That applies to original works that don't fit any standard cataloging function either I don't think that would help me. iTunes can't touch what it can't see, and letting it anywhere near a collection of bootlegs and/or "less than legal" origin files is something I would avoid out of general suspiciousness.
Maybe not, but my hunch is it might have helped. In my workflow I've got my DAW projects and output separate from what I'd consider the 'commercial music' area, and this might have saved a lot of stress that Pinkstone went through. In a separate folder - which makes things easier to back-up I think - I have my "Music Projects" folder. Sure, I use the "Music" folder but that's only for purchased music.
#Musicbee swinsian windows
Thus, rather than totally embrace the "OS as Helper" technique that Windows likes (put everything in "Music") or going the iTunes route (behemoth management program with hooks to other stuff), I maintained some of my fencing habits. I get the concept of certain files being certain places - system files versus personal files versus program resources.
#Musicbee swinsian mac
I was thinking about this while driving recently - both the iTunes / Apple Music approach, and the way I go about organizing and sorting my things.Īs a guy who grew up with Mac until playing catch-up with Win95 (and some DOS to fit in), being familiar with digital storage techniques has formed over time. But I know I'm not the only one who likes listening to things that are utterly unavailable on any service, for streaming or "purchase". And again, maybe you don't care - maybe the menu is more important for you than the particular flavors on it. It is that bits on your own platter is the only way to ensure your own continued access. I don't know what exactly that's even supposed to mean in a world of bullshit IP laws that make less sense daily. Now, Spotify an friends don't seem to play games like the studios do with Netflix, but that's almost certainly a matter of a business environment that doesn't encourage it, not "dedication to serving music lovers" or whatever. I subscribe to the cliche that if you don't own the substrate, you don't own the data, and it can go away against your wishes. Now, it is quite likely that you have no interest in at least the vast bulk of those, because they're obscure bands from my youth, live recordings of acts you don't care about, experimental music from the 80s, etc.īut rental access to the RIAA machine is a far, far cry from "all the world's music".Īs for access, well. I have literally thousands of recordings that you can't stream, because they aren't available. If I'm not at home that's what I'd rather do, no syncing or anything weird.Įxcept it isn't all the world's music. But I wrote my own music streaming server with Sinatra and iOS app to go with it so I always have access to whatever is stored on my hard drive at home in a way that makes sense to me. I totally agree with his complaints about Apple Music though, it's pretty inscrutable. It works pretty well and I have no problem reasoning about what music I have. I have close to 18,000 albums in my iTunes library that I've added this way over the last decade and a half. But "/Artist Name/Album Name/01 Song Title.mp3" is a pretty sane convention in my opinion. The only control you're really giving up then is the exact naming scheme of the files in the folder. Make sure you check the "Keep iTunes Media folder organized" and "Copy files to iTunes Media folder when adding to library" options in the advanced settings. My advice to anyone who has any desire to use iTunes is: acquire your music from elsewhere as actual mp3 files, tag them using something like Mp3tag and then drag and drop them into iTunes. That the interface is so slow and inconsistent doesn't help either. Reading this I can't help but feel like maybe the author is doing it wrong? I'm going to be charitable and admit that Apple has made iTunes incredibly difficult to use effectively, especially since the store is awful and they really, really push the iTunes store on you.
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