Don’t just take my word for it!!

Some say I bang on about the Fairlight too much, some say not enough. But the fact of the matter is, it is with good reason that I do. Anyone who underestimates it’s influence and place in electronic music history has simply missed the point and has not studied the bigger picture.

During NAMM week, those that exist on the internet simply to spout uneducated opinions about stuff, seemed to rally around the CMI 30A and question it’s very existence and the perceived futility of creating such a thing, slating it’s price and functionality and anyone who dared suggest that this might be the start of a new era in sound design and music making akin to the revolution the original CMI kick started 30 years ago.

But, those who are knowledgable and well versed in the industry and it’s important history, saw the CMI 30A for what it was; a boutique piece desgined not to compete with today’s highly efficient synths and sequencers, but a working prototype for future development using the Crystal Core technology that could see more affordable and practical pieces emerge in the future.

Fairlight was never about making mass market equipment, so why should it be now? The Fairlight of today that makes post production gear for the audio and video industry is one of the most highly respected manufacturers in the field. They do not sell to the home user or hobbyist. It’s serious gear for serious professionals at a serious price. Nobody questions the cost of a Kyma system. Just because something is 30 years old, doesn’t mean it has to depreciate accordingly.

The CMI 30A is the first in what is hoped to be a series of instruments that build on Peter Vogel and Kim Ryrie’s vision, first exhibited with the original CMI’s. Every synth manufacturer makes expensive behemoths from which distilled versions appear. So this is no exception. Yes, it’s nostalgic edge is cute and highly desirable, but it’s also highly practical and powerful. Peter stated last week, flippantly or otherwise, that he’s only using about 2% of the system’s capability with the CMI 30A. The CC-1 is a massively powerful bit of kit. Dismiss it at your peril. I’ve even read comments by some people who are dismissing the CMI 30A simply because it runs on a PC platform! Idiots.

Peter has built this machine to replicate the CMI IIx and CMI III but added much more besides, and with regular software updates, more of the remaining 98% of CC-1 power will be utilised. The “Brew” feature is just the tip of a giant iceberg.

Anyway, It’s not just me that believes the CMI 30A was a massive success at NAMM. Mix Magazine agrees with me, listing the CMI 30A as one of the hits of NAMM this year. Check out their own video here.

Fairlight CMI 30A