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<li id="toc-Origins:_1971–1979" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Origins:_1971–1979"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.1</span> <span><span><span>Origins</span></span>: 1971–1979</span> </div> </a> <ul id="toc-Origins:_1971–1979-sublist" class="vector-toc-list"> <li id="toc-QASAR_series" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#QASAR_series"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.1.1</span> <span><span><span>QASAR</span></span> series</span> </div> </a> <ul id="toc-QASAR_series-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Sampling" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Sampling"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.1.2</span> <span>Sampling</span> </div> </a> <ul id="toc-Sampling-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Series_I:_1979–1982" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Series_I:_1979–1982"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.2</span> <span><span><span>Series I</span></span>: 1979–1982</span> </div> </a> <ul id="toc-Series_I:_1979–1982-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Series_II:_1982–1985" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Series_II:_1982–1985"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.3</span> <span><span><span>Series II</span></span>: 1982–1985</span> </div> </a> <ul id="toc-Series_II:_1982–1985-sublist" class="vector-toc-list"> <li id="toc-Page_R" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Page_R"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.3.1</span> <span>Page R</span> </div> </a> <ul id="toc-Page_R-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Series_III:_1985–1989" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Series_III:_1985–1989"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.4</span> <span><span><span>Series III</span></span>: 1985–1989</span> </div> </a> <ul id="toc-Series_III:_1985–1989-sublist" class="vector-toc-list"> <li id="toc-CAPS" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#CAPS"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.4.1</span> <span>CAPS</span> </div> </a> <ul id="toc-CAPS-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </li> <li id="toc-Adoption" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Adoption"> <div class="vector-toc-text"> <span class="vector-toc-numb">2</span> <span>Adoption</span> </div> </a> <ul id="toc-Adoption-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Influence_and_legacy" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Influence_and_legacy"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Influence and legacy</span> </div> </a> <ul id="toc-Influence_and_legacy-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>References</span> </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" ><span class="vector-icon mw-ui-icon-listBullet mw-ui-icon-wikimedia-listBullet"></span> <span class="vector-dropdown-label-text">Toggle the table of contents</span> </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading"><span class="mw-page-title-main">Fairlight CMI</span></h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. 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href="https://de.wikipedia.org/wiki/Fairlight_CMI" title="Fairlight CMI – German" lang="de" hreflang="de" data-title="Fairlight CMI" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Fairlight_CMI" title="Fairlight CMI – Estonian" lang="et" hreflang="et" data-title="Fairlight CMI" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target"><span>Eesti</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Fairlight_CMI" title="Fairlight CMI – Spanish" lang="es" hreflang="es" data-title="Fairlight CMI" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Fairlight_CMI" title="Fairlight CMI – French" lang="fr" hreflang="fr" data-title="Fairlight CMI" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%ED%8E%98%EC%96%B4%EB%9D%BC%EC%9D%B4%ED%8A%B8_CMI" title="페어라이트 CMI – Korean" lang="ko" hreflang="ko" data-title="페어라이트 CMI" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Fairlight_CMI" title="Fairlight CMI – Italian" lang="it" hreflang="it" data-title="Fairlight CMI" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Fairlight_CMI" title="Fairlight CMI – Dutch" lang="nl" hreflang="nl" data-title="Fairlight CMI" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%83%95%E3%82%A7%E3%82%A2%E3%83%A9%E3%82%A4%E3%83%88CMI" title="フェアライトCMI – Japanese" lang="ja" hreflang="ja" data-title="フェアライトCMI" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Fairlight_CMI" title="Fairlight CMI – Polish" lang="pl" hreflang="pl" data-title="Fairlight CMI" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/Fairlight_CMI" title="Fairlight CMI – Russian" lang="ru" hreflang="ru" data-title="Fairlight CMI" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Fairlight_CMI" title="Fairlight CMI – Finnish" lang="fi" hreflang="fi" data-title="Fairlight CMI" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Fairlight_CMI" title="Fairlight CMI – Turkish" lang="tr" hreflang="tr" data-title="Fairlight CMI" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target"><span>Türkçe</span></a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a 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</div> </div> <div id="bodyContent" class="vector-body" aria-labelledby="firstHeading" data-mw-ve-target-container> <div class="vector-body-before-content"> <div class="mw-indicators"> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Digital audio workstation</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">For other uses, see <a href="/wiki/Fairlight_(disambiguation)" class="mw-redirect mw-disambig" title="Fairlight (disambiguation)">Fairlight (disambiguation)</a>.</div> <p class="mw-empty-elt"> </p> <style data-mw-deduplicate="TemplateStyles:r1257001546">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox vevent"><tbody><tr><th colspan="2" class="infobox-above">Fairlight CMI</th></tr><tr><td colspan="2" class="infobox-image"><span class="mw-default-size" typeof="mw:File/Frameless"><a href="/wiki/File:Fairlight_green_screen.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c8/Fairlight_green_screen.jpg/220px-Fairlight_green_screen.jpg" decoding="async" width="220" height="220" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c8/Fairlight_green_screen.jpg/330px-Fairlight_green_screen.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c8/Fairlight_green_screen.jpg/440px-Fairlight_green_screen.jpg 2x" data-file-width="612" data-file-height="612" /></a></span><div class="infobox-caption">Fairlight CMI <i>Series II</i><br />exhibited at <a href="/wiki/NAMM_Show" title="NAMM Show">NAMM Show</a> in 2011<sup id="cite_ref-mix2011_1-0" class="reference"><a href="#cite_note-mix2011-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup></div></td></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Manufacturing" title="Manufacturing">Manufacturer</a></th><td class="infobox-data"><a href="/wiki/Fairlight_(company)" title="Fairlight (company)">Fairlight</a></td></tr><tr><th scope="row" class="infobox-label">Dates</th><td class="infobox-data">1979–1989, 2011–present</td></tr><tr><th scope="row" class="infobox-label">Price</th><td class="infobox-data"><a href="/wiki/Pound_sterling" title="Pound sterling">£</a> 15,000<sup id="cite_ref-mz2662-fairlight-cmi-review_2-0" class="reference"><a href="#cite_note-mz2662-fairlight-cmi-review-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup>–112,000<sup id="cite_ref-mz3401-fairlight-cmi-series-iii_3-0" class="reference"><a href="#cite_note-mz3401-fairlight-cmi-series-iii-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup></td></tr><tr><th colspan="2" class="infobox-header">Technical specifications</th></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Polyphony_and_monophony_in_instruments" title="Polyphony and monophony in instruments">Polyphony</a></th><td class="infobox-data">8–16 voices</td></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Timbre" title="Timbre">Timbrality</a></th><td class="infobox-data"><a href="/wiki/Timbrality" title="Timbrality">Multitimbral</a></td></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Low-frequency_oscillation" title="Low-frequency oscillation">LFO</a></th><td class="infobox-data">for <a href="/wiki/Vibrato" title="Vibrato">vibrato</a><sup id="cite_ref-G.Holmes_4-0" class="reference"><a href="#cite_note-G.Holmes-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup></td></tr><tr><th scope="row" class="infobox-label">Synthesis type</th><td class="infobox-data"><a href="/wiki/Additive_synthesis" title="Additive synthesis">Additive synthesis</a><br /><a href="/wiki/Sampler_(musical_instrument)" title="Sampler (musical instrument)">Sampling</a> (<span class="nowrap">8 bit @ 16 kHz –</span> <span class="nowrap">16 bit @ 100 kHz)</span>,<br /><a href="/wiki/Waveform" title="Waveform">waveform</a> editing/drawing,<br /><a href="/wiki/Additive_resynthesis" class="mw-redirect" title="Additive resynthesis">additive resynthesis</a> (FFT)</td></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Audio_filter" title="Audio filter">Filter</a></th><td class="infobox-data"><a href="/wiki/Low-pass_filter" title="Low-pass filter">low-pass</a> for <a href="/wiki/Anti-aliasing" title="Anti-aliasing">anti-aliasing</a><sup id="cite_ref-G.Holmes_4-1" class="reference"><a href="#cite_note-G.Holmes-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup></td></tr><tr><th colspan="2" class="infobox-header">Input/output</th></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Musical_keyboard" title="Musical keyboard">Keyboard</a></th><td class="infobox-data">73 keys non-weighted, velocity sensitive.<br />Option: slave keyboard<sup id="cite_ref-G.Holmes_4-2" class="reference"><a href="#cite_note-G.Holmes-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup></td></tr><tr><th scope="row" class="infobox-label">Left-hand control</th><td class="infobox-data">3 sliders, 2 buttons,<br />numeric keypad (right side)<sup id="cite_ref-G.Holmes_4-3" class="reference"><a href="#cite_note-G.Holmes-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup></td></tr><tr><th scope="row" class="infobox-label">External control</th><td class="infobox-data"><a href="/wiki/Computer_keyboard" title="Computer keyboard">Computer keyboard</a><br /><a href="/wiki/Light_pen" title="Light pen">Light pen</a><br /><a href="/wiki/CV/Gate" class="mw-redirect" title="CV/Gate">CV/Gate</a> (option, CMI II~)<br /><a href="/wiki/MIDI" title="MIDI">MIDI</a> • <a href="/wiki/SMPTE_timecode" title="SMPTE timecode">SMPTE</a> (CMI IIx~)</td></tr></tbody></table> <p>The <b>Fairlight CMI</b> (short for <b>Computer Musical Instrument</b>) is a <a href="/wiki/Digital_synthesizer" title="Digital synthesizer">digital synthesizer</a>, <a href="/wiki/Sampler_(musical_instrument)" title="Sampler (musical instrument)">music sampler</a>, and <a href="/wiki/Digital_audio_workstation" title="Digital audio workstation">digital audio workstation</a> introduced in 1979 by <a href="/wiki/Fairlight_(company)" title="Fairlight (company)">Fairlight</a>.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-fus_6-0" class="reference"><a href="#cite_note-fus-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-pvog_7-0" class="reference"><a href="#cite_note-pvog-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> It was based on a commercial licence of the Qasar M8 developed by Tony Furse of Creative Strategies in <a href="/wiki/Sydney" title="Sydney">Sydney</a>, Australia. It was one of the earliest electronic music workstations with an embedded sampler and is credited for coining the term <a href="/wiki/Sampling_(music)" title="Sampling (music)">sampling</a> in music. It rose to prominence in the early 1980s and competed with the <a href="/wiki/Synclavier" title="Synclavier">Synclavier</a> from <a href="/wiki/New_England_Digital" title="New England Digital">New England Digital</a>. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="History">History</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fairlight_CMI&action=edit&section=1" title="Edit section: History"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><style data-mw-deduplicate="TemplateStyles:r1096940132">.mw-parser-output .listen .side-box-text{line-height:1.1em}.mw-parser-output .listen-plain{border:none;background:transparent}.mw-parser-output .listen-embedded{width:100%;margin:0;border-width:1px 0 0 0;background:transparent}.mw-parser-output .listen-header{padding:2px}.mw-parser-output .listen-embedded .listen-header{padding:2px 0}.mw-parser-output .listen-file-header{padding:4px 0}.mw-parser-output .listen .description{padding-top:2px}.mw-parser-output .listen .mw-tmh-player{max-width:100%}@media(max-width:719px){.mw-parser-output .listen{clear:both}}@media(min-width:720px){.mw-parser-output .listen:not(.listen-noimage){width:320px}.mw-parser-output .listen-left{overflow:visible;float:left}.mw-parser-output .listen-center{float:none;margin-left:auto;margin-right:auto}}</style><div class="side-box side-box-right listen noprint"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style> <div class="side-box-flex"> <div class="side-box-image"><figure class="mw-halign-center" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/50px-Gnome-mime-sound-openclipart.svg.png" decoding="async" width="50" height="50" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/75px-Gnome-mime-sound-openclipart.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/100px-Gnome-mime-sound-openclipart.svg.png 2x" data-file-width="160" data-file-height="160" /></span><figcaption></figcaption></figure></div> <div class="side-box-text plainlist"><div class="haudio"> <div class="listen-file-header"><a href="/wiki/File:Arpegiator.ogg" title="File:Arpegiator.ogg">Jean-Michel Jarre – "Arpegiator"</a></div> <div><span typeof="mw:File"><span><audio id="mwe_player_0" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="232" style="width:232px;" data-durationhint="30" data-mwtitle="Arpegiator.ogg" data-mwprovider="local"><source src="//upload.wikimedia.org/wikipedia/en/a/a8/Arpegiator.ogg" type="audio/ogg; codecs="vorbis"" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/en/transcoded/a/a8/Arpegiator.ogg/Arpegiator.ogg.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio></span></span></div> <div class="description">An excerpt from "Arpegiator" (recorded October 1981), highlighting the use of the Fairlight CMI</div></div></div></div> <div class="side-box-abovebelow"><hr /><i class="selfreference">Problems playing this file? See <a href="/wiki/Help:Media" title="Help:Media">media help</a>.</i></div> </div> <div class="mw-heading mw-heading3"><h3 id="Origins:_1971–1979"><span id="Origins:_1971.E2.80.931979"></span><style data-mw-deduplicate="TemplateStyles:r1238216509">.mw-parser-output .vanchor>:target~.vanchor-text{background-color:#b1d2ff}@media screen{html.skin-theme-clientpref-night .mw-parser-output .vanchor>:target~.vanchor-text{background-color:#0f4dc9}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .vanchor>:target~.vanchor-text{background-color:#0f4dc9}}</style><span class="vanchor"><span id="Origins"></span><span class="vanchor-text">Origins</span></span>: 1971–1979</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fairlight_CMI&action=edit&section=2" title="Edit section: Origins: 1971–1979"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In the 1970s, <a href="/wiki/Kim_Ryrie" title="Kim Ryrie">Kim Ryrie</a>, then a teenager, had an idea to develop a build-it-yourself <a href="/wiki/Analog_synthesizer" title="Analog synthesizer">analogue synthesizer</a>, the ETI 4600, for the magazine he founded, <i><a href="/wiki/Electronics_Today_International" title="Electronics Today International">Electronics Today International</a></i> (ETI). Ryrie was frustrated by the limited number of sounds that the synthesizer could make.<sup id="cite_ref-WholeStory_8-0" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> After his classmate, <a href="/wiki/Peter_Vogel_(computer_designer)" title="Peter Vogel (computer designer)">Peter Vogel</a>, graduated from high school and had a brief stint at university in 1975, Ryrie asked Vogel whether he would be interested in making "the world's greatest synthesizer" based on the recently announced <a href="/wiki/Microprocessor" title="Microprocessor">microprocessor</a>. He recalled: "We had long been interested in computers –  I built my first computer when I was about 12 –  and it was obvious to me that combining digital technology with music synthesis was the way to go."<sup id="cite_ref-pvog_7-1" class="reference"><a href="#cite_note-pvog-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </p><p>In December 1975, Ryrie and Vogel formed a <a href="/wiki/Home_business" title="Home business">home business</a> to manufacture <a href="/wiki/Digital_synthesizer" title="Digital synthesizer">digital synthesizers</a>.<sup id="cite_ref-WholeStory_8-1" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> They named the business Fairlight after the <a href="/wiki/Sydney_hydrofoils" title="Sydney hydrofoils">hydrofoil ferry</a> passing before Ryrie's grandmother's home in <a href="/wiki/Sydney_Harbour" class="mw-redirect" title="Sydney Harbour">Sydney Harbour</a>.<sup id="cite_ref-WholeStory_8-2" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> The two planned to design a digital synthesizer that could create sounds reminiscent of acoustic instruments (<a href="/wiki/Physical_modelling_synthesis" title="Physical modelling synthesis">physical modelling synthesis</a>).<sup id="cite_ref-WholeStory_8-3" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> They initially planned to make an <a href="/wiki/Analog_synthesizer" title="Analog synthesizer">analogue synthesizer</a> that was digitally controlled, as the competing <a href="/wiki/Moog_synthesizer" title="Moog synthesizer">Moog synthesizer</a> was difficult to control.<sup id="cite_ref-Newsscientist_9-0" class="reference"><a href="#cite_note-Newsscientist-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="QASAR_series"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238216509"><span class="vanchor"><span id="QASAR"></span><span class="vanchor-text">QASAR</span></span> series</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fairlight_CMI&action=edit&section=3" title="Edit section: QASAR series"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><b>QASAR M8</b> <span style="font-size:85%;">[Multimode 8]</span> (1974/1975) by Tony Furse<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup></li></ul> <dl><dd>After six months, the pair met the <a href="/wiki/Motorola" title="Motorola">Motorola</a> consultant Tony Furse.<sup id="cite_ref-WholeStory_8-4" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> In association with the Canberra School of Electronic Music, Furse built a digital synthesizer using two 8-bit <a href="/wiki/Motorola_6800" title="Motorola 6800">Motorola 6800</a> microprocessors, and the <a href="/wiki/Light_pen" title="Light pen">light pen</a> and some of the graphics that would later become part of the Fairlight CMI.<sup id="cite_ref-WholeStory_8-5" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> However, it was only able to create exact <a href="/wiki/Harmonic" title="Harmonic">harmonic</a> partials, sounding sterile and inexpressive.<sup id="cite_ref-WholeStory_8-6" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Chapman2012p3_11-0" class="reference"><a href="#cite_note-Chapman2012p3-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup></dd></dl> <ul><li><b>QASAR M8 CMI</b> <span style="font-size:85%;">[Multimode 8 Computer Musical Instrument]</span> (1976–1978) by Kim Ryrie and Peter Vogl</li></ul> <dl><dd>Vogel and Ryrie licensed Furse's design, mainly for its <a href="/wiki/Processing_power" class="mw-redirect" title="Processing power">processing power</a>,<sup id="cite_ref-WholeStory_8-7" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> and decided to use microprocessor technology instead of analogue synthesis.<sup id="cite_ref-Newsscientist_9-1" class="reference"><a href="#cite_note-Newsscientist-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> Over the next year, they built what Ryrie called a "research design", the bulky, expensive, and unmarketable eight-voice QASAR M8 CMI synthesizer, which included a 2×2×4-foot processing box and a keyboard.<sup id="cite_ref-WholeStory_8-8" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Chapman2012p4_12-0" class="reference"><a href="#cite_note-Chapman2012p4-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup></dd></dl> <div class="mw-heading mw-heading4"><h4 id="Sampling">Sampling</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fairlight_CMI&action=edit&section=4" title="Edit section: Sampling"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>By 1978, Vogel and Ryrie were making "interesting" but unrealistic sounds. Hoping to learn how to synthesize an instrument by studying the <a href="/wiki/Harmonic_analysis" title="Harmonic analysis">harmonics</a> of real instruments, Vogel recorded about a second of a piano piece from a radio broadcast. He discovered that by playing the recording back at different pitches, it sounded much more realistic than a synthesized piano sound. He recalled in 2005: </p> <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote"><p>It sounded remarkably like a piano, a real piano. This had never been done before ... By today's standards it was a pretty awful piano sound, but at the time it was a million times more like a piano than anything any synthesizer had churned out. So I rapidly realised that we didn't have to bother with all the synthesis stuff. Just take the sounds, whack them in the memory and away you go.<sup id="cite_ref-Newsscientist_9-2" class="reference"><a href="#cite_note-Newsscientist-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup></p></blockquote> <p>Vogel and Ryrie coined the term <a href="/wiki/Sampling_(music)" title="Sampling (music)">sampling</a> to describe this process.<sup id="cite_ref-:0_13-0" class="reference"><a href="#cite_note-:0-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> With the Fairlight CMI, they could now produce endless sounds, but control was limited to <a href="/wiki/Envelope_(music)" title="Envelope (music)">attack, sustain, decay</a> and <a href="/wiki/Vibrato" title="Vibrato">vibrato</a>. According to Ryrie, "We regarded using recorded real-life sounds as a compromise –  as cheating –  and we didn't feel particularly proud of it."<sup id="cite_ref-WholeStory_8-9" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> They continued to work on the design while creating office computers for Remington Office Machines, which Ryrie described as "a horrendous exercise, but we sold 120 of them".<sup id="cite_ref-WholeStory_8-10" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Series_I:_1979–1982"><span id="Series_I:_1979.E2.80.931982"></span><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238216509"><span class="vanchor"><span id="Series_I"></span><span class="vanchor-text">Series I</span></span>: 1979–1982</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fairlight_CMI&action=edit&section=5" title="Edit section: Series I: 1979–1982"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Fairlight.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Fairlight.JPG/220px-Fairlight.JPG" decoding="async" width="220" height="164" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Fairlight.JPG/330px-Fairlight.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Fairlight.JPG/440px-Fairlight.JPG 2x" data-file-width="2695" data-file-height="2008" /></a><figcaption>Fairlight CMI</figcaption></figure> <p>In addition to the keyboard, processing, computer graphics and interactive pen borrowed from Furse's synthesizer, the pair added a <a href="/wiki/QWERTY" title="QWERTY">QWERTY</a> keyboard, and a large 1×1.5×3-foot box stored the sampling, processing and <a href="/wiki/Analog-to-digital_converter" title="Analog-to-digital converter">ADC</a>/<a href="/wiki/Digital-to-analog_converter" title="Digital-to-analog converter">DAC</a> hardware and the <a href="/wiki/Floppy_disk#8-inch_floppy_disk" title="Floppy disk">8-inch floppy disk</a>.<sup id="cite_ref-WholeStory_8-11" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> The biggest problem was largely considered to be the small 16 kB sample memory. To accommodate sample lengths from approximately a quarter of a second to an entire second, a low variable <a href="/wiki/Sample_rate" class="mw-redirect" title="Sample rate">sample rate</a> between 24 kHz and 8 kHz was used.<sup id="cite_ref-WholeStory_8-12" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> The low sample rate introduced <a href="/wiki/Aliasing" title="Aliasing">aliasing</a>; however, Vogel felt that the low quality of the sounds gave them their own character.<sup id="cite_ref-ABC2015_14-0" class="reference"><a href="#cite_note-ABC2015-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p><p>The Music Composition Language feature was criticised as being too difficult for empirical users.<sup id="cite_ref-WholeStory_8-13" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Other primitive aspects included its limited amount of RAM (208 kilobytes) and its green-and-black graphics.<sup id="cite_ref-WholeStory_8-14" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Nonetheless, the CMI garnered significant attention from Australian distributors and consumers for being able to emulate sounds of acoustic instruments, as well as for its light pen and three-dimensional sound visualisation. Still, Vogel was unsure whether there would be enough interest in the product.<sup id="cite_ref-WholeStory_8-15" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> The CMI's ability to emulate real instruments made some refer to it as an "orchestra-in-a-box", and each unit came with 8-inch, 500-kilobyte floppy disks that each stored 22 samples of orchestral instruments.<sup id="cite_ref-WholeStory_8-16" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> The Fairlight CMI also garnered publicity in the science industry, being featured on the <a href="/wiki/BBC" title="BBC">BBC</a> science and technology series <i><a href="/wiki/Tomorrow%27s_World" title="Tomorrow's World">Tomorrow's World</a></i>. The <a href="/wiki/Musicians%27_Union_(United_Kingdom)" title="Musicians' Union (United Kingdom)">Musicians' Union</a> described it as a "lethal threat" to its members.<sup id="cite_ref-WholeStory_8-17" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p><p>In the summer of 1979, Vogel demonstrated the Fairlight CMI at the home of English singer-songwriter <a href="/wiki/Peter_Gabriel" title="Peter Gabriel">Peter Gabriel</a>, where Gabriel was working on his <a href="/wiki/Peter_Gabriel_(1980_album)" title="Peter Gabriel (1980 album)">third solo studio album</a>.<sup id="cite_ref-WholeStory_8-18" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Gabriel, as well as many other people in the studio, was instantly engrossed, and he used strange sounds such as breaking glass bottles and bricks on the album.<sup id="cite_ref-WholeStory_8-19" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> One of those present for the demonstration, Stephen Paine, recalled in 1996: "The idea of recording a sound into solid-state memory and having real-time pitch control over it appeared incredibly exciting. Until that time everything that captured sound had been tape-based. The Fairlight CMI was like a much more reliable and versatile digital <a href="/wiki/Mellotron" title="Mellotron">Mellotron</a>. Gabriel was completely thrilled, and instantly put the machine to use during the week that Peter Vogel stayed at his house."<sup id="cite_ref-WholeStory_8-20" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p><p>Gabriel was also interested in selling the CMI in the United Kingdom, and he and Paine formed Syco Systems to distribute it for £12,000.<sup id="cite_ref-WholeStory_8-21" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> The first UK customer was <a href="/wiki/Led_Zeppelin" title="Led Zeppelin">Led Zeppelin</a> bassist <a href="/wiki/John_Paul_Jones_(musician)" title="John Paul Jones (musician)">John Paul Jones</a>, followed by musicians including <a href="/wiki/Boz_Burrell" title="Boz Burrell">Boz Burrell</a>, <a href="/wiki/Kate_Bush" title="Kate Bush">Kate Bush</a>, <a href="/wiki/Geoff_Downes" title="Geoff Downes">Geoff Downes</a>, <a href="/wiki/Trevor_Horn" title="Trevor Horn">Trevor Horn</a>, <a href="/wiki/Alan_Parsons" title="Alan Parsons">Alan Parsons</a>, <a href="/wiki/Richard_Wright_(musician)" title="Richard Wright (musician)">Richard Wright</a> and <a href="/wiki/Thomas_Dolby" title="Thomas Dolby">Thomas Dolby</a>.<sup id="cite_ref-WholeStory_8-22" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> The Fairlight CMI was also a commercial success in the United States, used by acts such as <a href="/wiki/Stevie_Wonder" title="Stevie Wonder">Stevie Wonder</a>, <a href="/wiki/Herbie_Hancock" title="Herbie Hancock">Herbie Hancock</a>, <a href="/wiki/Jan_Hammer" title="Jan Hammer">Jan Hammer</a>, <a href="/wiki/Todd_Rundgren" title="Todd Rundgren">Todd Rundgren</a> and <a href="/wiki/Joni_Mitchell" title="Joni Mitchell">Joni Mitchell</a>.<sup id="cite_ref-WholeStory_8-23" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Musicians came to realize that the CMI could not match the expressiveness and control that could be achieved using acoustic instruments, and that sampling was better applied as imaginative sound than pure reproduction.<sup id="cite_ref-WholeStory_8-24" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-billboard1986_16-0" class="reference"><a href="#cite_note-billboard1986-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Series_II:_1982–1985"><span id="Series_II:_1982.E2.80.931985"></span><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238216509"><span class="vanchor"><span id="Series_II"></span><span class="vanchor-text">Series II</span></span>: 1982–1985</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fairlight_CMI&action=edit&section=6" title="Edit section: Series II: 1982–1985"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Fairlight_CMI-IIx.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/48/Fairlight_CMI-IIx.jpg/220px-Fairlight_CMI-IIx.jpg" decoding="async" width="220" height="146" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/48/Fairlight_CMI-IIx.jpg/330px-Fairlight_CMI-IIx.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/48/Fairlight_CMI-IIx.jpg/440px-Fairlight_CMI-IIx.jpg 2x" data-file-width="1000" data-file-height="663" /></a><figcaption>Fairlight CMI <i>Series IIx</i> (1983)</figcaption></figure> <p>The second version of the Fairlight CMI, Series II, was released at a price of £30,000 in 1982.<sup id="cite_ref-WholeStory_8-25" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> The sampler's maximum sample rate was increased to 32 kHz, allowing a reduction of aliasing, but only for short samples, as its sample memory was not increased. The <a href="/wiki/Audio_bit_depth" title="Audio bit depth">bit depth</a> of the sampler also remained 8 bits.<sup id="cite_ref-WholeStory_8-26" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> The CMI's popularity peaked in 1982 following its appearance on a special of the arts magazine series <i><a href="/wiki/The_South_Bank_Show" title="The South Bank Show">The South Bank Show</a></i> that documented the making of <a href="/wiki/Peter_Gabriel_(1982_album)" title="Peter Gabriel (1982 album)">Peter Gabriel's fourth self-titled studio album</a>, where he used 64 kilobytes worth of samples of <a href="/wiki/World_music" title="World music">world music</a> instruments and sequenced percussion.<sup id="cite_ref-TheRegister_17-0" class="reference"><a href="#cite_note-TheRegister-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> </p><p>The Fairlight CMI Series II became widely used in popular music recordings of the early to mid-1980s,<sup id="cite_ref-WholeStory_8-27" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> and its most commonly used presets included an <a href="/wiki/Orchestra_hit" title="Orchestra hit">orchestra hit</a> ("ORCH 5") and a breathy vox ("ARR 1").<sup id="cite_ref-TheRegister_17-1" class="reference"><a href="#cite_note-TheRegister-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Page_R">Page R</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fairlight_CMI&action=edit&section=7" title="Edit section: Page R"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The popularity of Series II was in large part due to a new feature, Page R, their first true <a href="/wiki/Music_sequencer" title="Music sequencer">music sequencer</a>.<sup id="cite_ref-WholeStory_8-28" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> As a replacement for the complicated Music Composition Language (MCL) used by Series I, Page R helped the Fairlight CMI Series II become a commercial juggernaut. Page R expanded the CMI's audience beyond that of accomplished keyboard players.<sup id="cite_ref-WholeStory_8-29" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> <i>Audio Media</i> magazine described it as an echo of the <a href="/wiki/Punk_rock" title="Punk rock">punk rock</a> era: "Page R also gave rise to a flow of quasi-socialist sounding ideology, that hailed the impending democratisation of music creation, making it available to the musically chops-challenged."<sup id="cite_ref-WholeStory_8-30" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Graphically depicting editable notes horizontally from left to right, the <a href="/wiki/Programming_(music)" title="Programming (music)">music programming</a> profession and the concepts of <a href="/wiki/Quantization_(music)" title="Quantization (music)">quantization</a> and cycling patterns of bars where instrument channels could be added or removed were also born out of the Page R sequencer.<sup id="cite_ref-WholeStory_8-31" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> CMI user Roger Bolton recalled: "By definition, its sampling limitations and the Page R sequencer forced the composer to make high-quality decisions out of necessity. The CMI II was a high-level composition tool that not only shaped the sound of the 80s, but the way that music was actually written."<sup id="cite_ref-MusicTech_18-0" class="reference"><a href="#cite_note-MusicTech-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> Fairlight kept making updates to the system, such as a 1983 upgrade called the CMI Series IIx, which now allowed for <a href="/wiki/MIDI" title="MIDI">MIDI</a>, until the release of Series III in 1985.<sup id="cite_ref-WholeStory_8-32" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Series_III:_1985–1989"><span id="Series_III:_1985.E2.80.931989"></span><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238216509"><span class="vanchor"><span id="Series_III"></span><span class="vanchor-text">Series III</span></span>: 1985–1989</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fairlight_CMI&action=edit&section=8" title="Edit section: Series III: 1985–1989"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Fairlight_CMI_III_(1985).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Fairlight_CMI_III_%281985%29.jpg/220px-Fairlight_CMI_III_%281985%29.jpg" decoding="async" width="220" height="248" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Fairlight_CMI_III_%281985%29.jpg/330px-Fairlight_CMI_III_%281985%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Fairlight_CMI_III_%281985%29.jpg/440px-Fairlight_CMI_III_%281985%29.jpg 2x" data-file-width="2392" data-file-height="2698" /></a><figcaption>Fairlight CMI <i>Series III</i> (1985)</figcaption></figure> <p>The sampler of the Series III featured many improvements on its predecessors. It was capable of 16-bit sampling, with a maximum sample rate of 44.1 kHz, across 16 channels. This was enabled by the increase in sample memory from 16 kB per channel to 14 MB across all channels, an increase by a factor of 56, even when all channels are in use.<sup id="cite_ref-WholeStory_8-33" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Its design, graphics, and editing tools were also improved, such as the addition of a tablet next to the QWERTY keys, using a stylus instead of the on-screen lightpen;<sup id="cite_ref-WholeStory_8-34" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> this change was made due to complaints from users regarding arm aches from having to hold the pen on the screen.<sup id="cite_ref-MusicTech_18-1" class="reference"><a href="#cite_note-MusicTech-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="CAPS">CAPS</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fairlight_CMI&action=edit&section=9" title="Edit section: CAPS"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>An enhanced version of the Page R sequencer called Composer, Arranger, Performer, Sequencer, or CAPS, as well as Eventsync, a post-production utility based on <a href="/wiki/SMPTE_timecode" title="SMPTE timecode">SMPTE timecode</a> linking, were also added to the Series III computer.<sup id="cite_ref-WholeStory_8-35" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> However, while many people were still using CMIs, sales were starting to diminish significantly due to much lower-cost, MIDI-based sequencers and samplers including the <a href="/wiki/Atari_ST" title="Atari ST">Atari ST</a> and <a href="/wiki/Akai" title="Akai">Akai</a>'s S612, <a href="/wiki/Akai_S900" title="Akai S900">S900</a> and <a href="/wiki/Akai_S1000" title="Akai S1000">1000</a> samplers appearing on the market.<sup id="cite_ref-WholeStory_8-36" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Paine stopped selling the CMI in the United Kingdom because of this.<sup id="cite_ref-WholeStory_8-37" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> The Fairlight company was becoming more focused on post-production products, a market Paine had a hard time getting used to, and when HHB Communications Ltd took over distribution for the United Kingdom, they failed to sell any.<sup id="cite_ref-WholeStory_8-38" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Adoption">Adoption</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fairlight_CMI&action=edit&section=10" title="Edit section: Adoption"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><a href="/wiki/Peter_Gabriel" title="Peter Gabriel">Peter Gabriel</a> was the first owner of a Fairlight Series I in the UK. <a href="/wiki/Boz_Burrell" title="Boz Burrell">Boz Burrell</a> of <a href="/wiki/Bad_Company" title="Bad Company">Bad Company</a> purchased the second, which <a href="/wiki/Hans_Zimmer" title="Hans Zimmer">Hans Zimmer</a> hired for many recordings during the early part of his career.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> In the US, <a href="/wiki/Bruce_Jackson_(audio_engineer)" title="Bruce Jackson (audio engineer)">Bruce Jackson</a> demonstrated the Series I sampler for a year before selling units to <a href="/wiki/Herbie_Hancock" title="Herbie Hancock">Herbie Hancock</a> and <a href="/wiki/Stevie_Wonder" title="Stevie Wonder">Stevie Wonder</a> in 1980 for US$27,500 each.<sup id="cite_ref-Stewart_AT40_20-0" class="reference"><a href="#cite_note-Stewart_AT40-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> Meat-packing heir <a href="/wiki/Geordie_Hormel" title="Geordie Hormel">Geordie Hormel</a> bought two for use at <a href="/wiki/The_Village_(studio)" title="The Village (studio)">The Village Recorder</a> in Los Angeles.<sup id="cite_ref-Stewart_AT40_20-1" class="reference"><a href="#cite_note-Stewart_AT40-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> Other early adopters included <a href="/wiki/Todd_Rundgren" title="Todd Rundgren">Todd Rundgren</a>, <a href="/wiki/Nick_Rhodes" title="Nick Rhodes">Nick Rhodes</a> of <a href="/wiki/Duran_Duran" title="Duran Duran">Duran Duran</a>, producer <a href="/wiki/Rhett_Lawrence" title="Rhett Lawrence">Rhett Lawrence</a> and Ned Liben of <a href="/wiki/Ebn_Ozn" title="Ebn Ozn">Ebn Ozn</a>,<sup id="cite_ref-WholeStory_8-39" class="reference"><a href="#cite_note-WholeStory-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> the owner of Sundragon Recording Studios who served as the demonstration representative for Fairlight for the U.S. east of the Mississippi.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (July 2023)">citation needed</span></a></i>]</sup> </p><p>The first commercially released studio album to incorporate the Fairlight was the third <a href="/wiki/Peter_Gabriel" title="Peter Gabriel">Peter Gabriel</a> <a href="/wiki/Peter_Gabriel_(1980_album)" title="Peter Gabriel (1980 album)">album (1980)</a> which includes a credit for <a href="/wiki/Peter_Vogel_(computer_designer)" title="Peter Vogel (computer designer)">Peter Vogel</a> as technician for the "Computer Musical Instrument" (CMI),<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> and was released in May 1980, and also featured <a href="/wiki/Kate_Bush" title="Kate Bush">Kate Bush</a>. The second album was <a href="/wiki/Kate_Bush" title="Kate Bush">Kate Bush</a>'s <i><a href="/wiki/Never_for_Ever" title="Never for Ever">Never for Ever</a></i> (September 1980), programmed by <a href="/wiki/Richard_James_Burgess" title="Richard James Burgess">Richard James Burgess</a> and <a href="/wiki/John_L._Walters" title="John L. Walters">John L. Walters</a>.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> Wonder took his Fairlight out on tour in 1980 in support of the soundtrack album <i><a href="/wiki/Stevie_Wonder%27s_Journey_Through_%22The_Secret_Life_of_Plants%22" title="Stevie Wonder's Journey Through "The Secret Life of Plants"">Stevie Wonder's Journey Through "The Secret Life of Plants"</a></i> to replace the <a href="/wiki/Computer_Music_Melodian" class="mw-redirect" title="Computer Music Melodian">Computer Music Melodian</a> sampler he had used on the recording.<sup id="cite_ref-Stewart_AT40_20-2" class="reference"><a href="#cite_note-Stewart_AT40-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Geoff_Downes" title="Geoff Downes">Geoff Downes</a> used the Fairlight on <a href="/wiki/Yes_(band)" title="Yes (band)">Yes</a>' 1980 studio album <i><a href="/wiki/Drama_(Yes_album)" title="Drama (Yes album)">Drama</a></i> and its subsequent tour. Downes later used the Fairlight on <a href="/wiki/The_Buggles" title="The Buggles">the Buggles</a>' 1981 studio album <i><a href="/wiki/Adventures_in_Modern_Recording" title="Adventures in Modern Recording">Adventures in Modern Recording</a></i>, and both in the studio and live with <a href="/wiki/Asia_(band)" title="Asia (band)">Asia</a>. Mike Oldfield used the Fairlight CMI extensively on side one of his 1983 studio album Crises. The first classical album using the CMI was produced by <a href="/wiki/Folkways_Records" title="Folkways Records">Folkways Records</a> in 1980 with composers <a href="/wiki/Barton_McLean" title="Barton McLean">Barton McLean</a> and <a href="/wiki/Priscilla_McLean" title="Priscilla McLean">Priscilla McLean</a>.<sup id="cite_ref-FolkMcLean_23-0" class="reference"><a href="#cite_note-FolkMcLean-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/Peter_Gabriel_(1982_album)" title="Peter Gabriel (1982 album)">Peter Gabriel's 1982 studio album</a> also featured the CMI. In 1981, Austrian musicians <a href="/wiki/Hubert_Bognermayr" title="Hubert Bognermayr">Hubert Bognermayr</a> and Harald Zuschrader composed a symphony, <i>Erdenklang – Computerakustische Klangsinfonie</i>.<sup id="cite_ref-Erdenklang_24-0" class="reference"><a href="#cite_note-Erdenklang-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> This work premiered live on stage, using five music computers, during the <a href="/wiki/Ars_Electronica" title="Ars Electronica">Ars Electronica</a> festival in Linz.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> In 1984, he released an album by the singer and songwriter Claudia Robot. (Phonogram) Her studio album <i>Alarmsignal</i> consisted of songs written by the female vocalist, with tracks produced by the Fairlight CMI. </p><p>The first commercially released single in the US made with a computer, a Fairlight CMI, was <a href="/wiki/Ebn_Ozn" title="Ebn Ozn">Ebn Ozn</a>'s "AEIOU Sometimes Y" (<a href="/wiki/Elektra_Records" title="Elektra Records">Elektra</a> 1983) - actually recorded in 1981-82<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> along with their studio album "Feeling Cavalier" (<a href="/wiki/Elektra_Records" title="Elektra Records">Elektra Records</a> 1984). </p><p><a href="/wiki/Devo" title="Devo">Devo</a>'s 1984 studio album <i><a href="/wiki/Shout_(Devo_album)" title="Shout (Devo album)">Shout</a></i> heavily featured the Fairlight CMI at the expense of analog instruments. <a href="/wiki/Gerald_Casale" title="Gerald Casale">Gerald Casale</a> later stated that <i>Shout</i> was the biggest regret of his career, "because the Fairlight [synthesizer] just kind of took over everything on that record. I mean, I loved the songwriting and the ideas, but the Fairlight kind of really determined the sound."<sup id="cite_ref-Billboard_27-0" class="reference"><a href="#cite_note-Billboard-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> Frontman <a href="/wiki/Mark_Mothersbaugh" title="Mark Mothersbaugh">Mark Mothersbaugh</a> later used the CMI in the soundtrack of the 1991 children's television show <i><a href="/wiki/Rugrats" title="Rugrats">Rugrats</a></i>.<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> The instrument is most prominently heard as the lead instrument in the show's theme song – it is the 'Swannee' sample with a <a href="/wiki/Low-pass_filter" title="Low-pass filter">low-pass filter</a> applied. </p><p>Australian singer <a href="/wiki/John_Farnham" title="John Farnham">John Farnham</a> used a Fairlight CMI on his twelfth album, <i><a href="/wiki/Whispering_Jack" title="Whispering Jack">Whispering Jack</a></i>, in 1985 and 1986.<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Influence_and_legacy">Influence and legacy</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fairlight_CMI&action=edit&section=11" title="Edit section: Influence and legacy"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>After the success of the Fairlight CMI, other firms introduced sampling. <a href="/wiki/New_England_Digital" title="New England Digital">New England Digital</a> modified their <a href="/wiki/Synclavier" title="Synclavier">Synclavier</a> digital synthesizer to perform sampling, while <a href="/wiki/E-mu_Systems" title="E-mu Systems">E-mu Systems</a> introduced a less costly sampling keyboard, the <a href="/wiki/E-mu_Emulator" title="E-mu Emulator">Emulator</a>, in 1981. In the United States, a new sampler company, <a href="/wiki/Ensoniq" title="Ensoniq">Ensoniq</a>, introduced the <a href="/wiki/Ensoniq_Mirage" title="Ensoniq Mirage">Ensoniq Mirage</a> in 1984 for the price of $1,695, less than a quarter of the price of other samplers.<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> </p><p>In America, Joan Gand of Gand Music and Sound in Northfield, Illinois was the top salesperson for Fairlight. The Gand organisation sold CMIs to <a href="/wiki/Prince_(musician)" title="Prince (musician)">Prince</a>, <a href="/wiki/James_Young_(American_musician)" title="James Young (American musician)">James "J.Y." Young</a> of <a href="/wiki/Styx_(band)" title="Styx (band)">Styx</a>, <a href="/wiki/John_Lawry" title="John Lawry">John Lawry</a> of <a href="/wiki/Petra_(band)" title="Petra (band)">Petra</a>, <a href="/wiki/Derek_St._Holmes" title="Derek St. Holmes">Derek St. Holmes</a> of the <a href="/wiki/Ted_Nugent" title="Ted Nugent">Ted Nugent</a> band, <a href="/wiki/Al_Jourgensen" title="Al Jourgensen">Al Jourgensen</a> of <a href="/wiki/Ministry_(band)" title="Ministry (band)">Ministry</a>, and many private studio owners and rock personalities.<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> Spokesperson <a href="/wiki/Jan_Hammer" title="Jan Hammer">Jan Hammer</a> appeared at several Gand-sponsored Musictech pro audio events, to perform the "<a href="/wiki/Miami_Vice_Theme" title="Miami Vice Theme">Miami Vice Theme</a>". </p><p>The ubiquity of the Fairlight was such that <a href="/wiki/Phil_Collins" title="Phil Collins">Phil Collins</a> stated on the sleeve notes of his 1985 studio album <i><a href="/wiki/No_Jacket_Required" title="No Jacket Required">No Jacket Required</a></i> that "there is no Fairlight on this record" to clarify that he had not used one to synthesize horn and string sounds.<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> </p><p>Swedish <a href="/wiki/Warez" title="Warez">warez</a> and Commodore <a href="/wiki/Demo_scene" class="mw-redirect" title="Demo scene">demo scene</a> group <a href="/wiki/Fairlight_(group)" title="Fairlight (group)">Fairlight</a> took its name from this device, which <a href="/wiki/Jean-Michel_Jarre" title="Jean-Michel Jarre">Jean-Michel Jarre</a> used on some of his records.<sup id="cite_ref-idg_33-0" class="reference"><a href="#cite_note-idg-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> </p><p>Experimental music group <a href="/wiki/Coil_(band)" title="Coil (band)">Coil</a> considered the device unique and unsurpassed, describing using the Fairlight as "An aural equivalent of <a href="/wiki/William_S._Burroughs" title="William S. Burroughs">William Burroughs</a> <a href="/wiki/Cut-up_technique" title="Cut-up technique">cut-ups</a>".<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p><p>In 2015, the Fairlight CMI was inducted into the <a href="/wiki/National_Film_and_Sound_Archive" title="National Film and Sound Archive">National Film and Sound Archive</a>'s <a href="/wiki/Sounds_of_Australia" title="Sounds of Australia">Sounds of Australia</a> collection.<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fairlight_CMI&action=edit&section=12" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><b>Citations</b> </p> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-mix2011-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-mix2011_1-0">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation journal cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20160810090952/http://www.mixonline.com/news/mix_namm_certifiedhits_2401/">"Mix Announces Certified Hits of NAMM 2011"</a>. <i>Mix</i> (28 January 2011). Archived from <a rel="nofollow" class="external text" href="http://mixonline.com/news/mix_namm_certifiedhits_2401/">the original</a> on 10 August 2016<span class="reference-accessdate">. Retrieved <span class="nowrap">20 February</span> 2011</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Mix&rft.atitle=Mix+Announces+Certified+Hits+of+NAMM+2011&rft.issue=28+January+2011&rft_id=http%3A%2F%2Fmixonline.com%2Fnews%2Fmix_namm_certifiedhits_2401%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></span> </li> <li id="cite_note-mz2662-fairlight-cmi-review-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-mz2662-fairlight-cmi-review_2-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBeecher1981" class="citation magazine cs1">Beecher, Mike (June 1981). <a rel="nofollow" class="external text" href="http://www.muzines.co.uk/articles/fairlight-cmi-review/2662">"Fairlight CMI Review"</a>. <i>Electronics & Music Maker</i>. United Kingdom: Music Maker Publications (UK), Future Publishing. pp. 56–59<span class="reference-accessdate">. Retrieved <span class="nowrap">7 June</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Electronics+%26+Music+Maker&rft.atitle=Fairlight+CMI+Review&rft.pages=56-59&rft.date=1981-06&rft.aulast=Beecher&rft.aufirst=Mike&rft_id=http%3A%2F%2Fwww.muzines.co.uk%2Farticles%2Ffairlight-cmi-review%2F2662&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></span> </li> <li id="cite_note-mz3401-fairlight-cmi-series-iii-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-mz3401-fairlight-cmi-series-iii_3-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="http://www.muzines.co.uk/ad/3401">"Fairlight CMI Series III"</a>. <i>Sound On Sound</i>. United Kingdom: SOS Publications Ltd. October 1987. p. 37<span class="reference-accessdate">. Retrieved <span class="nowrap">7 June</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Sound+On+Sound&rft.atitle=Fairlight+CMI+Series+III&rft.pages=37&rft.date=1987-10&rft_id=http%3A%2F%2Fwww.muzines.co.uk%2Fad%2F3401&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></span> </li> <li id="cite_note-G.Holmes-4"><span class="mw-cite-backlink">^ <a href="#cite_ref-G.Holmes_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-G.Holmes_4-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-G.Holmes_4-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-G.Holmes_4-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHolmes2010" class="citation web cs1">Holmes, Greg (17 September 2010). <a rel="nofollow" class="external text" href="http://www.ghservices.com/gregh/fairligh/">"The Holmes Page: The Fairlight CMI"</a>. GH Services.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+Holmes+Page%3A+The+Fairlight+CMI&rft.pub=GH+Services&rft.date=2010-09-17&rft.aulast=Holmes&rft.aufirst=Greg&rft_id=http%3A%2F%2Fwww.ghservices.com%2Fgregh%2Ffairligh%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFVCO82015" class="citation cs2">VCO8 (7 October 2015), <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=yldcZ65PmVU"><i>Peter Vogel demonstrates the Fairlight CMI 30A</i></a>, <a rel="nofollow" class="external text" href="https://ghostarchive.org/varchive/youtube/20211212/yldcZ65PmVU">archived</a> from the original on 12 December 2021<span class="reference-accessdate">, retrieved <span class="nowrap">26 October</span> 2017</span></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Peter+Vogel+demonstrates+the+Fairlight+CMI+30A&rft.date=2015-10-07&rft.au=VCO8&rft_id=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DyldcZ65PmVU&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span><span class="cs1-maint citation-comment"><code class="cs1-code">{{<a href="/wiki/Template:Citation" title="Template:Citation">citation</a>}}</code>: CS1 maint: numeric names: authors list (<a href="/wiki/Category:CS1_maint:_numeric_names:_authors_list" title="Category:CS1 maint: numeric names: authors list">link</a>)</span></span> </li> <li id="cite_note-fus-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-fus_6-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.fairlightus.com/about.html">"Fairlight History"</a>. <i>FairlightUS.com</i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=FairlightUS.com&rft.atitle=Fairlight+History&rft_id=http%3A%2F%2Fwww.fairlightus.com%2Fabout.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></span> </li> <li id="cite_note-pvog-7"><span class="mw-cite-backlink">^ <a href="#cite_ref-pvog_7-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-pvog_7-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFVogel" class="citation web cs1">Vogel, Peter. <a rel="nofollow" class="external text" href="http://www.anerd.com/fairlight/index.htm">"The Fairlight Story"</a>. <i>anerd.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">5 April</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=anerd.com&rft.atitle=The+Fairlight+Story&rft.aulast=Vogel&rft.aufirst=Peter&rft_id=http%3A%2F%2Fwww.anerd.com%2Ffairlight%2Findex.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span> — with links to some Fairlight history and photos</span> </li> <li id="cite_note-WholeStory-8"><span class="mw-cite-backlink">^ <a href="#cite_ref-WholeStory_8-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-WholeStory_8-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-WholeStory_8-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-WholeStory_8-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-WholeStory_8-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-WholeStory_8-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-WholeStory_8-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-WholeStory_8-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-WholeStory_8-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-WholeStory_8-9"><sup><i><b>j</b></i></sup></a> <a href="#cite_ref-WholeStory_8-10"><sup><i><b>k</b></i></sup></a> <a href="#cite_ref-WholeStory_8-11"><sup><i><b>l</b></i></sup></a> <a href="#cite_ref-WholeStory_8-12"><sup><i><b>m</b></i></sup></a> <a href="#cite_ref-WholeStory_8-13"><sup><i><b>n</b></i></sup></a> <a href="#cite_ref-WholeStory_8-14"><sup><i><b>o</b></i></sup></a> <a href="#cite_ref-WholeStory_8-15"><sup><i><b>p</b></i></sup></a> <a href="#cite_ref-WholeStory_8-16"><sup><i><b>q</b></i></sup></a> <a href="#cite_ref-WholeStory_8-17"><sup><i><b>r</b></i></sup></a> <a href="#cite_ref-WholeStory_8-18"><sup><i><b>s</b></i></sup></a> <a href="#cite_ref-WholeStory_8-19"><sup><i><b>t</b></i></sup></a> <a href="#cite_ref-WholeStory_8-20"><sup><i><b>u</b></i></sup></a> <a href="#cite_ref-WholeStory_8-21"><sup><i><b>v</b></i></sup></a> <a href="#cite_ref-WholeStory_8-22"><sup><i><b>w</b></i></sup></a> <a href="#cite_ref-WholeStory_8-23"><sup><i><b>x</b></i></sup></a> <a href="#cite_ref-WholeStory_8-24"><sup><i><b>y</b></i></sup></a> <a href="#cite_ref-WholeStory_8-25"><sup><i><b>z</b></i></sup></a> <a href="#cite_ref-WholeStory_8-26"><sup><i><b>aa</b></i></sup></a> <a href="#cite_ref-WholeStory_8-27"><sup><i><b>ab</b></i></sup></a> <a href="#cite_ref-WholeStory_8-28"><sup><i><b>ac</b></i></sup></a> <a href="#cite_ref-WholeStory_8-29"><sup><i><b>ad</b></i></sup></a> <a href="#cite_ref-WholeStory_8-30"><sup><i><b>ae</b></i></sup></a> <a href="#cite_ref-WholeStory_8-31"><sup><i><b>af</b></i></sup></a> <a href="#cite_ref-WholeStory_8-32"><sup><i><b>ag</b></i></sup></a> <a href="#cite_ref-WholeStory_8-33"><sup><i><b>ah</b></i></sup></a> <a href="#cite_ref-WholeStory_8-34"><sup><i><b>ai</b></i></sup></a> <a href="#cite_ref-WholeStory_8-35"><sup><i><b>aj</b></i></sup></a> <a href="#cite_ref-WholeStory_8-36"><sup><i><b>ak</b></i></sup></a> <a href="#cite_ref-WholeStory_8-37"><sup><i><b>al</b></i></sup></a> <a href="#cite_ref-WholeStory_8-38"><sup><i><b>am</b></i></sup></a> <a href="#cite_ref-WholeStory_8-39"><sup><i><b>an</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation journal cs1"><a rel="nofollow" class="external text" href="http://www.anerd.com/fairlight/fairlightstory.htm">"Fairlight – The Whole Story"</a>. <i>Audio Media Magazine</i> (January 1996).</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Audio+Media+Magazine&rft.atitle=Fairlight+%E2%80%93+The+Whole+Story&rft.issue=January+1996&rft_id=http%3A%2F%2Fwww.anerd.com%2Ffairlight%2Ffairlightstory.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></span> </li> <li id="cite_note-Newsscientist-9"><span class="mw-cite-backlink">^ <a href="#cite_ref-Newsscientist_9-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Newsscientist_9-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Newsscientist_9-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHamer2015" class="citation web cs1">Hamer, Mick (26 March 2015). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080708224444/http://www.newscientist.com/channel/opinion/mg18524921.400">"Interview: Electronic maestros"</a>. <i><a href="/wiki/New_Scientist" title="New Scientist">New Scientist</a></i>. <a href="/wiki/Reed_Business_Information" class="mw-redirect" title="Reed Business Information">Reed Business Information</a>. Archived from <a rel="nofollow" class="external text" href="https://www.newscientist.com/channel/opinion/mg18524921.400">the original</a> on 8 July 2008<span class="reference-accessdate">. Retrieved <span class="nowrap">4 April</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=New+Scientist&rft.atitle=Interview%3A+Electronic+maestros&rft.date=2015-03-26&rft.aulast=Hamer&rft.aufirst=Mick&rft_id=https%3A%2F%2Fwww.newscientist.com%2Fchannel%2Fopinion%2Fmg18524921.400&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2"><a rel="nofollow" class="external text" href="https://collection.powerhouse.com.au/object/153203"><i>Qasar M8 digital synthesizer (1975-1978), Tony Furse (Creative Strategies, Sydney)</i></a>, <a href="/wiki/Powerhouse_Museum" title="Powerhouse Museum">Powerhouse Museum</a>, Object No. 96/382/1, <q>Production: Designed by Tony Furse. Made by Tony Furse and Creative Strategies, Sydney, Australia. / History: Used by Tony Furse, Kim Ryrie and Peter Vogle as prototype to development of Fairlight CMI.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Qasar+M8+digital+synthesizer+%281975-1978%29%2C+Tony+Furse+%28Creative+Strategies%2C+Sydney%29&rft.pub=Powerhouse+Museum&rft_id=https%3A%2F%2Fcollection.powerhouse.com.au%2Fobject%2F153203&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></span> </li> <li id="cite_note-Chapman2012p3-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-Chapman2012p3_11-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFChapman2012">Chapman 2012</a>, p. 3 "Furse's next project was an all-digital synthesiser, which he named the Qasar M8 (Multimode 8) synthesiser. In addition to a keyboard, Furse had developed a graphics display which, with the use of a light pen, allowed the operator to create an instrument or voice using waveforms. After having made a deal with the large American electronics company, Motorola to use their programme development system, Furse was able to develop the MUSEQ 8 sequence playing system. The idea was that the MUSEQ 8 system, when used in conjunction with his M8, could be used by composers of all kinds of music, not just electronic, for the composition and the performance of music. Another major innovation with the M8 synthesiser was Furse's use of two 8-bit Motorola 6800 microprocessors in an unusual parallel configuration which greatly speeded up data input and output. / In late 1974, following the success of Furse's lecture and demonstration of the Qasar M8 in Canberra before an audience from the Canberra School of Music, the Australian National University and the College of Advanced Education, Don Banks, who realised the potential of Furse's invention for the School of Music, requested a similar model be made for the School's electronic music studio. Furse continued to work on the prototype making use of the latest technology by incorporating floppy disk storage using the newly released 8 inch floppy disks The disks worked differently from tape recorded music in that a piece of music could be reorchestrated without altering the data on the disk."</span> </li> <li id="cite_note-Chapman2012p4-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-Chapman2012p4_12-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFChapman2012">Chapman 2012</a>, p. 4 "From 1976 Furse worked with Fairlight on the project, which included producing circuit boards from the circuit board schematics and reconfiguring the synthesiser's keyboard resulting in the production of a totally redesigned version of the synthesiser which was known initially as the M8 CMI (Multimode 8 Computer Musical Instrument). In early 1979 Tony Furse, with less involvement in the project, signed a licence agreement with Fairlight, allowing them the use of his intellectual property for both the synthesiser and the computer."</span> </li> <li id="cite_note-:0-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-:0_13-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.soundonsound.com/techniques/lost-art-sampling-part-1">"The Lost Art of Sampling: Part 1"</a>. <i><a href="/wiki/Sound_on_Sound" title="Sound on Sound">Sound on Sound</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">12 October</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Sound+on+Sound&rft.atitle=The+Lost+Art+of+Sampling%3A+Part+1&rft_id=https%3A%2F%2Fwww.soundonsound.com%2Ftechniques%2Flost-art-sampling-part-1&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></span> </li> <li id="cite_note-ABC2015-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-ABC2015_14-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLeo_Brown2015" class="citation web cs1">Leo Brown, Simon (17 November 2015). <a rel="nofollow" class="external text" href="http://www.abc.net.au/news/2015-11-18/fairlight-cmi-synthesiser-included-in-sounds-of-australia/6950392">"Fairlight CMI synthesiser, used by stars like Michael Jackson, added to Sounds of Australia registry"</a>. <a href="/wiki/Australian_Broadcasting_Corporation" title="Australian Broadcasting Corporation">Australian Broadcasting Corporation</a><span class="reference-accessdate">. Retrieved <span class="nowrap">5 April</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Fairlight+CMI+synthesiser%2C+used+by+stars+like+Michael+Jackson%2C+added+to+Sounds+of+Australia+registry&rft.pub=Australian+Broadcasting+Corporation&rft.date=2015-11-17&rft.aulast=Leo+Brown&rft.aufirst=Simon&rft_id=http%3A%2F%2Fwww.abc.net.au%2Fnews%2F2015-11-18%2Ffairlight-cmi-synthesiser-included-in-sounds-of-australia%2F6950392&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFStump1997" class="citation book cs1">Stump, Paul (1997). <i>The Music's All that Matters: A History of Progressive Rock</i>. Quartet Books Limited. p. 267. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7043-8036-6" title="Special:BookSources/0-7043-8036-6"><bdi>0-7043-8036-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Music%27s+All+that+Matters%3A+A+History+of+Progressive+Rock&rft.pages=267&rft.pub=Quartet+Books+Limited&rft.date=1997&rft.isbn=0-7043-8036-6&rft.aulast=Stump&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></span> </li> <li id="cite_note-billboard1986-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-billboard1986_16-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="https://books.google.com/books?id=7iQEAAAAMBAJ&pg=PT19">"Gabriel looks for live sound in the studio"</a>. <i><a href="/wiki/Billboard_(magazine)" title="Billboard (magazine)">Billboard</a></i>. No. 26 July 1986. 26 July 1986.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Billboard&rft.atitle=Gabriel+looks+for+live+sound+in+the+studio&rft.issue=26+July+1986&rft.date=1986-07-26&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D7iQEAAAAMBAJ%26pg%3DPT19&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></span> </li> <li id="cite_note-TheRegister-17"><span class="mw-cite-backlink">^ <a href="#cite_ref-TheRegister_17-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-TheRegister_17-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMoran2011" class="citation web cs1">Moran, Michael (29 April 2011). <a rel="nofollow" class="external text" href="https://www.theregister.co.uk/2011/04/29/fairlight_synthesiser/">"Fairlight: The Rolls Royce of synthesizers"</a>. <i><a href="/wiki/The_Register" title="The Register">The Register</a></i>. <a href="/wiki/Situation_Publishing" class="mw-redirect" title="Situation Publishing">Situation Publishing</a><span class="reference-accessdate">. Retrieved <span class="nowrap">5 April</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Register&rft.atitle=Fairlight%3A+The+Rolls+Royce+of+synthesizers&rft.date=2011-04-29&rft.aulast=Moran&rft.aufirst=Michael&rft_id=https%3A%2F%2Fwww.theregister.co.uk%2F2011%2F04%2F29%2Ffairlight_synthesiser%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></span> </li> <li id="cite_note-MusicTech-18"><span class="mw-cite-backlink">^ <a href="#cite_ref-MusicTech_18-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-MusicTech_18-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWillox2014" class="citation web cs1">Willox, Mike (28 May 2014). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20181130123350/https://www.musictech.net/2014/05/studio-icons-fairlight-cmi/">"Studio Icons: Fairlight CMI Series"</a>. <i>Music Tech</i>. <a href="/w/index.php?title=Anthem_Publishing&action=edit&redlink=1" class="new" title="Anthem Publishing (page does not exist)">Anthem Publishing</a>. Archived from <a rel="nofollow" class="external text" href="http://www.musictech.net/2014/05/studio-icons-fairlight-cmi/">the original</a> on 30 November 2018<span class="reference-accessdate">. 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Archived from <a rel="nofollow" class="external text" href="http://www.artrocker.com/rrpedia/Fairlight_CMI">the original</a> on 7 August 2011.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=About+Fairlight+CMI+%26%23124%3B+Artrocker&rft_id=http%3A%2F%2Fwww.artrocker.com%2Frrpedia%2FFairlight_CMI&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></span> </li> <li id="cite_note-Billboard-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-Billboard_27-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="http://www.billboard.com/articles/news/1055867/the-billboardcom-qa-devo">"The Billboard.com Q&A: Devo"</a>. <i>Billboard</i><span class="reference-accessdate">. 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Archived from <a rel="nofollow" class="external text" href="http://www.idg.se/2.1085/1.444716/we-might-be-old-but-were-still-the-elite">the original</a> on 21 April 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=IDG&rft.atitle=We+might+be+old%2C+but+we%27re+still+the+elite&rft.date=2012-04-20&rft.aulast=Goldberg&rft.aufirst=Daniel&rft_id=http%3A%2F%2Fwww.idg.se%2F2.1085%2F1.444716%2Fwe-might-be-old-but-were-still-the-elite&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></span> </li> <li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation audio-visual cs1"><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=HAtMumJ3qfM"><i>COIL - Part 1 - rare unedited May 2001 interview w/ John Balance & Peter Christopherson</i></a> (video) – via <a href="/wiki/YouTube" title="YouTube">YouTube</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=COIL+-+Part+1+-+rare+unedited+May+2001+interview+w%2F+John+Balance+%26+Peter+Christopherson&rft_id=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DHAtMumJ3qfM&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></span> </li> <li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.nfsa.gov.au/collection/sound/sounds-australia/2015-registry-additions/#Fairlight">"2015 Registry additions"</a>. <a href="/wiki/National_Film_and_Sound_Archive" title="National Film and Sound Archive">National Film and Sound Archive</a><span class="reference-accessdate">. Retrieved <span class="nowrap">5 April</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=2015+Registry+additions&rft.pub=National+Film+and+Sound+Archive&rft_id=http%3A%2F%2Fwww.nfsa.gov.au%2Fcollection%2Fsound%2Fsounds-australia%2F2015-registry-additions%2F%23Fairlight&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></span> </li> </ol></div></div> <p><b>Sources</b> </p> <style data-mw-deduplicate="TemplateStyles:r1239549316">.mw-parser-output .refbegin{margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}@media screen{.mw-parser-output .refbegin{font-size:90%}}</style><div class="refbegin" style=""> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFVail2000" class="citation book cs1">Vail, Mark (2000). <i>Keyboard Magazine Presents Vintage Synthesizers: Pioneering Designers, Groundbreaking Instruments, Collecting Tips, Mutants of Technology</i>. <a href="/wiki/Hal_Leonard_Corporation#Backbeat_Books" class="mw-redirect" title="Hal Leonard Corporation">Backbeat Books</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-87930-603-8" title="Special:BookSources/978-0-87930-603-8"><bdi>978-0-87930-603-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Keyboard+Magazine+Presents+Vintage+Synthesizers%3A+Pioneering+Designers%2C+Groundbreaking+Instruments%2C+Collecting+Tips%2C+Mutants+of+Technology&rft.pub=Backbeat+Books&rft.date=2000&rft.isbn=978-0-87930-603-8&rft.aulast=Vail&rft.aufirst=Mark&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFChapman2012" class="citation cs2">Chapman, Jill (2012), <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160303232154/http://images.powerhousemuseum.com/images/pdfs/382297.pdf"><i>Guide to the Qasar Tony Furse archive</i></a> <span class="cs1-format">(PDF)</span>, Sydney, Australia: <a href="/wiki/Powerhouse_Museum" title="Powerhouse Museum">Powerhouse Museum</a>, 96/382/2, archived from <a rel="nofollow" class="external text" href="http://images.powerhousemuseum.com/images/pdfs/382297.pdf">the original</a> <span class="cs1-format">(PDF)</span> on 3 March 2016<span class="reference-accessdate">, retrieved <span class="nowrap">4 August</span> 2014</span></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Guide+to+the+Qasar+Tony+Furse+archive&rft.place=Sydney%2C+Australia&rft.pub=Powerhouse+Museum&rft.date=2012&rft.aulast=Chapman&rft.aufirst=Jill&rft_id=http%3A%2F%2Fimages.powerhousemuseum.com%2Fimages%2Fpdfs%2F382297.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFairlight+CMI" class="Z3988"></span></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Fairlight_CMI&action=edit&section=13" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985"><style data-mw-deduplicate="TemplateStyles:r1237033735">@media print{body.ns-0 .mw-parser-output .sistersitebox{display:none!important}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}</style><div class="side-box side-box-right plainlinks sistersitebox"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png" decoding="async" width="30" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/45px-Commons-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/59px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></span></span></div> <div class="side-box-text plainlist">Wikimedia Commons has media related to <wbr /><i><b><a href="https://commons.wikimedia.org/wiki/Category:Fairlight_(digital_audio)" class="extiw" title="commons:Category:Fairlight (digital audio)">Fairlight (digital audio)</a></b></i>.</div></div> </div> <ul><li><a rel="nofollow" class="external text" href="http://www.fairlightau.com/">Fairlight Main Site</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20110219013808/http://fairlightinstruments.com.au/ios">Fairlight App for iPhone, iPod Touch and iPad</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20180425134527/http://www.fairlightinstruments.com/">Fairlight Instruments</a></li> <li><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=oKoisNv1ftw">Herbie Hancock plays a Fairlight CMI on Sesame Street</a></li> <li><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=Cgzo6KCjYeQ">Beethoven performed on a Fairlight CMI</a></li></ul>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Fairlight_CMI&oldid=1258334154">https://en.wikipedia.org/w/index.php?title=Fairlight_CMI&oldid=1258334154</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:Products_introduced_in_1979" title="Category:Products introduced in 1979">Products introduced in 1979</a></li><li><a href="/wiki/Category:Fairlight_synthesizers" title="Category:Fairlight synthesizers">Fairlight synthesizers</a></li><li><a href="/wiki/Category:Music_workstations" title="Category:Music workstations">Music workstations</a></li><li><a href="/wiki/Category:Samplers_(musical_instrument)" title="Category:Samplers (musical instrument)">Samplers (musical instrument)</a></li><li><a href="/wiki/Category:Digital_synthesizers" title="Category:Digital synthesizers">Digital synthesizers</a></li><li><a href="/wiki/Category:Music_sequencers" title="Category:Music sequencers">Music sequencers</a></li><li><a href="/wiki/Category:Music_technology" title="Category:Music technology">Music technology</a></li><li><a href="/wiki/Category:Australian_musical_instruments" title="Category:Australian musical instruments">Australian musical instruments</a></li><li><a href="/wiki/Category:Australian_inventions" 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