Crown Court TV

Since studying Law at university, I sometimes wonder whether I’d ever get selected for Jury Service; surely the defence (or even the prosecution) would object to anyone who had more than a rudimentary knowledge of the law, because of the potential to influence the other members of the jury during their deliberations?

Apart from participating in a police identity parade (an extra curricular activity of my Criminal Law course), and aside from representing a couple of clients at employment and social security tribunals (through voluntary work), my only involvement with court hearings has been to prepare case papers (take witness statements, issue summonses, draft client briefs) on behalf of local councils, and to appear as a witness in some of those proceedings.

I graduated in Law 40 years ago, and although I never intended to become a solicitor or barrister, I am still fascinated by the legal process, and by court proceedings themselves. Hence, I have something of a weakness for police procedurals, and court room dramas on TV. Of course, not all court room proceedings are that riveting – out of curiosity, I once popped in to London’s Royal Courts of Justice, and was rather surprised to see a leading Judge appear to fall asleep during a case he was hearing…

One British TV series from the 1970s and 1980s, “Crown Court”, stands apart from its peers in the way it presented court cases in a realistic and non-sensational fashion. First, its somewhat dry approach to criminal court proceedings means that it tends to be less judgemental than more dramatic productions. Second, the focus on what happens within the court room itself means we get to see and hear only what is presented to the jury. There are no side bars, no ex-parte applications in judges’ chambers, and rarely any last-minute evidence or surprise witnesses. By removing the traditional drama, and presenting just the facts and the witnesses’ own evidence, we only have as much information about the case as the jury does in order to reach their verdict.

In some ways, “Crown Court” was a public information service. It was broadcast in the wake of significant changes in the Criminal Law system in England and Wales, and at a time of growing suspicion of police corruption (notably within the Met’s infamous Flying Squad). Also worth bearing in mind is the fact that TV cameras were not allowed into real court rooms, so it was a way to show the public how justice was being administered in their name, and what to expect should they have to appear in court, as defendant, witness or jury member.

The other fascinating aspect of “Crown Court” is the roll-call of actors, writers, directors and producers who subsequently became regulars on British TV. In that regard, it resembled an on-air repertory theatre, similar to the leading soap operas of the day, recalling an era of public broadcasting that has largely disappeared.

Next week: BYOB (Bring Your Own Brain)

 

 

Apple, iOS, and the need for third-party innovation

A main use of my iPad is creating music. In my experience, iOS has provided a convenient and relatively low-cost way to explore and experiment with music synthesis, sampling, looping, audio processing, programming, sound design, production and dissemination of my semi-amateur home-studio recordings. The numerous developers involved in creating music-related apps have produced some of the most innovative products available.

At times, these developers have pushed the envelope when it comes to app design, functionality and interoperability. Even though many of these developers are involved with the design and production of hardware instruments and technology, and writing software for laptop and desktop computers, they also recognise that the iPad offered another way to interface with digital music tools. In some cases, iPad apps can connect to or interact with their hardware and software counterparts (e.g., touchAble).

Elsewhere, developer vision has pre-empted and even overtaken Apple’s own product design. A good example is IAA (Inter-App Audio), introduced by Apple in 2013. While some app developers were quick to adopt this feature into their own products, in the same year the team at Audiobus took this functionality to another level, with a fully integrated platform within iOS that allows multiple apps to be connected virtually. Eventually, in 2019, Apple countered by upgrading their own Audio Unit (AU) infrastructure that introduced another way to connect separate apps.

There remain some anomalies in Apple’s approach to competing music apps and their commercial models. Although Apple has enabled developers to offer in-app purchases and upgrades, it is noticeable that to this day, Bandcamp does not sell digital music via its mobile app (thought to be due to Apple’s hefty sales commission on digital content?); but Bandcamp customers can purchase physical goods via the app. While over on the SoundCloud app, users can purchase in-app subscriptions offering ad-free streaming and off-line content, but Spotify customers cannot purchase similar premium streaming services within the corresponding app.

The latest move from Apple has got some developers quite excited. As well as bringing its professional video editing suite, Final Cut Pro, to iPad, Apple has launched an iPad version of Logic Pro, its professional music DAW (Digital Audio Workstation). Now, I don’t have a problem with this, and I can see the attraction for both app developers and Logic Pro users.

I myself use Ableton Live (and not Logic Pro or Apple’s consumer-level product, GarageBand), so I am not planning to add another desktop DAW. Besides, Ableton enables third party developers to integrate their AU and VST plug-ins on Mac. In addition, Ableton has launched a mobile app, Ableton Note, that can interact with the desktop program, which just confirms the co-existence of these platforms, and user preference for interoperability.

My concern is that with the introduction of Logic Pro on iOS, Apple may close off some inter-app functionality to third party apps if they do not support integration with Logic Pro. We’ve seen the way Apple can shut down external innovation: without getting too technical, until 2021, and with a little effort, users could run iOS music apps on their Macs, and within DAWs such as Ableton. Apple then closed off that option, but more recently has enabled iOS-derived AUv3 plugins to run on M1 chip-enabled Macs.

Hopefully, Apple recognises that an open ecosystem encourages innovation and keeps people interested in their own products, as well as those from third-party developers.

Next week: Crown Court TV

App Overload

Following a recent upgrade to Apple’s iOS software, I found myself forced into some serious housekeeping on my iPad. I hadn’t realised how many dormant apps I had accumulated over the years, so I took the opportunity to do some culling.

First, there were apps that could no longer be accessed from the app store. These are programs that have been removed by their developers, or are no longer available from the Australian app store (yes, even in this digital day and age, geo-blocking still exists). I estimate that these accounted for about 20-30% of the total apps I have ever downloaded.

Second, apps that are not supported by the current version of iOS, because they have not yet been updated by their developers. (Luckily, I keep an older version of iOS on a separate iPad, which can allow me to retrieve some of these apps via some digital archeology.) These represented another 15-25% of my apps (a variable number, given that some of them may get upgraded).

Third, apps that I seldom or never use. Thankfully, the iPad Storage settings provide the “Last Used” date, but don’t enable users to rank by chronological use (or by frequency of usage; the “Search” function within Storage only lists apps alphabetically). Perhaps Apple can refine the Storage Management to help users better manage over-looked/under-used apps? Anyway, these forgotten or neglected apps accounted for another 25-30%.

In total, I estimate that up to 75% of my iPad apps were redundant, through disuse, obsolescence or inaccessibility. Research shows that 25% of apps we download are only used once, so unless these are free products, it feels like a large chunk of the US$900+ bn in app purchases could be going to waste…

Next week: Apple, iOS, and the need for third-party innovation

 

 

Customer Experience vs Process Design

Why is customer experience so poor when it comes to process design? Regardless of the product or service, it can be so frustrating when having to deal with on-boarding, product upgrades, billing, payment, account updates and customer service. Banks, telcos, utilities and government services are particularly bad, but I am seeing more and more examples in on-line market places and payment solutions.

Often, it feels like the process design is built entirely according to the providers’ internal operating structures, and not around the customer. The classic example is when customers have to talk to separate sales, product, technical support and finance teams – and none of them talk to each other, and none of them know the full customer or product journey end to end.

Even when you do manage to talk to human beings on the phone, rather than a chat bot, as a customer you have to repeat yourself at every stage in the conversation, and you can end up having to train front line staff on how their products actually work or what the process should be to upgrade a service, pay a bill or trouble-shoot a technical problem.

You get the impression that many customer-facing team members never use their own services, or haven’t been given sufficient training or information to handle customer enquiries, and don’t have adequate authority to resolve customer problems.

On many occasions, I get the customer experience equivalent of “computer says ‘no’…” when it appears impossible to navigate a particular problem. The usual refrain is the “system” means things can only be done a certain way, regardless of the inconvenience to the customer, or the lack of thought that has gone into the “process”.

As I always remind these companies, a “process” is only as good as the people who design, build and operate it – and in blaming the “system” for a particular failing or inadequacy they are in effect criticising their own organisations and their own colleagues.

Next week: App Overload