Dolby Atmos through MacBook Pro speakers: DO NOT WANT

What are your thoughts on Dolby Atmos?

More specifically: what are your thoughts on Apple Music automatically playing songs in Dolby Atmos through laptop speakers?

My MacBook Pro has pretty great speakers (for built-in laptop speakers). I’m sitting here listening to Talking Heads’ Fear of Music, and I could tell immediately that there was some kind of surround effect going on. It was very disorienting — it created a physical sensation in my ears and almost started to give me a headache. Then I realized I could turn it off and instantly everything went back to normal.

I’m not entirely sure what kind of dark magic Dolby is employing with this (I’m sure it has something to do with reversing the polarity of the stereo channels or something nerdy like that), but I don’t understand why it’s being foisted upon us. It reminds me of the trend about a decade ago of every movie being made in 3-D, and even 3-D TVs that no one wanted. Eventually they caught on to the “no one wanted” part and now it’s not much of a thing. I hope Dolby Atmos on streaming services follows in short order!

Related: Why Your Atmos Mix Will Sound Different On Apple Music

…And another update on Northern Daydream 3: Future Proof Past

My plans for this album project have ping-ponged around wildly in the 2 years since I first started planning Volume 3 of my Northern Daydream series.

Finally midway through 2022 things started to come into focus, with an emphasis on two vitally important but radically different jazz pianists who both hit their creative stride in the late 1960s and early 1970s: Herbie Hancock and Keith Jarrett.

But even as I began to see that this album needed to have a “Side H” and a “Side K,” I waffled on exactly which songs I wanted to cover, and how I wanted to approach them.

Finally, with yesterday’s accomplishment of “KJ3M” — a 10-minute suite featuring three distinct Keith Jarrett compositions, stitched together with three brief keyboard improvisations, inspired by Jarrett’s own concert style, the project has reached its conclusion.

I had not planned to record any of these three songs when I laid out the project. I hadn’t even heard any of them at that point, honestly. But once I did hear them, I knew I needed to make them the focal point of the conclusion of the project.

“Mortgage On My Soul” and “Common Mama” are an interesting pair. Both are built over a similar bass ostinato — in the same key, no less — and could actually be ripe for a mashup. But I decided that was not the right treatment. I wanted to show the ways the two are different, not the ways they are alike. (Whereas you might see the result of this project overall as showing the ways Jarrett and Hancock are similar even though on a surface level their styles are very different.)

“The Magician In You” kind of came out of left field. It immediately follows “Common Mama” on Jarrett’s 1972 album Expectations, and I really like the pairing. After spending several minutes in a harmonically static, groove-based mode, it’s very satisfying to bask in the rich harmonic textures of this rock/gospel ballad.

I played up the harmonic structure here in ways I kind of wish the original had done, although I know Keith Jarrett’s style, especially at that time, was to leave listeners with only the slightest hints of the true structure underneath, allowing improvisatory group interplay to constantly pull at the loose threads of more predictable musical forms. I don’t slight him for it at all, and yet the composition is just so good that I want to get absorbed in it and let it carry me away.

And this is part of why I’ve decided to wrap up this project here. I’m ready to take on new challenges, including attempting to create a big band arrangement of “The Magician In You” that builds on the elements I put into this version. So, this probably means I will step away from spending 18+ hours on a Saturday, twice a month, on an epic recording/video production session. For a while, anyway.

Here’s “KJ3M”:

And you can listen to — and watch — the entire album here.

Once I’m satisfied that the mixes for the album are final, I’ll post another update with download links. Stay tuned!

An update on Northern Daydream 3: Future Proof Past, my new jazz fusion covers project

A while back I posted about Northern Daydream 3: Future Proof Past, the third album in my series of jazz fusion covers.

This album is going to consist of a set of covers of songs written by Herbie Hancock and Keith Jarrett. With at least one original and a bonus mashup thrown in for fun. And, of course, a YouTube video of the recording of each track.

At the time of that original post, I had recorded 3 of the songs. Now I’ve recorded three more! That’s one each by Herbie and Keith, plus the bonus mashup.

First, there’s Keith Jarret’s “Grow Your Own”:

That was followed by a goofy mashup idea I came up with when I was doing a bass subbing gig with a local big band that was playing “The Chicken,” a James Brown tune popularized in jazz circles by Jaco Pastorius in the early ’80s. The goofy part is that I mashed it up with Pearl Jam’s “Alive”:

And, most recently, I did a somewhat-mashup of Herbie Hancock tunes. Which is to say, I did a cover of his 19/8 space jam “Hidden Shadows,” released in 1973, but I threw in ’80s-style Linn Drum samples, along with shoehorning the melody of his 1983 synth pop hit “Rockit” into that unusual time signature:

What’s next? Well, I’m still working on it… but whatever it turns out to be, it will be a Keith Jarrett composition. Or, compositions? Hmm… we shall see.

Rest assured, however, that the following will not be a part of the album…

You’re never too experienced to make a boneheaded mistake, especially when the action that initiates it looks extremely benign

A big scary warning message

That warning bar doesn’t exist. But if it did, I maybe wouldn’t have made the stupid mistake I made on Sunday morning.

The big mistake was actually the result of my hasty efforts to patch up a much smaller mistake. As it goes.

I had mistakenly deleted a bunch of WordPress themes on a multisite (but not Multisite; the difference is worth discussing in more detail at a later time) installation that Sara and I use for all of our blogs — including this one.

I didn’t want Sara to see that her themes had been trashed, so I quickly logged into my Digital Ocean account and attempted to restore a copy of the latest backup of the server. My intention was to spin up a new copy of the server, from the most recent backup, go in there to grab the theme files I had accidentally deleted, copy them into the live server, then destroy that temporary copy of the server.

Here are the options I was presented with:

Given that menu, what would you do? Never mind the fact that I’ve been a Digital Ocean client for over a decade and have dealt with this exact menu numerous times before. I should have known better. But I was in a hurry and not thinking clearly.

Did you select Restore Droplet? Congratulations. Just like me, you have now destroyed the live server.

Maybe all of this wouldn’t have been so bad, but the weekly backups on this particular server take place on Monday nights. Which means we were working from a 6-day-old backup. And wouldn’t you know it, both Sara and I (but especially Sara) had been unusually active on our blogs this past week.

So yeah, I clicked Restore Droplet, which immediately, without any additional warning or confirmation, completely and permanently wiped out the live version of the server and replaced it with the contents of that 6-day-old backup. A week’s worth of blog posts and site edits, vaporized with absolutely no possibility of recovery.

What was the correct action? As I already knew, it was to select Convert to snapshot, then navigate in the side menu to Snapshots and from there, create a new “Droplet” (Digital Ocean’s term for a virtual private server) from the snapshot. As I said, I’ve done this exact process many times over the past several years, when a client accidentally deleted something and I needed to help them recover it.

Ugh.

Anyway… if this blog happens to have any keen observers, you/they may have noticed that the two most recent blog posts had disappeared. No, this was not intentional. And they are gone forever. Fun.

Update: According to Digital Ocean support, the Restore Droplet option does present an additional warning before continuing, but (in my opinion) it is not nearly aggressive enough to make you stop what you’re doing if you’re being hasty like I was.

On canceling my Minnesota Twins season tickets, and the nature of professional sports

I’ve had Twins season tickets since Target Field opened in 2010. Not a full-season package, mind you. I don’t see how anyone who works for a living has time for 80 baseball games a year. Or even 40. But I’m now in my 13th year of a 20-game package, and most years (minor inconveniences like pandemics aside), I’ve actually managed to make it to 16 or 17 of them.

This year I’ve had a lot going on, and have had to reschedule (ticket exchange is a nice new benefit in the past couple of years) or miss entirely over half of the games in my package. Combine that with increasing concession prices with limited options (especially for someone who doesn’t eat meat), few other season ticket holder perks I find interesting, and the perennial futility of this particular team, and each year it has been harder and harder for me to justify renewing.

Finally over the weekend, when I missed two games in three days due to more schedule conflicts — mixed with a dash of struggling to care about a team that is once again failing to live up to even modest expectations of success — I decided I was done with it, and I emailed my rep to say I want to cancel for next season.

Last night was my first game since canceling. And what a game it was! The Twins had just finished getting swept in a 4-game series by the division rival Cleveland Guardians, a series that knocked the Twins — who had dominated the division in the first half of the season — down to third place, and below .500 for the first time since April.

But they came roaring back in last night’s game against the lowly Kansas City Royals with three home runs, and by the middle of the fifth inning, the crowd was beginning to notice that Joe Ryan also had a — shhh! don’t say it out loud! — no-hitter going.

By the end of the seventh inning, he still had a no-hitter going, and the excitement in the stadium was palpable. We might be witnessing Twins history… their first no-hitter in over a decade! But Kansas City was not making it easy. Pitch after pitch after pitch was fouled off, and by the time the last out was recorded in the seventh, Ryan had already thrown 106 pitches.

Twins manager Rocco Baldelli is a serious analytics guy. The whole game is numbers to him, to the detriment of fan excitement or even a moment of unpredictability. And one of the biggest numbers is that magic “100” pitch count. Once your starter hits 100 pitches, he’s done, no matter what. So I knew there was no way he was going to let Ryan come back out in the eighth, no matter how much of a case he might be pleading in the dugout.

So it was… Jovani Moran kept the no-hitter going through the eighth, but with one out in the ninth, he walked two batters, then gave up a double. The no-hitter was gone, as was the shutout. In the end, the Twins won, 6 to 3, but it felt worse than a loss.

I woke up this morning still thinking about the game, and getting philosophical about it, and about my waning enthusiasm for this team I have loved (at least, in fits and starts) since I was in middle school and they won their first World Series.

What is the purpose of professional sports? They are entertainment. That is their only purpose.

Fans pay a great deal of money to be entertained, and the people who comprise the “sports industrial complex” — professional athletes, coaches, staffs, broadcasters, etc. — make their very comfortable livings from the money those fans pay.

But guys like Rocco seem to think sports exist for some other reason unto themselves. That they matter in some way apart from the fans.

They do not.

If you are not making the game entertaining for the fans, you are failing at your job. And if you allow the game to be entertaining for the first 7/9, and then make a decision that ruins the remaining 2/9, you’re still failing… even if you win.

But here’s the thing: even if sports did exist for a reason unto themselves, Rocco’s approach is not going to lead to success. A conservative, risk-averse, analytics-obsessed approach can only take you so far. Baseball needs an element of risk, of surprise. Bold, unexpected, sometimes irrational decisions are what make a good team great, or at least make an average team fun to watch.

The best the Twins will ever be with Rocco’s approach is “good.” Yes they touched greatness in 2019, with their first 100+ win season since 1965, and setting an MLB record for team home runs in a season, but something strange was going on in the entire MLB that season with juiced balls or something. Then, of course, that team that was so dominant in the regular season still instantly fell apart in the postseason, because that’s what the Twins do. And that’s never going to show up in your analytics.