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The Devil's Advocate - Kinky iMacs, iTunes, & Other Apple Patents [TMO Scoop]
by John Kheit- May 11th, 2004

How to find the 'Snake Game in Terminal' Easter Egg in Mac OS X. Open Terminal within Applications Utilities. Type in emacs, then press enter. Within emacs hold down ESC and press X. If the cursor is on the bottom of the terminal, type snake.

1. LUNCH hour at St. Benedict's lasted from twelve until one. At twelve the pupils stood and chanted a Hail Mary, an Our Father, and Grace for the noon meal which most of them went home for though some stayed at the school with packed lunches and bought milk and soup and candy in a small room across from Sister Superior's office.
2. System Requirements Apple Macintosh with OS 10.14 or later. 1.5GHz Intel® Core Duo processor or compatible 1.5GB RAM 2GB available hard-disk space Bluetooth 4.0 macOS 10.14 with the latest service packs or up to macOS 10.14 System Requirements Apple Macintosh with OS 10.14 or older.
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Despite the claims from some that see very little Intellectual Property (IP) coming from it these days, Apple begs to differ. Four new patents were issued to Apple within the last week; one for the iTunes User Interface (UI), one for a double jointed iMac, one for a menu-list UI widget, and one for pre-OS X UI theme switching.

iTunes UI

Let's start with perhaps the most important of the bunch. Apple filed a patent application for a 'Media player interface' on January 8, 2001, which was issued by the United States Patent and Trademark Office (USPTO) as US Patent No. 6,731,312 on May 4, 2004. The sole inventor of the iTunes interface is listed as Jeff Robbin, who was also the primary author of SoundJam (SoundJam was the basis of iTunes after Apple acquired it and Jeff). Good job Jeff. The abstract describes the invention we all know and love as:

[M]edia player application code which implements the procedures of generating in a user interface an application window having a window frame and a plurality of stiles to define a plurality of panes within said frame...

Kinky iMac

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Next up, the double jointed iMac. I suppose the inspiration for this design was a 'two is better than one' meme. And yes, technically, it has more than two joints--oh screw it, see for yourself:

Apple filed this patent application for a 'Display device with a movable assembly' on November 8, 2001, which was issued by the USPTO as US Design Patent No. D489,370 on May 4, 2004. Apple CEO Steven P. Jobs gets 'credited' as the first named inventor, among many others, for this creation.

Well, we saw the snake arm iMac a while back and Mr. Jobs was the first named inventor for that as well. I for one was grateful Apple put a bullet in the snake. As for this design, well I'm sure dentists everywhere will miss it; I won't. Although it is nicer than the current iMac design in at least one way. The screen has a very thin bezel, much like the bezel of the Titanium PowerBook.

UI Themes

Apple is still receiving UI patents on theme switching back from the pre-OS X era. Apple filed a patent application for 'Switching between appearance/behavior themes in graphical user interfaces' on March 28, 2002, which was issued by the USPTO as US Patent No. 6,731,310 on May 4, 2004. This is really moldy-oldy stuff as it relates back to applications that were filed as early as May 16, 1994. The listed inventors are Timothy Craycroft, Jeffrey R. Cobb, Robert G. Johnston, Jr., and Robert R. Ulrich.

I listed the inventors because here are a bunch of guys that clearly worked hard on a project to make the UI so much more configurable, and in a way weren't given their due. I'm sure they have all gone on to do great things, but I know if it were me, I would have wished the functionality was out there for everyone to enjoy. Anyway, the abstract describes the invention as:

Systems and methods for providing a user with increased flexibility and control over the appearance and behavior of objects on a user interface. Sets of objects can be grouped into themes to provide a user with a distinct overall impression of the interface. These themes can be switched dynamically by switching pointers to drawing procedures or switching data being supplied to these procedures...

And here's a flashback:

Yeah, it's a bit cheesy looking now -- the UI equivalent to Kajagoogoo -- but still, it's not the particular look that was key, but the ability to morph the UI. Apple seems to practice a 'do as I say, not as I do' philosophy to UI design these days. It is constantly changing the look of Aqua. Every release brings out some new applications in chrome that don't seem to be digital-hub-like applications: Safari comes to mind. The company even changed the acrylic plastic tabs to linear-segmented-acrylic plastic strips. Why? Why not? And then to confound us all, made new chrome tabs for Safari.

All of this UI tweaking is not bad in my book. I always thought that the Mac OS changed way too little from its first release through OS 9, and I'm a big believer that holy cows make the best burgers. So I'm all for Apple trying new things even when the company seems to violate every single human-interface principle Apple itself established. It's just strange that Apple is getting so experimental and in so many ways clearly breaking their pre-OS X UI conventions, while locking others out from the same experimentation. Certainly others would like the ability to tweak the UI as well.

Which brings me to the reason I threw this creaky old patent into the mix here. There is a reason why Apple decided to pursue this patent and pay to file it as recently as 2002. One reason may be that Apple sunk money into this patent application, and just had their lawyers keep pushing until it issued. Possible, perhaps even likely.

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Another reason may be that Apple may want to re-establish the Appearance Manager in OS X at some point. We've been stuck with Graphite and Aqua for quite some time now. A snazzy and new UI is always cause for commotion in the Apple world. As OS X matures, it's going to be more and more difficult to get that 'wow' factor for each new release, and this may well be a trump card Apple plays in one of the next 10.x updates.

Interestingly, OS X's UI is actually rather configurable. OS X is basically OPENSTEP with some compatibility layers. The UI itself has been skinned from NeXT's old look and feel to the OS 9 Platinum look in OS X Server 1.0 (remember that?) and then to Aqua. Further, the smart folks at Unsanity created ShapeShifter, which lets you skin the bejezus out of OS X.

Menu Lists

Adding further to its UI IP arsenal, Apple filed a patent application for 'Combined menu-list control element in a graphical user interface' on September 29, 2000, which was issued by the USPTO as US Patent No. 6,734,882 on May 11, 2004. You've already seen these:

The abstract describes the invention as:

A control element for use in a graphical user interface, which combines the display features of the list box element and the pop-up menu element into a single GUI control element. The combined menu list control element is capable of displaying data in multiple states thereby allowing to it to optimally use the available display space for presenting data to the user.

Flattery will get you in trouble

The other interesting thing about this spate of patents is just how seriously Apple is taking the UI. If you look through the iTunes UI patent, you'll notice there are a lot of claims and the claims basically cover the display and interaction of a three pane media player. Apple also filed to secure the UI for the iPod. Basically, Apple is covering its entire user experience for digital music.

Also, a while back I wrote about how Apple secured design patents on the look of Aqua elements ranging from transparent dialogue boxes, gum-drop window buttons, chromatic windows, and things as minor as the waste basket icon. The menu-list patent, which is now quite a pervasive UI widget, is just a continuation of Apple extending IP protection over its user interface. Even the theme switching patent has a significant and high number of claims showing a substantial investment on Apple's part.

What is clear, Apple has learned how to protect its look-and-feel and the company is doing it with zeal. Imitators best beware; it would seem that Apple doesn't plan on being flattered.

John Kheitis an attorney. Please don't hold that against him. This work does not necessarily reflect the views and/or opinions of The Mac Observer, any third parties, or even John for that matter. No assertions of fact are being made, but rather the reader is simply asked to consider the possibilities.

You can send your comments directly to me, or you can also post your comments below.

Most Recent Columns From The Devil's Advocate

• Mac UI Ain't All That: The Future & History of the User Interface - August 15th
• MacWindows: The New Trojan Wars - April 4th
• TMO Scoop: Apple Files Patent for Looking Glass - January 25th

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There are many USB microphones around today, but Lewitt’s offering has some surprising and useful extra features.

To call the Lewitt DGT 650 ‘just’ a USB mic would be rather understating the case. What you get is actually a stereo X-Y mic that also functions as a full-scale 24-bit, 96kHz audio interface. The software driver supports ASIO for Windows, Core Audio for Mac OS X, and also works with iOS devices (via a Lightning connector).

The mic can take power from USB, or it can run for around three hours using its own built-in lithium-ion battery in situations where USB power is not available. The circuitry includes a two-channel mic/line preamp with switchable high-pass filter and two pad options, and it also includes a standard MIDI input. A large hexagonally perforated steel grille protects the mic capsules, and all the controls and display are on the ‘hot’ face of the mic body.

Box Clever

Clearly, fitting all the necessary connectors to the mic body would make the whole thing somewhat unwieldy, hence the small box that connects to the mic via the mic’s 18-pin connector. You then have a choice of hooking up the box via the included USB or Lightning connector cables to feed to your computer or iOS device. Unfortunately no cable is included for pre-Lightning iOS devices. It isn’t clear how much of the electronics resides in the mic and how much in the box, so I’ll just refer to it as the breakout box.

The rechargeable Li-ion battery, which resides in the mic body, is connected to a micro-USB port for use with a third-party USB charger. Where USB power is available, the mic takes its power from that and the battery charges at the same time. The remaining connections comprise a headphone output on a stereo mini-jack, a quarter-inch TRS mono/stereo line input jack and a five-pin DIN connector for the MIDI input. A nice touch is that the breakout box body has a groove molded into it and comes with a Velcro strap, so that it can be secured to the mic stand or tripod, avoiding stress on the cables.

In its stereo mode, two 17mm-diameter, back-electret cardioid-pattern capacitor capsules, set at a 90-degree angle, operate as a stereo X-Y coincident pair. However, the DGT 650 can also function as a front-fire mono cardioid microphone for recording vocals or instruments where stereo miking is not appropriate. The line input comes into play in the DGT 650’s Singer/Songwriter mode, in which a mono cardioid mic feeds one channel and a line-level signal the other. Finally, it is possible to bypass the mic altogether for stereo line-in operation using a TRS quarter-inch jack going into the input. The gain may be adjusted separately for the mic and line inputs and the MIDI input is available in all modes.

Before looking at how all that goes together in more detail, it’s worth checking out the impressive specification, which quotes a dynamic range in excess of 110dB (A-weighted) and a bandwidth of 20Hz to 20kHz. Self-noise depends on the gain setting and the recording mode but is generally between 25 and 30 dB — maybe not as quiet as some of Lewitt’s dedicated studio mics, but more than adequate. Maximum SPL is 140dB and there’s a choice of -10 or -20 dB input pads. There’s also a choice of two low-cut filter frequencies: 80 or 160 Hz.

A back-lit panel of icons shows most of the information, and a thumbwheel, which also incorporates a push switch, steps around to select and then adjust them. A horizontal bargraph-style display shows the value. This section accesses the recording mode selector, pad and filter switching, preamp gain adjustment, output level control, direct/DAW monitor balance and headphone level. This all works well enough — you just keep pressing the wheel to step through the options until the correct icon is illuminated, then turn the wheel to change the setting. Even so, the included mini manual tells us that there is a free piece of control software that you can download that makes setting up even easier. The full manual may be downloaded from the Lewitt web site, though the short manual should be enough to get you started.

At the time of writing this review, the Windows version of the Control Center software was available, along with the required Windows audio driver, but the Mac OS X version was still in development. However, no driver is needed to use the mic with Mac OS X audio applications and, as the mic is easy enough to set up from its own control panel, the delay to the remote setup software is certainly not a deal breaker.

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Impressions

USB mics aren’t always taken seriously, but this one looks every bit as professional as Lewitt’s mainstream studio mics. It comes in a foam-lined cardboard box with a solidly engineered, custom-designed suspension mount and desk tripod, as well as a foam windshield and cables for both USB and Lightning connection.

The audio quality from the mic is very clean, with naturally airy highs and no obvious added ‘character’, which is probably a good thing for a mic that will be used with both voice and instruments. The controls are easy to use and operation is largely intuitive. Having both mono and stereo modes is very useful if you want to use the mic to capture a live performance, and I also have to say that this is the first time I’ve come across a MIDI port built into a USB mic. On my Mac this was, again, just a case of plug in and play. The mic-plus-line mode is very handy for guitar and vocal recordings, as the line-input impedance is high enough for the direct connection of an electric guitar. Using my Beyer DT770 headphones I found there was plenty of level on playback.

Conclusion

Overall, then, I have to conclude that Lewitt have managed to cram rather a lot into this microphone, but they have done it in great style. The build quality matches that of their premium studio mics, and the audio quality makes the DGT 650 suitable for studio use as well as podcasting, location sound gathering and recording your gigs. There’s the option of using the mic in stereo, and the instrument input is handy for guitar players and suchlike, while the MIDI input is perfect for those musicians who have an old-school MIDI controller keyboard or MIDI guitar system without a direct USB MIDI connection option. Furthermore, for iOS users Lewitt have a free recording app you can use with the mic. Lewitt call the DGT 650 a USB multi-tool, and I think that pretty much nails it!

Alternatives

There are plenty of very worthy USB mics, but the combination of mono/stereo operation plus line and MIDI inputs means that to get the same functionality you’d need a separate stereo mic and interface to do the same job.

Pros

• Clean, clear sound quality.
• Mono or stereo operation.
• Line and MIDI inputs available.

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Cons

• Mac Control Center software not shipping at the time of the review.
• No included cable for use with pre-Lightning iOS devices.

Summary

A high-quality USB microphone that can work in stereo as well as offering line and MIDI inputs. Lewitt have come up with an excellent and compact alternative to using separate mics and interfaces.

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