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Apple Music launches Spatial Audio and Lossless Audio, adds Spatial Audio playlists
Last month, Apple announced it would soon add lossless audio streaming and Spatial Audio with support for Dolby Atmos to its Apple Music subscription at no extra charge. That upgrade has now gone live, Apple announced this morning — though many noticed the additions actually rolled out yesterday, following the WWDC keynote.
The entire Apple Music catalog of 75+ million songs will support lossless audio.
The lossless tier begins at CD quality — 16 bit at 44.1 kHz, and goes up to 24 bit at 48 kHz, Apple previously said. Audiophiles can also opt for the high-resolution lossless that goes up to 24 bit at 192 kHz. Apple has said you’ll need to use an external, USB digital-to-analog converter to take advantage of the latter — simply plugging in a pair of headphones to an iPhone won’t work.
Apple Music subscribers will be able to enable the new lossless option under Settings > Music > Audio quality. Here, you’ll be able to choose the different resolutions you want to use for different connections, including Wi-Fi, cellular and download.
When you make your selection in Settings, iOS warns that lossless files will use “significantly more space” on your device, as 10 GB of storage would allow you to store approximately 3,000 songs at high quality, 1,000 songs with lossless or 200 songs with high-res lossless.
Image Credits: Apple
Meanwhile, Spatial Audio will be enabled by default on hardware that supports Dolby Atmos, like Apple’s AirPods and Beats headphones with an H1 or W1 chip. The latest iPhone, iPad and Mac models also support Dolby Atmos. Spatial Audio on Apple Music will also be “coming soon” to Android devices, Apple said.
To kick off the launch, Apple Music is today rolling out new playlists designed to showcase Spatial Audio. These include:
- Made for Spatial Audio
- Hits in Spatial Audio
- Rock in Spatial Audio
- Pop in Spatial Audio
- Hip-Hop in Spatial Audio
- Country in Spatial Audio
- Jazz in Spatial Audio
- Classical in Spatial Audio
Apple is also adding a special guide to Spatial Audio on Apple Music, which will help music listeners hear the difference. This will include tracks from artists like Marvin Gaye and The Weeknd, among others. And Apple will air a roundtable conversation about Spatial Audio featuring top sound engineers and experts, hosted by Zane Lowe at 9 a.m. PT today on Apple Music.
Because songs have to be remastered for Dolby Atmos specifically, these guides and playlists will help music fans experience the new format without having to hunt around. Apple says it’s working with artists and labels to add more new releases and the best catalog tracks in Spatial Audio. To help on this front, Apple notes there are various initiatives underway — including doubling the number of Dolby-enabled studios in major markets, offering educational programs and providing resources to independent artists.
Apple also said it will build music-authoring tools directly into Logic Pro. Later this year, the company plans to release an update to Logic Pro that will allow any musician to create and mix their songs in Spatial Audio for Apple Music.
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Apple’s App Store facilitated $643 billion in commerce, up 24% from last year
In its antitrust trial with Epic Games, which has just adjourned, Apple argued it doesn’t evaluate its App Store profit and loss as a standalone business. But today, the company put out new figures that indicate it does have a good understanding of the money that flows through its app marketplace, at the very least. The company has now released an updated version of a study performed by the economists at the Analysis Group, which claims the App Store ecosystem facilitated $643 billion in billings and sales in 2020, up 24% from the $519 billion seen the year prior. The new report focuses on the pandemic impacts to apps and the small business developers the App Store serves, among other things.
It also noted that about 90% of the billings and sales facilitated by the App Store actually took place outside its walls, meaning Apple took no commission on those purchases. This is up from the 85% figure reported last year, and is a figure Apple has been using in antitrust battles to paint a picture of an App Store that facilitates a lot commerce where it doesn’t take a commission.
The study then broke down how the different categories of App Store billings and sales were distributed.
Apple takes a commission on the sales of digital goods and services, which were $86 billion in 2020, or 13% of the total. But another $511 billion came from the sale of physical goods and services through apps — think online shopping, food delivery, ride hailing, etc. — or 80% of the total. These aren’t commissioned. And $46 billion came from in-app advertising, or 7% of the total.
The larger point being made with some of these figures is that, while the dollar amount flowing through apps being commissioned is large, it’s much smaller than most of the business being conducted on the App Store.
The report also noted how much of that business originates from China, which accounted for 47% of total global billings and sales ($300 billion) versus the U.S.’s 27% ($175+ billion).
Image Credits: TechCrunch
The study additionally dove into how some App Store categories had been heavily impacted by the pandemic — particularly those apps that helped businesses and schools move online, those that offered ways to shop from your phone, or helped consumers stay entertained and healthy, among other things.
This led to a more than 40% increase in billings and sales from apps offering digital goods and services, while sales in the travel and ride-hailing sectors decreased by 30%. While the latter may gradually return to pre-pandemic levels, some of the acceleration driven by the pandemic in other categories — like online shopping and grocery delivery — could be here to stay.
To break it down further, general retail grew to $383 billion in 2020, up from $268 billion last year. Food delivery and pickup grew from $31 billion in 2019 to $36 billion in 2021. Grocery shopping jumped from $14 billion to $22 billion. But travel fell from $57 billion in 2019 to $38 billion in 2020, and ride hailing dropped from $40 billion to $26 billion. (None of these categories are commissioned.)
The study then continued with a deep dive into how the App Store aided small businesses.
Highlighting how smaller businesses benefit from a tech giant’s ecosystem is a tactic others have taken to, as well, in order to shore up support for their own operations, which have similarly been accused of being monopolies in recent months.
Amazon, for example, raves about the small businesses benefitting from its marketplace and its sales event Prime Day, even as it stands accused of leveraging nonpublic data to compete with those same small business sellers. Facebook, meanwhile, pushed the small business impact angle when Apple’s new privacy protections in iOS 14 allowed customers to opt out of being tracked — and therefore out of Facebook’s personalized ads empire.
In Apple’s case, it’s pointing to the fact that the number of small developers worldwide has grown by 40% since 2015. This group now makes up more than 90% of App Store developers. The study defines this group of “small” developers as those with fewer than 1 million downloads and less than $1 million in earnings across all their apps. It also excludes any developers that never saw more than 1,000 downloads in a year between 2015 and 2020, to ensure the data focuses on businesses, not hobbyists. (This is a slightly different definition than Apple uses for its Small Business Program, we should note.)
Among this group, more than 1 in 5 saw at least an increase in downloads of at least 25% annually since their first full year on the App Store. And 1 in 4 who sold digital goods and services saw an earnings increase of at least 25% annually.
The study also connected being on the App Store with growing a business’s revenue, noting that only 23% of large developers (those with more than $1 million in earnings in 2020) had already earned more than $1 million back in 2015. Indeed, 42% were active on the App Store in 2015 but hadn’t crossed the $1 million threshold, and another 35% were not even on the App Store — an indication their success has been far more recent.
The research additionally identified more than 75 businesses in the U.S. and Europe, where iOS was essential to their business, that went public or were acquired since 2011. Their valuation totaled nearly $500 billion.
Finally, the study examined how apps transact outside their home market, as around 40% of all downloads of apps from small developers came from outside their home countries and nearly 80% were operating in multiple storefronts.
Image Credits: Apple WWDC 2021 imagery
While the antitrust scrutiny may have pushed Apple into commissioning this type of App Store research last year, it’s interesting to see the company is now updating the data on an annual basis to give the industry a deeper view into the App Store compared with the general developer revenue figure it used to trot out at various events and occasions.
Like last year’s study, the updated research has been released in the days leading up to Apple’s Worldwide Developer Conference. It’s a time of the year when Apple aims to renew its bond with the developer community as it rolls out new software development kits (SDKs), application programming interfaces (API)s, software and other tools — enhancements it wants to remind developers are made possible, in part, because of its App Store fees.
Today, Apple notes it has more than 250,000 APIs included in 40 SDKs. At WWDC 2021, it will host hundreds of virtual sessions, 1-on-1 developer labs and highlight App Store favorites.
“Developers on the App Store prove every day that there is no more innovative, resilient or dynamic marketplace on earth than the app economy,” said Apple CEO Tim Cook, in a statement about the research. “The apps we’ve relied on through the pandemic have been life-changing in so many ways — from groceries delivered to our homes, to teaching tools for parents and educators, to an imaginative and ever-expanding universe of games and entertainment. The result isn’t just incredible apps for users: it’s jobs, it’s opportunity, and it’s untold innovation that will power global economies for many years to come,” he added.
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Apple launches an affiliate program for paid podcast subscriptions
Apple last month unveiled its plans for paid podcast subscriptions in a newly redesigned Apple Podcasts app. Now, it’s introducing a new program that will help podcast creators grow their subscriber base: affiliate marketing. The company’s “Apple Services Performance Partner Program,” which already exists to help market other Apple services like Apple TV, Apple News and Apple Books, is today expanding to include paid podcasts.
The new program — “Apple Services Performance Partner Program for Apple Podcasts” (whew!) — will be open to anyone, though the company believes it will make the most sense for publishers and creators who already have an audience and a number of marketing channels where they can share these new affiliate links. When users convert by clicking through one of the links and subscribe to a premium podcast, the partner will receive a one-time commission at 50% of the podcast subscription price, after the subscriber accumulates their first month of paid service.
So, for example, if a paid podcast was charging subscribers $5 per month, the commission would be $2.50. This commission would apply for every new subscriber that signed up through the affiliate channel, and there’s no cap.
Podcast creators can also use the affiliate links to promote their own paid programs, which would allow them to generate incremental revenue.
While anyone can apply to join the affiliate program, there is an approval process involved. This is mainly about keeping spammers out of the program, and ensuring that those signing up do have at least some marketing channels where they can distribute the links. The sign-up form asks for specific criteria — like how many channels are available and how the partner intends to use them to promote the affiliate links, among other things.
The program will be made available to anyone in the 170 countries and regions where paid podcasts subscriptions are being made available.
Once approved and signed in, affiliate partners will gain access to an online dashboard where they can create links (i.e. shortened URLs) much like any other affiliate program. They can also create multiple URLs for an individual podcast to make it easier to track how well different channels are performing. The URLs can be posted on their own, tied to a “Listen on Apple Podcasts” badge, or can be made available as a QR code. The latter may make more sense when live events return, as it could be printed on signage or in flyers that were distributed during a live taping, for example. It also could be used in other sorts of advertising, including both print and digital.
Though premium podcasts already existed, until more recently that often involved paying a podcaster directly to access a private RSS feed. Smaller services like Stitcher also used subscriptions to provide paying customers with a series of perks, like ad-free listening and exclusive content. The new efforts by both Apple and Spotify are focused on wooing creators to their platforms, where they’ll take a cut of the subscription revenues. Spotify is waiving its 5% fee for the first two years, while Apple is employing its usual model of 30% in year 1 that drops to 15% in year two.
While people can begin to enroll in the new affiliate program starting today, paid podcasts aren’t actually launching until later this month, per Apple. When they do, those enrolled in the affiliate program will be able to create links and begin earning commissions on subscriptions.
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Backflip offers an easier way to turn used electronics into cold, hard cash
Mike Barile spent two years and racked up nearly $20,000 in credit card debt to bring his first startup, Backflip, to life.
The former management consultant had spent years toiling in the startup grind, first at Uber, then, after taking a coding academy bootcamp through AppAcademy (where Barile met his co-founder, Adam Foosaner), at Google and at a failed cryptocurrency startup.
Burned by the crypto experience, Barile was casting about for his next thing, and trying to find a way to scrape up some rent money, when he hit on the idea for Backflip. The experience of selling electronics online was still shady and Barile and Foosaner thought there had to be a better way.
That way became Backflip. It offers customers cash on delivery for their used electronics — anything from Androids to Xboxes and Apple devices to Game Boys.
“When I first started working on backflip back in March 2019, I met this kid named Chris and he wanted to buy some of my old iPhones. He had been a student at USF and as a side hustle he started buying used devices and would refurbish them and then either sell them himself or sell them to an official reseller,” said Barile. “Chris started making so much money he dropped out of school. That was a ‘holy shit’ moment. He can make a lot of money doing this and he’s doing a really good thing.”
The problem, said Barile, was safety. “He’s got all these devices he’s acquiring paying cash for and he’s driving all around town… Everyone who works in the [refurbish and resell] industry has at least one story about getting robbed at gunpoint.”
Backflip solved that problem by being the intermediary between buyers and sellers and taking a small commission for managing the transaction.
The company raised its first money at the end of 2019, but before that, Foosaner and Barile lived off of credit and used electronics.
So far, Backflip has facilitated the exchange of roughly 3,000 devices. The company handles everything from wiping a device and ensuring its quality to finding a buyer for the electronics. The company pays out roughly $150 per device and has deposited a little over $500,000 with users of the service, according to data provided by the company.
“We did all sorts of stuff to get our first few users,” said Barile. We posted ads on Facebook Marketplace and Craigslist. We started experimenting at the end of the summer with the most bare-bones mobile app kind of thing. At that point it was just Adam and I,” Barile said.
Starting now, Backflip is working with UPS stores to provide in-person drop-off and packaging centers for the used electronics. Over time, Barile sees those services expanding to offer cash on delivery. “The experience will be similar to an Amazon return,” he said. “Except we’ll be paying you.”
Currently about half of the company’s inventory is used handsets and mobile devices, but Barile said that could drop to a third of inventory as word spreads about the hundred-odd pieces of electronics that Backflip is willing to accept.
“Unlike other resale options, Backflip prioritizes the user’s time and convenience,” said Foosaner in a statement. “Forget the back-and-forth of negotiating over price and scheduling a meetup. We’re here to do all the work for the seller and make sure they get paid fairly and quickly. Backflip users can know that they’re getting the most for their devices without having to do anything other than bring them to The UPS Store or box them up at home.”
The connection to the refurbishing community started early for Barile, whose mother had a side business called “Stone Cottage Workshop” where she was flipping refurbished furniture on eBay and at local thrift stores near Barile’s bucolic New Jersey hometown.
“We want to build the Amazon of making things disappear from your apartment,” Barile said.
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Apple’s new editorial franchise, Apple Podcasts Spotlight, to highlight interesting creators
Apple today announced a new editorial franchise called Apple Podcasts Spotlight, which aims to highlight rising podcast creators in the U.S. The editorial team at Apple will select new podcast creators to feature every month and then give them prominent screen real estate in the Apple Podcasts app and promote them across social media and elsewhere. This will allow creators to reach a wider audience, similar to how the App Store showcases a selection of recommended apps and games with large banners at the top of its screen.
The first Spotlight creator is Chelsea Devantez, who hosts the podcast Celebrity Book Club. On Fridays, Chelsea and special guests including Emily V. Gordon, Gabourey Sidibe, Ashley Nicole Black and Lydia Popovich will meet to discuss the memoirs of “badass celebrity womxn,” as an announcement describes it.
The idea for the show began a year ago when Devantez was reading Jessica Simpson’s memoir and started recapping it on Instagram. The reaction from her followers prompted her to expand the concept into a podcast.
Upcoming episodes will feature Oscar-nominated writer and producer Emily V. Gordon talking Drew Barrymore’s “Little Girl Lost;” actress Stephanie Beatriz discussing Celine Dion’s memoir “My Story My Dream;” Leighton Meester on Carly Simon’s “Boys in the Trees;” and a special Valentine’s Day episode where Chelsea and TikTok star Rob Anderson read Burt Reynolds’ and Loni Anderson’s competing divorce memoirs.
“Apple Podcasts Spotlight helps listeners find some of the world’s best shows by shining a light on creators with singular voices,” said Ben Cave, Global Head of Business for Apple Podcasts, in a statement about the launch. “Chelsea Devantez has created a fun, vibrant space with Celebrity Book Club for listeners to gain new perspectives on the celebrities we thought we knew. We are delighted to recognize Chelsea and Celebrity Book Club as our first Spotlight selection and look forward to introducing creators like Chelsea to listeners each month,” he added.
Apple says future Spotlight creators will be announced monthly from across a range of podcast genres, formats and locations, and will often focus on independent and underrepresented voices. The content is previewed ahead of selection to ensure quality, but there are no specific requirements about the podcast size and reach.
In general, the new Spotlight creators will debut toward the front of the week, but the specific days are fluid to adapt to holidays, major cultural events and others. The next Spotlight selection, for example, will launch in mid-February.
The Spotlight creators will be featured at the top of the Browse tab of Apple Podcasts and will be promoted through the Apple Podcasts social media accounts. Some form of in-app featuring will continue throughout the entire month the creators are in the “spotlight.”
Apple says it will also collaborate with the featured creators on their own channels. Over time, you’ll see promotion via additional Apple-operated channels including outdoor advertising in major U.S. metros.
The news of the new editorial program comes shortly after a report from The Information suggested Apple is working to expand its podcasts platform with the introduction of a podcast subscription service, threatening rivals like Spotify, SiriusXM and Amazon.
Though Apple Podcasts still leads the market, Spotify has been catching up by spending over $800 million on podcast companies, like Anchor, the Ringer, Gimlet Media, and more recently, podcast ad company Megaphone.
SiriusXM, meanwhile, bought podcast management and analytics platform Simplecast, ad tech platform AdsWizz, and podcast app Stitcher. Not to be left out, Amazon just a few weeks ago announced it was acquiring the podcast network Wondery.
Beyond helping the creators grow their audience, Apple says the larger goal with the program is to welcome new audiences to podcasts, in general.
Though podcasts are growing in popularity, the monthly podcast listener base is just 37% in the U.S., according to Edison Research. That means it’s nowhere near being an activity that’s popular among a majority of the U.S. population at this time. Before Apple can effectively monetize podcasts as a subscription service, it needs to help get more people listening to podcasts on a regular basis.
Apple declined to say if the program would expand outside the U.S. at a later date.
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iPhone 12 mini Review: Tiny package, big bang
Reviewing the iPhone 12 mini and the iPhone 12 Pro Max at the same time has been an exercise in extremes. I noted in my earlier reviews of the iPhone 12 and iPhone 12 Pro that it was difficult to evaluate the middle of the lineup without having the extreme ends of the scale available to contrast them.
Now that I have had a chance to examine those extremes, I have come away incredibly impressed with the job that Apple has done on the whole lineup this year. These phones are extremely well sized, highly crisp from a design perspective and generously appointed with features. Aside from a handful of small items, there are no glaring examples here of artificial cliffs on the feature side or price side that attempt to push people upwards in the lineup. Something that has been the case in some years.
The most impressive of all of the iPhones 12 this year should be, by all rights, the iPhone 12 Pro Max. Its big screen and beautiful casing make it very attractive and it has the best camera I’ve ever seen in a phone.
But in my opinion, the iPhone 12 mini is the most attractive phone in the lineup. The dark horse that makes a strong case for itself outside of the “I just want a small phone” crowd.
The size
The iPhone mini is 20% smaller and 18% lighter than the iPhone 12 and about half the size of the iPhone 11. It really hits a nicely sweet note for fit, and the lack of a home button means that the screen can accommodate quite a bit more content on display at once.
Though my larger hands do feel a bit more comfortable on the iPhone 12, I am happy to report that the typing experience on the iPhone 12 mini is far superior to the 4.0” first generation SE. It even gets a leg up on the 4.7” iPhone SE introduced earlier this year because the screen is the same width but taller — letting it pull off the TARDIS trick of being smaller with a bigger screen. This allows the emoji keyboard toggle and the voice dictation button to drop out of the bottom row of keys, relaxing spacing on the return, space and number pad buttons. This additional size, especially for the spacebar, improves the typing experience measurably. The key spacing is a bit less generous than the iPhone 12, but this is a workable situation for typing.
If you look at this and an iPhone 11, because of the way that the screen is rendered, you’re going to see pretty much the same amount of content.
On top of an iPhone 12 Pro Max
Speaking of rendering, the iPhone 12 mini is scaled, which means that it is displaying at roughly .96 of its “native” screen resolution of 2340×1080. In my testing, this scaling was not apparent in any way. Given that the mini has a resolution of 476ppi in a smaller screen than the iPhone 12, which clocks in at 460ppi, that’s not too surprising — iPhones have been doing integral scaling for years with their magnification features, so Apple has plenty of practice at this. I didn’t notice any artifacting or scrolling, and most apps looked just fine proportionally, though some developers that do not take advantage of Apple’s native frameworks that support various screen sizes may have to do a bit of tweaking here and there.
The iPhone mini has a nice lightweight compactness to it. In order to get a read on its vibe I compared it to the iPhone 4S, which felt far denser, the iPhone 5, which felt a bit more airy, and the iPhone 5C, which still feels fun but cheap. It shares pedigree with all of these devices but feels far more assured and integral. The iPhone 12 design language doesn’t feel like multiple materials sandwiched together in the way that these earlier devices do. It feels grown, rather than made.
That integral quality does wonders when it’s such a small device because every millimeter counts. Apple didn’t cheap out on the casing or design and gave it an exterior to match its very performant interior.
The speaker and microphone grills, I’m sad to say, are asymmetric on the iPhone 12 mini. Ding.
And don’t think you miss out on anything performance related when you go to the mini. While it appears that either heat management, scaling or power management in general has made Apple tweak the processor ever so slightly, the benchmarks are close enough to make it a wash. There is zero chance you ever see any real-world difference between the iPhone 12 mini and any other iPhone 12.
For what it’s worth, the iPhone 12 mini has 4GB of RAM, same as the iPhone 12. The iPhone Pro and iPhone 12 Pro Max have 6GB. The biggest real-world effect of RAM that I have found on iPhone is less dumping of Safari tabs in the background, so if you’re a pro browser take that into account.
The iPhone 12 mini is basically identical in the photography department to the iPhone 12. You lose nothing, it’s a great camera. Nothing much to see there, though so I’m not spending any time on it. You will have a world-class phone camera, just no telephoto.
If you’re a camera-oriented iPhone user, your usage of the telephoto lens is probably the most crisp deciding factor between the iPhone 12 Pro and the iPhone 12. The lidar benefits are there, and they absolutely make a big difference. But not having a telephoto at all could be an easy make-or-break for some people.
Cribbing from my iPhone 12 Pro review here, one easy way to judge is to make a smart album in Photos on a Mac (or sort your photos using another tool that can read metadata) specifying images shot with a telephoto lens. If that’s a sizeable portion of your pics over the last year, then you’ve got a decision to make about whether you’re comfortable losing that option.
When I did this, just about 19% of my iPhone 11 Pro shots were taken with the telephoto lens. Around 30% of those were portrait shots. So for me, one in every five images was shot with that tighter framing. It’s just something I find attractive. I like a little bit more precise of a crop and the nice amount of compression (for closer subjects) that comes with the longer focal length.
You don’t get 4K/60fps video, but you still can shoot 4K/30fps Dolby Vision video in this super tiny device, which is wild. It’s more than I think any normal iPhone 12 mini user will ever need.
Apple says that the iPhone 12 mini’s battery life is better than the 4.7” iPhone SE, and that bore out in my testing. I got through a day easily, with maybe a few percentage points difference between the iPhone 12 mini and the iPhone 12. I didn’t have enough time to run a comparison against the battery king, the iPhone 11, but I doubt it would come anywhere near unseating it just from a physics perspective. This thing is small, so the battery pack is small and the processor is not being majorly throttled in any way. The iPhone 12 mini charges at 12W on a MagSafe charger on a 20W brick, rather than the full 15W because the smaller battery allows it to still hit the same percentage charging speed as the larger iPhones 12 while mitigating heat buildup — always a problem in a smaller chassis.
I did have a chance to try the iPhone 12 mini slip case and I thought it was well made and clever, though absolutely positively not for me. I use my iPhone too much to be sliding it into a sleeve and back out again; it would be an exercise in futility. But if you are in the market for this kind of case, I hold that the Apple version shows off the company’s earned expertise in leather. It’s well trimmed, it has nice edge finishing and a clever clasp.
It integrates Apple’s MagSafe magnet array to display a live clock on the OLED screen with a space for the ambient light sensor. The clock display is pretty clever. It has a lightly colored background that matches the leather color of the case using the same NFC trick as the silicon cases that display a color-matched ring when you put them on. The clock fades in two stages over a few seconds but will turn on when the ambient light sensor knows it’s not in your pocket and the motion coprocessor in the A14 senses movement.
So a quick lift will flip the time on and let you check it. It also still allows tap-to-wake in the clock window, showing you the color-matched time.
There’s also a hidden card slot for maybe one credit card or ID card inside the mouth of the case. Like I said, it’s not for me, but I can appreciate that a lot more is going on in this little case than meets the eye, and it shows off some of the sophistication that could be coming to other MagSafe accessories in the future.
The conclusion
In my iPhone 12/12 Pro review I noted my rubric for selecting a personal device:
- The most compact and unobtrusive shape.
- The best camera that I can afford.
And this is the conclusion I came to at the time:
The iPhone 12 Pro is bested (theoretically) in the camera department by the iPhone 12 Pro Max, which has the biggest and best sensor Apple has yet created. (But its dimensions are similarly biggest.) The iPhone 12 has been precisely cloned in a smaller version with the iPhone 12 mini. By my simple decision-making matrix, either one of those are a better choice for me than either of the models I’ve tested. If the object becomes to find the best compromise between the two, the iPhone 12 Pro is the pick.
Now that I have had both of those devices in my hand, I can say that my opinion hasn’t changed, but my definitions of the lineup have a bit.
Because the iPhone 12 mini has no appreciable compromises in feature set from the iPhone 12, I consider these one device with two screen sizes. Yes, this may feel like a “duh” moment, but I didn’t want to jump to this place without actually using the mini for an extended period. Most critically, I needed to get a feel for that typing experience.
The iPhone mini is by far the best value per dollar in Apple’s 2020 lineup. With this you get all of the power and advances of the iPhone 12, everything but the telephoto camera (and 60fps/4K video) of the iPhone 12 Pro and everything but the new sensor in the iPhone 12 Pro Max. Those additions will cost you anywhere from $300-$400 more over the life of your device if you choose to step up.
I’ve been thinking hard about what a clear break point would be between deciding on the iPhone 12 and the iPhone 12 mini. If you are someone who really likes or ergonomically needs a smaller screen, you’re being treated to a device with no compromises in core functionality. But if you’re not a “small boi” fan, then what is the deciding factor?
For me, it comes to this decision flow:
- Is the iPhone your only camera and do you use it constantly for images? Then choose the iPhone 12 Pro.
- Are you an iPhone photographer that regularly prints images or edits them heavily? Choose the iPhone 12 Pro Max.
- Are neither of those true, but it is true that the iPhone is your only mobile computing device? Go with the iPhone 12.
- If that’s not true and you regularly carry an iPhone alongside a laptop or iPad, then go with the mini.
Here, I even made you a handy flowchart if that kind of thing is your bag:
This is one of the best years ever for the iPhone lineup. The choices presented allow for a really comfortable picking routine based on camera and screen size with no majorly painful compromises in raw power or capability. These are full-featured devices that are really well made from end to end.
I hope that this template in sizing sticks around for a while as the powerful camera tech creeps its way down the lineup over time, invalidating at least the photography side of my flowchart above. Until then, this is still one of the better “small” iPhones Apple has ever produced, and certainly one with the least overall compromise.
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Apple launches a US-only music video station, Apple Music TV
Apple is expanding its investment in music with today’s launch of “Apple Music TV.” The new music video station offers a free, 24-hour live stream of popular music videos and other music content, including exclusive video premieres, curated music video blocks, live shows, fan events, chart countdowns and guest appearances.
The service doesn’t have its own dedicated app, but is instead offered as a new feature within two of Apple’s existing entertainment apps. At launch, you can watch Apple Music TV from within the Browse tab of either the Apple Music app or the Apple TV app. (Accessible via apple.co/AppleMusicTV).
While Apple Music is a paid subscription service, Apple Music TV will be free to users in the U.S., the company says.
To kick off its launch, Apple Music TV today began with a countdown of the top 100 most-streamed songs ever across all of Apple Music, based on U.S. data.
During brief tests of the new service, we found it to be a fairly basic — though uncensored and ad-free — experience. The video stream only offered artist and song details at the beginning, instead of as the music played. It also didn’t take advantage of the integration with Apple Music to offer additional features to paying subscribers — like being able to favorite the song or add it to a playlist, for instance.
The stream would stop when the Apple Music app was closed, as it didn’t support background play.
Image Credits: Apple
There also weren’t any on-screen tools to share what you were watching via a social media post. You had to dig to find the “share” button under the three-dot, “more” menu. This would give you a link to tweet, but wouldn’t pre-fill it with text or hashtags, like the artist name or song.
While listening, you could stop the live stream and then return after a short pause. But after a bit, the stream disconnects and the thumbnail of the paused music video reverts to the placeholder Apple Music TV image. When live, the text and icons will be shown in red. They revert to white when you’ve disconnected, as a visual cue.
Despite its simplicity, Apple Music TV gives Apple an immediate new home for its music-related original content, which over the years has included exclusive interviews, concert films and more. It also provides Apple with another advantage when it goes to negotiate with artists for their premieres, as it introduces an additional platform for reaching an artist’s fans — not only with the premiere itself, but by offering artists blocks of airtime leading up to their next debut that they can use to promote their releases.
The new station can also leverage content produced for the Apple Music 1 (formerly Beats 1) radio station, as it goes about running these promotions.
For example, on Thursday, October 22, Apple Music TV will promote the upcoming release of Bruce Springsteen’s “Letter to You” with music video blocks featuring his greatest videos, plus an exclusive interview with Zane Lowe, and a special live stream fan event.
Apple says that Apple Music 1 won’t be producing exclusive content for the live-streamed station, but instead will run the video content it already produces across its radio stations — Apple Music 1, Apple Music Country, and Apple Music Hits — as interstitial content on Apple Music TV.
Fridays, meanwhile, will focus on new music. This Friday, October 23, at 9 AM PT, Apple Music TV will showcase two new exclusive video premieres — Joji’s “777” and SAINt JHN’s “Gorgeous.”
Apple Music TV’s biggest advantage, of course, is the fact that it’s freely accessible to millions of Apple device owners.
But it may struggle for traction as it lacks the features that make other live stream fan events or premieres engaging — like group chats or direct interactions with creators.
Instead, it’s more like a traditional TV broadcast — even MTV-like — compared with other online destinations where artists today connect with fans and promote their albums, like YouTube, VEVO or, more recently, Facebook, which just this year launched music videos.
Apple didn’t say if it planned to expand the new station outside the U.S.
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Former Apple engineer and autocorrect creator builds his first app, a word game called Up Spell
Former Apple software engineer and designer Ken Kocienda, whose work included the original iPhone and the development of touchscreen autocorrect, has created his first iOS app, Up Spell. The fast-paced, fun word game challenges users to spell all the words you can in two minutes and uses a lexicon of words Kocienda built to allow for the inclusion of proper names. A portion of app revenues are also being donated to a local food bank, so you can help give back while relieving stress through gaming.
Kocienda says he had never before made a standalone iOS app.
When he worked at Apple, all the code he wrote was integrated into a bigger iOS release. So when Kocienda got the idea to develop a game, he looked to obvious sources of inspiration: his past experiences with typing, keyboards and autocorrect.
The game’s lexicon was built first with the New General Service List to serve as its foundation. This was followed by weeks of writing small programs to generate lists of candidate words — like, by adding an “S” to existing words to pluralize them, for example. And hours more were spent scanning lists to choose the words to include.
Kocienda says he also wanted the game to be fun, and personally found it frustrating that other word games wouldn’t allow proper names.
“Many games accept words like PHARAOH and PYRAMID, but not NILE or EGYPT. This doesn’t make sense to me. These are all words!,” he says.
So he built his own list that includes thousands of proper names, then added to it more slang and contractions to expand it even further. That means you can spell a word like S’MORES, which involves an apostrophe, for example.
Image Credits: Up Spell
While support for a variety of words, including proper names, is the key way the gameplay differentiates from rivals, the app’s business model is also one that’s becoming less common these days: it’s a one-time paid download.
The app is a $1.99 download that lets you pay once to play forever. Today, many games in this same space use a freemium model where the app download itself is free, but you’re then nagged with in-app hooks to buy coins or tokens to advance gameplay or unlock certain features.
Kocienda’s decision to forgo this model was intentional, he explains.
“I made Up Spell a two-minute game without much in the way of gameplay gimmicks,” says Kocienda. “You just spell words. 2020 has been a rough year for everyone, and sometimes taking out two minutes to think about nothing but spelling a few words is just the kind of right kind of stress reliever,” he adds. “I hope Up Spell brings people a little unexpected happiness to their 2020.”
Also of note, 25 cents per download is being donated to the San Francisco-Marin Food Bank, which works to get food to vulnerable people in Kocienda’s area.
If all goes well, Up Spell may be followed by other games with a similar model, like a sounds or color-matching games, for instance.
The new game is a one-time paid download on the App Store.
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Equity Monday: YC Demo Day, two funding rounds and where’s Palantir’s S-1?
Hello and welcome back to Equity, TechCrunch’s venture capital-focused podcast where we unpack the numbers behind the headlines.
This is Equity Monday, our weekly kickoff that tracks the latest big news, chats about the coming week, digs into some recent funding rounds and mulls over a larger theme or narrative from the private markets. You can follow the show on Twitter here, and myself here, and don’t forget to check out last Friday’s episode.
What was on the docket this morning? All sorts of good stuff, though the Sumo Logic S-1 did drop just after we wrapped. Here’s today’s rundown:
- YC Demo day is this week, so make sure to stick around TechCrunch and Extra Crunch for all our coverage.
- SPACs continue, with more automotive companies looking at alt-routes to the public markets. This time it’s Luminar. And, here’s the Bill Gurley post that we promised to link to.
- E-commerce and on-demand are booming in China after we saw similar results via Uber and domestic e-commerce players.
- The Fortnite-Apple brouhaha continues with more filings and even Microsoft weighing in. At the same time TikTok v. The United States appears set to go to court. (Zuck is behind some anti-TikTok Washington sentiment, it appears.)
- The Palantir S-1 has gone missing. Where is it? Give it to us!
- Dataiku has raised $100 million for its enterprise AI platform. Forbes has more.
- Datasembly has raised $10.3 million in new capital for its IRL store data service. TechCrunch has more.
- The Anti-Antitrust Club is live and you can read it here. We’re trying to find out who is taking on the biggest names in tech on purpose. Who would be so garishly bold? The Anti-Antitrust club!
Whew, with YC and Palantir this week and a chat with Twilio’s CEO it’s going to be an active few days. Ready?
Equity drops every Monday at 7:00 a.m. PT and Friday at 6:00 a.m. PT, so subscribe to us on Apple Podcasts, Overcast, Spotify and all the casts.
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Google Maps comes to Apple’s watchOS and CarPlay dashboard
Google Maps is now also available on the Apple Watch so you can get your walking, biking and driving directions right on your wrist.
Don’t expect to get a full-blown Maps app on your wrist, though. The new app is mostly focused on giving you directions to known places (think home, work, etc.). To start navigating to other destinations, you still have to start on your phone and then “pick up where you left off on your watch,” Google explains.
A few years ago, Google already offered a version of Maps for Apple’s watch but then dropped support in 2017. The Google Maps app for watchOS will roll out worldwide in the coming weeks.
Image Credits: Google
In addition to the new Maps app on watchOS, Google Maps now features slightly deeper integration with Apple’s CarPlay, thanks to iOS 13.4 now supporting third-party apps on the dashboard. If you’re a regular Google Maps user on CarPlay, you may know the frustration of using the CarPlay dashboard, only to be kicked back to seeing Apple Maps.
Apple originally launched support for third-party navigation apps in CarPlay with the launch of iOS 12. At the time, though, those apps were restricted to full-screen mode. With this update, you can now continue to see your Google Maps directions and still see your media controls or calendar at the same time.
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