Digital-Lifestyles

Content

Content in its shift to become digital

  • Apple iTunes Selling 1.25m Tracks per Day

    During his MacWorld keynote, Steve Jobs took time to tell the Apple faithful about the success of iTunes.

    Back in mid-December, we were rather dismissive when we heard that iTunes had sold 200m tracks, so when we heard Jobs saying that the figure had now reached 230m songs, it didn’t set our world alight.

    What we did find interesting was the current rate at which tracks are being sold per day. From their combined online stores in the 15 countries they have running (covering 70% of global music market), they are currently selling at the rate of 1.25m per day.

    Jobs was quick to point out that ‘at this rate’ the annualised sale of tracks would be 0.5 billion tracks.

    While this tracks/day rate initially sounds enormous, it has to be put against the explosion in the sales of iPod over the last quarter of 2004.

    In the run up to xmas a very impressive 4.5m iPods were sold (a 500% growth over the same quarter last year) and dropped in to people’s xmas stockings, bringing the total sold to 10m. Clearly these arrive empty and have to be filled with music, some of which may be already owned, but experience tells that the common action is for people to take this as an opportunity to buy more music.

    The number of tracks downloaded will have been helped by the 1m prepaid card that Apple has sold since US Thanksgiving (25 Nov).

    These combined factors may account for the big hike in tracks/day and could point towards this being a seasonal blip. Sustaining it will require a continued enthusiastic appetite for new music from the current owners or legions of new iPod owners continuing to arrive.

    Apple iTunes

  • iPod shuffle. Apple’s Flash Music Player

    apple iPod shuffleThe success of Apple’s iPod range is well known. They have to date sold over 10 million units and have total domination of the hard disk-based portable music players. The only market they weren’t in was the solid state memory, or Flash memory players. To address with the hope of being the winner there too, Jobs announced the Apple iPod shuffle.

    Shown in iPod white it’s 3.3 inches x 0.98 x 0.33 (8.4 cm x 2.5 x 0.84) and weighs only 0.78 ounces (22.11g). In summary it’s very small, about the size of a pack of chewing gum.

    The controls are very simple, numbering just five – play/pause; volume up and down; next and previous track. Unexpectedly it has no display, so there is no visual way to know which track is playing. Apple being Apple, worked this idea to their advantage, suggesting that receiving your music in a random, unexpected order was fun. We’ll see if the market agrees.

    Connecting to either a Mac or PC via its USB 2.0 port, it also takes its charge onto its 12 hours battery this way. This is a great feature that players like the Jens MP-130 had used, which we found a real boon.

    While we’re on the Jens MP-130, it had a really excellent microphone build into it which enabled quality recording of interviews and the like. It’s noticeable that the iPod shuffle doesn’t have a mic onboard or even a jack for an input. This is for playback only.

    It comes in two models; 0.5 GB and 1GB – pretty beefy for a Flash player. Prices are $99 (~€75, ~£53) and $149 (~€113, ~£79) in the US, £69 (~€98, ~$130) and £99 (~€141, ~$187) in the UK and is “shipping from the factory” yesterday.

    The integration with iTunes is strong and features AutoFill. This gives various methods of selecting music tracks to go onto the iPod shuffle, filling it to capacity.

    The experience that we’ve had in the Digital Lifestyles office with USB music players is that the ones that have a clip-on lid end up having problems with the lid dropping off. The iPod Shuffle is using a removable lid as the attachment to the lanyard which then hangs around the neck.

    The reaction throughout most of Jobs’s presentation was pretty ecstatic as is the norm, with them cheering and whooping on cue. Strangely during the presentation of the iPod shuffle, it was pretty restrained, even quiet. The only audible excitement was during the announcement of the price of the base model.

    We’re sure Apple will be hoping the public has a more enthusiastic reaction to it. We’ll be getting our hands on it this Friday, so we will update you after that.

    Apple iPod shuffle

  • SmartDeck from Griffin gives iPod control

    Griffin SmartDeck iPodGriffin Technology has announced what they call SmartDeck Intelligent Cassette Technology.

    At first glance it appears to be a “seen it” product, a bit of audio cassette-shaped plastic that you pop into your cassette player to let you play the music you’ve got on your digital music player.

    Take another look beacuse this device is smarter than that. Rather than having to fumble for the control on your iPod while you should be concentrating on things like … driving. This little beauty lets you use the buttons on your cassette deck to control your iPod. The fast forward and rewind buttons take you to the next or previous playlist track; the Stop and pause buttons do as would be expected; and hitting Eject or selecting car stereo’s radio also put the iPod on pause.

    How does it do it? The cassette adaptor has sensors on it (note the teeth inside the holes in the middle of it) and passes this information down a single white cable to the four-pin top accessory port on the top of the iPod. Clever isn’t it?

    Griffin are also claiming it automatically sets optimal volume on the iPod for best audio quality and the devices innards are the highest-quality to give crystal clear quality sound.

    It should be available in the second quarter of 2005, priced at $24.99 (~€19, ~£13.50). If you can’t wait until then to see it, it’s going to be on show on Booth #1917 at current MacWorld show.

    Griffin SmartDeck

  • Gizmondo beef up with Disney and Sega

    Since we first brought news of the Gizmondo gaming console to you in June 2004 it has been coming on leaps and bounds.

    Not only is the Gizmondo a handheld games platform, but it’s also able to play music and video; has GPRS, Bluetooth and GPS built-in to it; works as a wireless email and SMS client; and has a digital camera built in. All for an expected $399 in the US or £229 in the UK.

    While this is all very lovely, it’s common knowledge that what keeps a gaming machine alive beyond the spec sheet is the games it runs. Tiger Telematics, who have developed and sell the Gizmondo, are developing their own original software, having bought two software developers Indie Studios and latterly Warthog Games in October 2004, but they are also wisely doing deals with other companies.

    The fruit of these now-combined studios, renamed Gizmondo Studios, will be nine titles; City; Colors; Johnny Whatever; Sticky Balls; Fallen Kingdoms; Momma, can I mow the lawn?; Milo and the Rainbow Nasties; Furious Phil; and Future Tactics.

    A three year deal with Disney should bring their games to the Gizmondo platform. The initial fruits of the deal will be Tron 2.0. Developed in-house by Gizmondo, the contract also “envisions for four additional titles to be determined by mutual agreement”. The agreement has the Gizmondo paying a minimum guarantee totalling $100,000 for the Tron 2.0 property over three years. Four other titles could also be developed under the deal.

    Tiger Telematics have also signed a letter of intent with Taiwan-base Digital Media Cartridge Ltd, hoping to bring many of the classic Sega video games to the platform. Currently this deal looks a little less certain that the Disney deal, but the games being discussed include Sonic the Hedgehog, Outrun, Golden Axe, Altered Beast and Shinobi.

    As an icing on the cake, our friends at CNET declared the Gizmondo a finalist in the Next Big Thing awards.

    The Gizmondo soft launched by taking pre-orders in the UK in October 2004, and should be in UK shops in February 2005 priced at £229. The online capabilities will be provided using a Gizmondo-branded Pay As You Go (PAYG) service.

    Gizmondo

  • Sims 2 Get Hacked Off

    Sims 2 Telescope alien AbductionWe’re constantly amazed by the world of online gaming. It’s a fascinating, deep and engrossing world. Some at the Digital Lifestyles offices are big fans, others are scared of it. The latter worry that if they start to get involved, they will be sucked in to the games vortex, never to reappear.

    SlashDot pointed us to an interesting story that SecurityFocus ran about the alterations to items in the Sims 2 that are spreading around the game with unexpected results. If this world is new to you, it’s well worth a read.

    There are many site, like mod the sims 2 that contain hacks such as Expensive Telescope Abduction Hack v1.0, mentioned in the article, that guarantees that your Sim will be abducted by aliens if you look through the telescope between the hours of 7pm and 2am.

    Hacking online PC games isn’t new. Ever since the days of Doom, hackers have been making modifications to give themselves the advantage of seeing through walls, or infinite ammunition – anything to give themselves an advantage. Indeed one of the advantages that Microsoft listed at the launch of the Xbox was that “unauthorised” code couldn’t be run on it (others saw it as restricting the platform), so games wouldn’t be ruined.

    We attended the Edinburgh International Games Festival last year and sat in on a debate about the virtual currency within games be sold in the real world for real money. The Electronic Arts representative (EA sell the Sims 2) attitude to it was very relaxed to it, claiming that it wasn’t something that bothered them.

    It looks like pressure from Sims 2 players has moved EA into action in this case, they’ve written software that acts in the same way as anti-virus software, scanning for alter objects and removing them.

  • Digital Lifestyle extolled by Bill Gates at CES

    In what has now become a tradition, Bill Gates opened the Consumer Electronics Show (CES) in Las Vegas extolling the virtues of Digital Lifestyles (thanks for the plug Bill).

    In a “casual” interview style, US TV chat show presenter, Conan O’Brien, lead Bill through the wonderful world of digital media.

    O’Brien started his shtick with a great joke, “When Bill Gates walks onto this stage in a few minutes, the average net worth of each person in this room will be(come) $128 million.”. He then went on to be reasonably rude about most people in the industry. Of particular note was the “CES – The Movie” spoof casting, where well known characters in the industry were matched up with their acting doubles. It’s worth watching, just fire it up and jump to 11m 30s.

    Bill Gates then came on stage to give Microsoft’s view of Digital Lifestyles.

    Not surprisingly Microsoft pitches the PC as the centre of it, “The PC has a central role to play, (in that) it’s where it all comes together.”

    As has been the case since the public started recognising the iPod and iTunes, Bill and his promotional videos took every opportunity to feature ‘other’ music players, while subtly highlighting the virtues of the Microsoft approach.

    This covered “Windows Plays For Sure”, the certification process that labels all devices that are able to understand and adhere to Microsoft’s Digital Rights Management (DRM) scheme. Read as, music in Apple’s format can’t play on other devices except Apples.

    For the trend spotters among you, Bill referred to this as a “rights management system”, dropping the Digital prefix.

    He also pitched monthly subscription services where you have access to all of the music you desire – another thing that Apple iTunes doesn’t offer. He failed to mention that with most subscriptions services, the ability to play the music you’ve paid for access to, stops when the monthly subscriptions fees do.

    Media Centre featured large with Gates announcing that PC manufacturers have sold 1.4 million Media Centre models worldwide so far.

    Media Extenders, which enables households with networked homes to pull content from their Media Centres to rooms around the house were also brought up again. Dedicated boxes from companies like LG were mentioned as well as a software upgrade for Microsoft’s xBox to provide the same function. The fact that 6.3 million people had bought Halo 2, was also dropped into the conversation.

    The LG example was of note. A dedicated DVR with DVD burner, it featured a cut-down version of the Media Center software that retained the familiar user interface (UI), while offering access to music and photo’s stored on the Media Centre PC. Not only that but content recorded on this dedicated device could be transferred to the Media Centre PC and in turn to a smartphone or Portable Media Centre (PMC).

    To easily operate the Media Centre, the “simple, single remote control” was also touted, more than once. Microsoft have formed partnerships with Philips, NiveusMedia and Logitech to produce universal remote controls that work with Media Centre, as well as many other devices. All these remotes will feature a “signature” Green Start button. Bill had previously mentioned that some remote controls will have small colour screens on them, allowing video content to be shown on them.

    New content partners also got a nod. Discovery will be creating “unique content” that fits on Media Center, with Yahoo and Fox Sports also getting a mention.

    One key item was the launch of the Media Centre as a platform. Not just a means of accessing and playing back content, but of broadcasters creating interactive content specifically for it, that combines broadcast and IP delivered content using Online Spotlight. We feel this is the most important item to come out and will be covered in more detail in another piece shortly.

    It’s also worth watching the video, if nothing else then to see Bill looking less than comfortable with the interview technique.

    Bill Gates CES – Opening Speech

  • 6 PSP Games Due from EA

    SIRIUS SportsterToday Electronic Arts (EA) used CES to announce its line-up for the US launch of Sony’s handheld entertainment system, the PSP due in March.

    The six games are FIFA Football and MVP Baseball, (only available in the US and not in the UK) along with four previously announced franchise greats; Need for Speed Underground Rivals, Tiger Woods PGA TOUR, NBA STREET: Showdown (working title) and NFL STREET 2: Unleashed.

    EA say each game has been specifically designed for the PSP, as they found that trying to port the games didn’t work visually and they wanted the handheld titles to take advantage of the unique PSP functions such as WiFi head-to-head game play. To create the games, EA created the very dramatic sounding Team Fusion.

    More details of the games are on their dedicated PSP site. It has some screen shots of the games which looks most impressive.

    EA’s dedicated PSP site

  • iBod from PlayBoy = iPorn

    PlayBoy iBodIt’s not that we’re surprised by this news, but it did send a ripple of laughter around the Digital Lifestyles offices today.

    In this world of new words being made up on what feels like an hourly basis, PlayBoy brings us iBod.

    Not surprisingly, their newly launched service entails delivering photos of scantily clad women to Apple’s Photo iPod. It’s nothing more than that really.

    For years, many have been enthusing about the huge revenues that will come from delivering p0rn to portable devices, based on the one-to-one relationship that people have with them. A few years back, when 3G operators the world over worried about how to make up the huge fees they had paid for the licences, some joked that 3G stood for Girls, Goals and Games.

    Playboy already sells to major wireless markets such as Germany, the United Kingdom, Australia and Brazil. They recently announced that they will now offer the same in the US.

    The fantastically-named Randy Nicolau, president of distribution for the Playboy Entertainment Group said “Given the extraordinary success we’ve had with our wireless offerings around the world, we felt the time was right to expand our wireless content to the millions of U.S. subscribers.”

    To the best of our knowledge the Photo iPod isn’t waterproof, but the Click Wheel is well known for its single hand operation.

    PlayBoy iBod

  • Podcasting Primed, BBC Radio MP3 download success

    BBC Radio has for the last month been making some of its radio show available for MP3 download. Is this news? Well yes, previously they’ve always streamed their content, so you had to by your computer to receive it. With downloads you’ve been able to take it with you.

    It actually started with this years The Reith Lectures, which over the ten weeks it was available, had around 50,000 downloads. It has now grown considerably to the point where Melvyn Braggs show, In Our Time, had 70,000 downloads in November. The weekly BBC Radio 4 show was available to download for seven days after broadcast. Not only is it downloadable, but it’s also available as a Podcast. If you’re not sure what a Podcast is, you should read on. Digital Lifestyles was told by the BBC on Friday that in November, there were 100,000 hits on their Podcast (RSS) file for In Our Time.

    As regular readers of Digital Lifestyles will know, we are big believers in what we see as the effective rebirth of radio – the delivery of audio pieces over the Internet for playback on people’s portable music players. Over the last few months this hard-to-encapsulate idea has happily gained the moniker, ‘Podcasting’, but don’t be fooled by the iPod reference, this is for all music players.

    Strictly speaking Podcasting is slightly more than just the Internet delivery of the material, it’s also about automating the process. By using an application like the open source, iPodder, listeners simply select the Podcasters their interested hearing from and the content is automatically gathered for them. This apparent magic is achieved by combining a couple of already existing technologies, RSS and FTP. RSS (Really Simple Syndication) has until now mostly be used to gather news updates but hidden in its specification is the ability to point to enclosures, in this case MP3 audio files. FTP (File Transfer Protocol) is then used to download the sound files to computer. All of this happens without the listens involvement.

    Simon Nelson, Controller of BBC Radio & Music Interactive is clearly excited about it: “We’ve been surprised and delighted by the demand for downloads of what is one of our most challenging programmes; it demonstrates the public’s appetite for new ways of listening. Of course we recognise that we can’t offer all programmes in this way but we look forward to working with rights holders to explore ways we could learn from developments like this to drive radio listening forward.”

    These ideas have been bubbling around the blog world and it just starting to hit the main stream. The impact of this form of distribution will be significant. The barriers to anyone having their own radio station are removed. Of course, any form of enclosure can be catered for, including video. Beware broadcast TV, look out TiVo.

    BBC Radio 4, In our Time
    BBC Radio 4, In our Time – Podcast
    iPodder

  • Creative Archive Gathers English MP support

    The Culture, Media and Sport Committee of the UK House of Commons today released the first volume of its report, “A public BBC.” The committee, made up of eleven cross party Members of Parliament (MP), has taken evidence both written and through expert witness panels going back as far as May 2004.

    The 87-page tome contains a lot of interesting and insightful comments from the MPs which are going to take a while to digest. One of the manageable chunks is on the Creative Archive and being long term supporters of it, it drew our eye.

    The support from the MPs appears strong, but there’s few items that cause us confusion bordering on concern like the executive summary

    7. We strongly welcome the BBC’s proposals for a Creative Archive, and agree that access to this should be free for non-commercial applications. We look to the Corporation to develop, in cooperation with intellectual property owners, innovative solutions that appropriately balance the interests of rights holders with those of the wider public. Digital rights management is a key issue in the modern media environment, and we recommend the DCMS establish a forum for assessing its implications.

    We’re slightly confused as to why Digital Rights Management (DRM) is being mentioned in the same paragraph as the Creative Archive. Are these separate items that have just been mentioned in the same paragraph or is their suggestion that the Creative Archive material has DRM applied to it? One of the central ideals of the Creative Archive is the ability for the UK public to load the downloaded content into their video editing packages and create new content. How is this to be achieved if DRM is applied to the content?

    Much of this may become clearer when the BBC starts a trial of the Creative Archive in January 2005 as re-announced on 24.Nov.04 by Mark Thompson, Director-General, BBC.

    We’re going to be doing some more digging tomorrow to try and get some clarity on this.

    Details of material about the Creative Archive

    62. In Building public value, the BBC commits to launching a Creative Archive, providing “free access to BBC content for learning, for creativity, for pleasure.” The BBC’s ambition is that, starting with factual material, online access for non-commercial applications will eventually extend across all areas of its output.

    63. The Electronic Frontier Foundation espouses the benefits that will accompany the establishment of the BBC’s Creative Archive, and supports its becoming a core element of BBC services. Ultimately, this could comprise the whole of the BBC’s extant archive of radio and television programming, placed online under a licence that permits non-commercial distribution and re-use of this material by “remixers”. This open licensing system is similar to that deployed by the Creative Commons initiative, a system of “some rights reserved” copyright. And it is possible that, by enabling non-commercial exploitation, there is created “a gigantic and clever series of advertisements for the commercial rights” associated with the works.

    64. The Creative Archive brings to the fore what Professor John Naughton termed the “maniacal obsession” with intellectual property. In his view, the copyright industries “see digital technology as an unprecedented opportunity to extend control over how copyrighted material can be used to a degree that was inconceivable in an analogue world.”

    65. In written evidence, the Music Business Forum expressed concerns that such initiatives should not be allowed to “ride rough shod over the copyrights and performers’ rights of those who contribute to BBC programmes”. There had to be provision for rights holders to be paid for the additional use of their work through access to archives. This should be the case whether in the form of repeat broadcasting fees, extensions of the collective bargaining agreements in place for the payments of revenue for secondary uses, or through the negotiation of clearance for the right to exercise new rights on individually negotiated commercial terms. The BBC ought to consider the case for the implementation of encryption and digital rights management applications in order to counter growing piracy – whether via internet or personal video recorder downloads. The MBF is concerned that while this is available free and unpoliced, commercial download services will be unable to compete and artists, writers and the other creators will have no means of getting paid. “The BBC, as a publicly-funded organisation, has a responsibility to be seen at every opportunity to be upholding the systems of rights that operate in the UK, not least to act as an example to others. The licence fee does not of itself authorise licence fee holders to the free use of BBC output in whatever way they wish.”

    66. We strongly welcome the BBC’s proposals for a Creative Archive, and agree that access to this should be free for non-commercial applications. We look to the Corporation to develop, in cooperation with intellectual property owners, innovative solutions that appropriately balance the interests of rights holders with those of the wider public. Digital rights management is a key issue in the modern media environment, and we recommend the DCMS establish a forum for assessing its implications.

    Culture, Media and Sport Committee report, “A public BBC”