Leaving the Cloud for my own Private Island

I spent the last two years fully-embracing the cloud. And why not? Cloud computing offers many wonderful features. Google’s suite of apps create a seamless user experience from one personal device to another. Sites like Discogs.com empower users to access and share their record catalogs everywhere they go. Goodreads.com networks book-lovers from all around the world and democratized the used book market by facilitating the search and purchase of titles. It created a market where even the tiniest, tucked-away bookshops could compete directly with bookselling giants like Barnes & Noble.

I use Google Docs for drafts of articles I’m writing and really enjoy the flexibility of calling them up on my phone, tablet, or my media workstation throughout my day. And I’ve absolutely lived on Google Calendar for many years now.

Cloud-based archival storage services offer users data redundancy and reliable sync-and-forget-it backup systems with a 99.9% recovery rate – far more reliable that entrusting all your precious data to a single external disk.

But recently, I’ve been rethinking the cloud, particularly about the amount of control and privacy a user relinquishes when their content is no longer stored locally. iTunes was the worst atrocity to come of the cloud, as many users are starting to understand. The DRM fiasco crippled the usability of the software, and as users learned from the U2 incident, their music libraries were really at the mercy of Apple.  Spotify and streaming services are not much better, with drastically-limited media selections and, again, the content is never really yours.

iPod DRM

The entire era of cloud-computing was less about empowering the user and more of an exercise is usury. Let’s face it – storage has become incredibly inexpensive. And the popularity of lossy-compression for casual listening has only made it easier and cheaper for users to have it all. There was no longer a need to up-sell a customer base to a bigger and better device every six months, because the average smartphone suits most users just fine as an all-around media player.

For those with more discerning tastes, a simple and inexpensive home server is sufficient to grant instant-access to terabytes of lossless audio and HD video libraries from our tablets and phones anywhere with 4G service.

The industry had to invent a new way to maintain a steady influx of customer revenue. Enter the streaming service and world of online backups. These subscription-based services keep the customer paying month after month for storage and instant-access. Adobe was perhaps the most curious company to go this route, releasing the latest version of its software suite rebranded as the Creative Cloud. The customer scenario was much the same for Adobe – previous versions were everything their customers needed, so why would they need to upgrade ever again? The solution was clear – monthly subscription fees.

Adobe-survey-CC-pricingCNET Adobe CC Pricing Survey (2012)

The elephant in the room of cloud computing is the compromise of one’s privacy and security. Facebook users know all too well that every minute detail of their publicly-broadcasted lives is being sold and re-sold to advertisers banking on hyper-targeted marketing.

But you know all this – you don’t buy in to cloud archive services. You’ve implemented all the standard privacy tools and ad-blocking plugins and your web experience is fairly secure and advert-free. But what about those who don’t have the luxury of their own media server or truly unlimited data plans for their portable devices? How should they freely access their large libraries of media anywhere they go?

There is a solution. Seagate manufactures a device specifically tailored to meet the needs of this particular niche of customers and to resolve their unique problem. The Wireless Plus 2TB portable HDD (STCV2000100) is surprisingly compact and lightweight. It features an internal 10-hour battery and its own personal WiFi network. Pair it with each of your personal devices and you’ve got 2TB of content with you EVERYWHERE – on or off the grid, with no monthly fees.

Seagate Wireless Plus 1

Currently priced at ~$190, the Wireless Plus offers an incredible amount of freedom for its price point. For users like myself with our own media servers, there really isn’t an urgent need, (save perhaps for taking your entire library with you on a camping trip.) But for those tired of shelling out monthly fees for remotely hosted content – this is the device you’ve been waiting for.

Seagate Wireless Plus 2

Moving to the Cloud

The time has come my friends.  On Jan 13th, 2011 I replaced my text-based Excel record  database with an OrangeCD visual db.  After 3.5 years of extracting data from web-based services, publishing quarterly reports and backing up to an external disk every month, I’ve finally smartened-up and made the move to the cloud.

When I first made the transition from text to a visual db, I thoroughly tested and evaluated each of the prominent softwares of the time.  True to form, I went through the same process with the three biggest online systems this week before setting my catalog free.

FIRST UP – RateYourMusic.com.

Your RYM profile consists of an avatar, a brief profile description, and your top 5-10 favorite composers/artists.  Supported formats are limited to CD, LP, and cassette.  The service does not appear to support official releases of electronic files.

RYM - Collection

RYM – Collection View

RYM permits users to add pressings missing from the db, with a simple preset interface for labels, artists, etc.  The site has a strict upload policy stating that album art images must be from your personal copies, (understandable for reasons of copyright but a frustrating complication just the same.)  Artist pages are accompanied by a profile and a sidebar of related user-generated lists.

RYM - List Browse

RYM – List Browse

RYM - Chart Browse

RYM – Chart Browse

The real power of the site is not collection management, but user-constructed lists and user-sourced album rankings for any search term, artist or genre you enter.  And surprisingly, RYM is not just for music.  The list tools have categories for books, films, games, and more.

User lists are a breeze and are fun to build.  To try this feature out I created a list of films inspired by the writings of Philip K Dick.

https://rateyourmusic.com/list/innerspaceboy/philip_k_dick_inspired_filmography/

At present, RYM includes just under 1 million artists and 2.8 million releases.  Building an RYM collection of my top 300 LPs took 3 evenings (roughly 100 titles per night) plus a handful of manual submissions for rare albums not already in the RYM database.

THE NEXT CONTENDER – MyRecordList.com

MyRecordList recently premiered on the scene boasting that it could provide analytics that discogs.com could not.  I was intrigued so I gave it a try.

After signing up on the site I clicked the link to import a CSV.  I tried exporting raw text from rateyourmusic.com and with a little tweaking (artist columns needed to be merged from FIRSTNAME LASTNAME to a single column), and some quick column re-assignment I successfully constructed  an importable CSV.  The resulting set only contained artist, title, format and year values, so I clicked the big red “DELETE ALL” button and started again – this time from MyRecordList’s preferred import method – Discogs.com.

MyRecordList Collection

MyRecordList Collection

While Discogs lacks support for importing CSVs, its export feature is solid.  MyRecordList wisely incorporated a direct “Import from Discogs” feature so the upload was seamless.  However the result was a clunkily-constructed and sluggish visual interface with a few display variables and absolutely no support for album cover syncing. There is an “automated” lookup tool to find album art, but the process is manual and handles only one album at a time, each prompting the user for input.

But on to the analytics that the site so boldly advertised.  Clicking the large “Your Stats” button I was presented with an over-simplified summary of my test-library, again consisting of my top 300 LPs.

MyRecordList Stats

MyRecordList Stats

None of the tables could be viewed as charts or graphs, and the only infographic the site offered was a pie chart of my library’s formats.

This was thoroughly disappointing, though hardly unexpected.  Any of these metrics are easily determinable from within the discogs.com site, simply by exporting a CSV into Excel or a similar application.

Discogs offers far more information, sorting functions, a community forum, up-to-the-minute sales history, archival organizational standards, and has already established itself as the premier marketplace for used and new vinyl, so there is little reason to look to another site for more, (excepting, of course, contacting labels directly for upcoming releases.)

Simply put, myrecordlist.com is clunky, slow and offers nothing that can’t be achived quicker and more easily on already-established mainstays like discogs.  And I quickly grew tired of seeing their loading screen every time I navigated to another page or view.

MyRecordList Constant Loading Screen

You’ll be seeing a lot of this.

But there was a clear upside to the experiment – rebuilding my database on discogs.com – something I’d been meaning to do for several years.  And building the test library of 300 LPs was easier on Discogs than on the two previous sites.  I completed the task in just 3 hours (three times faster than with the RYM interface.)

 The clear winner – Discogs.com

Discogs contains data for 3.3 million artists – more than three times that of RYM, and has approximately 5 million releases. And unlike the other two sites, Discogs supports 23 languages for worldwide accessibility.

Discogs - Collection - Text w Statistics

Discogs – Collection – Text View w Statistics

For those still clinging to their locally-hosted databases – consider the following advantages of Discogs:

– Eliminates the hassle of local backups to external drives and the paranoia of data loss.

– Offers the same album information you would otherwise have retrieved online for your locally-stored catalog

– Exports easily to a CSV should you require it

– Share your collection with users on the largest and most popular music cataloging site on the web

– Features an active discussion forum

– Discussion groups based on any topic you can imagine (or start your own.)

– High regulatory standards of organization

Discogs - Groups

Discogs – Groups

And lastly, Discogs supports more audio formats that you can dream of.  Sure, they have over 3 million standard 33 1/3 LPs, 1.6 million CDs, and about a million 7” singles, but they also have shellac, flexi-disc, acetate, FLAC, floppy disk, memory stick, Betamax, Edison disc, Ambisonic, Selectavision and one – (count ‘em… ONE) entry for a Bulgarian limited edition 2-track stereo 30 ips RMG Studio Master reel-to-reel.

After 3.5 years of creating extra work for myself, I’ve now embraced the future of music database management.