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“Apple thought that they could bring a better to market and they asked for me to do some designs,” said Fadell in an interview with Macworld. Just after signing, Rubinstein revealed Apple’s true intentions. Soon, Apple offered Fadell a six-week contract as a hardware consultant. Fadell had received the call from Rubinstein just as Fuse ran out of money.įadell went into initial talks with Apple in February 2001, thinking at first that Apple wanted to build a PDA.
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After a brief stint at RealNetworks, Fadell left to form his own digital music company called Fuse Systems.įuse developed a digital jukebox that would rip CDs to an internal hard drive, but the company had trouble raising funding in a time when venture capitalists fetishized software over hardware. Fadell explored the idea at Philips but found little interest in the ideas among management. He began to wonder if Audible’s approach could be the solution to his problem and brainstormed ways that he could combine digital audio with music. Fadell considered himself a devoted music fan he enjoyed deejaying events in his off hours, and he fantasized of a day when he didn’t have to drag his bulky collection of CDs between gigs. He had worked at General Magic (on an OS for PDAs called Magic Cap) and later at Philips Electronics, where he led the development of a Windows CE-based palmtop computer called the Nino.Īt Philips, Fadell had seen the potential of digital audio players through an encounter with Audible, an Internet audiobook vendor that wanted to bring its digital audio products to the Nino.
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Rubinstein felt that Fadell made an ideal choice to explore Apple’s portable digital player options due to Fadell’s ample handheld computing experience. He invited Fadell to visit Apple to discuss a potential project, but he kept quiet about its exact nature.
On that day in January, Tony Fadell happened to be riding on a ski lift when his phone rang. Through personal connections, Rubinstein heard about a man with the right qualifications and experience to do the job. With most of Apple’s engineers tied up in Mac-related projects, Rubinstein sought help from outside the company to further determine the feasibility of an Apple music player. From the beginning, he had two ingredients in mind: a speedy FireWire interface to solve the transfer problem, and a particular 1.8-inch 5GB hard drive from Toshiba that could make Apple’s music device smaller than any other hard drive-based player on the market.
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Rubinstein began preliminary research for ideas on how to proceed. He assigned Jon Rubinstein, then Apple’s senior VP of hardware, to the task. When moving thousands of songs, the transfer time could shoot up to several hours.Ĭonsidering the poor state of the PMP market, Jobs decided that Apple should attempt to create its own MP3 player, one that played well with iTunes and could potentially attract more customers to the Mac platform. Moreover, most portable media players (PMPs) used the pokey USB 1.1 standard to transfer music from a host computer to the player, which made the user wait up to five minutes to transfer a CD’s worth of songs. Hard drive players held far more but were relatively big, heavy, and they sported difficult-to-navigate user interfaces that did not scale well when scrolling through thousands of songs. Everyone at Apple agreed.įlash memory-based players of the era held only about a CD’s worth of songs. Steve Jobs had a strong term for gadgets like that: “crap”.
Portable MP3 players had been around since the mid 1990s, but Apple found that everyone on the market offered a lackluster user experience. That’s when Apple decided to create iMovie and feature the Mac as the center of a “digital hub” strategy, where the Mac served as the nucleus of an ever-expanding digital media universe.
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The next round of iMacs, Steve Jobs decided, would contain FireWire ports.Īpple approached creative app giant Adobe to author a simple, consumer-friendly movie editing application, but Adobe declined.
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The serial bus standard enabled data to be transferred at alarming speeds compared to common standards of the time.Īpple realized that with FireWire, Mac users could transfer videos shot with digital camcorders (which already used the standard) and edit them on their computers. That year, Steve Jobs discovered the latent potential of a long-dormant Apple-invented technology: FireWire. A twinkle in Jobs’s eyeĪpple’s relationship with digital music started innocently enough, from seemingly unrelated events in 1999. A diverse team of Apple employees and contractors brought the iPod to life. But while Jobs had an integral role in the birth of the iPod, no one man created the device. When historians 100 years from now recall the legacy of Steve Jobs, they will no doubt mention the iPod in the same breath. By 2004, the iPod became a wildly successful product for Apple, and certain myths and legends sprung up about its creation.
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