The New Apple Advantage
Peter Bright wrote a good piece earlier this week at Ars Technica, documenting his attempt to buy a MacBook Air-like Windows laptop (he doesn’t want an Air running Windows using Boot Camp because he doesn’t like Apple’s U.K. keyboard) and finds the experience confusing (too many models to choose from) and expensive (comparatively-equipped machines from Dell, HP, and Lenovo cost considerably more than an equivalent MacBook Air).
E.g., here’s Bright on shopping from Dell:
It’s even worse if I just browse without searching. The options I get are just… meaningless. Yes, I want “Everyday Computing,” so I want an Inspiron. But hang on, I also want “Design & Performance,” so I want an XPS. Wait a second, I want “Thin & Powerful,” too. So maybe I want a Z Series? But the only line that apparently matches my broad search criteria — lightweight, 11-14″ — I wouldn’t even consider because I don’t want a “gaming” laptop, and so I’m never going to click Alienware!
From HP:
The same odd labels cover everything — I know I don’t want “Mini/Netbook,” but I want both “Everyday Computing” (that term again) and “High performance” (because I don’t want it to be slow, do I?). And who knows what “Envy” means? When I tick my screen size and weight boxes, I get back a crop of lousy netbooks that are almost the complete opposite of what I want.
And Lenovo:
It starts off with the same stupid classifications that must make sense to some guy in marketing — “Powered for productivity” and “Optimized for entertainment” and “No-nonsense features built for versatility”.
Here’s what I wrote back in July, linking to Cory Doctorow’s review of the Samsung Galaxy Tab Some-Size-or-Another:
Cory Doctorow calls the new Samsung Galaxy Tab “meh”:
Ever since the iPad shipped, I’ve been waiting impatiently for a comparable Android device to emerge — something of like shape, size and capacity, but from a more open ecosystem than the one Apple offers.
I love these sort of reviews. I want an Apple-quality product without the Apple, and I’m sure I’ll get one soon.
And don’t forget the Apple-like prices, which is where Bright’s laptop hunt faltered. But so why the dearth of Apple-caliber products from companies other than Apple?
Bright’s analysis regarding why the top PC makers seemingly — if not outright admittedly — can’t compete with the MacBook Air strikes me as pretty good:
The problem is that the PC industry, particularly the large OEMs, just aren’t set up to produce this kind of machine. The PC industry is built around an idea of almost infinite variation: different Wi-Fi adaptors, different Ethernet chipsets, different GPUs, different USB3 controllers. This variety is then reflected in the systems available from manufacturers — and more importantly, it’s reflected in the way the systems are actually built.
Design is largely about making choices. The PC hardware market has historically focused on three factors: low prices, tech specs, and configurability. Configurability is another way of saying that you, the buyer, get a bigger say in the design of your computer. (Bright points out, for example, that Lenovo gives you the option of choosing which Wi-Fi adaptor goes into your laptop.) Apple offers far fewer configurations. Thus MacBooks are, to most minds, subjectively better-designed — butobjectively, they’re more designed. Apple makes more of the choices than do PC makers.
This isn’t new. And traditionally, the benefit from Apple’s lesser degree of configurability has been the “it just works” factor — better integration of software and hardware. That with support for fewer components, like, say video cards, the Mac OS needs fewer drivers, and the drivers it does have are less likely to result in unusual conflicts.
But now that Apple’s products are more popular, we’re beginning to see another benefit to Apple’s lesser degree of configurability: greater scalability. Apple needs larger quantities of fewer different components to manufacture the same number of computers as other companies. It’s not just the economies of scale that all companies get when they sell 3 or 4 million laptops in a quarter — it’s greater, because Apple’s 3 or 4 million laptops sold share a larger number of the exact same components.
This advantage is more pronounced with iOS devices. In four years, Apple has gone from not being in the phone business to reaping a majority of the handset industry’s worldwide profits. Yet they make only two phones — the iPhone 4 and 3GS.
Likewise with the iPad. Your only choices:
- White or black
- GSM, CDMA, Wi-Fi-only
- 16/32/64 GB of storage
The iPad is the best-selling portable computer in the world and those are the only configurable options. One CPU, one display, one amount of RAM.
The new MacBook Airs are iPad-like. I’ve called my 11-inch Air an “iPad Pro”, and the more I use it, the more that feels true.1 Apple is selling more MacBooks than ever before, but their range of models is shrinking, not expanding. As SSD prices fall, I expect Apple to drop the “Air” and “Pro” distinctions and simply offer four Air-like MacBooks: 11, 13, 15, and 17 inches.
So let’s be lazy for a second here, and attribute all of Apple’s success over the past 15 years to two men: Steve Jobs and Tim Cook. We’ll give Jobs the credit for the adjectives beautiful, elegant, innovative, and fun. We’ll give Cook the credit for the adjectives affordable, reliable, available, and profitable. Jobs designs them, Cook makes them and sells them.
It’s the Jobs side of the equation that Apple’s rivals — phone, tablet, laptop, whatever — are able to copy. Thus the patents and the lawsuits. Design is copyable. But the Cook side of things — Apple’s economy of scale advantage — cannot be copied by any company with a complex product lineup. How could Dell, for example, possibly copy Apple’s operations when they currently classify “Design & Performance” and “Thin & Powerful” as separate laptop categories?
This realization sort of snuck up on me. I’ve always been interested in Apple’s products because of their superior design; the business side of the company was never of as much interest. But at this point, it seems clear to me that however superior Apple’s design is, it’s their business and operations strength — the Cook side of the equation — that is furthest ahead of their competition, and the more sustainable advantage. It cannot be copied without going through the same sort of decade-long process that Apple went through.
Biography
This subset of Crosby, Stills, Nash & Young featured David Crosby (b.Aug 14, 1941) and Graham Nash (b.Feb 2, 1942) relying on their sweet harmonies and strong songwriting. The duo lasted from 1972 to the more-or-less permanent re-forming of Crosby, Stills & Nash in 1977.
- By Song Only
- Genres: Singer/Songwriter,Music
- Released: Sep 12, 2011
Biography
Singer/songwriter Laura Marling was only 16 years old when she emerged on the British indie scene in 2007 thanks to a handful of infectious singles made available on her MySpace profile. Endowed with a husky voice, an acoustic guitar, and a gift for building quirky, hooky folk songs (characteristics that would have the artist compared favorably to artists like Lily Allen, Regina Spektor, and Martha Wainwright), Marling quickly made a name for herself throughout England thanks to a heavy touring schedule and a few high-profile gigs, not the least of which included an appearance at the 2006 City Showcase: Spotlight London and as the opening act for Jamie T. Although she was still without a label one year later, her debut EP, My Manic and I, was slated for independent release in the late fall of 2007. This status didn’t last for long, however, because in early 2008, signed to Virgin, Marling issued Alas I Cannot Swim, which also came as part of a multimedia Songbox package. In 2010 Marling released her sophomore album, I Speak Because I Can, which debuted at number three on the U.K. albums chart.
- Free
- Genres: Alternative, Music
- Released: Sep 13, 2011
- ℗ 2011 Dbpm Records, Under Exclusive License To Epitaph
Biography
Wilco rose from the ashes of the seminal roots rockers Uncle Tupelo, who disbanded in 1994. While Jay Farrar, one of the group’s two singer/songwriters, went on to form the band Son Volt, his ex-partner Jeff Tweedy established Wilco along with the remaining members of Tupelo’s final incarnation, which included drummer Ken Coomer as well as part-time bandmates John Stirratt (bass) and Max Johnston (mandolin, banjo, fiddle, and lap steel). Guitarist Jay Bennett rounded out the group, which in 1995 issued their debut album, A.M., a collection of spry country-rock tunes that followed the course established in Tweedy’s earlier work. Wilco’s sophomore effort, 1996′s two-disc set Being There, marked a radical transformation in the group’s sound; while remaining steeped in the style that earned Tweedy his reputation, the songs took unexpected detours into psychedelia, power pop, and soul, complete with orchestral touches and R&B horn flourishes. Shortly after the release of Being There, which most critics judged to be among the year’s best releases, Johnston left the group to play with his sister, singer Michelle Shocked, and was replaced by guitarist Bob Egan of the band Freakwater. At the same time, while remaining full-time members of Wilco, Stirratt, Bennett, and Coomer also began performing together in the pop side project Courtesy Move. In 1998, Wilco collaborated with singer/songwriter Billy Bragg on Mermaid Avenue, a collection of performances based on unreleased material originally written by Woody Guthrie.
Their stunningly lush third album, Summerteeth, followed in 1999 and met with critical acclaim but only average sales, initiating tensions with their label, Warner Bros. 2000 saw the release of Mermaid Avenue, Vol. 2, which featured more selections from the band’s collaborations with Bragg on Woody Guthrie’s unfinished songs. Following this release, longtime drummer Ken Coomer decided to amicably leave the band and was replaced by the Chicago-based Glenn Kotche. The band then focused on recording their fourth album, Yankee Hotel Foxtrot, which ultimately led to the departure of guitarist Jay Bennett, and further tensions with their label. Unwilling to change the album to make it more “commercially viable,” Wilco bought the finished studio tapes from Warner/Reprise for a reported $50,000 and left the label altogether. Leaked tracks from the album surfaced on the Internet in late 2001, and the stripped-down lineup of Tweedy, Kotche, Stirratt, and multi-instrumentalist Leroy Bach embarked on a small tour to support — or drum up support for — their unreleased album. Nonesuch Records picked up the album and the official release came out in early 2002 to widespread critical acclaim. Meanwhile, an independent film documenting the drama surrounding the album entitled I Am Trying to Break Your Heart followed in the fall of 2002. During the down time after the album was recorded, Tweedy composed and recorded the film score to the Ethan Hawke film Chelsea Walls, which ended up being released around the same time as Yankee Hotel Foxtrot.
Wilco toured extensively following the release of Yankee Hotel Foxtrot, and in 2003 began work on their next album, A Ghost Is Born. While sessions went smoothly compared to Yankee Hotel Foxtrot, after the album was finished Leroy Bach left the band in a split that was described as mutual and amicable; guitarist Nels Cline, keyboardist Mike Jorgensen, and multi-instrumentalist Pat Sansone joined Wilco for their subsequent tour. Shortly before the album’s release, Tweedy surprised many fans by announcing he had entered a drug rehabilitation facility to treat a dependency on painkillers, prescribed to treat a long history of migraine headaches aggravated by panic disorder. Tweedy discussed his health problems in depth, along with the often tangled history of Wilco and Uncle Tupelo, in Wilco: Learning How to Die, a biography of the group written by rock journalist Greg Kot, published to coincide with A Ghost Is Born’s release in the spring of 2004. The following year, the group released Kicking Television: Live in Chicago, a 23-track collection recorded in the Windy City’s Vic Theater, an album that was later deemed one of the Top 20 best live albums by Q Magazine. In 2007 Wilco’s sixth studio album, Sky Blue Sky, hit shelves. Less experimental than its predecessors, Sky Blue Sky peaked at number five on the U.S. album charts and made a strong showing internationally. Wilco’s seventh album, the breezy and laid-back Wilco (The Album), was released on June 30, 2009, one month after the death of former bandmember Jay Bennett, who passed away in his home in Urbana, IL after accidentally overdosing on the prescription painkiller fentanyl. ~ Jason Ankeny & Zac Johnson, Rovi
- Free
- Genres: Rock, Music
- Released: Sep 12, 2011
- ℗ Compilation 2011 Hideout Records and Distributors, Inc. under exclusive license to Capitol Records, LLC.. All rights reserved. Unauthorized reproduction is a violation of applicable laws. Manufactured by Capitol Catalog, 1750 North Vine Street, Hollywood, CA 90028.
| Name | Artist | Time | Price | ||
|---|---|---|---|---|---|
| 1 | Colours | Grouplove | 4:17 | Free | View In iTunes |
| Total: 1 Song |
Biography
Formed: Los Angeles, CA
Genre: Alternative
Years Active: ’00s, ’10s
- Free
- Genres: Alternative, Music
- Released: Sep 13, 2011
- ℗ 2011 Atlantic Recording Corporation for the United States and WEA International Inc. for the world outside of the United States.
