[music-dsp] [OT] vinyl? No, thanks...
andrew.capon at zen.co.uk
Mon Nov 29 10:51:16 EST 2010
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 $
> On Mon, 29 Nov 2010 13:31:57 +0000, Andrew Capon wrote:
>> 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
>>>> I buy every release that is worth it on vinyl, if available.
>>>> Vinyl? Yes, please..., with pleasure.
>>>> 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:-
>>> 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
>>> And it had approx. 20,000 components in the thing!
>>> dupswapdrop -- the music-dsp mailing list and website:
>>> subscription info, FAQ, source code archive, list archive, book
>>> reviews, dsp links
>> dupswapdrop -- the music-dsp mailing list and website:
>> subscription info, FAQ, source code archive, list archive, book
>> reviews, dsp links
> dupswapdrop -- the music-dsp mailing list and website:
> subscription info, FAQ, source code archive, list archive, book reviews, dsp links
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