Although not as flexible or powerful as either the Fairlight CMI or the Synclavier, its lower cost and portability made it popular.

It used FM synthesis and, although it was incapable of the sampling synthesis of the Fairlight CMI, its price was around $ 2, 000, putting it within range of a much larger number of musicians.

The album has been criticized for its overuse of the Fairlight CMI synthesizer, and weak songwriting.

However, in 2011 Fairlight Instruments released its Fairlight CMI-30A, which uses a 17 " LCD monitor with light pen control.

It was notable for its use in the Fairlight CMI, and the BBC Micro.

He made several programs for the ZX Spectrum, the best known being the game Fairlight, its sequel Fairlight II and the graphic tool The Artist.

Fairlight managed to survive until the mid-1980s, relying more and more heavily on its revered name and its products ' cult status for sales.

The Fairlight was known for its " Page R " functions which provided real-time composition in a graphical form which was similar to that later used on drum machines such as the Roland TR-808.

In July 2012, the company Fairlight Instruments changed its name to Peter Vogel Instruments.

From 1979 – 1985, the Fairlight CMI ( and Fairlight CMI IIx ) was a high-end musical sampling and re-synthesis workstation that utilized light pen technology, with which the user could allocate and manipulate sample and synthesis data, as well as access different menus within its OS by touching the screen with the light pen.

: In the New Forest it occurs in earth-mounds, at Seaton under stones, in the Landslip, Isle of Wight, in the side of the cliff, and at Fairlight I found it in the side of the cliff and in earth-mounds in the undercliff-one of the nests being traced by tracking a worker which was carrying home a fly in its jaws.

Despite its price tag it was still considered very good value compared to the Fairlight CMI Series II.

Fairlight takes its name from Fairlight House built by Henry Gilbert Smith ( 1802-1886 ) on land he bought in 1853 from John Parker who had received a land grant in 1837.

Sydney Ferries has a tradition of naming its ferries after suburbs of Sydney ; in the 1970s and 1980s the company operated a hydrofoil with the name Fairlight, which in turn gave its name to the Fairlight CMI synthesizer.

The Cano brothers were innovative musicians in the use of technology, and Nacho was one of the first Spanish musicians to own a Fairlight keyboard.

Fairlight CMI 30A-a new CMI being developed by Peter Vogel through his own company ( using technology provided by Fairlight. au ), not yet released, said to be released during 2010.

* Mars Lasar worked for Fairlight while composing his own works

In addition to the use of synthesizers, Lawrence pioneered the use of computers and sampling on albums and was the first musician in Los Angeles to own and use the Fairlight CMI ( computer music instrument ).

This system is supposed to have the look and feel of the 1979 CMI but will use the latest ' Crystal Core media engine ' developed by Fairlight. au.

By 1982, the Fairlight CMI Series II represented another advance as it now offered more RAM-based sample memory than any other system with an improved sample rate, and in the Series III ( 1985 ) changed from 8-bit to 16-bit samples.

The orchestra hit sound was propagated by the use of early samplers, particularly the Fairlight CMI where it was known as the ORCH5 sample.

After the bust of The Not So Humble Babe on credit card fraud charges in Michigan, USA teamed up the European PC warez division of Fairlight and were cooperatively known as " USA / FLT ".

USA formed a co-op with the PC warez division of Fairlight which was best known as " USA / FLT ".

He is known for his inventiveness in the studio and utilisation of the latest musical technology ( e. g. the Fairlight CMI in the early-mid 1980s ).

* Candor Chasma-The main French resource about the Fairlight CMI ( English version available )

Fairlight produced a number of orchestra hit samples, including a chord version ( TRIAD ), a percussion version ( ORCHFZ1 ) and a looped version ( ORCH2 ).

The single mix features a cleaner sound with more electronics than the album version, notably the Fairlight CMI music workstation, the premier sampling keyboard workstation of the ' 80s, used to provide novel sounds, such as the orchestral hits that were so popular, but also to sequence the song.

An electronic version on a Fairlight synthesizer was used in the sound track of the 1982 film " Liquid Sky ".

The Fairlight used a dual Motorola 6800 configuration, while the Synclavier used a mini-computer called the ABLE.

The original Fairlight CMI sampled using a resolution of 16 bits per sample at a rate of 24 kHz, and used two 8-bit Motorola 6800 processors ( later upgraded to the more powerful 16 / 32-bit Motorola 68000 ).

In casting about for a name, Ryrie and Vogel settled upon Fairlight, the name of a hydrofoil ( named in turn after Fairlight, New South Wales ) that sped each day past Ryrie's grandmother's large house in Point Piper, New South Wales, underneath which Ryrie had a workroom.

Wonder took his Fairlight out on tour in 1980 in support of the album Stevie Wonder's Journey Through " The Secret Life of Plants " to replace the Computer Music Melodian sampler he had used on the recording.

Back in 1982, Russell Mulcahy had directed two of their video clips: " Hey Little Girl " and " Street Cafe " ( released February 1983 ), after these Mulcahy asked Davies to record the score for his film Razorback, it was entirely instrumental, and featured Davies ' first recorded use of the Australian designed Fairlight Music Computer, the trailer for the movie was released in 1983, the film itself in April 1984.

E-mu had previously been able to sell their Emulators at around the $ 10, 000 range because the only alternatives were the $ 30, 000-$ 200, 000 ( depending on which package you went for ) Fairlight CMI, and the $ 200, 000-$ 500, 000 NED Synclavier System.

Since then, Japanese research in computer music has largely been carried out for commercial purposes in popular music, though some of the more serious Japanese musicians used large computer systems such as the Fairlight in the 1970s.

Two of the earliest commercial digital synthesizers were the Fairlight CMI, introduced in 1979, and the New England Digital Synclavier II.

The Fairlight CMI was the first sampling synthesizer, while the Synclavier was originally an FM synthesizer, not adding sampling synthesis until the 1980s.

The Fairlight CMI and the Synclavier were both expensive systems, retailing for more than $ 20, 000 in the early 1980s.

The sandstone cliffs have been the subject of considerable erosion in relatively recent times: much of the Castle was lost to the sea before the present sea defences and promenade were built, and a number of cliff-top houses are in danger of disappearing around the nearby village of Fairlight.

The final SSSI, Hastings Cliffs to Pett Beach, is within the Ore ward of Hastings, extending into the neighbouring Fairlight and Pett parishes.

In 1999 it was sold on to the newly formed Lightworks Inc., then owned by Fairlight Japan, and then purchased by Gee Broadcast in May 2004.

Series III of the Fairlight CMI ( computer musical instrument ) used dual 6809 CPUs and OS9, and also used one 6809 CPU per voice card.

* In the embedded market, where OS-9 has found application in such devices as the Fairlight CMI synthesizers, robotics, in-car navigation systems, and Philips ' Compact Disc-Interactive ( CD-i ) industry standard.

Although pricing made it inaccessible for most musicians, it found widespread use among producers and professional recording studios, competing at times in this market with such high-end production systems as the Fairlight CMI.

Roberts is buried at Fairlight, East Sussex.

In the score, Zimmer uses synthesizers ( mostly a Fairlight CMI ) mixed with steel drums.

1984's Junk Culture was a return to a poppier sound and saw the band using digital sampling keyboards such as the Fairlight CMI and the E-mu Emulator.

The general concept of step-sequencing samples numerically, as used in trackers, is also found in the Fairlight CMI sampling workstation of the early 1980s.

It was during the Lexicon sessions that Horn first assembled the production team that would characterise and define the sound of a Horn production in the 1980s: Anne Dudley on keyboards and arrangements, Gary Langan ( later Stephen Lipson ) as chief engineer, J. J. Jeczalik on programming for the Fairlight CMI, backing vocalist Tessa Webb plus percussionist Luis Jardim.