With that in mind, I’ve decided to publish my own Logic 8 pkl file, with transport buttons and a few extras besides (including a handy toggle between screens 1 & 2 and, of course, Save). I hope some people might find it useful. Of course, this is optimized for use with the standard Logic key commands, so I am not responsible if you accidently delete everything!

The people at PowerKeys are promising us an editor for PowerKeys, and I’m sure they’ve their eye on the iPad too, so expect some new features! I, for one, am very much looking forward to running apps like PowerKeys on the iPad.

You can find the Logic 8 pkl file here. Just change the .txt to .pkl and drag it to your PowerKeys dock icon, and enjoy controlling Logic from across the room or house.

Of course you’ll need the latest version of PowerKeys OS X, currently at 1.2, and the latest version of the iPhone app too. Oh yeah, and you need wi-fi. And Logic Pro 7 and upwards. And an iPhone/Touch. And a Mac. You knew that, right?

This is a significant development for many companies, perhaps including Google, who have had their Google Voice app rejected recently, on the grounds that it altered the iPhone “user experience”. It will also be of interest to RealNetworks, who have pre-announced the Rhapsody iPhone App to try to force Apple’s hand into acceptance.

The pre-announcement strategy, also applied by Spotify (with YouTube videos and lots of press) may be working. Apple are feeling the pressure, not only from users, but more importantly, from the Federal Communications Commission (FCC), to be more open about their app acceptance policy.

Rumours have been floating around that Apple are planning a subscription based model for the next generation of iTunes software, which may be available as soon as September. Is it possible that Apple are just going to buy Spotify? After all, the iTunes engine was originally developed by Casady & Greene, and not Apple, and they are not shy of buying the right software when it suits them. Funnily enough, it’s Facebook and not Apple who have been allegedly courting Spotify, but the Apple/Spotify match seems like a no-brainer to me.

Oh yeah, and Snow Leopard’s available today too.

Logic Studio adds features like “flex time”; a much needed upgrade to its time manipulation abilities on the timeline, and better workflow tools to allow easier exporting and importing of settings and tracks between projects. Also included are some new features for guitarists like better amp and stompbox emulation, and a bunch of “how tos” modelled on the similar feature in the latest Garageband. None of the upgrades seem like “must-haves” to me, though the most tempting new additions are probably in the new MainStage, which now (finally!) has MIDI Out implementation, and the ability to include basic audio tracks and loops in your live setups; nice!

Final Cut Studio’s improvements also appear relatively minor, though the new ProRes codecs promise better quality at lower data rates. Motion 4 expands its 3D abilities with new shadows, reflections and depth of field. DVD Studio remains at version 4, and there are point five updates to Color and Compressor. Frankly, some of the upgrade highlights in Final Cut Pro itself, such as the ability to discuss your edit in realtime with iChat Theater, seem a bit like clutching at straws.

Overall, nothing earth-shattering has happened here, but the upgrades are reasonable and most will probably find an excuse to make the move soon enough for the price.

Unfortunately, turns out, Spotify allows users to go on a “holiday” for 2 weeks away from their home territory, but after that, they shut you down. Currently, Ireland is not a territory where you can use the free service. Thus, as a citizen of Ireland, I am deSpotified, unless I agree to pay the (frankly quite reasonable) €10 a month to subscribe. Tempting, but somehow, I feel robbed as my UK friends use the service for free. In the music world, the valuable lesson here is that perception of value is more an issue than price. Record companies, take heed!

Spotify, for the uninitiated (which will be most of us in Ireland) allows you to listen to virtually any tune you care to hear instantaneously, and for free. The only price you pay is the odd advertisement every few minutes. Check out http://www.spotify.com for more details.

Using Spotify was exciting and terrifying in equal measure. It truly is the future of music listening, and it’s only a matter of time before the mobile app version for your favourite MID (Mobile Information Device, what the rest of us call, er, phones) makes it accessible everywhere you go.

Of course, as a musician, I am looking at this thinking, “where’s the paycheck coming from?” It’s not that I’m a breadhead, it’s just that I would like to think it’s possible to still make a living out of music. We all know YouTube makes no money, and clearly, neither does Spotify (yet at least), and if Spotify doesn’t make money, you can be pretty darn sure the music ain’t making much money for the artists either.

But I digress! The real reason for this entry is to let people know that Spotify (for free) appears to work in Ireland! Yeah, sure if you go to the site, under the “free” banner it says “Not available in your country”, but it seems while Spotify’s web site knows what country you are in, the application does not! In other words, if you get someone in the UK to create a username and password for you, and you download the app from the site, I have (almost) every confidence that you too, in Ireland, can Spotify!

Someone try it to confirm, please! I’m too busy Spotifying to try it for myself.

Now, of course, If I’d bought the CD, I’ve have all those details, or some of them anyway. But who buys CDs anymore? Crappy plastic jewel cases that just break when you open them, oversized discs designed in 1982 with the storage capacity of, well, a crappy CD. Heck, I’ve got a nosering that can store 10 uncompressed CDs worth of audio on it, and it won’t scratch either (though it does chafe a bit when I put it in).

So, I’m stuck staring at a thumbnail of Duffy, which is not all bad, but not entirely satisfying either. Sure I could go to Google and Wikipedia and find out about Duffy’s blocked nasal passages and the foiled plot to kill her stepfather (true!), but that’s not the point. I want the propaganda! I want the edited version. I want to know how much Duffy and her record company want me to know! I want the digital equivalent of a 12″ sleeve, preferably a gatefold. But I’m still staring at a thumbnail of Duffy. And yeah, it could be worse, but it’s not what I want.

And then I got to thinking (in a Carrie Bradshaw kind of way, but hopefully not as vacuous), about all the music that’s been illegally downloaded over the past few years. Billions of dollars of the stuff, allegedly, if you believe the record companies. Because every time someone downloaded that really disappointing Madonna album no-one could listen to more than once because it was so rubbish, they “literally” robbed €17.99 from the music industry’s pocket. Of course, this is a very dumb way of measuring the losses due to illegal downloads, and everyone knows it.

But then, why do people download illegally? Because it’s easier than buying online? That used to be true, but not so much anymore. Even without a credit card kids can use services like textatrack.co.uk to buy music on their mobile phones.

Do people illegally download just because they can? Sure, maybe to an extent, but we could all walk out of a supermarket without paying and quite likely get away with it, but we don’t.

So why do people do it? The answer is painful and simple: they don’t believe music is worth it.

The music industry is in big trouble right now. Sales are on the floor, and that’s before the recession. The “illegal downloads are killing the industry” excuse doesn’t wash anymore. Even without the P2P nightmare, record companies are close to dying, and they need a lifeline. Simply put, record companies have got to figure out a way to put value back into music, as the perceived value of purchasing music for the average consumer has all but disappeared.

So what could they do to help the consumer rediscover the value of music? I think at least a small part of the answer is staring them right in the face. It’s the part I’m not staring at right now, as the cover of the Duffy album etches into my retinas. They need to find the digital media equivalent of “album art”.

You see, in the golden age of music buying, we never bought music purely for the music – it was all the other stuff as well! It wasn’t even just the 12″ sleeve, with all the nice artwork and the cool info. It was walking down the road with the 12″ sleeve under your arm which said “I like so and so,” but actually said much more. It said, “I belong”.

The possible synergies between handheld devices, social networks, media centers, cloud computing etc and music are endless. Imagine, for a start, more interactive digital artwork, with simple animations and interactivity; not just a pdf that the printer sent to the duplicator, but a flash-style version of it, which opens up for you as you listen to the album on your iPod

Or how about music videos that incorporate you into them? Add your photos and be part of the animation. Or, albums that automatically invite you to a special “discounted concert club”. Or songs that are actually little applications which allow you to remix them or add other elements etc, even ones which store the actual patches/sounds used so you can play or even change the melody. I don’t know! Crazy stuff like that! I’m just making stuff up. Think of your own ideas!

Of course, the music industry have tried to use “multimedia” to sell, or enhance the sale of music, with things like extended CD-ROMs, or DVD/CD double sets, or album web sites. The problem in the past has always been that the device used for listening to music (CD player/MP3 player etc) and the device used to interact with the added value multimedia (the computer) were different, often in different places (sitting room/bedroom versus den/office), and most importantly were associated with different activities (pleasure versus work). Now, the devices are the same. THE SAME! This is big, big news for the music industry, but I’m not sure they even know it yet.

Just this week, Apple announced iPhone OS 3.0, which will,amongst other things, allow apps on your iPod to access the music on your iPod. It will also allow apps to incorporate e-commerce features. These sort of features, which will soon become available on all mobile OSes, if they aren’t already, could allow the music industry to leverage the newfound synergy between music player and mobile device which could be at least a small part of the saving of the music industry.

The search for the digital gatefold is on!