When it first became apparent that music production would be a happy side effect of the smartphone and the mobile tech explosion, both traditional music equipment firms and startup developers were quick to jump on the bandwagon. Almost in an instant, the NAMM show in California – the start-of-year-extravaganza of all new gear releases – became a mobile phone convention. The promise of both music making by touch and ability to do it on often pocket-sized devices drew us all in. But it wasn’t all plain sailing from there, and we didn’t all jump ship.
One of the initial problems was compatibility between all of the apps – DAW apps working with synth or instrument apps, for example. Another was that the touch experience didn’t always match the promise; it wasn’t always as tactile as using a MIDI controller with a laptop, for example. Then of course there was the power… or lack of it. Early mobile phones and tablets just didn’t have the oomph to run much of the number crunching required for sophisticated music processing. Early apps were therefore restricted in audio processing, track counts and effect usage.
This story is from the December 2020 edition of Computer Music.
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This story is from the December 2020 edition of Computer Music.
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