Summer 1996 - The Awesome Denouement

I have to stick with linear just long enough to give the payoff on the Hip Clips Music story, because it was awesome.

In Spring 1995, as Hip Clips was failing to take the world by storm, Paul was being a good internet citizen, participating in various discussion boards (not astroturfing, just being online) and wound up chatting with a certain celebrity about Windsurfing. And after a while, the two became net-friends, and Paul was invited out to Half Moon Bay California to do some Windsurfing, and some talking...

And that was how it came to be that Thomas Dolby asked Paul to join him at his Silicon Valley startup company Headspace. As a part of this, Hip Clips was "acquired" by Headspace. No, there wasn't any actual money in this, but at this point I was just happy for Paul, so I signed away the rights. And Paul and his wife Melissa up and moved to California. JUST LIKE THAT.

Working for a man who I had somewhat idolized as a synth god in the 1980s... It just seemed so wonderful.

Of course, in those early days, Headspace was sort of struggling to find a place in the world - for a few years it got by being "Thomas Dolby's Company" - Paul did some soundtrack work for videogames under the Headspace banner... but it was more of a services company than a big product idea.

In early 1996, that changed when Headspace acquired a pretty cool browser plug-in called "Igor": The idea of Igor was to be a standard midifile player with a twist: You load in your own sounds. So we were approaching MORE bandwidth, but still nowhere near as much as if you were streaming actual music. A Midifile is maybe 4k in size, and the initial Igor download was I think 4 meg, which was as much memory as most professional synthesizers were providing as standard. So you could start with a good basic sound set, and then if you "sonified" your website with Igor, you could also specify custom samples to be downloaded into the player for your own sound. They called it "Rich Media Format" RMF files.

So after you bit the bullet and installed Igor (and it was available on those CD-Roms on the cover of magazines, don't forget), you could get a pretty good sounding bit of music going with a less than 100k download (10-20 sec on dialup), music and samples. It was a cool concept, which was ultimately doomed by the ever cheapening bandwidth that allowed for real streaming music without the gimmick, but for a few years, it was pretty unique. They refocused the whole company around this plug in, renamed themselves "Beatnik", and ran with it.

I know I know - we'll get to the ME part of the story now.

As they were preparing Igor for launch in Summer 1996, they wanted some demo files to show it off. They had the music licenses to Hip Clips already, and Paul knew I had the source files. So in what I'll call "the easiest money ever" (as long as you don't factor in the hours and hours of work that went into the ORIGINALs), Headspace paid me $100 per file to deliver the source midi files so they could repurpose them into Igor.

The catch is that I did need to do some prep work on the files: A lot of the drum tracks weren't mapped to traditional voices, since they were triggering my ancient strange pieces of equipment, not standard midi boxes. But once I got into the "cleanup" mindframe, the whole project was done in a few weeks, and they cut me a check for $4000.

But that's not the good part. The good part is that in Summer of 1996, I finagled a visit out to Headspace in San Mateo and got to hang out with Paul in Silicon Valley in the middle of the Tech Boom. As we walked the streets of San Mateo, there were shiny BMWs lined up like it was a dealership - every 25-year old in the area was flush with money, and were spending it as quickly as possible...

And while I was visiting, I got to spend a few minutes talking with Thomas. I tried to geek bond on a few technical things, but as it can be with professionals who lived through a time, he seemed mildly relieved to NOT have to be using some of those old synths, and was especially pleased with his brand spanking new Yamaha QY700 all in one synth/sequencer/groovebox. I grinned and rolled with it.

I did, however, get to pet his not-turned-on Fairlight CMI Series 3. That was some legendary tech.

And I heard tell that it was around 2003 when he finally got around to trying out his Fairlight again, and started playing some of his old tracks again, rediscovering his love for the gear once more. But that's his story, not mine.

By 1998, just about everyone was getting DSL, and the need for a tool like Igor (now the Beatnik plugin) was pretty much non-existent - the people who cared about a quality audio experience were buying the bandwidth, and the people who didn't stayed with dialup and didn't care about having music on their websites. Beatnik did a few re-focusing moves, partnering with Nokia to port the technology to mobile phones, and somehow getting into the custom ringtones market, but by then Paul had moved on...

It was a wonderful payoff to the Hip Clips adventure to finally get some money, some schmoozing with a hero, and some impossibly good Thai food as well. Paul never did come back to Minnesota, and I never did move out to California to find a pot of gold.