Music Producers Will Be Unimpressed with New MacBook Air, Mac Mini and iPad Pro

Thursday, November 1st, 2018 |

This week Apple updated their MacBook Air, Mac mini and iPad Pro models, but as Fact magazine writer Scott Wilson points out, these new additions from a cost and spect point of view aren’t very exciting when it comes to music production.

It’s strange that Apple continues to neglect one of its biggest user categories, especially considering the popularity of GarageBand, which is likely to be the first experience many people have of making music with a computer, phone or tablet. But it’s also not that surprising: this is the same company that removed the headphone jack from its phone in the name of ‘progress’ and removed traditional USB ports from its MacBook Pro line despite widespread support for them among producers with MIDI controllers, audio interfaces and modern synthesizers. The MacBook Pro is also too expensive for most bedroom producers and the MacBook far too underpowered for anyone wanting to do anything more than basic recording and light editing.

So where does this leave the professional and even intermediate level producers considering whether to stick with Apple or jump ship to Windows? Unfortunately the answer isn’t a simple one. Today’s slate of new products is a very mixed bag for producers. Each product offers something that the professional or semi-professional producer will want, but probably not at the same time. And, despite Apple’s attempt to shore up the more ‘affordable’ end of its product offering, each one is going to cost you more than you think.

You can read the article in full here.

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I feel fortunate to have been part of the first-ever WMC. Over the 35 years, it has grown to give us an international forum where we exchange music and ideas. As an attendee and host of many of the award shows, I am proud each time I see new young talent emerge and then become world-renowned. We all have so many Winter Music Conference moments of hearing a seminal breakthrough record for the first time as well as a new DJ with star quality. Magical moments in my career.

Daniel Glass

Glassnote Records

Having only missed the very first year of WMC in 1985, it was 1986-1990 that initially placed me on the map globally due to the international attendance of the entire dance music community. All throughout the 90s I was often getting written about by various high profile mags and websites for having contributed to help break many artists, DJs, producers and remixers. WMC enabled me to bring many top industry people together all under one roof, especially at Groove Jet, where house music officially met Techno in my sets and it’s all been uphill since…TBC

Danny Tenaglia

DJ, Producer

WMC is and has always been the lifeblood of the dance music scene. Never missed a year since ’96, I can’t imagine Amsterdam Dance Event or Ibiza Music Summit existing without the blueprint that WMC originated. Seeing this revived is absolutely essential to reunifying the North American scene surrounding electronic music and its fringes.

Tommie Sunshine

Producer/DJ/Activist/Netflix Host

I first went to WMC ’87, the year I started Big Beat. It was an incredibly inspiring congregation of indie labels, DJs, artists, songwriters, producers and dance music lovers dedicated to breaking and discovering new music. WMC has been instrumental in furthering the dance and electronic cause; keeping the community connected, vital and relevant, and serving as an amazing springboard for talent. It’s a fantastic crucible for the future of dance music. Long may it live.

Craig Kallman

CEO & Co-Chairman Atlantic Records, Founder Big Beat Records

If you want to know about our industry from the people that make it happen then go to WMC. It’s an accelerated masterclass in all things dance music.

Carl Cox

DJ/Intec Records