Pitch Env – This is really a portamento control, and using the Depth knob, you can have it glide up or down to the note you hit.The vibrato and tremolo have rate controls, while the cutoff has a depth control. ModWheel – Lets you enable vibrato, tremolo, and filter cutoff.Filter Envelope – This has its own velocity sensitivity control, and ADSR slider controls.You also get a bipolar envelope amount control, as well as standard cutoff and resonance controls. Filter – Includes a multimode filter with high-pass, band-pass, and low-pass settings.Amplitude – Velocity to the attack, velocity sensitivity control and standard ADSR slider controls for the Amplitude Envelope.This page also offers three logical sections for shaping your sounds that contain the following tools:
This page gives you mmediate access to 250+ ready-to-play preset instruments including: Bass, Brass, Bells, Strings, Guitar, Orchestral Hits, Synth, Drums, Percussion, FX, Keys, Piano, Organs, Winds, Reeds and Voices. In 2015, the Fairlight CMI was inducted into the National Film and Sound Archive‘s Sounds of Australia collection. The last Fairlight IIx was given away through a contest in the magazine Keyboard in 1987.
#Retoring uviworkstation upgrade#
Fairlight kept making updates to the system, such as a 1983 upgrade called the CMI Series IIx (on which this library is based) which allowed for MIDI, until the release of Series III in 1985. The CMI II was a high-level composition tool that not only shaped the sound of the 80s, but the way music was actually written. As a replacement for the complicated Music Composition Language (MCL) used by Series I, Page R helped the Fairlight CMI Series II become a commercial juggernaut. The popularity of Series II was in large part due to a new feature, Page R, their first true music sequencer. The second version of the Fairlight CMI, Series II, was released in 1982. It was one of the earliest music workstations with an embedded digital sampling synthesizer. The Fairlight CMI (short for Computer Musical Instrument) was introduced in 1979 by the founders of Fairlight, Peter Vogel and Kim Ryrie. This extensive cataloging of multiple sound sources results in an extremely versatile instrument capable of numerous tonal profiles with virtually no perceptible sample repetition.A Brief History of the Iconic Fairlight CMI This was done 3 times for the Tube and DI channels, once for each of the included voicings, allowing per-key customization of the tone from deep to thin at the sample level.
#Retoring uviworkstation full#
The resulting 47,000+ sample library provides users with a completely customizable virtual studio in which they can freely mix and explore the full sonic range of the instrument, from the basic DI signal to room acoustics, to per-tine contact mic recordings and even the mechanical sounds of the keys and pedals for an immediate and immersive sense of realism.įor each note, 8 velocities and up to 5 round-robins were recorded per-source along with 5 round-robins for both the sustain and release samples and 7 round-robins for the pedal-up and pedal-down sounds. The result of extensive recording sessions, Attack EP88 delivers 5 deeply multi-sampled and fully mixable signal sources including Tube, DI, Mono, L/R and Contact mics. Attack EP88 is based on a fully restored Rhodes Mark I 88-key electric piano outfitted with brass tacks on the hammers, giving the instrument a rich, bell-like tonality. Paris, April 28th, 2016 - UVI announces Attack EP88, the world’s first tacked electric piano library and possibly the most comprehensive electric piano instrument to date, of any kind.
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