Public perception of Apple’s “Hey Siri” event seems to be overwhelmingly positive. I’ve seen a lot of people saying Apple hasn’t had as focused or strong of a presentation in years. It’s true—there was a lot to take away. Each individual product announcement holds big ramifications for the future of Apple’s devices and platforms.
The Apple TV is a no-brainer for me. I am not an Apple TV power user (is there such a thing?) but I rely on mine heavily for the basic functions it currently offers. I know there are plenty of alternatives, but the Apple TV is all I want and the new Apple TV brings much more to the table. The Siri integration looks very well-executed and I’m genuinely excited for its potential as an app (and game) platform. I’m buying it because it’s better at what I already use it for, but I’m optimistic that more uses will continue to present themselves for it over time.
I think the iPhone 6s is a big deal for a reason that I’m not sure many would agree with at this point in time, and that reason is 3D Touch.
The best comparison I’ve heard about 3D Touch is that it’s like keyboard shortcuts for a touchscreen. A way for power users to bypass steps for common actions without introducing required complexity that confuses novice users. You can continue to use an iPhone the way you always have. There is nothing that you must use 3D Touch in order to access, and properly-designed software shouldn’t resort to requiring it, but for power users it is going to be an incredible boon to usability.
Some people may make the mistake of dismissing 3D Touch as a gimmick, but I think it couldn’t be more important. It’s going to change the interaction paradigm for touchscreen devices. In five years when it’s everywhere, features are going to be able to be designed differently because there is a whole z-axis to work with.
I even like the name. When I first heard it, I thought it was silly, but the more I thought about it, the more I realized it’s actually brilliant because it’s so accurately descriptive. It’s touch input with a third dimension added. It’s more description than buzzword. I hope they rebrand what they’re currently calling “Force Touch” everywhere else as 3D Touch instead, as I think it’s a better and less confusing name, and consistency is king.
In some ways, Apple’s iPhone Upgrade Program was the most exciting announcement for me, because I’m one of those crazy people who has always bought the new iPhone every year. Apple introducing a first-party iPhone Upgrade Program solves a long-held problem I’ve had with needing to figure out complicated ways to accomplish this within my financial means, abusing carrier upgrade cycles, adding lines to get subsizied pricing and so on. I am thrilled to finally have this separated from the carrier and be able to manage my hardware through Apple independently.
The iPad Pro is an impressive piece of hardware, and there is little doubt in my mind that it will be the route I go for future iPads. There are many exciting things about it, not the least of which being the A9X and a rumored 4 GB of RAM. I am particularly enthusiastic about the addition of a first-party physical keyboard. (I do a lot of writing, and I find the software keyboard sufficient in short bursts but quickly tiresome for longer writing sessions.)
That said, I’m going to sit this round out. Aside from not being able to justify the cost (it’s a substantial investment, especially if you want cellular connectivity), it also does not have 3D Touch. As I noted above, I think 3D Touch is going to change a lot of foundational elements of iOS over the next several years. Buying a new device without 3D Touch feels similarly shortsighted to buying one without a Retina display after those were introduced. It just doesn’t make sense as an investment right now.
To be honest, I also believe the hardware of the iPad Pro is ahead of the software. I am very optimistic that the existence of the iPad Pro will drive iOS forward in significant and important ways, but we’re just not there yet. iOS 9 is only the beginning. As John Siracusa put it, making iOS a truly pro-level operating system is a “chicken or egg” conundrum. Now, we have our egg. Now that Apple has an iOS device that is billed as a truly professional device, it means they have no excuse to continue arbitrarily limiting iOS. Many have been frustrated that iOS, especially on the iPad, seems constrained or dumbed-down for no good reason. I think this is much more the case than it should be. iOS 9 finally makes some progress on that front with split-screen multitasking features but we’re only scratching the surface. And now that there’s pro-level hardware to run it on, Apple must push iOS forward in significant and important new ways, or else they will fail to justify the existence of a new product.
The existence of the iPad Pro marks a great promise for the future of the iOS platform, but I am willing to wait until I see evidence of that promise being fulfilled before I make the leap. In the meantime, my iPad Air 2 will more than tide me over.
It seems that after upgrading to Debian 8 and Apache 2.4 the blogging engine I’ve been using for the past several years is no longer working, so I’ve had to migrate my blog to a different engine. I experimented with several options, including WordPress and a few of the flat-file CMS options available these days, but to be honest all I want is a stupid simple static HTML page that just displays raw content like I had before.
As of now, the vast majority of my old posts are no longer available. I tried to move over anything I thought was worth keeping. At some point in the future, I might get around to moving more over, but really, there’s not much there of any value.
If there’s something specific that used to be here that you want reposted, tweet me.
Today the world lost someone who shaped a significant part of my identity from a very early age. I don’t have the words to adequately describe the loss I feel. Through the character of Spock, Leonard Nimoy defined a huge part of Star Trek, which in turn defined a huge part of me. The worldview embodied by Spock’s character is something that I think about as part of everything I do, and Spock’s great struggle between logic and emotion is something that I wrestle with on a daily basis. People of more than one generation have been shaped by what Leonard Nimoy gave us, and mere words don’t seem enough to acknowledge that.
My favorite tribute so far has been this one from io9:
The real essence of Star Trek is humanism — the belief in the power of pure humanity. And Nimoy, throughout his career, was someone who believed in people. Even after he mostly retired from acting, Nimoy had a second (or maybe third) career as a photographer, where he focused on finding the beauty in people that other photographers wouldn’t necessarily think of: including plus-sized burlesque dancers and people whose truest, most creative selves are hidden. Nimoy never stopped being curious — and fascinated — by humans and our incredible diversity.
The only comfort I take from this is the legacy that he left us with. We would all be fortunate to live long and prosper as he did.
Supposedly, a bold new era of Doctor Who is now upon us. How much the show will actually change remains to be seen, but one thing that hasn’t changed is Murray Gold doing the music. Not counting different edits of the same theme, Murray has now given us a total of eight separate versions of the Doctor Who theme that have been used on the show, running absolute circles around everyone else who has ever taken up doing the official theme for the show. I began writing about Murray’s themes in 2010 out of misguided optimism that the show would improve under Moffat’s reign. (I don’t think it was possible for me to have been more wrong.) I wrote again about 2013’s new theme, in a post I called “2013 and beyond” because I foolishly assumed that we wouldn’t have a completely new theme again the following year. But a new theme—along with a radically different title sequence—is exactly what we got.
Here is the theme in its latest incarnation:
For one thing, the palette of sounds used in this theme is almost entirely electronic. This is something Murray has been getting better at in recent years. While his first several themes got progressively more bombastic, this trend has thankfully slowed dramatically since 2010. While I wouldn’t go so far as to say it has reversed itself, Murray has been much more selective when it comes to focusing on specific aspects or sounds in the theme each time, instead of just adding more things into the mix. The Doctor Who theme is so effective because it is fundamentally basic. A solid bassline and melody are all you need, and the inherent effect of the theme no longer works when those cease to be the central focus.
On top of that, the theme’s tempo has been brought back in line with what a Doctor Who theme should be. All of the themes since 2010 have run at 143 bpm, which is way too fast for a Doctor Who theme. A Doctor Who theme should run somewhere between 139 and 140 bpm, or in some cases slower. This newest theme appears to run at about 139.8 bpm—exactly where it should be.
The reliance on countermelodies has been sharply reduced this time around. The fanfare that has played over the bassline intro since 2010 is finally gone. The nice thing about Murray’s “trademarks” (the staccato strings for the first several years, and more recently the brass fanfare over the bassline intro) is that he will eventually tire of them and move on. I give him a lot of credit for this. Virtually every non-electronic element in this theme is either percussive, used to create pad-like harmonies, or directly complementing the main melody (rather than supplementing it). This is exactly how sounds like these should be used if you’re going to use them at all. The electronic sound effects, on the other hand, are prominent throughout the theme and used to great effect. One of them even sounds like Peter Howell’s “Catherine wheel,” spooling up as the theme builds to melody 1 and then winding back down. Even the theme’s conclusion sounds ominous and sets the right tone.
The new bassline is actually pretty good. I’ll get to the notation in a moment, but let’s start with the sound. The bassline is the single most important component of any Doctor Who theme; if one thing is going to be louder than all the other things, it should be the bassline. Murray Gold has a history of failing to recognize the importance of making the bassline the heart of the theme, but the bassline in this version is driving the theme as it should be. The sound itself spans a huge frequency range, which is great, and more or less unprecedented in a Murray Gold theme. Murray also has a history of very thin synth sounds for his bassline and melody, especially since dropping the Derbyshire samples in 2010. This bassline doesn’t have that problem, but this partially stems from the fact that it seems to be using a processed sample of a single “dum” from the original Derbyshire bassline to beef it up. It’s a surprising technique from someone who has full access to all the original samples, but it really does help the sound. In a way, I almost admire him for realizing he can’t synthesize something that rivals the original Derbyshire sound. Of course, the sampled Derbyshire bassline is also layered with some kind of synth bassline of his own (which is really what makes it work as cohesively as it does), but even that synth sounds better than usual.
The bassline notation, as far as I am able to tell, actually sounds like an improvement over the last theme, and is, in some ways, an improvement over all prior themes Murray has done as well. There is a very important distinction in the bassline that it seems Murray has suddenly become aware of: which sections of the theme use diddly-dums, and which sections use dum-de-dums. Ever since the Doctor Who theme’s very beginning, it was laid out that melody 1 should use diddly-dums, and melody 2 should use dum-de-dums. Peter Howell later established the rule that a dum-de-dum could be changed to a diddly-dum, but never the other way around. Thou canst addeth the note to the dum-de-dum, but thou shalt not taketh away.
Believe it or not, for the first time in history, Murray Gold seems to have observed and honored this distinction. The bassline intro begins with dum-de-dums, then switches to diddly-dums halfway through. Melody 1 uses diddly-dums, and melody 2 switches back to dum-de-dums. I wouldn’t have believed it if I hadn’t heard it with my own ears, but there it is. (The complete absence of dum-dum-diddies, however, is a separate issue, and will be bitched about in the “What I don’t like” section below.) The bassline has also been rearranged so that it no longer jumps up to the B an octave higher like it did in the last theme, and instead correctly goes down to the lower B.
It’s difficult to be 100% sure of this, but it sounds like the notation of Murray’s bassline second layer has improved in this latest theme as well. It’s still not perfect, but if he’s done what it sounds like he’s done, it’s less wrong than it has been in every prior Murray Gold theme that bothered to include a second layer at all. I’ll qualify this by saying that the second layer is very quiet in this theme, so it’s hard to make out, but it sounds as though instead of using the “inverted” notation he has used in all previous themes with a second layer, this time he has switched to what I call the “Glynn-style” second layer. This means that when the bassline goes up from E to G, the second layer starts on D, but when it comes back down to E, it starts on D again (or starts on A if the bassline comes down to B), rather than starting on F or F#. I first explained this in depth back in 2010, when his second layer became a clearly audible separate track. Switching to a Glynn-style second layer is not perfect, but it is progress.
The theme’s melody has also made significant progress in this version. (Well, except for the sound… but that’s not for this section.) For one thing, the first note of melody 1 is back with a vengeance. No more “wah-oo”—now we’re back to “oo-ee-oo,” as it should be. On top of that, another important aspect of the melody has been restored. The first phrase of the melody is composed of two halves: melody 1a, and melody 1b. The final B note of melody 1a should always be held and continue to play behind melody 1b. This is something that Murray Gold has never done, until now. Or, to be more accurate, he’s approximated the effect by repeating melody 1b on a different sound (a string sound) and concluding on the B note at the higher octave. It isn’t perfect, but it achieves the desired effect and it sounds good leading into melody 2. Dominic Glynn used the same basic technique in his 1986 opening theme.
Speaking of melody 2, the notation there is also better. In fact, the notation is almost perfectly accurate now, with the exception of the final two notes, which are missing altogether. By extending the post-melody 2 bassline from two blocks to four, he bought himself plenty of time to conclude melody 2 properly, but for whatever reason he hasn’t done so here. Still, credit where credit is due—he finally has the notation on all of his layers clearly doing A-B, C-D-B, and at the right times too. Another C-B wouldn’t have killed him, but beggars can’t be choosers, right?
For the second theme in a row, Murray’s bassline is completely devoid of the dum-dum-diddy. For all the progress Murray has made in his understanding of the bassline in this latest theme, the complete omission of the dum-dum-diddy is a huge gap in accuracy. What has the dum-dum-diddy done to Murray to warrant its exclusion like this? Perhaps we’ll never know, but it’s a great shame. Murray has always had his issues with the dum-dum-diddy—for example, he never includes it when leading into the bridge if the bridge bassline is played on the higher octave—but you simply can’t have a Doctor Who theme bassline without it. Having each block locked to a certain pitch with no graceful transition between them becomes terribly awkward very quickly.
On top of that, Murray has made a pretty fundamental change to the structure of the bassline intro. Instead of going E-G every time as it’s supposed to, the second repeat now goes E-D. Yes, the bassline intro now goes down instead of up for one of the repeats. That’s just not cricket. I know Murray thinks the bassline intro is just so boring without some kind of brass fanfare or staccato strings over it, but maybe if you included some dum-dum-diddies you wouldn’t have so much of a problem?
That melody sound is just terrible. There’s no getting around it. It sounds like a basket of kittens being lowered into a vat of acid. If people watch the show at a high enough volume, there might be a class-action lawsuit for property damage coming up.
I’m not terribly thrilled with the bells either. I don’t object to them conceptually, as they were likely designed to fit with the title sequence, but they’re used in a pretty repetitive and boring way. Murray never seems to be able to come up with a creative way to use percussion in his themes, and the bells are no exception this time around.
Finally, the post-melody 2 bassline is still not ideal. It’s miles better than the previous theme, which just had two B blocks before returning to melody 1, but this time he has just padded them out with another two B blocks. If you’re going to add two blocks, do a B block and then go up to D like the Howell theme, or a G high-low dum-dum-diddy to lead back into melody 1. And speaking of those final melody 1 sections, do you really need to do a bassline intro-style E-E-E-G behind them instead of the proper melody 1 E-E-B-B notation? At least you had this right in the last theme.
When all is said and done, I actually kind of like this newest theme. But then again, I’m the kind of person who loves the Delaware theme, and I don’t care what you think. For a Murray Gold theme, I think this is progress. Unfortunately, I’ve learned by now that when it comes to Murray Gold, “progress” is usually just a fortunate accident. We’ll see how much of this is actually retained when the next theme rolls around.
Plus one that was soundtrack-only, and another that hasn’t been officially released at all, which brings us up to ten. ↩
Capaldi also had good news for those Doctor Who purists who believe the show’s storylines have become over the top.
“It’s going to be a bit different from what we’ve seen over recent years. A bit more gravity,” he said. “Some situations are more sombre and I think there are more rooted dramatic scenes. Over the past two or three years, which I’ve loved, there has often been a breathless vigour; we still have that attack, but we have another level of drama, another tone. And the scenes are longer.” […]
“I didn’t want to be Doctor Who in a Doctor Who I didn’t like,” he said. "I had to be convinced the show was going in a direction I was interested in.
The more I hear, the happier I am. I’m so glad we have a Doctor who has the balls to tell the showrunners what’s what (or perhaps I should say what’s Who).
“It’s not what this Doctor’s concerned with,” said Capaldi, whose predecessors Christopher Eccleston, David Tennant and Matt Smith all seemed to be attracted to their female sidekicks.
“It’s quite a fun relationship, but no, I did call and say, ‘I want no Papa-Nicole moments.’ I think there was a bit of tension with that at first, but I was absolutely adamant.”
Peter Capaldi is a goddamn hero. This is our first concrete proof that one aspect of the show is going to be fixed and it’s directly thanks to Peter Capaldi.
This is my latest remix of Dominic Glynn’s 1986 (and 2008, and now 2014) Doctor Who theme. It is heavily inspired by and based upon the awesome remixes Dom did for his brand new Doctor Who: The Gallifrey Remixes release, which is available today. If you haven’t already done so, I very highly recommend that you check it out and download it to support Dom’s continued work with the theme.
Since this mix is based on Dom’s newest theme arrangements, it has been under development since March, and has evolved considerably since its first version. With every new version I heard from Dom, there were more ideas and sounds that I wanted to incorporate into my own mix, and the final version incorporates many. In fact, the most recent change to the mix was also the most substantial; the bassline was completely overhauled, in part after hearing the extremely cool sweeping bass drones Dom used in the Syzygy mix (which is likely my favorite of all of them).
I hope you enjoy this mix, but it wouldn’t exist without Dominic Glynn and all the work he has done with the theme over the years (but especially this year). My mix very clearly stands on the shoulders of his as he continues to inspire some of my best work, and I hope you will download the Gallifrey Remixes as well to show your support.
OmniFocus 2 for Mac is available now and highly recommended for people who value doing things. It’s an extremely significant upgrade which has put the Mac version back at the center of my workflow.
Originally composed by TV legend Ron Grainer, the Doctor Who Theme was re-arranged for the programme by Dominic Glynn in 1986. Now, 28 years later, Dominic has produced a new EP of original remixes of his theme arrangement. Originally performed at the Gallifrey One fan convention in Los Angeles in February, the “Gallifrey One Remix” is here joined by three other brand new mixes. The EP also sees the first new mix in twelve years from Syzygy - the underground electronica duo of Dominic Glynn and Justin Mackay, best known for their techno and ambient dance releases on the Rising High label.
Coming June 16th. You absolutely won’t want to miss this. There are some truly phenomenal tracks on this release. Now available for pre-order.
Amazing piece I just discovered. Props to Paul Hartnoll for being such a dude.