iWeb confirmed dead by Steve Jobs

According to MacRumors, iWeb is dead:

One concerned iWeb/MobileMe user emailed Apple CEO Steve Jobs to ask about the fate of the offering, and reportedly received confirmation that users will indeed need to find alternative hosting for their sites once MobileMe is officially discontinued. All existing MobileMe users have received free subscription extensions through June 30, 2012, at which time the service will cease to exist and the transition to iCloud will be complete.

Assuming the email is genuine, Jobs replies in typically succinct fashion; the user asks “Will I need to find an alternative website builder and someone to host my sites?” and Jobs replies: “Yep.”

Frankly, this isn’t exactly a shock. iLife was updated in 2011, and iWeb was noticeably unchanged from its 2009 incarnation. The app also didn’t make it to the Mac App Store, unlike iPhoto, GarageBand and iMovie. It’s almost certain that iDVD has also been shot in the head.

I’m in two minds as to the news itself, though. As a web designer, I always found iWeb ‘quirky’ (that’s putting it as kindly as I can) and its fixed-page means of creating sites (and, worse, blogs) seemed anachronistic in an age of WordPress and Facebook. Nonetheless, I know a lot of people who find the application easy to use and they will be disappointed to see confirmation of its demise. Still, this is a good opportunity for the likes of RapidWeaver and Sandvox to grab some users, along with enterprising developers to create iWeb-import tools for said apps.

June 13, 2011. Read more in: Apple, News, Opinions, Technology, Web design

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BBC Television Centre goes to market

Desperately sad news from the BBC today as it announced the first phase in the sale of Television Centre, White City, London. The BBC’s putting a brave face on this, claiming it’s all about making a smaller, fitter BBC, but the building is where many famous shows were born. More importantly, it’s a central hub for the BBC, which will now be fired in all directions across the UK, into cheaper real estate.

The real reason, of course, for the sale has nothing to do with efficiency and everything to do with successive governments trying to kill the BBC by removing chunks of its funding, causing a massive shortfall. It’s depressing to note that regardless of whether you back the Tories or Labour, both of them want the BBC dead. Rupert Murdoch must be laughing his arse off right about now.

June 13, 2011. Read more in: News, Opinions, Politics, Television

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Why developer interaction and fast app iteration are to everyone’s benefit

With MacFormat’s ex-deputy editor and massive fan of great text editors busy editing Tap!, I was asked by the magazine to review Scrivener 2. A version of the review is on TechRadar; safe to say, I loved the app, but there was one thing I disliked: the new two-up page view didn’t provide an easy way to ‘snap’ to the top of each set of pages. This meant I’d be stuck using (*shudder*) Word for the body copy of large features, where I’d roughly hack things into shape and then flit back and forth, making edits and rearranging blocks of content.

So I decided to mention this to the app’s author, thinking perhaps I’d be able to switch over to Scrivener more fully at some distant point in the future. Later the same day, a whopping email came in: it was a beta of Scrivener. The feature was there, in the form of two little arrows on a lower toolbar. I thanked the developer but said keyboard shortcuts are what everyone really pines for, so hands never stray from the keyboard. “Oh, that’s easy,” I was told, shortly before receiving another beta. A week or two later, the next version of the app shipped, with this new feature, which I hope was worth the dev’s time in being useful to people other than me.

What this all shows isn’t OH MY GOD CRAIG IS SO CLEVER AND SHOULD DESIGN YOUR SOFTWARE, but that rapid iteration and developer interaction can change the way software development works. Clearly, developers shouldn’t weld every feature request to their wares, but when someone asks for something you think might benefit many of your users, or  you’ve a large number of people asking for something and are small enough to respond relatively quickly, it can pay to do so.

Another recent incident along these lines concerned iA Writer for iPad. I was sent a promo code for the original release, had a quick play, then put the app aside. Later, I started trying to integrate the iPad more into my workflow and was dismayed to find iA had binned the app’s character count in favour of word count. For many of my articles (including those for Tap!), I’m commissioned to write a specific number of characters, and this made iA Writer useless for the tasks I most needed it for. A quick enquiry resulted in the discovery that Americans had complained en masse about the character count (saying, of course, that everyone used word count), and so iA had switched it to a word count. “We then got moaned at by European writers as they predominantly use character count,” said a contact at iA. “Suffice to say, a toggle is coming in the next version.” And, sure enough, iA Writer for iPad now displays both of these counts, making it massively more useful for all professional writers. And further feature-request demands and suggestions have recently filled chunks of my Twitter feed, with journo chums and the guys behind iA Writer for Mac and Byword (another streamlined Mac text editor) swapping ideas.

This kind of interaction and revision cycle is a far cry from what happens at certain larger companies. I know people who’ve been part of beta runs for some very large products and watched, every time, as revolutionary ideas are discarded; the monolithic software vehicle then barely manages to turn a fraction of a degree before churning out its next version. And from what I see in the Mac App Store, now is a good chance—on the Mac at least—for fleet-of-foot indies to capitalise on this, by making use of the biggest testing pool possible: their customers.

So if you’re writing software (be it creative, utilities, games or anything else), don’t hide behind a website with no contact details or Get Satisfaction integration that you never bother to answer. Instead, encourage as much feedback as you possibly can—get on Twitter and talk to your customers, and iterate quickly when good ideas come your way. The big companies can’t or won’t do this, but you can; and by getting great word of mouth and being a responsive, alert, savvy developer, you could increasingly be the one getting plaudits and making money.

June 10, 2011. Read more in: Apple, Opinions, Technology

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UK record labels screw up Apple’s iTunes Match for iPhone and iPad in the UK

I feared as much. According to The Telegraph (interviewing label executives and music analysts), iOS 5’s iTunes in the Cloud features won’t launch in the UK until 2012 at the earliest. The reason, as far as I can tell, is that people in charge of record labels are fucking idiots.

A music executive at one of the major record labels, who wished to remain unnamed, said: “Tentative talks have begun between the major labels and Apple in the UK. However, all talks are at the really early stages and no one expects to see the cloud music service live on this side of the pond until 2012.”

Because the one thing a new feature needs is for people to instantly hate it by being denied access; and the one thing record labels need is for people to think “screw you, then” and carry on downloading music for free, instead of paying for it. Well played, labels! After all, it’s not like you’re not making money hand-over-fist from iTunes already and therefore don’t want people to react against it by stopping them from getting iTunes in the Cloud, you utter, utter pillocks.

Mark Mulligan, vice president and research director at Forrester Research, said: “Apple’s cloud music service will not launch in the UK until at least quarter one of 2012. These types of negotiations take a long time… For one thing the UK arms of all the major record labels are biding their time and waiting to see how the service affects download sales in the US before they sign up to anything.”

Now, this isn’t the record labels talking, but if Mulligan is right on this, then I really despair. Here are some potential scenarios for someone who might like to use iTunes Match (which, presumably, would cost a typical user about £20 per year in the UK) and how it would impact on record labels.

  1. Old git Craig. Craig buys all his music on CD, because he’s some kind of masochist who likes to wait for audio thrills. He rips CDs to his Mac. With iTunes Match, the labels already have money for the CD and would double-dip for the service. Winner: THE FUCKING RECORD LABELS.
  2. Downloader Dave. Dave likes iTunes. Ever since it first appeared, he’s used the service, and he even ritually set fire to all of his CDs after downloading his first iTunes music track. Yeah, Dave is a bit of an idiot. Anyway, he downloads stuff from Amazon and Bleep, too, so has loads of digital music files. With iTunes Match, the labels already have money for the digital downloads and would double-dip for the service. Winner: THE FUCKING RECORD LABELS.
  3. Criminal Bob. Bob is naughty. When a new album comes out he wants, he’s straight to his favourite BitTorrent tracker to download it for free, yelling slogans about freedom of information and evil record labels (but, curiously, not starving indie musicians, because, frankly, Bob is an uncaring thieving git). Bob also likes convenience, so he’s prepared to pay for iTunes Match to make his pilfered music more readily available. With iTunes Match, the labels have made NO MONEY for these downloads. OH NO! But, wait! They HAVE made money with iTunes Match, and out of dodgy downloads, no less! Winner: THE FUCKING RECORD LABELS.

So, as we can see from my highly scientific insight, here’s how much iTunes Match will affect downloads: not at all. Only that is actually wrong. SHOCK TWIST! And that’s because if people like Craig (which may or may not be a character based on the ‘Craig’ who happens to write this blog) have access to iTunes Match and find out how convenient it is to have a personal music collection streamable on demand, that might actually encourage more download sales. In other words, iTunes Match will make the record labels more money through people using the service and more money through people buying more downloads. It’s therefore only logical that the labels will do everything they can to stop the service escaping from the US, because, as we’ve seen, record labels are run by total fucking idiots.

UPDATE: Possible counter from Gary Marshall (paraphrased): this isn’t necessarily the labels’ fault, because Apple’s only recently started talking to them. It’s possible, but the PRS says the talks are at an early stage, not that the talks have only just started. Also, labels are known for blocking progress—there is precedent for stupidity. Most importantly, though, an unnamed music executive is the person who said 2012 for the service to arrive in the UK, which seems a long way off. The silver lining is iOS 5 isn’t out until the autumn, and so perhaps the delay will only be a few months, or maybe labels will stop being idiots and sort things more quickly. But 2012 could conceivably mean ‘December 2012’ as easily as ‘January 2012’. Regardless, it’s utterly in the interests of record labels and Apple to get iTunes in the Cloud into international markets as soon as possible, rather than for the record labels to hold music hostage, gambling on, presumably, Apple offering a bigger cut.

June 10, 2011. Read more in: Apple, Music, News, Opinions, Technology

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Nothing off-limits to BBC in cost-cutting, bar bullshit for teenagers

Oh, BBC. According to The Guardian, you really do have your head up your arse quite a lot these days. After spending quite a lot of time trying to axe 6Music last year (£9 million in funding in 2008/09, and the one place where loads of new and interesting music is played on British radio), it’s now decided that BBC3 is, for some reason, sacrosanct, despite costing £115 million per year to run.

The digital channel’s new controller, Zai Bennett argues BBC3 is required to enable people to “experiment” with talent and formats, in the manner its rivals cannot. In the old days, that’s what BBC2 was for. BBC1 was for big shows, and more niche stuff would be on BBC2. Still, experimentation is all well and good, so since I just still fall into the target demographic of 16-to-34-year-olds, I thought I’d try and list all the must-have television I can think of on BBC3. Here goes:

  • Ideal (Graham Duff’s fantastic comedy about a small-time drugs dealer)
  • Being Human (vamps versus werewolves in Bristol)
  • Doctor Who repeats

That’s really it. And Being Human became inexplicably dreadful as of series 3, leaving Ideal, which could probably find a home on BBC2. Perhaps the forthcoming quality review will sort things out, but I find it odd the BBC is trying to justify saving a channel that’s increasingly full of exploitative crap like Freaky Eaters, Spendaholics, The House of Tiny Tearaways and Sex..with Mum & Dad, when it’s simultaneously arguing the channel’s survival is required to enable it to experiment in a way other networks cannot. Those shows are precisely the same kind of garbage 5, Sky and others do crap out.

June 10, 2011. Read more in: News, Opinions, Television

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