CMI V

How it works

Sampling explained from scratch

A sampler records a real sound by measuring its amplitude at regular intervals: the number of measurements per second is the sample rate and the precision of each measurement is the bit resolution. A sample rate F can reproduce frequencies up to F/2 at most (Nyquist limit): at 32 kHz at most about 16 kHz, at 24 kHz about 12 kHz. Few bits (8) means only 256 possible levels: the rounding error becomes audible noise and distortion, especially in tails and quiet sounds.

Playing a sample on the keyboard

To play different notes the sampler reads the sample faster (higher note) or slower (lower note): the pitch changes but so do the duration and the position of the formants, which is why transposed voices sound like cartoons. The loop repeats a portion of the sample while the key is held, allowing long notes from short samples (essential when memory was only a few kilobytes).

Additive and wavetable synthesis

The Fairlight could also draw waveforms with the light pen or build them by summing sine harmonics, each with its own envelope over time (additive synthesis): a sound is made of 32 harmonics that rise and fall independently. In wavetable mode the harmonics become waveform segments read in sequence with crossfades: the timbre transforms over time. It is also possible to analyze a sample (FFT) and convert it into editable harmonics, then recompute it as a sample.

Page R

The grid sequencer (Page R) organized notes into patterns of repeating, chainable steps: it is the model from which pattern sequencers and loop-based production derive.

Character and tone

Low-resolution sampled sound: 8-bit grain, quantization noise and aliasing, limited bandwidth (about 10–15 kHz in the original), with a dusty, warm character that is sought after today. Orchestral stabs, choirs and ethnic instruments immediately sound '80s. Notes transposed far from the original key change timbre and tempo (Mickey Mouse effect upward, dark and slow downward), an integral part of the aesthetic. The additive/wavetable section produces pads and glassy or metallic timbres distinct from the samples. Compared with Emulator II V (8-bit companded, analog filter, fuller and softer sound) the CMI is rawer and grittier; compared with Synclavier V it is more oriented toward sampling and patterns, less toward FM synthesis. Limits: as lo-fi as you like but poorly suited to modern realistic sounds without raising resolution and sample rate; simple filter; page-based editing that requires method.

Architecture

Original Fairlight CMI

• Conceived by Peter Vogel and Kim Ryrie (Sydney); Series I 1979 (8-bit, variable sample rate up to about 24 kHz, 16 kB per voice), Series II 1982 (up to about 32 kHz, new Page R sequencer), Series IIx 1983 (MIDI), Series III 1985 (16-bit, up to 44.1 kHz).
• 8 voices at 8 bits with dedicated memory per voice; separate keyboard, central unit with dual floppy drives, monitor and light pen for drawing waveforms and writing notes.
• Work pages: sampling, waveform editing, additive synthesis by harmonics (with harmonic envelopes), voice parameters (attack, damping, vibrato, filter, portamento), Page R pattern sequencer; famous sample library (the ORCH5 orchestra hit, the ARR1 choirs).
• Price around $30,000 for the Series II.

CMI V (Arturia, 2016)

• Emulates the CMI IIx: 10 instrument slots per program, each with a sample, Time Synth (drawn additive/wavetable with 32 harmonics) or Spectral Synth (32-harmonic spectrum controlled by Center, Spread, Bias, Fund Boost).
• Sampling up to 16 bits and 44.1 kHz, import of WAV/AIFF up to 30 s and of original .VC files; adjustable sample rate and bit depth to reproduce the 8-bit grain.
• Per slot: sample start, forward or forward/backward loop, loop start/length, sample length (in segments of 128 samples), Oct/Semi/Fine, filter with key tracking, voice level, aux send, Attack/Damping 1/Damping 2/Trig envelope, triangle vibrato with delay and attack, portamento/glissando, bend; polyphony up to 32 voices or mono per slot, MIDI channel and keyboard zone per slot.
• Edit: Reverse, Invert, Gain, BitDepth, SampleRate with Auto Set, 18–294 Hz high-pass and 0.9–12 kHz low-pass filters, FFT analysis into harmonics and Compute to reconvert them to a sample.
• Macros: 8 faders (Filter, Sample Start, Vibrato Speed, Vibrato Depth, Aux Level, Attack, Damping 1, Damping 2), 6 assignable controls and 6 switches, 6 drawable Functions (envelope or LFO, sync, random), MIDI assignments (velocity, aftertouch, keyboard, mod wheel, expression, sustain).
• Page R-style sequencer: 10 tracks, 32-step patterns, 8 chainable patterns, per-pattern swing and polyrhythm, sync to the DAW.
• Mixer: insert per slot, aux bus with reverb, two effects on the master; effects Analog Chorus, Delay, Analog Delay, Phaser, Pitch Shift, Leslie, Flanger, Distortion, 5-band EQ, Compressor, Limiter, Destroy, Auto Pan, Reverb.

The controls, one by one

Base panel — Macro control unit (8 faders above the keyboard)

Filter

Positive filter offset for all slots: opens up the sound.

Sample Start

Moves the start of the sample: removes the attack or creates variations (evaluated at the start of the note).

Vibrato Speed

Vibrato speed.

Vibrato Depth

Vibrato depth.

Aux Level

Amount sent to the aux bus (reverb).

Attack

Lengthens the attack: from percussive to pad.

Damping 1

Lengthens the tail after release.

Damping 2

Lengthens the alternate tail (Damp Mode 2).

Base panel — Controls and switches beside the keyboard

Control C1–C6

Six sliders whose functions depend on the preset (assigned on the Assign page).

Switch S1–S6

Six assignable switches (e.g. loop on/off, reverse, glissando).

Screen

Click on the mainframe screen to open the Advanced Screen (SCR).

Sound — Instrument slots (10)

Load (folder)

Loads WAV, AIFF or Fairlight .VC files; also drag & drop onto the slot.

Mute / Solo

Mutes or isolates the slot (multiple slots can be soloed).

Trigger

Plays the slot's C3 for auditioning.

Panning and Main Volume

Slot pan and volume (linked to mixer, sequencer and Tune/Map).

Reset / Save

Resets the selected slot or saves the program.

Sound — Control: mode and display

Sampling / Time Synth / Spectral Synth

Chooses whether the slot plays a sample, a drawn additive/wavetable sound or a parametric additive spectrum.

2D/3D Display and Follow

Classic waveform or real-time 3D representation; Follow scrolls with playback.

Marker Start, Length, Loop

Drag start, end and loop brackets directly on the waveform (quantized to segments).

Sound — Control: Evolution

Smpl Start

Start of the sample in segments (1 segment = 128 samples); modulatable by velocity or slider (e.g. low velocity = skips the attack).

Loop On

Turns the loop on.

B/F Loop

Loop forward only or forward-backward (smoother on pads and textures).

Loop Start / Loop Lngth

Start and length of the loop.

Smple Lngth

Length of the played sample in segments.

Center / Spread / Bias / Fund Boost (Spectral)

In Spectral mode: harmonic of maximum amplitude, amplitude of the neighboring harmonics, emphasis above or below the center, level of the fundamental.

Wavetable Voice (Spectral)

Basic shape used for the additive: sine, saw, square or complex wavetables.

Sound — Control: Tune/Filter

Oct

Pitch in octaves (continuous if modulated).

Semi

Semitones: useful for layering slots at intervals (fifths, octaves).

Fine

Fine tuning in 1/128 of a semitone: two slots at + and − give a natural chorus.

Filter

How much the cutoff depends on the note (low-pass filter key tracking): low = darker at the top.

Voice Level

Slot volume.

Aux Send

Send to the aux bus.

Sound — Control: Envelope

Attack

Rise time: 0 for percussion and stabs, 200–800 ms for strings and choirs.

Damp Mode

Chooses which Damping to use (1 or 2).

Damping 1

Tail from release to silence; 0 can give a click.

Damping 2

Alternate tail (Damp Mode 2), to have two behaviors in the same preset (e.g. assigned to a switch).

Trig

Ignores the dampings: the sample plays to the end (or loops) as long as the key is held.

Sound — Control: Vibrato and Porta/Bend

Vib Depth / Vib Speed

Depth and speed of the triangle pitch LFO.

Vib Delay / Vib Attack

Delay and fade-in of the vibrato.

Vib > Filter / Vib > Level

Applies the vibrato to the filter or to the aux level.

Portamento / Glissando

Linear glide or glide quantized to semitones.

Speed / Const Time

Glide speed; Const Time = constant time regardless of the interval.

Bendwidth

Pitch bend range.

Sound — Edit (sample)

Reverse

Reverses the sample (backward tape effect).

Invert

Inverts the phase.

Gain

−30/+18 dB on the sample (watch for clipping).

BitDepth

Resolution from 16 to 1 bit: 8 bits = Fairlight character, below 6 = noise and distortion.

SampleRate and Auto Set

Playback frequency: low values add aliasing and darken; it also changes the reference note. Auto Set picks the optimal value.

Filter Low (hi-pass)

18–294 Hz, bypassable: cleans up rumble from samples.

Filter High (low-pass)

0.9–12 kHz, bypassable: softens aliasing.

Analyse, Channel, Filter

Converts the sample into harmonics (FFT) from the L, R or L+R channel; Filter 0–7 (2 recommended) limits the high harmonics.

Sound — Edit (Time Synth harmonics)

Harmonics editor and 32 wave slots

Draw the envelope of each of the 32 harmonics (points added with a click, removed with a right-click).

Segments

Samples per segment (1–7999, normally 128); Normalized raises the level automatically.

Wavetable Voice

Sine for classic additive, or saw, square, Metalizer, Ultrasaw etc. for wavetable (the harmonics become segments in sequence).

Copy / Paste / Reset / Reset All

Wave slot management.

Compute

Reconverts the additive sound into a sample (not identical to the original).

Sound — Assign

Controls C1–C6 and Switches S1–S6 (MAP)

Click MAP, then move the slot parameter to define the offset, then MAP again; Shift+drag changes the base value.

Functions A–F (MAP)

Links the macro faders to the drawn Functions.

MIDI: VELO, AT, KBD, MW, EXP, SUS

Assigns velocity, channel aftertouch, keyboard tracking, mod wheel, expression (CC 11) and sustain to any parameter.

Sound — Functions (A–F)

16-point editor

Curves with Point, Time, Level, Rand T (random time), Rand L (random level), Slope.

Time mode: One, Loop, Run

One = envelope; Loop = LFO retriggered on every note; Run = free-running and locked to the song position.

Retrigger Mono/Poly

One function common to all notes or one per note.

Sync and Rate

0.1–20 Hz or musical values (1/4, 3/8…).

Cntrl mode and CntrlSrc

The curve transforms a control source (slider, switch or MIDI): custom response curves for velocity or mod wheel.

Function Presets, Copy/Paste

Saving and copying of curves.

Sequencer (Page R)

10-track × 32-step grid

Click to create a step (C3, 1/4, velocity 100), right-click to delete, Alt to copy, drag up for the note, Shift for velocity, at the sides for duration.

Note Edit: Velocity, Note, Duration

Numeric values of the selected step.

Pattern Select 1–8 and Chain

Selection and chaining of patterns.

Swing

Swing on the offbeat sixteenth notes per pattern (center = straight, maximum = dotted sixteenth).

Polyrhythm and Reset

The pattern's own length (number of steps) for polyrhythms.

Play Mode: Start, Stop, Note On, Midi Start, Sync, Rate

Transport, start from a note or from MIDI Start, sync to the DAW and speed.

Mixer

Slot channels: Volume, Mute, Solo, Pan, Aux Send, Insert FX

One insert effect per slot.

Aux Return

Send bus with effects (including Reverb, excluding EQ, Comp, Limiter, Destroy, Auto Pan).

Master (2 FX slots)

Effects on the main output.

Analog Chorus

Type 1–3 (2, 4, 6 lines), Stereo Width, LFO Rate, LFO Amount, LFO Delay, Wet/Dry.

Delay / Analog Delay

Sync, Time 9 ms–1 s, Feedback, Ping Pong; analog with Feedback Tone and LFO Depth/Rate.

Phaser

Two stages with Rate and Depth, Sync, Feedback, Dual Mode.

Pitch Shift

Delay, Level, Detune: from doubling to chorus.

Leslie

Stop/Slow/Fast, Rate, High Width/Shape/Depth, Low Width/Shape, Output Gain.

Flanger

Delay Time, Depth, Rate, Feedback ±.

Distortion

Drive, Tone, Output.

EQ

Five bands: Lo (20–300 Hz), three parametric P1–P3 (250–5000 Hz with Width), Hi (1–20 kHz).

Comp / Limiter

Input, Threshold, Ratio, Attack, Release, Make Up; Limiter with Gain, Release, Knee, Level.

Destroy

Clipping, Harm Dist, Bit Red, Resamp, Tone, Gain.

Auto Pan

Pan and Rate.

Reverb (Aux only)

Pre-Delay up to 500 ms, Room Size, Width, Tone, Tame, Gain.

Tune/Map

Key range and Root (graphics)

Drag the ends of the zone and the green root-note dot for each slot; drag the center to move the map.

Global Tuning: Pitch

Global tuning within a semitone (128 = A440).

Scale and Root

Pitch increment between keys: 12 keys per doubling = equal temperament; Root 24 and Scale 2 = quarter tones.

Slot Map: Low, High, Root, MIDI Ch

Zone, root note and MIDI channel per slot: splits, layers and multitimbrality.

Poly

Up to 32 voices per slot or Mono.

Map Preset

Saves and recalls zone configurations.

Bottom bar

MIDI Channel, Panic, CPU

Global channel (All or 1–16), note reset, CPU load.

Sound design tips

Work on the sample before the sound

• Trim the start and end carefully (Smpl Start, Smple Lngth) and look for loops at zero-crossing points: loop clicks are the most common flaw. With sustained sounds try the forward/backward loop, which is more forgiving.
• Use Sample Start modulated by velocity (low velocity = cut attack) to vary the impact dynamically without changing the sample.

Resolution and sample rate as instruments

• 8 bits and a reduced sample rate give the Fairlight character but reduce the bandwidth: a sample at 22–24 kHz has nothing above 11–12 kHz. That's fine for stabs and choirs, less so for hi-hats and air: for those use 16-bit/44.1 kHz slots.
• Lowering the resolution increases noise in the tails: shorten the Damping or use Trig for sounds that end naturally.
• The Edit low-pass filter between 6 and 10 kHz softens aliasing without losing grain; the high-pass at 60–120 Hz cleans up samples with rumble.

Transposition and zones

• The farther from the root note, the more the timbre distorts: for realistic instruments create several slots with narrow zones (one sample every 4–7 semitones); for an '80s aesthetic transpose without fear.
• Set the Root of each sample correctly: a root error makes everything sound out of tune with the rest of the track.

Frequency management

• Orchestra hits have enormous energy between 150 Hz and 3 kHz: in a mix with bass and vocals cut below 150 Hz and use a short attack; layer a separate sub if you need weight.
• Sampled choirs occupy 300 Hz–4 kHz like the voice: lower 1–3 kHz by a few dB or move them to another register.

Additive

• In the Time Synth make the high harmonics decay faster than the low ones: natural sound. High harmonics that grow over time give effects that open up.
• In Spectral, high Center with low Spread = nasal, vocal timbre; Fund Boost recovers the body.

Velocity and expression

• Velocity is not assigned by default: map it on the Assign page to Voice Level and Filter for realistic dynamics.

Common mistakes

• Loop On off but short sample: the note cuts off even while holding the key.
• Damping at 0: click at the end of every note.
• Forgetting the polyphony per slot: a Mono slot cuts chords.
• Using all 10 slots on the same MIDI channel and register: the sound becomes muddled and the CPU goes up.

Presets to recreate

In genres and records

• Art pop and rock: Peter Gabriel is the first British owner of a Fairlight and uses it from his third album on; on the fourth album (1982) he uses samples of ethnic instruments and sequenced percussion, and Shock the Monkey credits it alongside the Prophet-5. Kate Bush, John Paul Jones, Alan Parsons, Richard Wright and Thomas Dolby among the first British customers.
• '80s pop and synthpop: Trevor Horn, Nick Rhodes of Duran Duran, Geoff Downes (Yes on Drama, The Buggles, Asia), Mike Oldfield (Five Miles Out and Crises), Todd Rundgren, Joni Mitchell, Prince and Styx.
• Funk, jazz-funk and R&B: Stevie Wonder and Herbie Hancock buy two of the first American units; on Hancock's Rockit the Fairlight plays sampled basses, percussion and textures.
• Electro, old school hip hop and pop: the orchestral hit from the Fairlight library becomes a cliché of rap and techno-pop records of the early '80s; Art of Noise use it as a rhythmic effect.
• European electronic music: Jean-Michel Jarre and Boris Blank of Yello.
• Film scores and TV: Jan Hammer uses it to play the Miami Vice theme; Hans Zimmer rents it for many early-career recordings.
• Industrial and experimental: Ministry (Al Jourgensen) and Coil.
• Modern synthwave, vaporwave and lo-fi: the 8-bit grain.
• Early house and techno: sampled stabs and loops.