The electronic sounds used in Jeff Wayne’s War of the Worlds had a great impact on him. And he liked ABBA as well. He got really interested in synth sounds through techno and rave music. “It was all over the radio when I was a kid. I always had a taste for melodies and catchy hooks.” He bought his Series Iix after years of searching and waiting for the right moment.
‘The old lady needs a little love and some maintenance’
The Grand Three Systems
The first serious piece of gear he got was a Technics AX5. “That’s how I came up with the name Tax-5′ By that name, he has been producing electronic music with dark ambient influences since the early 2000’s. His first synth was a Korg M1. His specific interest in the Fairlight CMI? “It must have been somewhere around 2003. A friend of mine had a studio full of juicy gear. PPG Wave, Jupiter 8, MS10, MS20… We talked a lot about synths, and how to create certain sounds. And as always, we ended up talking about The Grand Three Systems, being the PPG Waveterm, the NED Synclavier and the Fairlight CMI.”
And so, Stephan decided he wanted one. Badly. “It was like that with most of the synths I heard about: I wanted it either badly, or not at all.” Given the whopping price tag, buying a Fairlight remained something of an impossible dream for a long time. But, he kept on checking the trade-topics on the synth forums religiously. And one day, there was a Series IIx for sale in his area. “I instantly send the guy a PM.” Stephan had never seen a Fairlight ‘in the flesh’, let alone played it before. “There was, and still is, a lot of false and misleading info about the machine. But I just knew it looked awesome, and that it should be sounding awesome.”
Great, yet outdated
“It was in 2009, somewhere in spring time when I picked it up. Of course, it felt exiting. I had large car back then; a Chevrolet Caprice 1992 with a powerful V8 in it. The Fairlight took up the whole space in the back of the car. I got home, I installed the machine on it’s designated place, set it all up, and then I just loaded all discs and listened to the presets.” The previous owner was a musician from Switzerland. It was once traded for a EMS Synthi-A, a very expensive system from the early ’70’s.
It took Stephàn years of searching and yes, it took all of his savings. Was is all worth it? “Yes and no” he says. “It was a very cool experience, working with this kind of high-end gear. But to be completely honest: it’s brutally outdated. I didn’t use the machine as much as I had expected. It’s an old lady with some problems. She needs a little love and some maintenance. Which is interrupting my workflow.”
“The machine got me a lot of attention. Several interviews, friends who wanted to see it, and synth manufacturer Clavia contacted me. They wanted to create a sample library of Fairlight sounds for their Nord instruments users.” Another remarkable story is the one about the Matterhorn Project. “They wanted to re-release their album and cult-hit called ‘Muuh!‘; a funny song full of sampled cows. So, they came in with their old disks and we re-sampled them, so they could use them in a modern digital audio workstation. That was fun!” It’s certainly nice to know the cows are save and sound in a brand new shed.