More on Fairlight


Subject: More on Fairlight
From: David Hirst (d.hirst@unimelb.edu.au)
Date: Sun May 01 2005 - 22:29:59 EDT


 From the ACMA list...

>X-Sieve: CMU Sieve 2.2
>Date: Fri, 29 Apr 2005 21:52:43 +1000
>From: "Shannon O'Neill" <alias@aliasfrequencies.org>
>Subject: [Acma-l] re: Interview: Electronic maestros (New Scientist Magazine)
>To: acma-l@list.waikato.ac.nz
>
>
>Hi everyone.
>
>I have a little research blog and mentioned the recent Peter Vogel New
>Scientist interview, and some of the following discussion that occurred
>here. (I quoted Warren & Greg without asking - I hope you don't mind ;).
>
>Anyway, Peter has replied in the comments section of my blog. If you'd
>like to continue the conversation, please leave a comment, or email him
>directly at peter.vogel@icetv.com.au
>
>cheer.s
>
>http://aliasfrequencies.org/son/2005/03/31/peter-vogel-interview/
>
># Peter Vogel Says:
>April 29th, 2005 at 8:53 pm e
>
>Hi Greg and Warren, good to hear from you again!
>
>You are correct - Tony Furse's design of the "M8 synthesiser" was the
>foundation on which we developed what was to become the Fairlight CMI.
>
>When Kim & I met Tony he had worked miracles with what was then cutting
>edge microprocessor technology. A pair of 1MHz 8 bit micros were running
>a light-pen and graphics system that could create sounds by Fourier
>synthesis.
>
>At the time we licensed the design Tony was working on true synthesis
>techniques and it was some time later that we realised the practical
>value of what would subsequently become known as "sampling".
>
>Fairlight then went on to refine sampling as much as possible give the
>limitations of the technology, the main task being to make it accessible
>to musicians. Tony Furse's design of the underlying processing system
>made al lthis possible a decade before personal computers hit the scene.
>
>The contribution of many musicians (our customers) all along the line
>should also be recognised.
>
>Perhaps the hardest part for me was "keeping the faith" for 14 years,
>latching on to the idea of sampling rather than synthesising, and
>keeping the company going through what was a constant financial battle
>(which eventually ended in financial disaster for me and Kim).
>
>The success of the Fairlight was the result of over 10 years of
>evolution to which many engineers and musicians contributed along the way.
>
>Google will show a number of articles that give more detailed background
>e.g.
>http://www.soundonsound.com/sos/apr99/articles/fairlight.htm
>
>Peter Vogel
>
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David Hirst
Senior Lecturer, Educational Design
Information and Education Services
University of Melbourne
Victoria, 3010
Australia
ph +61 3 8344 7568
Fax +61 3 8344 4341
http://www.infodiv.unimelb.edu.au/telars/cds/



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