![]() ![]() Vogel and Ryrie licensed Furse's design, mainly for its processing power, and decided to use microprocessor technology instead of analogue synthesis. However, it was only able to create exact harmonic partials, sounding sterile and inexpressive. In association with the Canberra School of Electronic Music, Furse built a digital synthesizer using two 8-bit Motorola 6800 microprocessors, and the light pen and some of the graphics that would later become part of the Fairlight CMI. Īfter six months, the pair met the Motorola consultant Tony Furse. They initially planned to make an analogue synthesizer that was digitally controlled, as the competing Moog synthesizer was difficult to control. The two planned to design a digital synthesizer that could create sounds reminiscent of acoustic instruments ( physical modelling synthesis). They named the business Fairlight after the hydrofoil ferry passing before Ryrie's grandmother's home in Sydney Harbour. In December 1975, Ryrie and Vogel formed a home business to manufacture digital synthesizers. 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." After his classmate, Peter Vogel, 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 microprocessor. Ryrie was frustrated by the limited number of sounds that the synthesizer could make. ![]() In the 1970s, Kim Ryrie, then a teenager, had an idea to develop a build-it-yourself analogue synthesizer, the ETI 4600, for the magazine he founded, Electronics Today International (ETI). Problems playing this file? See media help. It rose to prominence in the early 1980s and competed with the Synclavier from New England Digital. It was one of the earliest music workstations with an embedded sampler and is credited for coining the term sampling in music. It was based on a commercial licence of the Qasar M8 developed by Tony Furse of Creative Strategies in Sydney, Australia. The Fairlight CMI (short for Computer Musical Instrument) is a digital synthesizer, sampler, and digital audio workstation introduced in 1979 by Fairlight. Sampling ( 8 bit 16 kHz – 16 bit 100 kHz),ħ3 keys non-weighted, velocity sensitive. ![]()
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