The recent obituary for composer Adrian Sutton has sparked a fascinating conversation about the early days of music technology, specifically concerning the legendary Fairlight CMI.
Not a Synthesiser, But a Sampler
In his tribute, Adam Sweeting referred to the Fairlight as a synthesiser. However, in its earliest form, this groundbreaking machine was not a synthesiser but a sampler. One user recounted the immense effort required to program it for synthesis, a process that involved leaving the machine running overnight just to produce a mere eight sounds, each lasting up to half a second.
Setting the Record Straight on University History
While Goldsmiths is often credited, it was not the first UK university to own a Fairlight. City University acquired one in 1980, a year that marked the beginning of its diverse applications. The machine was used for psychology experiments, pushing the boundaries of academic research.
Meanwhile, graduate students, including the now-renowned composer Alejandro Viñao, were exploring its creative potential. They drove the Fairlight to, and often beyond, its limits in their pioneering electroacoustic compositions.
The Fairlight's Theatrical Legacy
The instrument's influence extended far beyond academia into the heart of London's cultural scene. In the early 1980s, the Fairlight became an integral tool at the National Theatre.
This was initiated by the then head of music, Dominic Muldowney, who invited the user to collaborate on creating innovative music and sound designs for numerous productions. This partnership helped shape the sonic landscape of British theatre during a pivotal era.
