The Legend Returns :)

Hah, never heard of the original but that’s ace to have in your studio. Pricing seems a bit off by todays standards though, considering the functionality alone.

A bit? I would say WAY off. And why oh why, they kept that stupid light pen with that stupid cord there. Modern equivalent with all the benefits of that but without restrictions whould have been a touch-screen with optional stylus (and that would have been a lot cheaper off the shelf hardware).

Anyone know how the goodness control works?

Sounds like a bit depth control switch?

Fairlight was the rolls-royce of systems back in its day… Very cool sound and nasty price tag! :sunglasses:

20k is pretty high but its a limited edition of only 100 being made. You’re right of course ,in terms of bang for the buck thats pretty steep but there are easily 100 “made by dough in the 80’s” types that will shell out for this. Big mistake not going with a picture instead of that silly drawing

You are so right. A Fairlight was instant credibility plus and extra $25 per hour tacked on to your rates. Funny ,I can’t think of a single equivalent these days. Anyone?

Some sound bytes on that site bring back some memories!

And a what great source of original gear lust for me! (like original sin) :laughing: :wink:

Don’t forget the Synclavier and the PPG systems… they were close!

A great sounding large room with a 9’ Steinway in it?

Thats a good thing to have but not the draw comparable to the Fairlight in the 80’s. As mentioned the Synclavier was the same sort of groundbreaking tech that could justify increased billing.

Fairlight and Synclavier haha those were the days! :laughing:

At the time I never cared much about what the Fairlight REALLY was apart from something Peter Gabriel and some people like him used to use and it could really "s a m p l e " sounds and edit and draw on a screen. I had phantom pains in my wallet just thinking about it!!! :astonished:

The Synclavier arrived a few years later and ought to have been more powerful? Does anybody have a guess about the power of a Synclavier compared to a modern DAW? Impossible, oranges and apples and all that, but anyway, a wild guess?

True enough. Both the Fairlight and Synclavier have been supplanted by modern hardware synths and VSTis, so it’s no wonder the masses aren’t clamoring for them nowadays.

A modern-day studio with an immaculate Mellotron Mark V, and some vintage boards, might be attractive; but still not as big a deal as the Fairlight back in the day.

Yes, thats what I mean. I can’t think of a single piece of technology that has the same appeal that a Fairlight had back then. I think its because computers have become so powerful that you can pack tons of power into vsti’s such as Kontakt or Omnisphere. People would travel accross country for a Fairlight. What would be an equivalent there days. Maybe only an fantasically appointed mastering room with 50k speakers and stellar outborad gear?

You’re right. It would take something special.

Like Bob Ludwig’s Gateway mastering suite in Portland, Maine?

I’ve read they went all the way down to bedrock for the footings beneath his main studio monitors, which are worth considerably more than $50k.

Very special indeed.

A wild guess: it may have had at most 1/100 000 of the power of a modern PC (and this is very optimistic value). This guess is based on Dhrystone MIPS rating of

  1. VAX11 (the benchmark computer of the era of Synclavier) had 1 D MIPS rating
  2. i7 (depending on version) scores at least 92 000 D MIPS
    But I’m afraid Synclavier CPU wasn’t as powerful as VAX11.

I’m not really sure if this is a joke or what those numbers mean in the real world.
Is it fair to say that we would find a Synclavier more or less completely useless if we swapped boxes for a month, learning curves and workflow notwithstanding?
And the scale of this uselessness is pointing in the directions of those numbers … :confused: :astonished: :open_mouth: ???

The only way it would be useful is if you were old enough to remember the time of the Synclavier and the production techniques used and then work in that manner. Also you’d have to be a fan of what ever was unique about its sound.

I have a Roland TB303 that sits in the closet. Whatever unique character it has that has made it famous and still in such demand is surpassed by how hard it is to work with; I never go near it

Sell it! I sold my TR909 many years ago, got £900 for it :mrgreen: