I don't know - I'm not technically minded enough to see the distinction here. There is a spectrum window but there's also an edit window for each wave. You load a resynthesised wave and can edit it partial by partial. If that's not editing the wave (resynthesised) I don't know what it is. You can also draw a wave from scratch using the same edit window. In the spectrum window you can also apply various filters and stuff by "painting" on the spectral view - maybe that's all you could do in Cube 1? Each of these waves can be used as morphing sources using al sorts of complex paths.jupiter8 wrote:I know that but in the video he draws the actual waveform. Not the spectra. I know this is in essence the same thing however you cannot actually draw a waveform in Cube can you ? Been a while since i tested it and that was Cube1.aMUSEd wrote:You can draw the partials same as the Fairlight (only with greater resolution - 512 not 128) and morph between 4, not just 2.jupiter8 wrote:Zebra2 does it that way. Dunno about the others. I don't think you can handdraw waveforms in Cube for example.maxxxter wrote:and they do this in this way? like, really easy??aMUSEd wrote:Well there's always Kyma.
Actually several VSTi's can do that though - Zebra 2, Vertigo, Cube 2 are just 3 I can think of.
Fairlight CMI Emulation - is it possible?
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- KVRAF
- 37408 posts since 14 Sep, 2002 from In teh net
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- KVRAF
- 9590 posts since 17 Sep, 2002 from Gothenburg Sweden
As in you draw the actual shape of the wave.
Not in drawing "partial 1 has amplitude 0.6, partial 2 has amplitude 0.3" etc.
Not in drawing "partial 1 has amplitude 0.6, partial 2 has amplitude 0.3" etc.
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- KVRAF
- 4222 posts since 23 Feb, 2004 from Tucson Arizona USA
beej wrote:
The Fairlight was amazing in it's day, but its day has long passed.
I know an artist who uses his Fairlight CMI (and a MemoryMoog) every time he plays, as recently as this afternoon
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- KVRer
- 4 posts since 17 Aug, 2008 from USA Right now
I've just received my "Pro Rec" Fairlight library.
Wow, I'm so sorry for anyone who has bought this.
Obviously I'm not going to be saying much more right now publically, apart from again. Sorry.
Rob
Wow, I'm so sorry for anyone who has bought this.
Obviously I'm not going to be saying much more right now publically, apart from again. Sorry.
Rob
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- KVRer
- 5 posts since 12 Sep, 2005 from Clare, Suffolk, UK
Oh God I'm late on this thread but to anyone still watching this thread - Hello!
Long story short - I'm a big Fairlight fan.
I bought Rob's Digital Domain CD back in 1994 for £50 to use with my AWE32 soundcard which was AWEsome!
I uploaded this YouTube clip of the Fairlight IIL a couple of years ago which is a lot clearer than the previous clip.
http://uk.youtube.com/watch?v=oOP1IKdc4UI
This is taken from a DVD I made of an old Micro Live Special - details here:
http://www.strellis.com/synthhistory.shtml
Right - now back to the near future(ish). I did make a track in 2006 heavily using Fairlight and other samples. The track is "The Dreams We Make Real"
http://www.voynich.co.uk
Enjoy - or not.
Long story short - I'm a big Fairlight fan.
I bought Rob's Digital Domain CD back in 1994 for £50 to use with my AWE32 soundcard which was AWEsome!
I uploaded this YouTube clip of the Fairlight IIL a couple of years ago which is a lot clearer than the previous clip.
http://uk.youtube.com/watch?v=oOP1IKdc4UI
This is taken from a DVD I made of an old Micro Live Special - details here:
http://www.strellis.com/synthhistory.shtml
Right - now back to the near future(ish). I did make a track in 2006 heavily using Fairlight and other samples. The track is "The Dreams We Make Real"
http://www.voynich.co.uk
Enjoy - or not.
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- KVRAF
- 1940 posts since 16 Aug, 2004 from Vienna, Austria
Nice stuff there, Chris!
"Until you spread your wings, you'll have no idea how far you can walk." 
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- KVRer
- 5 posts since 12 Sep, 2005 from Clare, Suffolk, UK
Thanks arakula for your quick reply.arakula wrote:Nice stuff there, Chris!
I realise it was quite a URL dump there!
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- KVRer
- 5 posts since 12 Sep, 2005 from Clare, Suffolk, UK
Even more so when I reach my 5 post threshold and the URLs in my signature get releasedSynthasy2000 wrote:I realise it was quite a URL dump there!
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- KVRAF
- 3772 posts since 5 Mar, 2004 from Gold Coast Australia
Some nice pieces there Synthasy2000
I had an Emax I and then a II. I sold all hardware but I just had a moment of weakness and got an esi4000 off eBay. Sounds nice.
I had an Emax I and then a II. I sold all hardware but I just had a moment of weakness and got an esi4000 off eBay. Sounds nice.
Benedict Roff-Marsh
http://www.benedictroffmarsh.com
http://www.benedictroffmarsh.com
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tropicalontour tropicalontour https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=207157
- KVRist
- 494 posts since 11 May, 2009
Here's my opinion: The thing that made a Fairlight sound the way it did were technical limitations, essentially.
8 bit sampling was used on the CMIs up to Series IIx. The clocks jittered, because they were essentially derived by dividing a very high frequency square wave down to musically useful frequencies and the dividers were not able to create a rock solid, 50/50 duty cycle on each and every ratio.
The anti aliasing filters leaked a little (not perfect rejection in the high frequencies), so there was aliasing in the audio passband, which increased, the lower the pitch of the note played. Early CMIs used a switched capacitor filter that had additional clock modulation leakage which faintly ring modulated with the sampled sound. Later 16 bit CMIs (Series 3) had 24 db/octave tracking analogue filters which could go out of alignment due to temperature or lack of maintenance, so that affected the sound too.
You could recreate all of these artifacts in a VST, but engineers at Fairlight spent a lot of energy trying to get rid of them. I know, I was there. My question is would those artifacts really make your day, or wind up annoying the hell out of you, as it annoyed the recording engineers and musicians of the day?
Finally, the really distinctive thing about the Fairlight was the sound library itself, which was the work of many talented people. I've seen the IIx library online for download. It's pretty much the real deal. I haven't seen the Series III library online, though.
8 bit sampling was used on the CMIs up to Series IIx. The clocks jittered, because they were essentially derived by dividing a very high frequency square wave down to musically useful frequencies and the dividers were not able to create a rock solid, 50/50 duty cycle on each and every ratio.
The anti aliasing filters leaked a little (not perfect rejection in the high frequencies), so there was aliasing in the audio passband, which increased, the lower the pitch of the note played. Early CMIs used a switched capacitor filter that had additional clock modulation leakage which faintly ring modulated with the sampled sound. Later 16 bit CMIs (Series 3) had 24 db/octave tracking analogue filters which could go out of alignment due to temperature or lack of maintenance, so that affected the sound too.
You could recreate all of these artifacts in a VST, but engineers at Fairlight spent a lot of energy trying to get rid of them. I know, I was there. My question is would those artifacts really make your day, or wind up annoying the hell out of you, as it annoyed the recording engineers and musicians of the day?
Finally, the really distinctive thing about the Fairlight was the sound library itself, which was the work of many talented people. I've seen the IIx library online for download. It's pretty much the real deal. I haven't seen the Series III library online, though.