Fairlights ruled in the early eighties and I remember spending quite a good deal of time fooling around with them in Alberts Studios in Sydney. Not much to show for it for it these days but I still like the sounds it produced. To me they sounded very natural unlike later synths even if the sound you'd created resembled nothing in the real world. People tell me now that they lack in quality as the samples were limited bitrate but I can't hear that. Those sounds still sound good to me
They still rule today, in my humble opinion
Despite being 30+ years old, many artists still use them (those few that are left) such as Coldplay on their Viva La Vida album and Hans Zimmer used a Series III on his Inception soundtrack.
The beauty of the Fairlight was its organic 'digitalness', spawned mainly by the tricks and workarounds employed by its inventors to make up for the limitations of digital audio at that point in time. Nowadays, we might have huge bitrates and vast amounts of memory, but it doesn't equate to quality and character. A Fairlight CMI Series III can sample at 100KHz, a rate that many present day samplers still can't achieve
The Fairlight sound is still sought after and whilst there are now some pretty decent sample libraries available, you simply can't beat the real thing. Sadly, with only 200-300 ever made in total, they are very rare beasts but Peter Vogel did release a 30th anniversary edition called the
CMI 30 AX which uses modern technology in a retro case to bring the concept bang up to date. At $20,000 AUD, they're still not cheap, but I can tell you, it's worth every penny. If $20k is too much, you can always try Peter's
iOS app
I'm currently restoring a Series III that previously belonged to Ian Stanley of Tears for Fears fame, amongst others. It's a very beautiful and magical thing
I'm blogging about my efforts over here...
http://www.failedmuso.com/blog