Oops, slip of the currency! $17,000 or $19,000 with keyboard.
Just writing out my Christmas list now, might put it on top and see how it goes :) On 29 Nov 2010, at 15:27, christian schneider wrote: > an mv agusta f4 costs as well a significant amont more than a yamaha r1, and > both are totally incredible machines. compared to back in time, it's a > bargain. > > you have a syntax error, 17k £ are ca. 26.5k $ > > c > > > > On Mon, 29 Nov 2010 13:31:57 +0000, Andrew Capon wrote: >> http://www.synthtopia.com/content/2009/08/14/the-17000-fairlight-cmi-30a-computer-musical-instrument/ >> >> Only £17,000 as well, or with keyboard $19,000. >> >> A bargain! >> >> On 29 Nov 2010, at 13:12, Dave Hoskins wrote: >> >>>> ;) >>>> >>>> Btw, it's not that big of an issue at all. I just wasn't buying >>>> that recordings from the days of fairlight are actually 12 bit. >>>> >>>> Sometimes I wonder why I often think that the fairlight and the >>>> synclavier were the most intriguing digital systems ever made. But >>>> of course, if you need 100k to get an instrument or a at least a >>>> big budget to use those machines, probably the rest of your studio >>>> is not that bad either. And then, all that was digital was new and >>>> wild. >>>> >>>> I buy every release that is worth it on vinyl, if available. >>>> >>>> Vinyl? Yes, please..., with pleasure. >>>> >>>> c >>>> >>>> btw. i would definitely prefer a Fairlight CMI to any actual >>>> workstation, but this is an emotional response with a lot of >>>> nostalgia in it. >>> >>> Apparently they are re-launching it:- >>> http://www.fairlightinstruments.com.au/index.html >>> >>> An interesting cut from that site:- >>> >>> "The reason for this is that the CMI's unique sound was the result >>> of the limitations of the technology of the eighties. A-D and D-A >>> converters were very primitive by today's standards - the 1979 model >>> CMI used eight bit audio, and even the top-notch Series III used >>> only 16 bits (which performed more like 14 bits in reality). The >>> variable pitch of the sample playback was generated by very crude >>> hardware which approximated the pitch but introduced significant >>> artifacts. To compensate for the noise and distortion introduced >>> into the samples, we used analogue low-pass tracking filters. The >>> "tracking" involved dynamically setting the cuttoff frequency to >>> just above the note being played. >>> The end result was a complex set of colourations which made the CMI >>> sound so distinctive. To make it even more interesting, because of >>> the large amount of analogue circuitry involved, the sound of each >>> channel was subtly different, and these differences were quite >>> variable and unpredictable. >>> The Fairlight 30A will use the Crystal Core engine to faithfully >>> reproduce all these acoustic quirks. Thanks to this use of >>> programmable "virtual hardware", each channel will have its own >>> "randomness" which gives the combined output the rich analogue CMI >>> sound." >>> >>> >>> And it had approx. 20,000 components in the thing! >>> Dave. >>> >>> >>> >>> >>> >>> >>> -- >>> dupswapdrop -- the music-dsp mailing list and website: >>> subscription info, FAQ, source code archive, list archive, book >>> reviews, dsp links >>> http://music.columbia.edu/cmc/music-dsp >>> http://music.columbia.edu/mailman/listinfo/music-dsp >> >> -- >> dupswapdrop -- the music-dsp mailing list and website: >> subscription info, FAQ, source code archive, list archive, book >> reviews, dsp links >> http://music.columbia.edu/cmc/music-dsp >> http://music.columbia.edu/mailman/listinfo/music-dsp > -- > dupswapdrop -- the music-dsp mailing list and website: > subscription info, FAQ, source code archive, list archive, book reviews, dsp > links > http://music.columbia.edu/cmc/music-dsp > http://music.columbia.edu/mailman/listinfo/music-dsp -- dupswapdrop -- the music-dsp mailing list and website: subscription info, FAQ, source code archive, list archive, book reviews, dsp links http://music.columbia.edu/cmc/music-dsp http://music.columbia.edu/mailman/listinfo/music-dsp
