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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.