many average consumers. They want sync. That means that music will be stored in iTunes and synced to Apple devices and nothing else. Apple is serious about locking you to their store and their devices, enough so that they frequently update their software with special keys that prevent the use of devices. iTunes is “free,” but Apple determines which mobile devices you can use and which you can’t. And Apple has gone after anyone who dares give you the ability to use your own music software or own devices, including efforts (ironically) to make their iPhone and iPod work with Linux and open source players.

These efforts don’t protect the music or prevent privacy – they protect users of Apple’s software and mobile devices from using anything but Apple’s tools. Yet Apple has used the Digital Millenium Copyright Act to take legal action over anyone who dares to even talk about how to use legally-purchased music and hardware:

OdioWorks v Apple

Perhaps suspecting their case was too thin to defend, Apple eventually backed off that particular claim — after, says the Electronic Frontier Foundation, “7 months of censorship and a lawsuit.”

Apple Withdraws Threats Against Wiki Site

But the software and hardware locks are unchanged. And Apple has won, in my view, an even more important battle: they have a monopoly over mindshare.

Here’s an example from a recent review by Gizmodo of the Android 2.0 mobile operating system from Google, as implemented on the Verizon-distributed Motorola Droid. They have some fair points about Android’s maturity and strong and weak points. But note what they say about music sync:

The only way to get your music and videos on the phone is to manually drag and drop the files. There is no syncing, no easy way to get your music library onto your phone. How are normal people supposed to figure this out? Verizon reps actually joked about how putting music on the Droid is sure to make for a lovely Saturday afternoon. What. The. Shit.

In fact, this is technically accurate, to my knowledge, only if you’re using iTunes. That incompatibility is engineered specifically by Apple. It’s a “feature”: other vendors could make other devices sync with iTunes, but Apple engineers regular updates to prevent them from doing so. In fact, while Apple was conceding defeat in its efforts to censor the Web over its iTunes lock, it was simultaneously busy blocking the Palm Pre from working with iTunes. This should be especially sad to long-time Mac watchers, who saw a Mac community railing against Microsoft’s effective office software and operating system monopolies in the 90s. Those Mac historians should also recall the early development of iTunes and shareware predecessor SoundJam, both of which worked with a variety of hardware. Now, some members of the same Mac community cheer market share numbers and anti-competitive practices by Apple.

But, engineering aside, it’s really the mindshare battle that’s most impressive. Gizmodo, in saying the Android “doesn’t sync,” really means that it “doesn’t sync with iTunes.” And given iTunes’ massive market share, Gizmodo is not alone – I’ve seen similar complaints from other press outlets and, anecdotally, many, many users.

In fact, Android sync is supported by a variety of applications. In my tests, it works with the open-source players Songbird (Mac, Windows, Linux), Banshee (Mac, Linux), Rhythmbox (Linux), Winamp (Windows), Media Monkey (Windows), and yes, even Microsoft’s own Windows Media Player. Microsoft may restrict the use of its Zune media player, but ironically its music playback software is far more open than Apple’s.

By “sync,” incidentally, I mean automatically – it’s no harder to use these applications with Google Android than Apple’s iTunes and iPhone/iPod. I personally find most of them more flexible and intuitive than iTunes. And I can show someone in a couple of minutes how to manage their device via the file system, too – even “normal people.” (I definitely don’t count as “normal,” so no argument there. But presumably “normal people” can learn to use the Mac Finder, right? Apple certainly argues they can – then locks users out of that tool when they connect an Apple mobile player.)

This is not a pro-Android argument, despite the screenshot. Any music player or phone that supports normal disk mounting will work the same way.

Why should all of this matter to musicians? The reasons monopolies are a concern in the first place has to do with pricing, and media monopolies add to that control of culture and speech. Even if your music isn’t distributed through iTunes, pricing and consumption patterns, and even the kinds of music people listen to and where they discover it are now being deeply impacted by Apple. Apple, in turn, by convincing users that there are no other options and engineering interoperability out of their products protect that control, just as digital music is growing by leaps and bounds. (For statistical evidence of the resulting trends, see today’s other story, linked below.)

I spoke to the Electronic Frontier Foundation’s Senior Staff Attorney Fred von Lohmann in April about the paper-thin (literally) arguments from Apple, when Apple was trying to prevent websites from talking about the database lock between iTunes and mobile devices:

All Apple has told us about this is in the letter they sent to us in December, as posted on the website as an exhibit to our complaint. Apple simply cites the fact that the iTunesDB page authors said that the obfuscation mechanisms used to create the iTunesDB has “may reside” in the FairPlay DRM code.

…The important thing here is that the iTunesDB pages were simply discussions about what might need to be done to reverse engineer the iTunesDB hashing. There was nothing to indicate that the efforts had succeeded. So even if understanding the iTunesDB hashing mechanism somehow magically unlocked all of FairPlay (which would seem to be far fetched), nothing on the pages suggests that the authors were anywhere near that goal.

Note that at the time, the EFF did not claim Apple lacked the right to make these kind of locks. The EFF told CDM at the time, “They have every right to do – to try to block it. Apple can certainly try to block it. What they can’t do is use inapplicable federal law to use legal threats to get them to stop.” And Apple backed off those claims.

The issue is whether you should invest in a product that limits your freedoms to use it. And the issue for musicians is whether this kind of a behavior from a company with an effective monopoly is limiting the potential power of digital music listeners in the future.

This is not to say that there aren’t reasons to choose to use an Apple device or its iTunes software. As reader “low resolution sunset” says in comments on the previous story:

This is pure conjecture: but I tend to think that slick interface design, trust, and loyalty for the Apple brand identity is what’s winning them the dominant market share of downloads.

Indeed. So, why not rely on that design, trust, and natural loyalty? Why force loyalty through engineering? And even given these qualities, isn’t there a danger when one company becomes so dominant that people don’t so much as consider alternatives? What’s to keep Apple competitive on good design if they have no competitors?

I certainly can’t answer those questions. And in the meantime, I’m looking to other alternatives, alternatives that have made me quite happy.

More on what this can actually mean:

Digital Sales Up, But is Apple Monopoly the Price? NPD, Mint Data, Editorial Analysis

Mint.com, the online financial management tool, has put its numbers together with market researchers NPD Group to analyze music spending. The results: when it comes to consuming recorded music, digital music continues to rise. At the same time, so does Apple’s grip on the music consumption market, a combination that includes proprietary control of a music store, a music player, and the leading mobile device.

The NPD data should look familiar. Digital music is growing, and clearly it’s at the root of the record industry’s loss of revenue as consumers shift from physical to digital media. Also, Apple’s iTunes remains the lion’s share of the market – enough so that they effectively control distribution, pricing, and consumption patterns, the very definition of monopoly by most measures. (That’s even before you get to Apple’s effective monopoly over the computer player and mobile device, though my suspicion is that an all-out attack on the portable device could start to chisel away at all three.)

Even in the NPD data, though, there’s an interesting indicator: note that the “Other” category is roughly the same size as Apple’s main competitors. That suggests that there’s a plurality minority. And oddly enough, it’s right in the middle of this mysterious “Other” category that a lot of unknown music artists make their dollars, selling direct to listeners or going through niche sites. Artists I’ve talked to in the electronic genre have almost universally said they make nothing on Apple, while they do very well on a site like electronic-specific Beatport. And unlike physical media, it’s not a big deal for someone who loves electronic music to drop their favorite tunes manually from the Beatport store into iTunes and an iPhone.

Dig into the Mint.com numbers, and you see just how different stores can be. Per-transaction spending differs by an enormous margin. Brick-and-mortar retailers sell a lot more per transaction. True, this could include accessories like headphones at stores like Sam Goody, but it’s also interesting to note the gap between stores like eMusic, Rhapsody, and CD Baby, and the smaller per-transaction buy at iTunes.

While Apple buyers aren’t spending as much per visit, they’re visiting more often, and Apple’s move to variable has made a big difference. Buyers have gone from purchasing an average of 2-2.5 transactions to well over 3, coinciding with the introduction of variable pricing.

If you’re not a fan of monopolies, there’s just not much to be done to spin this data. As digital consumption has grown by an order of magnitude, nothing has happened – thus far – to change Apple’s dominant share of the market. And as you can see in pricing statistics, within the Apple ecosystem, Apple has been enormously effective in controlling the pricing of the product and spending habits of the consumers.

On the other hand, looking at the inverse situation, a lot of the most interesting activity is happening outside either the former brick-and-mortar or new digital iTunes economies. We don’t have data on a lot of these niche stores (Dancetracks, Beatport, Bleep, and so on), which grow in number and variety. We don’t have data on direct-to-consumer sales by artists. And we don’t have much data on legal free music consumption, music released as Creative Commons or pay-what-you-will. Just criticizing Apple for their popularity could miss out on what’s happening in these alternative channels.

Many of these channels have no obligation to share their statistics, but to any who are interested, I’d love to talk to you. (And I think CD Baby winds up being the most interesting stat here.)

This is also an excellent illustration of what online analytics can do with financial data. It certainly won’t ease anyone who prefers that this data remain private, but fans of analytics might also see potential for collective learning experiences from shared data. Data like this had long been privileged only to banks and credit cards; a service like Mint allows users to share such data with one another.

So, how are you spending on music?

And would you find it useful – or disturbing – to have that kind of data shared anonymously with other consumers?

Digital technology has transformed the listening experience. But there’s little in the way of physical artifacts of that act, and a diminished sense of humanized relationships to an individual being at the other end. From modern radio to Internet-streamed playlists, our listening world is DJed by automated robots in streams that flow through generic, mass-market speakers. The object and the content lack the design intention that imbued, for instance, the gorgeous radio sets of the early 20th Century and the personalities that narrated the programming.

Armed with a lasercutter, designer Matt Brown has a novel concept for how to redesign the act of listening. From the creator’s blog Real Tomato:

For this system, you would have a speaker with an rfid reader, and laser-cut paper radios with rfid chips inside. The radios themselves are designed by musicians, charities, brands, and designers. When the paper radio is placed over the speaker it changes the radio station to what the artist has chosen. Other noises and interactions can be programmed in too. Alec Baldwin’s radio for example could politely ask everyone to turn their lights off from time to time. People could have the paper radios around their house in different rooms. The supremes radio might be a better living room station. This system tries to add a little bit of fun to internet radio, and give people a connection with the artists they choose. The radios themselves would hopefully be cheap and collectible little sculptures, each one accessing unique stations.

The artist, D.A.R.Y.L., is a recent alumnus of Sweden’s Umea institute of Design.

I think we need a new, specialized Creative Commons license that describes “Great Concepts I Probably Won’t Get to Developer Further so Please Go Run with It With Some Credit to Me.” (Okay, maybe with a shorter name.) I love the possibilities this project suggests, if for no other reason than the beautiful sculptures created with the lasercutter.

The works themselves are printed out a single sheet and assembled. THat demonstrates some of the power lasercutters can provide, and the promise they hold for localized production of objects. (Use eco-friendly recycled paper and inks, and this is a consumer product that doesn’t deliver a dropkick to the planet.)

I just interviewed Owen Pallett aka Final Fantasy, and he told me saw a survey that showed some 80% of music journalists listen through music via the built-in speakers in their laptops. That would be terrifying if true – I’m not certain that it is – but regardless, I think there is a clear need to rethink listening processes and objects.

Check out the post and the blog for more inspiring images. Via the wonderful Saturn Never Sleeps blog by Rucyl Mills and King Britt.

Rounding up my catch-up-on-iPod/iPhone-stories, here’s one from the developer perspective – one that could face music creation developers on the entire platform.

The Apple iTunes App Store now faces the risk of becoming a victim of its own success. Music applications could be a big part of that, without some adjustments on Apple’s part. The problem is this: incoming music “fan” apps could flood out the music production apps that had enriched the mobile software platform since its debut. I think the need could be really urgent. Consider that part of the appeal of Apple’s mobile platform – yes, even in stark contrast to the Google Android on which I’ve been developing myself – is its spectacular real-time audio tools. Combine that with a disproportionately large number of Mac-using musicians, lots of ingenious apps build on Apple’s Core Audio platform, and we’ve seen a mobile platform with an extraordinary number of tools for music creation.

The problem now is that that unique set of powerful apps could get overwhelmed by essentially unrelated “music” apps. A developer who has asked to remain anonymous is already campaigning for a change. He does a good job of explaining the issue, and what might need to happen to fix it. If you’re a developer, you can add your support and feedback to the idea.

Here’s the full explanation:

Hi Peter,
I am writing you with this email I have been sending other developers on the Apple App Store. Although you probably cannot go visit the apple developer connection website because you dont have a membership, I thought you should be informed about the discussion brewing there. Here it is:

Recently the Music section of the App store has gotten very busy with a new type of app, lets call them Artist Apps or Fan Apps. Some of these Apps are great resources for fans and artists reaching out to their fans and potential fans, and some don’t live up to their potential.

However, they are joining a category that previously moved a lot slower, as the apps that had been populating this category were apps with a lot of development put into them and therefore sold at a higher tier usually- but were released at a slower pace. A look at the top 100 paid music apps illustrates this nicely.

Customers perusing the music section to catch that next great sound generating tool (for example), could check in on the new releases section perhaps once a week or even once a month and have the opportunity to check out all the great new apps that had been released, without worrying that one was missed.

Now however, these newer Artist apps have flooded this category, and great apps are getting lost in the shuffle. On one day last week, there were 21 pages of Artist or Fan apps, with a few “other” apps strewn in the mix here and there, very hard to pick out of the jumble.

I understand that this may be happening in other categories for other reasons, but I only concentrate on the Music section since I am a music producer and music App writer.

I propose that we all get together to come up with some suggested sub-category names for the music category. I will start the list off and hopefully some of you will chime in and give suggestions for other categories or add more definition to a sub-category that is alredy here.

Once enough input is received, I will compile it into one bug report for Apple. i will then post the bug# for everyone to include with any correspondance with Apple on this issue.

New sub-categories for the Music section of the App store.

Music Creation:
Synthesizers, drum machines, sound generators, scoring and notation, sequencers, DJ apps, recorders (multi track)

Music Utilities:
Lyrics apps, iPod interfaces, visualizers, iPod controllers, song recognizers, concert finders,

Learning:
Metronomes, guitar and voice tuners, music slow downers, guitar tutors, chord apps,

Artist Apps/Fan Apps:
iLike apps, Deadmou5 app, PVD App, Underworld App, NIN, etc.

Radio Tuners:

AOL Radio, Pandora, Last.fm, individual radio stations

Please visit the Apple iPhone developer forums and voice your opinion/support!

https://devforums.apple.com/message/107989#107989

Definitely voice your thoughts to Apple, but I’d love to hear what you think here on CDM, too (especially since I know some folks at Apple do read this site).

Bloom is a new generative musical application for iPhone and iPod touch, created by Brian Eno and software designer Peter Shilvers. It’s quite simple, but if you’re looking for some soothing musical strains to float out of your mobile Apple device, this is your ticket. At launch, you’re given a choice of either using a pre-determined set of rules, or tapping in your own parameters and patterns. The touch interface lets you use your fingers to add note patterns, which then repeat and mutate. If you make your own composition, you’ll start those patterns from a blank slate, but even if you choose an existing composition, you can tap solos over the top. The taps turn into patterns that transform themselves when the system is “idle,” rather than repeating indefinitely.

The results aren’t terribly deep – everything has a more or less similar ambient vibe, and tapping patterns in feels only barely interactive. It’s tough to predict the results and the patterns generally mutate on their own. The app is clearly geared for casual users, though it’s pretty wonderful for that audience. If you want depth, I’d stay tuned for the launch of RjDj; its generative apps, built in the open-source modular multimedia software Pd, are virtually unlimited in their musical capabilities, and they make use of the iPhone’s mic and sensors. (More on RjDj coming later this week.) See also full-featured generative software on PC/Mac, including the free Nodal, the excellent and deep Intermorphic offerings (from a team that has collaborated with Eno in the past), or even the game soundtrack for EA’s Spore, led by Eno as composer.

But that said, the compositions here are really beautiful, and it’s fantastic to watch the Apple mobile morph from simple playback devices into generative, interactive computers. Any fan of Eno or generative music will definitely want to snap this up for US$3.99.

Bloom @ iTunes App Store

Here’s what the app sounds like:

Bloom generative sound sample 1

Bloom generative sound sample 2

Let us know what you think. Any other similar apps coming out on iTunes?

The rumor mill’s conventional wisdom is that iTunes 8 will be part of Apple’s music-themed press event next week. That’s a safe bet — iTunes 7 is clearly due for an update. But Allan White has some interesting speculation with which I’m inclined to agree. There’s an excellent change Robert Hodgin’s excellent Magnetosphere visualizer is going to become an official visualizer for iTunes 8. That’s be a big win for Processing (site | cdmo tag), the visual code “sketching” tool — and a likely time suck for your productivity next week, if true, as you stare into its hypnotic pulsing orbs. (Just fair warning.)

Allan White writes on his blog — a lovely visit for fans of music and visualization:

[Robert] Hodgins built a wonderful iTunes visualizer called Magnetosphere a while back – which mysteriously disappeared from his site a few months back. I wrote him, and he said that it had been sold to a third party. There’s strong evidence that this third party is in fact Apple, and that it may ship with iTunes 8, which could be shown as soon as next week at an iPod Event.

iTunes 8 Rumors: is Magnetosphere the New Visualizer?

One way or another, it looks like we will be getting the visualizer. And getting it officially would be terrific — it’s about time the fairly moribund world of visualizers was reignited. (Just remember, musicians, work with a real VJ/visualist when playing live for the full experience. End public service announcement.)

Magnetosphere Video
(Above, a reskinned take on the original — Robert does wonderful things with iterating his code)

Magnetosphere iTunes Plugin Page

Flight404 on Create Digital Motion

Whether you care about the iPhone or not, the Summer of iPhone Development reveals a lot about where mobile computing, and mobile music creation, might be headed. That includes Apple’s challenges as well as its accomplishments.

Despite the hype around Apple’s platform, the iPhone and iPod Touch have some strengths and weaknesses, just as any platform does. The strengths you probably know well by now: slick UIs, rich, mobile-optimized developer tools, and a device people love. That has given us some interesting, genuinely-useful music tools amidst the toys and novelties, demonstrating how even a niche can benefit from development capabilities. But the tight development and distribution restrictions, imposed by Apple and their exclusive US service provider AT&T, have compounded some of the negatives of the device. The result is a platform that has some developers raving and some ranting (sometimes simultaneously).

The big news for digital musicians, specifically, is that restrictions created by Apple may keep some music apps from shipping, or for supporting Apple’s official, exclusive SDK and store.

Case in point: the tasty-looking MIDI controller you see above hasn’t made it into the store – and it’s not alone. If the developer were able to distribute it, you’d have it right now. With Apple controlling the store, you might have it tomorrow, or next month, or never – the frustrating thing being, the developer doesn’t even know. And poor communication in regards to the store is just one challenge that’s turning some developers off from Apple’s device.

Digital music creation was built on the openness of the Windows, Mac, Linux, and even Palm and Windows Mobile platforms. That means the situation with Apple’s locked-down development channels is one to watch closely. It also could mean the jailbroken, hacked iPhone platform is here to stay — and that competing platforms could gain some ammunition from Apple’s relatively closed nature.

Not All Developers Are Happy

It goes without saying that some of Apple’s moves have made some developers very happy indeed. The iPhone/iPod Touch is a platform that strikes a unique balance between desktop-class functionality and what’s needed on a mobile device. Developers have complained that platforms like PalmOS or Java ME are overly stripped-down for mobiles, whereas Windows Mobile isn’t optimized enough and is too much like the desktop OS. Apple has done a lot to balance those concerns and wrap it into a beautifully-designed UI and hardware. (To see just how much they’ve done, look no further than AppleInsider’s iPhone 2.0 critique. Even as they complain about the iPhone’s flaws, they note the ways in which competing devices are worse.)

But that doesn’t mean all of Apple’s developers are happy campers. Here’s a quick round-up of some of the complaints:

Apple won’t let some developers on their device. StyleTap, a platform that emulates Palm OS, is now forced to run on the jailbroken iPhone, because Apple won’t let non-native software on their device. (Bhajis Loops on the iPhone could be possible, music fans, but only if you hack your iPhone or iPod.) Other victims include Java, Python, Flash — major tools that make up the current computer ecosystem and would also be powerful for digital musicians and visualists. Now, of course, arguably this protects Apple’s quality control and helps AT&T control the apps on their network – except that plenty of other phones have exactly the same capabilities, including phones on AT&T that ship in greater quantity. And many of these are perfectly reliable, whereas the iPhone 2.0 update was, at least initially, plagued by crashes. It’s Apple’s choice to do this, of course – just as it’s your choice to buy or develop for a different device, if you like.

Apple is failing to communicate with developers. Apple has complete control of the iTunes-based App Store — without it, you can’t install apps on the device. Maybe that would be fine, if developers felt that they could communicate with Apple. But Rogue Amoeba, a long-time, loyal Apple audio developer, reports that the road to approval is broken for many developers. ("Broken" is his word, not mine.) Rogue’s Paul Kafasis isn’t bugged by the exclusiveness of the store so much as that "Ultimately, the problem here is with communications, or lack thereof, from Apple." (Paul regularly covers iPhone innards for O’Reilly Digital Media blog.)

That story was written at the beginning of June. The problem is, it’s now August, and things don’t seem to have gotten better. Now, developers often complain (they’re very much like users in that way). But there’s an unusual level of frustration with getting onto the App Store, and the reports are fairly consistent:

Apple Developer Discussion Forum

Maybe this is a logjam because the store is new and popular, so I think final judgment is reserved for later. But clearly, if Apple is to defend their choice of total control over the store, they have to fix the problem eventually. After all, there are plenty of other gadgets which don’t require you to go through one vendor just to ship an app. Want to install something to your Symbian, Windows Mobile, Palm, or even Blackberry device? You just go and do it; you don’t have to check with your vendor or your mobile carrier first. So the burden is clearly on Apple to demonstrate that their choice was the right one.

Apple is gagging developers and making coding harder. Apple has placed an Non Disclosure Agreement on their developer tools, including all details of how the device works and how to run software on it. Initially, this occurred during the beta, but it appears now, with the store, the firmware update, and the developer kit all officially shipping, it’ll last forever. Ars Technica’s Chris Foresman goes into detail about all the problems this can cause. It boils down to this: developers can’t get and share information, can’t even go to Amazon to buy a good book on development, and the quality and stability of the entire platform can’t reach its full potential as a result.

Again, I can’t think of another precedent like this. I expect there are similar restrictions placed on gaming consoles, but that hasn’t necessarily been a good thing — just ask a a developer for gaming consoles. And would it really cause the universe to implode if you could buy a good book on iPhone development, or read a developer blog that gives you tips for how to write good apps?

iTouchMidi, the MIDI App You Can’t Have (Yet)

As a case study in how this can break down and keep you from doing something cool with the iPhone you just bought, I just heard from Nonnus, the developer of a set of MIDI controller apps for iPhone. You should be able to download these now, free, from the iTunes App Store. But you can’t.

This case reveals just how delayed many apps are. The developer applied to the program essentially when it was launched, months ago. The app itself is approved. Yet contract foul-ups are keeping that app from getting to you. It might seem a small thing,

i was one of the first ones to register as iphone dev,
but due to the lack of info that program registration was limited to the first 4000
i got locked out of early processing
on the july 12 i was finally able to join the dev program,
allowing me to start up the itunes store account and all contractual process
i have submitted all requested info weeks ago and have never received any feedback about this
yet all my contracts, including free apps one are still pending setup
regarding itouchmidi:
the first app was submitted on the 20 th of july
on the 28 i got a reply stating the iTouchMidi name was not accepted because of the iTouch part
i did not really understand or agreed as there is no apple product with this name,
and if it is scheduled it is not really my problem…
anyway, i did not want to delay anything or felt i could do anything about it
so i changed the name to iTM Midilab for the first app
in the meanwhile i have also submitted iTM Matrix, iTM Keys and iTM XYPad
last saturday, august 3, i received feedback that all the  apps had been aproved
but as the contracts are still pending setup the apps will not go to the store,
even though they are free (for now…)
although dev support response has never been great,
probably due to the sheer number of requests they have
they have always replied to previous questions or issues
but since august 3,
i have tried to contact them several times for different support depts
itunes admin, itsvendor, devprograms
and have received absolutely no reply except one from itunes admin telling me to contact devprograms
wich i had already done…
today is august 6, i still have received no reply
all apps are pending contract,
i already have new versions that i am unable to upload and take some little advantage of the lockup to improve user experience
(also asked about this in these last emaisl sent)
i am really starting to feel something terribly wrong is going on
as i am sure that 72 hours of silence to all info / support request is not normal at all
maybe i am getting paranoid but i start to feel iTouchMidi is being deliberately locked out from the store / public

Just a nuisance? Sure, possibly. You can imagine that a developer who has put time and effort into writing something would be more than a bit annoyed, though. And it’s not isolated, based on what we’re hearing from other developers, large and small.

This does seem fixable to me. But the issue is that contract hold-ups have created a massive app log-jam in the store, which is likely to shake some of the confidence of Apple’s developer community. I suppose if I wanted to be paranoid, I could suggest that Apple is blocking Nonnus’ apps because they’re planning a MIDI controller of their own – and they do have the patent portfolio suggesting just those kinds of applications.

More likely, though, this just sounds like a pattern of administrative screw-ups that are slowing down the store. But that does weaken the argument for Apple having a monopoly on app distribution. (Apple, as you’ll recall, were the ones who told us what a great idea this would be.) And whatever you as a user might think, I can tell you that is scaring away at least some developers.

(For Nonnus’ part, he says he’s "just complaining [about] the current state of things.")

Why All of This Matters

The iPhone and iPod Touch clearly aren’t for everyone. But they demonstrate some of the potential of some important technologies:

• Mobile, portable devices
• Low energy-consumption, low-heat platforms
• Multi-touch interfaces
• The Mac platform

Moreover, before iPhone fans start accusing me again of Apple bashing, I always believe a technology worth using is a technology worth criticizing. For all my own personal skepticism, I’m constantly reminded at how incredible and unique some of Apple’s accomplishments are. I would hope anyone working on mobile development at least considers what they’ve done as a result — even as I hope people do come up with interesting competing tools. But there’s no question "worth criticizing" applies, on many levels.

Music is a great measure of how platforms work for development, because of how demanding music apps are of interface and performance. We also have a deeper relationship with them, because we use them to be expressive. That’s why it’s worth bringing up these issues on this site.

The Apple operating system isn’t Linux, and even as a fan of Linux, I’m not sure it should be. But there are other issues here that go beyond even open source or free software development, and strike at whether we’ll even be able to talk about development or run the apps we want. If that changes, computing could look very different than it does today.

Assuming you’ve survived hours of waiting on line or weathered various technical problems, Apple’s app store is online. Anyone with iTunes can have a look; it’s right inside the iTunes Store (formerly the iTunes Music Store). But while Apple’s development platform is impressive, early in the game a lot of the actual music apps seem to me to be, frankly, underwhelming. (Some of the non-musical apps look far better, like the lovely free client for awesome note-taking service Evernote.)

Click through to App Store > Music, and you may feel like you’ve entered a time warp to simplistic handheld music apps from the Palm and Windows Mobile platforms, only dressed up with shiny new eye candy – and $5 and $10 prices. You’ve got your choice of several guitar tuners and metronomes, and various sound toys that mimic instruments. Also, I find the iTunes interface rather annoying. You get a bunch of shiny icons but it’s hard to find specific tools. So, after all these years, are we still struggling to catch up to late 90s Palm apps? Really?

There is one potential standout: Karajan is a polished-looking handheld music theory tool for quizzes on intervals, chords, scales, and pitch. Then again, Karajan will cost you US$15. For free, you could head to Ricci Adams’ musictheory.net and get more detailed lessons and trainers in your browser. (It’s even Creative Commons-licensed, so if Flash ever runs on iPhone, we could see a port.)

Don’t get me wrong. The platform’s new, and I expect we’ll see better offerings over time. In fact, I think it’s natural that early offerings would be on the simple side. The problem is, the hype from the iPhone loving crowd is amped up so high, you begin to feel like we’ve left reality entirely. I wonder if the press will overlook real handheld music apps, like the powerful offerings available for PSP and Nintendo DS. And I feel obligated to point out that, bizarrely, you can get a heck of a lot more power for handheld music by hacking a game system and download free games than you can by paying hundreds of dollars on hardware, potentially many hundreds on service, and (in many cases) spending money on apps for Apple’s official mobile platform. (Maybe some of the talented developers are more drawn to the hacked platforms, anyway, contrary to conventional wisdom – partly because so many interesting mobile apps are labors of love, done outside their day job.)

To have a really good time, I’d be tempted to fire up a used Palm or PocketPC for the wealth of music apps available on those platforms – real sequencers, notation software, and unusual instruments. And that’s to say nothing of the PSP and DS. Sure, the iPhone may have powerful hardware, but as we’ve seen with Nintendo (ahem) that doesn’t necessarily yield great game design. I’m not crazy, right? Doesn’t this look like more fun to you, too? And without the hassle of a big mobile carrier. (The iPod Touch, at least, fares better, and it’s not as though there are many cool apps for the Zune.)

Then again, maybe all of this is a good thing. Old hardware is notoriously hard to recycle, hard on the environment, and loses its value quickly. Musicians, after all, form affectionate relationships with old instruments. Maybe it’s best to leave the disposable gadget culture to the tech freaks, and go find tools that’ll really give us a musical experience. Someone’s got to pick up those cheap eBay PDAs.

Updated: See comments for some insight from Chad, who’s written some awesome PalmOS apps at minimusic.com. He talks a bit about some of the specific hurdles facing developers for writing mature music apps — which, by definition, are tougher to develop and more demanding of the platform.

Given the iPhone/iPod Touch OS’ audio features and horsepower, there are clearly some interesting apps down the road. But then, that’s part of why I point out that this generation is a bit lacking — it’s because I think it’s a shadow of what’s possible and what we should see. We’ll be watching.

The era of artists regularly releasing stems for remixing seems imminent. In the meantime, we see occasional examples of artists who get it. Radiohead have a new feature on their tune Nude, promoted with Apple. Purchase stems of a song (that’s by stem, so you pay US$0.99 * 5 stems + 1 full song if you want everything), and you get audio via iTunes Plus. Purchase the full set, and you can also download a GarageBand / Logic Pro-compatible project with all loop, tempo, and key information embedded, as pictured at top. (Unless I’m mistaken, that’s also the ideal way to get uncompressed audio for use in other tools.)

If you happen to prefer another tool for remixing (say, one that rhymes with Mabledon Dive and is often seen running on computers from Apple), these are just DRM-free audio files, so the choice is yours. Upload the finished results to the Web, and the band will review submissions and open them to votes. There are already a number of remixes up at the moment.

NUDE RE/MIX on iTunes

Radiohead Remix Site

Hmmm, nude remixing? Brings new meaning to “bedroom producer.” Sorry, couldn’t resist.

Radiohead does specify that you can’t use these for commercial purposes; it’s too bad they didn’t choose to apply a Creative Commons non-commercial license, which would formalize essentially what they’re saying. But this is otherwise done quite nicely, nonetheless, and I hope we see more of this.

Like remixable music? Nine Inch Nails has a whole remix site, and indie label Magnatune lets you remix all their artists’ work via a Creative Commons license (though they typically don’t offer stems). Online music outlet Dance Tracks Digital goes beyond stems with full Ableton Live-ready projects, suitable for DJs. That’s just for starters; if you have other favorite remix resources, let us know.

By now, you’ve likely heard that Apple’s iTunes Music Store has taken the #2 spot in music sales — all music sales – right behind retailer giant Wal-Mart. This tends to lead to one of two somewhat gloating reactions from Apple advocates. One is a sort of “rah, rah, go Apple!” attitude. The other is along the lines of “hurrah, discs are dead, go throw your CDs in with your eight tracks and vinyl while we leap into the future!”

A typical sentiment comes from Scott McNulty on The Unofficial Apple Weblog: “I have an iPod, an iPhone, an Apple TV, and I manage all my music with iTunes as I am sure many, many other people out there do as well… “

Eep. Any votes for “I have a Sony Cassette Walkman, a cheap mobile phone, a … TV, and I manage all my music on my bookshelf”? Is that more boneheaded nostalgia?

Of course, it wasn’t supposed to be this way — any of this.

First, it’s hard not to notice that Apple’s success involves a somewhat Borg-like approach to media consumption. All Apple gadgets, all Apple software. Ironically, even Windows users — the people Mac users had for years railed against as overly conformist or beholden to Microsoft-branded stuff — use a variety of listening gadgets and happily reject the clunky Windows Media Player for Winamp, Mediamonkey, and foobar2000, among others. Brand loyalty aside, what if you want other control over cataloging, encoding, and mobile listening? It’s your music collection, after all.

But more importantly, iTunes has itself become a kind of Wal-Mart for music: a retailer so large, it starts to impact the rest of the business and stifles variety. And that wasn’t the vision for online music distribution; supposedly we were all going to be rid of major labels and one-size-fits-all outlets. So, that’s the bad news — the good news is, iTunes’ giant presence may be the best thing that ever happened to music sales. Here’s why:

• Apple’s dominance scared the record industry into dumping DRM. Lots of ink has been given to Steve Jobs’ “Thoughts” memo, which called for eliminating DRM because it’s bad for consumer. But iTunes’ DRM-free music initially cost more and covered less — and Apple was beaten by others to going entirely DRM-free. The real reason major labels dumped baked-in protection was they realized adding DRM to music gave the iTunes/iPod combo total control over the market, and they (rightfully) feared an Apple-dominated music world. Without DRM, you use any player and mobile device you want, meaning you don’t have to buy it from any one vendor. Little wonder that many labels went to nearest rival Amazon first. Dropping DRM wasn’t for the consumer; it was a competitive move.
• Sales of music aren’t down; they’re just moving from physical to online media — then back again. The “sky is falling” argument from labels generally comes down to this: physical media sales are down enough that they’re wiping out the benefits of explosive growth from online sales. Physical is down, online is up, and online isn’t yet making as much money as physical sales did at its peak. But that money is going to legit, online sales, not piracy. And that’s a big relief to the rest of us; the labels can be left to figure out how to make money on the new format. Meanwhile, just as Radiohead offered a premium physical-CD for its best fans….
• The CD isn’t dying — it’s just becoming a luxury item. Bloggers have been comparing the death of CDs to the death of vinyl. Maybe that’s the right comparison, but “death” isn’t the right description — for either one. First, there are still billions in CD sales, so don’t expect CDs to go away any time soon. In fact, the CD could rebound slightly if CD sales outlets and labels can find a way to adjust their business model and releases for this new music listening market. One fair bet: make CDs a luxury item. Just ask vinyl. Vinyl has made a resurgence among hard-core aficionados and DJs, people who love its sound, its packaging, the community of people around specialized retailers — all things that could also be true of CDs. The numbers may be small, but if independents can pick up big margins in little markets, who cares? Take the money and run.
• iTunes’ embrace of a Wal-Mart audience means opportunities for other online retailers. I’ve got two words to sum it up: American Idol, for which Apple is now an official sponsor. Apple has traded in its indie cred for big music business. And tastes in music are more diverse than ever. That means iTunes has nowhere to go but down, as stores like Beatport, dancetracksdigital, Other Music, Bleep, Deutsche Grammaphon pick up specific genres and retailers like Amazon work to win out with unique features and varied content. Apple’s likely to remain healthy, sure, but competitors have both the reason and the opportunity to fight back.

Nothing against Wal-Mart — I’ve bought the odd item there. Or Apple — without Apple, I expect we’d still have bungling majors building broken services of their own, like the pre-iTunes, DRM-laden Napster reactionary stuff. But music lovers benefit from choice. And I think Apple’s very dominance, alongside the death of DRM, could paradoxically let that choice happen.

But let’s be clear: no matter how much you like Apple, one retailer, one store, and one mobile device is not a formula that helps music or encourages innovation. It means one company controls pricing, one company controls assortment, one company decides what margins go to music labels, and one company decides what features you want. That’d be a bleak picture, except I think what Apple is doing is carving out a market it won’t be able to continually dominate — meaning the “one” in all of those will disappear soon. You know, like the eight track.

(photo top right: ktpupp)