Tag Archives: Music

Know the difference between BPM and kbps

And it’s not just type case.

As I’ve mentioned, I have taken a shine to Amazon MP3 as my primary source for music downloads now. Sorry, Apple. You know I love you, but Amazon’s just doing it better. Better selection, better prices, and usually better quality. Plus everything’s MP3, not AAC. And no DRM, ever.

And while I don’t anticipate ever switching media players (the iPod and iPhone have served me well, even if you’ve been stumbling a bit lately). My new car’s CD player supports MP3 (and, ugh, WMA) CDs, but not AAC. And yes, I keep an iPod nano in the car (note to potential thieves: no I don’t), but it’s still convenient to load up several albums’ worth of music onto a single CD and pop it in. No annoying cords or dangerous behind-the-wheel iPod fiddling.

So anyway… yeah, Amazon MP3. And MP3s in general.

I’ve ripped my entire CD collection multiple times. First, back in 2001 or so, I ripped it all as 128 kbps MP3s. Then I got to the jazz CDs and noticed how bad 128 kbps actually sounded on some music. So I re-ripped the whole collection as 192 kbps MP3s. That was the smallest size where I didn’t really notice bad audio artifacts.

Then in 2004 Apple introduced the iTunes Store, and with it everything was 128 kbps AAC, Apple’s own, semi-proprietary format. Better compression-to-quality ratio, so 128 kbps AACs sounded as good (to me) as 192 kbps MP3s, at 2/3 the size. So I went back through and started ripping my CDs again, this time as 128 kbps AAC format.

Then last year Apple introduced iTunes Plus, with 256 kbps AAC format. Sure, they’re twice the size, but now I really can tell almost no difference between the compressed versions and uncompressed CD quality. So I started ripping again, but honestly I could not tell the difference between 256 kbps AAC and 160 kbps AAC, but I could tell the difference between 128 and 160. So 160 was my new standard. I only made it through about a quarter of my CDs at this new level though.

Then this year we had the release of my own music on some download sites, and I went with 256 kbps MP3 for those. Combine that with my new embrace of Amazon and their use of 256 kbps MP3 as well, and that pretty much sealed it. 256 kbps MP3 is my new format of choice, and I’m going through my entire CD collection and ripping it yet again in this format.

Which brings me to the whole point of this post. When you put a CD in your computer, iTunes (or whatever ripping software you’re using) grabs CD track information from CDDB. This data is submitted by users. Sometimes if you insert a new release or a really obscure album into your computer, it will tell you that track info could not be found, and it presents you with the opportunity to submit information you’ve entered. Which means any typos or other idiosyncrasies in your own personal way of entering this information will now become what anyone else who inserts the same CD into their computer will see, provided they’re lazy enough not to fix your dumbass mistakes. I’ve grown accustomed to fixing band names, correcting spelling, normalizing title cases (You Don’t Capitalize Articles, Conjunctions or Prepositions in Titles, but It Is Correct to Capitalize Pronouns and Verbs, Even If They’re Only Two Letters Long, Thank You Very Much), etc.

But something I’ve noticed from time to time, and never quite got, really bothers me. First off, I think the BPM field is pretty much useless. Unless you’re a DJ and you actually know the tempo of the songs you’re working with, you have absolutely no need for this field. But sometimes I see it filled in, and with the same value for every track on an album. Highly unlikely. It’s just finally dawned on me over the past few days why this is, though, and it’s because I’ve only ever seen two values in that field: 128 or 192. The same idiots who can’t spell also can’t tell the difference between BPM and kbps.

So, let’s have a little acronym lesson, shall we?

BPM (Beats Per Minute): The “tempo” or, if your musical knowledge is severely lacking, “speed” of a piece of music. How many beats (you know, the part of the music that helps you dance) there are in a minute.

kbps (kilobits per second): This is the amount of data in the compressed (MP3, AAC, WMA or whatever) file per second of music. In other words, it’s the compression quality of the audio file, quantified.

And now you know… the rest of the story.

I’m in love

Don’t tell SLP, but I’m in love. It happened this afternoon at the new Best Buy at the Mall of America. No, it’s not an affair. It’s a Jaguar Bass.

I’ve been planning to buy a new bass for several months now. My standard Fender Jazz is OK but it’s just not cutting it. The pickups are the big problem. Too buzzy. And one of the volume pots slips. I took off the cover plate and tried to tighten it, but I couldn’t. It’s a fine bass, but I just want something better. I got spoiled when I had an American Jazz Bass a few years ago. So I’ve been planning to upgrade to the Deluxe Jazz. Not quite as nice (or as expensive) as the American, but it has the same Made-in-USA pickups, plus active electronics, at a more reasonable price. And of course it is a 5-string, which has become second nature for me.

So as much as I was dazzled from the first time I saw it a few years ago by the Jaguar’s overwhelming array of switches, knobs and dials, the fact that it doesn’t come in a 5-string model was always a deal breaker for me.

But as long as I was there at Best Buy today, and it was too, I figured, why not just pick it up and try it? Big mistake. Before I even plugged it in, I could tell what it was going to sound like, and that I was, like, totally going to want it! And I did.

The sales dude really knew how to work it too. He was friendly and helpful from the get-go, and then he backed off and just let me play. After a couple of minutes of noodling around and testing the intonation across the fretboard (the next most critical thing about a bass after good pickups), I started playing a bit of the bass line from my favorite Yes song, “Heart of the Sunrise.” A minute later, “Roundabout” started playing on one of the PA demo units across the room. Wrong song, but right album. Kudos to him. If I do get the Jag (which seems more likely with every passing second as I write this), I’ll probably go back there for it. And he doesn’t even get a commission!

It doesn’t have 5 strings, but it sounds great and it looks great (and it comes from Fender’s Japanese shop, which is second only to the one in Corona, California for quality, at a significantly lower price), and it’s pretty much the same price as what I was planning to pay for the Deluxe Jazz. Good deal! (Of course, I also want to get a microKORG, but maybe I can kill two birds with one stone.)

OK, winter, we get it

I knew it was probably coming, so it wasn’t a total shock. But still… I woke up this morning to this:

Ugh. It will most likely have melted by noon, I suppose. Not that that will do much to repair my severely damaged psychological state.

Even worse, I’m annoyed that the default CSS for the new WordPress gallery functionality uses float: left so when there are only two images, it doesn’t center them, but leaves a nice, perfectly-sized void where a third photo would have gone. I’ll have to fix that. Speaking of voids, my annoyance (and distraction) at snow and CSS is somewhat compensated for by the smooth “electronic breakbeat jazz” grooves of Revolution Void.

Update, 8:13 AM: Great, now it’s actually snowing more. Take that, global warming! (Yes, please check out that site, if for no other reason than to prove that just because your URL is “globalwarming.org” doesn’t mean you’re a benevolent non-profit trying to save the world.)

Stirring up the “Bitches Brew”

Miles Davis - Bitches BrewThere are some albums in my collection (such as Relayer by Yes, of all things) that I have purchased multiple (and I mean many) times over the years as new and improved versions have been released. But for some reason, after 15 or so years, I’m still stuck with the quiet, murky, horribly mastered original CD release of Bitches Brew, one of the most influential of all Miles Davis albums (all of which are influential in their way). Why? Well, that’s a good question, especially now that I’ve ripped off paid tribute to it with a track on my latest CD, Unnatural Disasters.

The price has probably been the biggest deterrent. Since it’s a double album, and most versions now feature copious bonus tracks, it’s almost impossible to find for less than $20. Even for download. iTunes has it priced at $19.90, and since all but one of the tracks are at least 11 minutes long, you can’t just scoop up the 7 individual tracks for $6.93.

Amazon MP3 Downloads has it priced at a more reasonable $16.99, but here’s the catch: you can still buy all of the individual tracks, even the 27-minute title track, separately for 99 cents each. It requires some more cumbersome clicking around (since ease of use has never been Amazon’s strongest suit, strangely enough), but it’s worth the extra calories burned by your right index finger, and the minute or two all of that takes, to save ten bucks!