PJH Studios

Author: Patrick

  • Jambox wireless speaker by Jawbone

    Everything about Jawbone’s portable wireless speaker, the Jambox, is well done. The speaker itself, the included cables and charger, the ease of use, the carrying case and even the packaging all show serious thought in the design, presentation and experience of the product.
    Jawbone Jambox wireless speaker

    The Jambox comes in four different colors: black, red, grey and blue. Shaped like a rectangular brick, it measures approximately 2.25″ tall, 6″ long and 1.5″ deep and is a solid 12 ounces. The build feels solid, with quality materials–a rubberized top and bottom allow for a solid grip when holding and maintaining position on an uneven surface. The speaker’s grill is styled aluminum, where each color has a different design.

    As for buttons, there are only four: the on off switch, increase volume, decrease volume and a function button. Pushing the function button once will cause a voice to speak the approximate battery life remaining. Very smart. Also, the function button can be used to send or receive calls if paired with a bluetooth phone.
    Jawbone Jambox side view

    To connect the Jambox, there are several options. The primary means is via bluetooth. Pairing is as simple as turning on the Jambox, and then going into the device’s bluetooth connection screen. I’ve used an iPhone and an iPad to connect to the device with no issues at all. Also, there is a stereo line in jack for devices that lack bluetooth.

    Speaking of stereo line in, a 3 foot stereo to stereo cable comes with the Jambox, along with:

    • 60 inch micro USB cable (for charging and syncing to a computer from longer distances)
    • 12.5 inch micro USB cable (for charging and syncing to a computer at short distances, and for traveling)
    • a wall charger with a plug that folds out
    • a neoprene like carrying case

    Jawbone Jambox with case

    The case is especially clever. It’s made of a synthetic neoprene-like material that fits over the Jambox like a sleeve. The ends consist of foldable tabs with a thin magnet within the sleeve. As the tab encloses the end, it gently snaps to the case. One drawback, the case fits almost too snugly, and may take practice to push/pull the Jambox out of it.

    But how does it sound? How does a $200 portable, wireless speaker sound? Impressive. Don’t expect something compared to a $2000 hi-fi, but you’ll hear a full range of sound with good bass response. I played numerous albums on it from a variety of artists: The National, Mumford & Sons, Iron & Wine, Rilo Kiley, Feist, Ella Fitzgerald, Broken Social Scene, The Beatles, Vampire Weekend, classical guitar. It tends to lose the high end, but it keeps the feel of the music clear and crisp. It can get loud enough to drive a small party in an apartment or living room or patio.

    Lastly, the device is intelligent. Pushing the function button will state the battery life, but it can be upgraded with apps and firmware modifications to do more. Not a fan of the pre-installed voice–you can change it from 4 different voices, and that doesn’t even include the other languages it supports. If you create an account with other services, you can add apps to assist with caller id or voice dialing.

    Of note, Jawbone took consideration to the packaging, too. The hard plastic case covers the Jambox, and a tab on each side of the case clip into a heavy paper box. Inside the box, the cables are neatly placed and labeled along with the carrying case and charger.

    The utility of the Jambox offers a lot of value from dialing and syncing to phones, and also pairing with devices to provide richer sound beyond the devices tinny, mono speakers (e.g. the iPad). Instant parties can be had, watch movies or play games away from a TV, create a conference room speaker. This is definitely one, cool little, electronic brick.

     

  • Vanishing America – Michael Eastman

    Michael Eastman’s book, 51wxP7WbngL._SL160_.jpg
    Vanishing America, is a warm, visual elegy to small town America and vintage pop culture. Theaters, signs, stores and other everyday interactions are shown in rich detail with saturated colors. The collection is curated across 10 sections: theaters, churches, hangouts, doors, signs, stores, services, automobiles, hotels and restaurants.

    Each section is reverent to its subject matter. Where some photographers would show decay and the end of life, Eastman focuses on bringing the subjects to life, preserving them as a visual time capsule. Even those subjects that appear derelict, such as the doors and signs, they don’t feel cynical. Theaters, hangouts, signs and automobiles receive the most in depth portraits. From section to section, the subject matter transitions well. From the secular to the things that lead us there and back to the places where we converge, Eastman sees where socialization and relating to others occurred.

    Brinkely’s introduction is poetic, describing how Eastman found beauty in decay.

    Of note, as reverent as Eastman is towards his subject matter, his book was printed in China. Perhaps this bit of irony escaped the process or the publisher had no choice, or market forces determined the outcome much like the small towns have fallen to.

  • Carolina Chocolate Drops – Genuine Negro Jig

    Carolina Chocolate Drops’ album 51F2l76c-YL._SL160_.jpgGenuine Negro Jig is a throwback, reviving traditional country, bluegrass string and jug music. It begins with an instrumental led by a fiddle that sets the tone for the remaining tracks–music from an era that mp3s forgot. Simple, direct and earnest, the album includes a mix of originals and traditionals. The originals, such as Hit ’em Up Style, Kissin’ and Cussin’ and Trampled Rose feel almost contemporary. Hit ’em Up Style has a hip hop beat and emphatic delivery as the fiddle carries the song. Kissin’ and Cussin’ has a sultry vibe with Rhiannon Giddens delivery. The traditional tracks, Cornbread and Butterbeans, Trouble In Your Mind and Snowden’s Jig are playful, energetic and spirted.

    Stand out tracks:

    • Trouble in Your Mind – fun and spirited
    • Hit ’em Up Style – most contemporary track on the album
    • Cornbread and Butterbeans – catchy banjo and homely lyrics
    • Kissin’ and Cussin’ – great delivery
    • Why Don’t You Do Right – great vocals

  • Brandon Flowers – Flamingo

    Brandon Flowers’ solo album, Flamingo, is a good, solid collection of tracks. With Las Vegas as his back drop, flowers tells stories of those to succumb or persevere in the bright lights. He varies the tempo and pacing of the album, beginning with a soaring Welcome to Fabulous Las Vegas and kicks it up with Only the Young. At 41 minutes and 10 tracks, the album feels like a first act with Swallow It feeling like an impromptu closer.

    Stand out tracks:

    • Welcome to Fabulous Las Vegas – it sounds like an anthem, but it’s a cynical, rocking ballad of the excesses of Las Vegas
    • Jilted Lovers & Broken Hearts – sounds like something Bon Jovi would do
    • Was It Something I Said? – a punk pop ditty with a good beat and catchy lyrics

  • Movie Bar Codes

    Slice a frame from a movie, stitch ’em together, you’d get something that resembles a bar code. A bar code that illustrates the color palate of the film. Here’s Singin’ in The Rain.

    tumblr_lhp031ycnm1qhtovi.jpg

    Prints are for sale, too.

  • Social Distortion – Hard Times & Nursery Rhymes

    Some thoughts on Social Distortion’s latest,
    Hard Times & Nursery Rhymes:

    Mostly sounds like garage rock with some bluesy riffs. Not too many punk chord progressions.

    Stand out tracks: Alone & Forsaken (direct and punky), Still Alive (closer, anthemic), Bakersfield (6.5 minute bluesy guitar anthem story)

    Some songs go on too long, with half the tracks clocking in over 4 minutes, and 4 songs head over the 5 minute mark.

  • A rock show at your house

    If bands/artists playing intimate shows to 50 people at someone’s house is a trend, that’s a trend I can fully support.

    “It was at my friend Bodie’s small apartment in Boulder, and Joe Pug was playing,” said Browne, who writes and edits the popular website Fuel/ Friends. “There were probably 40 people in a tiny one- bedroom apartment. But the energy in there, being so close to Joe when he sang, really startled and impressed me. It was almost uncomfortable how intimate it was.”

  • Designing a Photograph – Bill Smith

    Designing a Photograph: Visual Techniques for Making Your Photographs Work by Bill Smith takes a designer’s view of to a photograph. Visually, what makes something interesting or engaging, and apply it to a photograph. Smith makes the argument of knowing how to pay attention to groups of visuals. These visuals include:

    • Figure ground
    • selective focus
    • similar color
    • closure
    • continuation
    • similar size and shape
    • similar texture
    • object proximity

    The book includes exercises for the reader to perform (shoot in bursts, look at a subject a variety of different ways). Later in the book, Smith details when black and white works better or if color is optimal. Consider contrast and tones and how light affects both.

    Images do have f stop and lens information for those curious of technical details.

    Designing feels dated, even for 2001, retaining sample images taken with Kodachrome. Kodachrome is dead, and even in 2001 was gasping its final breaths. Ignoring that, applying a designer’s eye to photography can help tremendously with composition and achieving the desired impact.

  • PJ Harvey – Let England Shake

    PJ Harvey’s Let England Shake contains numerous songs, full of atmosphere and reverb. Some vocals don’t seem to make it through all the layers of production. The only standout track, to me, is On Battleship Hill, but only because it feels tribal, like something Enya would do. Not really impressed with this album.

  • Cage the Elephant – Thank You Happy Birthday

    Cage the Elephant’s Thank You Happy Birthday takes you on a roller coaster ride through an amalgam of 90s rock. In the layers of drums, guitars, bass and slightly nasal vocals, you’ll hear influences of the Pixies who experimented with sonic textures; effect laden guitars, ala Smashing Pumpkins; simple chord structures in the vein of Blink 182; lyrics that resemble Oasis penchant for imagery.

    Always Something leads the album off with a slightly electronica track with a cynical take on modern life–catching your girl with another guy, violence against a homeless guy. Modern stuff. Aberdeen has the first catchy hook on the disc as it builds into a shout about a girl. Indy Kidz is driven by frenetic vocals and sawing guitars with the song building to a Rage Against the Machine like spoken word outtro. Shake Me Down seems to be the lone misfire on the album with no memorable hook. 2024 feels like something Blink 182 would do if they were serious about life. Sell Yourself is an angry more primal, cynical commentary on people selling themselves for a quick buck. Then the album drops in tempo to a warbling ballad, Rubber Ball about trying hard to do good things. With Right Before My Eyes, Around My Head, Japanese Buffalo and Flow… you’re in the final stretch of the ride, where each song will remind you of something you’ve heard before.

    Lastly, after the closing track, the band offers a more down beat take on Right Before My Eyes, where the slower, ballad like tempo fit the lyrics better.