Margarita Mix Adds Fourth Fairlight EVO System   

Margarita Mix of Santa Monica, a FotoKem company specializing in audio post services for commercials and advertising media, has installed a fourth Fairlight EVO integrated audio production system for their award-winning team of sound designers, mixers and composers. With the upgrade, the facility’s accomplished sound mixers Paul Hurtubise, Jimmy Hite, Nathan Dubin and Jeff Levy are now working on identical audio post platforms in their HD mixing suites.

“The facility was already working extensively on Fairlight, and after careful evaluation and testing, I made the transition,” says Hurtubise, who joined Margarita Mix in late 2012 with over 20 years of experience in commercial audio post.

Having used a number of platforms over the course of his career, Hurtubise notes, “I simply think Fairlight sounds better. It’s less fatiguing on the ears, and I seem to hear things more clearly and definitively.

The  EVO workstation is also very ergonomic and easy to operate,” he adds. “I feel like I’m on a system that’s been developed for humans to work on. EVO’s binnacle fits my hand, and its keyboard fits my fingers. I’m running sessions more efficiently because I’m not as focused on all the clicking.”

Hurtubise also points out that the graphic displays are less fatiguing. “It’s much easier for me to be on the Fairlight all day. I noticed immediately that I wasn’t as physically tired at the end of the day. The displays are comfortable to work on, too.”

According to the talented mixing team at Margarita Mix, there are plenty of features to like about the system. They like that the picture has a home in the system, versus floating around the screen. “The picture’s right there when I want it—I love the Pyxis,” Hurtubise says of the dual-channel HD video recorder that is integrated into EVO as standard. “I also like the streaming Pyxis video frames along the bottom of the timeline display, and being able to see the picture frames before and after the playhead. This way, I can see how many frames I have until my next edit.”

When the mixers need to face the voiceover booth with a script in front of them rather than face the EVO surface, they’ve created a macro that puts “Record” on different sides of the controller so that it’s ergonomically easier for them. Fairlight’s one-button record function also helps in VO sessions when the talent starts to speak. “We don’t want to interrupt them; if we press our ‘Record’ macro button, the disk recorder immediately stops one take and goes right into another one in the span of a 1/10th of a second,” Hurtubise explains.

Custom fader sets are another admired attribute of the system. “I’ve never been on a system where I can so easily lay out faders to my liking,” says Hurtubise. “Sometimes I’m knee deep into a session and I really wish I had my beeps next to my mic, right next to my music stem, right next to my sound effects stem, next to the dialog stem next to my headphone send—then I can mute and level them very easily. I can create that quickly with Fairlight.”

There are several features on the Fairlight that the Margarita Mix team hasn’t had available on previous DAWs. “For example, I like the way Fairlight solos tracks: I can solo a set of tracks, un-solo them by holding control and pressing one button, and then re-solo that same set by pressing one button,” Hurtubise reports. “I like being able to memorize zooms. Say I have 128 tracks with 70 music stems and 40 sound effects stems. I can zoom to the music tracks and store it in U1; I can go to the sound effects tracks and store that in U2. If I hear something in the music I just press U1, and instantly I’m looking at the music stems. It is super easy.”

All four Fairlight operators at Margarita Mix use similar console control templates for uniformity. Nathan Dubin has been at Margarita Mix for over a decade recording VO, mixing for television, ADR recording for film and commercial mixing for TV and radio that has earned several industry accolades. Working with clients such as Nissan, Activision, Disney, AT&T, Kaiser Permanente, and UPS, Jimmy Hite has over 30 years of experience in sound mixing for the commercial and advertising industries, and has won numerous awards throughout his career. Paul Hurtubise focuses on commercial mixing as well as ADR and commentary recording. His recent credits include spots for Google, eHarmony, Old Navy, Hyundai, and Toyota, among others. Jeff Levy has been part of the team for 20-plus years, also earning multiple awards for mixing and sound design.

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  First Fairlight EVO.Live Mixing Console Installed and On-Air at The CatholicTV Network  

The CatholicTV Network, which broadcasts local national and international religious programming including live coverage of Pope Francis from production facilities in the Greater Boston area, is on-air with the first Fairlight EVO.Live digital audio mixing console. Based on Fairlight’s Crystal Core technology, EVO.Live is a powerful console with integrated HD video and multitrack audio recording designed for broadcast studio and live production applications that can be reconfigured to operate as a post production system at the push of a button.

Stephen Sasso “Fairlight has hit this one out of the park ..."

Fairlight’s first production mixing console, EVO.Live can be used in a dual-operator configuration with each engineer having independent fader sets. The system delivered to The CatholicTV Network is a true split configuration with a main control surface located in the audio production suite and a second, smaller surface positioned in the video control room. Both surfaces access the same I/O and EVO.Live FPGA core processor but operate independently of each other. Either surface can control the audio going to air while the other is being used for a rehearsal or getting set for the next production.

According to Mark Quella, Director of Engineering and Operations for The CatholicTV Network, “Only Fairlight could meet the wide range of capabilities we required from our audio production system in the timeframe we needed it. EVO.Live meets all of our needs and then some, from easy integration with the communications of the newsroom to the beautiful musical horsepower to do symphonic recordings. Plus, of course, Fairlight’s world-class post production mix-to-picture capability is second to none.”

Steve Sasso, CatholicTV’s Assistant Chief Engineer, adds, “Fairlight has hit this one out of the park. The design of this desk is really well thought out. When I'm in front of it, it's ‘in my face.’ That's what I like, not to have to search for controls, especially in a live situation. And, I can still record all my tracks for use in post later on. I would recommend this console to any broadcaster that wants ease of operation and full control in any live situation—as well as in post. Plus, Steve Rance and the guys at Fairlight are just a text away when it comes to support, with in-depth knowledge of every aspect of the desk."

The EVO.Live is being used at the CatholicTV Network facility to mix live and pre-recorded HD programming, including  This is the Day, a live chat show that features interviews with Catholic artists, authors, musicians, organizers and ministers from around the world; WOW: The CatholicTV Challenge, a long-running children’s game show; and Catholic Newsbreak, an update of the most important daily news for Catholics. The network also broadcasts coverage of the Pontiff’s world travels, devotional and educational programs as well as live religious services, including daily Mass, and events from the Vatican.

The highlights of EVO.Live’s powerful feature set include 104 inputs into 128 bus elements; one main and 24 subgroup outputs configurable as mono, stereo or 5.1; 24 auxiliary outputs; 16 mix-minus buses; a 128-track digital audio disk recorder and a HD video recorder. The system supports six-band EQ on every channel, main, sub and aux bus and dynamics processing on every channel and bus. EVO.Live also has an integrated cart machine that may be controlled from the console surface or from a PC or tablet anywhere on the facility network.

CatholicTV began broadcasting from Boston on January 1, 1955 and currently operates out of HD production studios in Watertown, MA. Known as "America's Catholic Television Network®," The CatholicTV Network is available in nearly fourteen million homes via various broadcast stations and cable systems, including Comcast and Verizon FiOS, and to countless others over the Internet at

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  "Best of Show" Award Winner at NAB 2014  

The editorial team of Pro Audio Review and Pro Sound News magazines have granted EVO.Live – Fairlight’s new broadcast and live production system with a Best of Show Award at NAB 2014 in Las Vegas.

ProSoundNetwork’s announcement states, “During each of the major conventions and trade shows, the editors of PAR and PSN comb the exhibit halls for new and noteworthy products. Gear and software that show particular merit are singled out for the ProSoundNetwork Best of Show Awards. All products debuting at a given event will be eligible”.

We are delighted about this reputable industry award and the extraordinary buzz EVO.Live has created at the NAB Show. It is a recognition of Fairlight’s innovative approach to live production with leading-edge audio processing and control surface technologies, delivering incredible audio mixing performance at an unprecedented price. EVO.Live’s unique operational features with benchmark level of customization, live multi-track recording, advanced surround sound capabilities and ability to switch between live and post modes make this product a very strong contender in the OB truck, performing arts venues, houses of worship and broadcast market.

NAB 2014 was a great show for Fairlight and the team wanted to thank the many customers who visited our booth and showed enthusiasm for our Audio Live and Post Production systems, Universal Media Production Controllers and 4K Video Recorder.

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  3H Sound Studios Installs Seven Fairlight Systems  

3H Sound Studios’ extensive facility includes Foley and ADR rooms, and seven post production studios, six of which are equipped with Fairlight XYNERGI desktop systems with fader sidecars. HD video is available in all of the studios, one of which also runs dual-stream video for 3D work.

Three studios are 7.1 capable for editing and mixing, while the rest of the rooms offer 5.1. Fairlight’s integrated immersive 3D surround sound technology plays a major role in the mixing capabilities of 3H’s main room, which is equipped with a 36 fader EVO post production console, fitted with Dolby Atmos and Barco's Auro-3D.

Mr. Duu-Chih Tu, founder of 3H Sound Studios and winner of multiple Golden Horse Awards for Best Sound Effects, and Technical Grand Prize winner at Cannes International Film Festival comments that Fairlight systems are, “So state-of-the-art that it would take any other post production facility at least five years to catch up.”

Agnes Liu, one the main audio engineers at 3H states: "I've been using Fairlight products for almost eight years. They’re fully designed for post, not like others, which are more about music purposes in many ways. The editing work on Fairlight is just a lot easier because you have everything you need right in front of you. I don't think I can do sound editing with a mouse and keyboard anymore, and why should I?” Agnes Liu continued “The best part about choosing Fairlight is their service. They are always responsive and helpful.”

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   CC-2 is The Next Generation Audio Engine With Over 1000 Channels Providing a Quantum Jump in Both Speed and Performance  

CC-2 is the second generation FPGA digital audio engine from Fairlight delivering unsurpassed track-counts, and full-time processing power supporting immersive surround formats beyond 22.2 and all on a single PCIe card.

Fairlight has raised the bar again with the release of its next generation audio engine. CC-2 is based on Fairlight’s Crystal Core Technology, powering their entire range of high-speed digital audio mixing, recording and editing systems, delivering guaranteed performance and increased efficiencies in the largest and most complex productions.

One Thousand Channels
Track counts and surround formats of today’s film and television productions require a more advanced and more scalable alternative to outdated DSP based solutions, which is why Fairlight has moved to the more advanced FPGA-based CC-2 technology. Providing 1,000 hard disk playback channels, 100 live inputs and 100+ output buses available, the CC-2 system is the fastest and most powerful audio engine ever made, perfectly suited to today’s submersive surround sound formats, including Dolby® Atmos™, DTS® MDA and NHK’s 22.2.

Enhanced Productivity

Tightly integrated with Fairlight’s editing and mixing environment, the new CC-2 enables a range of productivity-enhancing features including an entirely new 64 bit codebase, advanced delay compensation, and faster than real-time bounce to name just a few. With equalization, dynamics, plug-ins and inserts always on every input and bus with near zero latency, unlimited headroom and legendary sound quality, FairlightUSers will now be able to tackle larger projects, with more tracks, more processing power, and more speed with ease.

Accelerated Workflow

CC-2 is a quantum leap in processing power and when combined with Fairlight’s intuitive user interface, tactile control surfaces featuring their patented, self-labeling Picture Key Technology, and tight integration with third-party storage, media asset management systems or video collaboration environments, Fairlight delivers the fastest workflows of any system on the market. When faced with tight deadlines, you can rely on Fairlight to help you deliver a quality product, on time, every time, at least 20% faster than on competitive systems.

Invest in your future

Continuing a long tradition of seamless upgrade paths, Fairlight has ensured that CC-2 is also compatible with audio hardware purchased for CC-1. This means that owners of Fairlight systems don’t need to replace their current audio interfaces and control surfaces to upgrade to CC-2. Existing investments in Fairlight’s high-quality hardware continues to be supported, maximizing the return of investment on existing equipment. “Traditional approaches to audio processing are not enough in today’s high-track-count, multi-channel immersive surround mixing environments,” commented Tino Fibaek, Chief Technology Officer of Fairlight. “The new CC-2 guarantees rock-solid performance for our customers, with no limits. Creativity should never be limited by technology”.

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  Fairlight and Quantel® Collaboration Produces Better Workflow and Faster Throughput with GATEWAY and QTube®  

Fairlight and Quantel, the market leading innovator in news and sports production systems and high quality post, today announced the upcoming release of Fairlight's new audio post Gateway integration module with Quantel QTube.

Fairlight makes the ultimate in audio post production tools. Professional tools for editing, mixing, plug-ins, file transfer and multichannel recording, all under the fast control of Fairlight’s tactile control surfaces featuring its patented Picture Key Technology.

Quantel’s QTube technology provides industry partners with direct access to audio, video and metadata held on its Enterprise sQ production systems. QTube has an API which is available to companies such as Fairlight, and enables development of new workflows with minimal engineering overhead.

The Quantel QTube API gives Fairlight audio editing systems instant, real-time access to Quantel video compositions directly within the Fairlight software. Fairlight’s Gateway accesses the Quantel Enterprise sQ storage, with no rendering or video file import required, providing frame accurate playback, jogging and scrubbing over a local LAN network or even over the internet. Extensive search functions allow the operator to quickly find pending work, and import audio assets from the Quantel server with ease. At the end of the session, the final audio is laid back directly to the Quantel server via Fairlight Gateway.

Quantel® QTube® Integration
Module Brochure

Tino Fibaek, CTO of Fairlight commented, “Tight system integration within a broadcast facility is vital to meeting the challenges of today’s demanding production deadlines. The close collaboration between Fairlight and Quantel and the open design architecture of both systems was crucial in the development of the Fairlight GATEWAY module for QTube with the objective to deliver seamless workflow integration and faster throughput.”

Steve Owen, Quantel Marketing Director, said, “The QTube API really does enable tight integration of systems from different manufacturers. The Fairlight Gateway is a perfect example, adding powerful audio post production tools to complement the unrivalled editing workflow of our Enterprise sQ systems.”

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  Fairlight Delivered Audio for the Opening and Closing Ceremonies at Sochi 2014  

With a global audience of billions of people from over 200 countries, it was Fairlight technology that delivered the audio for the spectacular opening and closing ceremonies at the Fisht Stadium of the 2014 Winter Olympics and Paralympics at Sochi, Russia.

The full design and direction of audio systems and services for these events was managed by Auditoria Pty. Ltd. from Sydney, Australia. Auditoria has delivered audio and communications systems for some of the world’s largest live and broadcast performance events.

An event like Sochi requires reliability, speed and seamless integration with other production elements in order to provide an excellent audience experience. Among the equipment chosen for these high profile shows were two identical turnkey Fairlight editing and playback systems, each consisting of two XSTREAM desktop controllers, two workstation PC’s, two SX-20 I/O units and XE-6 Faders.

Auditoria director Scott Willsallen commented from Sochi, “The elegance, simplicity and robustness of the Fairlight systems in use here in Sochi are second to none. Whilst our primary usage of the system is for dual-redundant A/B playback, our workflow also includes creating QuickTime movies for technical programmers and choreographers. The Fairlight platform gives us the buss count and flexibility to deliver stems for FOH & monitors, broadcast mixes, sound design content stems and backup vocal stems as well as the QuickTime movies, all within one session with complete A/B-roll capability and fully backed up on a second system. The XSTREAM controller is fully configurable and offers the fastest, most user-friendly interface available. I am in the unique position on these projects where I can nominate any product the market has to offer - when it comes to playback, I choose Fairlight.”

The Fairlight systems on-site were fully operated by veteran head audio editor and playback engineer Steve Logan.

Steve Logan added, “In any live event, but especially one of this magnitude and importance, reliability is paramount. This is why we always choose Fairlight for our audio requirements – because we know that, with Fairlight, we simply won’t have any problems.”

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A New Paradigm In Audio Live Production 

At NAB 2014, Fairlight introduced EVO.Live - a new generation digital audio mixing system for the most demanding on-air and live productions. Built on Fairlight’s leading-edge audio processing and control surface technologies, this new system comes with true live credentials, offering the best possible price/performance value and unique operational features.

The mixing console’s compact, modular design creates the perfect mixing environment for OB trucks, performing arts venues, house of worship and broadcast facilities. The console is available in different chassis or table-mount configurations from 12 to 60 faders. The ergonomic control surface design with touch TFT monitors offer immediate access to all critical live functions with excellent visualization. The system maintains full redundancy with automatic takeover on any component failure.

Fairlight’s interactive control surface includes unique Picture Keys which self-label instantly for each task performed, displaying the right commands and functions at the right time. In addition, Fairlight’s new iCan (Integrated Control Across Network) technology provides the operator with an easy to use editor to design fully customized layouts.

The console incorporates complete Dual-Operator functionality allowing each audio engineer to independently access their own set of faders, solos, channel selections and monitoring controls.

Audio processing takes place in Fairlight’s FPGA-based Crystal Core audio engine ensuring very high channel and bus counts, lowest latency and purest sound quality. Comprehensive Mix-Minus, advanced comms, extensive metering and flexible bussing are meticulously implemented. The compact 2U Live Audio Processor includes an extensive range of built-in I/O. Adding a second hot-swappable FPGA based engine with dual-input power supplies guarantees the highest system reliability. A wide choice of modular remote I/O is also available to meet the demands of any application.

The power of EVO.Live reaches beyond live production, with full recording facilities, off-line preparation via laptop, a built-in cart machine for flying in sound effects, and control extensions to lighting systems, third party DAW and sound library databases.

After the live event has completed, EVO.Live can be entirely reconfigured, turning into Fairlight’s industry leading post production system featuring audio editing, full video integration, plug-ins, automation and sophisticated 3D surround panning.

Jean-Claude Kathriner, CEO of Fairlight commented “Fairlight, as the brand trusted by high-end audio professionals for over 30 years, is proud to extend its state-of-the-art technology to the live production industry. EVO.Live includes an array of innovations that will benefit customers in terms of productivity gains, reliability and especially value for money. The intuitive level of customization of the user interface and its unique ability to switch between live and post modes will change audio production forever”.

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  AES 2013 - NYC  

At AES in New York City, Fairlight presented innovative tactile controllers, targeted at video production facilities looking for significant productivity gains.

Fairlight’s new XSTREAM and latest generation XYNERGI, used and acknowledged by many audio post production heavyweights as being the fastest and most ergonomic in the industry, will extend its control capability to non-linear video editors such as Adobe® Premiere® Pro, Grass Valley® Edius® and Sony® Xpri® NS.

The interactive control surface consists largely of Fairlight’s unique picture keys, which self-label instantly for each task performed, displaying the right commands and functions at the right time.

In addition, Fairlight’s new iCan (Integrated Control Across Network) technology provides the operator with a versatile layout editor to design customized keyboard layouts for the video editing software in use. To further accelerate workflow, the system can record and playback macros and multiple applications can be accessed simultaneously. Also included is an Xplain help function and support of 18 different languages including German, French, Italian, Spanish, Russian, Chinese, Korean and Japanese.

“The versatility of Fairlight’s tactile media controllers will offer video editors the benefits of incredible speed for complex editing tasks to get the job done much faster. The user is not restricted by the limitations of keyboard shortcuts and mouse based operations, but can easily personalize the work surface, to make the controller a true workflow accelerator. The result is fewer keystrokes, more control and greater productivity”, commented Jean-Claude Kathriner, CEO of Fairlight.

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   The Fairlight SX-36
A Premium All-in-One I/O and SYNC Solution for Crystal Core Systems

With the launch of the SX-36, Fairlight is adding a new I/O, synchronization and control interface to their range. the SX-36 is designed as a high-end solution for audio post production systems powered by Fairlight’s Crystal Core Media Engine. It offers an extensive variety of analog and digital I/O, pure sound, pristine remote controlled microphone preamps, precise lock to timecode and ultra low latency, making it the perfect setting for the most demanding media productions.

The SX-36 is a 1U rack mountable interface, and comes with a host of features ...

• 12 balanced analog outputs
 • 11 stereo digital outputs fully transformer-coupled AES
 • 9 stereo digital inputs
 • 8 balanced analog inputs
 • 2 Remote-controlled Microphone / Instrument preamps
 • 1 stereo digital input with sample-rate conversion
 • 1 stereo digital output (S/PDIF format)
 • Dual independent 9-pin control ports
 • MIDI In • MIDI Out
 • Tri-Level sync
 • Video sync
 • Wordclock
 • AES
 • Read and generate LTC
 • Read and generate MTC
 • Metering with 12 assignable 4-LED bar-graphs
 • 1 GPI signal
 • 1 GPO signal
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   Source Elements Announces a Major New Release of Source-Connect    

Source Elements announces a major new release of Source-Connect Standard and Pro 3.7 for Windows, bringing the power and stability of our Standalone software to the Microsoft® Windows® operating system, offering all the power of Source-Connect to audio professionals working on Windows. Source-Connect 3.7 runs as a Standalone application, no longer needing complicated DAW setups, while still allowing you to work directly in their DAW of choice and take advantage of the full feature-set of Source-Connect Standard and Pro.

Source-Connect 3.7 arrives with built-in support for Pro Tools 10, with Pro Tool 11 support pending. This new version of Source-Connect Pro finally brings compatibility with DAWs that exclusively run VST plug-ins, including Nuendo, Cubase, Fairlight, Pyramix, and many others.

For more information please visit the Source Elements WEB Site HERE

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    Fairlight Scores Highly With Top Sports Post Production Houses in the US    

Leading sports broadcast networks including NFL Films, World Wrestling Entertainment, Major League Baseball Productions, NASCAR Media Group and NBA Entertainment have continued to deploy Fairlight consoles for over 20 years due to their unmatched performance, high quality sound and flexible tactile editing capabilities.

NFL Films
Overall, NFL Films occupies 16 audio suites for production work, using a combination of Xynergi and EVO consoles. “We were already using Xynergi controllers and knew the software and automation well, so adding the EVO control surfaces was a very straightforward process operationally,” explained Vince Caputo, Supervising Sound Mixer at NFL Films. “Our audio infrastructure and workflow are built around the Fairlight, it’s the cornerstone of everything that we do with sound.“ “Sonically, the Fairlight products are brilliant, but the main attraction for us has always been speed,” Caputo continues. “We regularly have fast turnaround times and tight deadlines, and the speed and flexibility of the Fairlight Xynergi is unmatched.” NFL Films has just decided to install another large custom built 6 bay EVO system.

World Wrestling Entertainment
Based in Stamford, Connecticut, WWE is home to one of the largest entertainment companies in the world, reaching 13 million viewers in the United States as well as broadcasting shows in over 30 languages to more than 145 countries.“The editing capability of the Xynergi is so far beyond anything else,” said Chris Argento, VP of Post-Production at WWE. “If we ever had to switch away from Fairlight, it would greatly affect our workflow and slow us down a great deal.” WWE continues to utilize Fairlight’s Constellation as well as six Xynergi consoles to meet post-production needs. “With many projects taking place in various rooms Fairlight has allowed us to access all projects in every room while having access to all 96 channels and HD Video everywhere,” Argento continued. “The support from the Fairlight team as well as the request for future improvements has been top of the line and helped us to continue to meet our goals and expand on the work that we are able to do.”

Major League Baseball Productions
Major League Baseball Productions, another strong endorser of Fairlight also continues to use the Constellation and Xynergi consoles due to their advanced state of the art digital audio recording, editing, mixing and delivery technologies. John Gardner, audio post mixer at MLB Productions, states, “speed, new features, versatility and superior sound quality are all key reasons why MLB has continued to invest in Fairlight. The CC-1 engine provides world-class automation and also allows me to deliver 5.1 and stereo mixes and also support multiple A/V file formats so we can import, export and convert files in a fraction of real time.”

NASCAR Media Group
Also NASCAR continues to enjoy the performance of Fairlight Post Production system and having recently decided to upgrade their existing Fairlight consoles to the latest generation of EVO. The entire facility is changing over to the latest version of Fairlight’s 4.0 software which will increase the system capabilities even further.

NBA Entertainment
NBA Entertainment is another Fairlight supporter in the US having recently made the decision to upgrade their Fairlight Constellation system to the latest EVO model. This upgrade ensures highest media throughput of one of the largest suppliers of sports television and Internet programming.

Combined, Fairlight has maintained its very strong presence in the world of sports and continues to develop products that meet the needs of post-production studios everywhere.

One of the 7 EVO consoles installed at NFL Films

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    Fairlight Delivers an Open Post Production Solution to Create Audio Content in MDA™ and Neo:X™, the Next Generation Format From DTS   

Fairlight, a leader in audio and video post production solutions and DTS, Inc. a pioneer in next generation ultra high-definition audio solutions and audio enhancement technologies today collaboratively announced the release of Fairlight’s new 3DAW, a 3D audio production platform with native MDA mixing and format support. Answering the industry’s demand for an open next-generation audio format, DTS worked with experts in the content creation community to create the MDA specification.

In January of this year, DTS publicly announced its intent to provide MDA to the industry as an open object-based audio authoring format, as the industry looks to avoid a format war for next-gen content creation and cinema delivery. Today, the standardization work continues to formalize the specification, while industry leaders such as Fairlight jump ahead of the curve by working with DTS to integrate MDA into their new 3DAW solution. The first of its kind, Fairlight’s 3DAW enables sound designers to truly mix object-based audio in unrestricted 3D space, monitor on any configuration, and output in DTS’ proposed future specification—MDA. Additionally, Fairlight’s 3DAW will feature the ability to mix soundtracks for DTS Neo:X™, a channel-based audio solution designed to support up to an 11.1 speaker system.

“We are delighted to be working with DTS to equip our all new 3DAW production station with MDA authoring capability,” said Tino Fibaek, CTO at Fairlight. “Together, we can now offer studios a highly anticipated alternative to the closed proprietary object-based audio formats being proposed to date.”

The MDA specification is currently being proposed to international standardization committees as an alternative to today’s closed proprietary solutions. MDA allows every sound element of a soundtrack to be mapped in 3D space, storing all of the spatial and behavioral information of each sound element as metadata. Mixing audio with MDA as opposed to other surround sound platforms allows a soundtrack to maintain the exact spatial characteristics of the audio as intended by the mixer. With overwhelming interest from the entertainment industry, MDA has already garnered support from major studios and networks, while content tool providers have begun developing new authoring solutions for the MDA format.

The new Fairlight 3DAW is available to the industry as a turnkey solution, based on Fairlight’s powerful Crystal Core Media processor and innovative software. It offers audio engineers with a ready-to-go, creative tool to design sound in both object-based or channel 3D mixing methods. The system provides on-screen 3D panning via a Plug-In, as well as extensive monitoring functions. 3DAW is able to generate a diverse range of mixes ranging from stereo, 5.1, 7.1, 9.1+2, DTS Neo:X, as well as an object-based mix (MDA). A separate tablet control application allows for easy previewing and demonstration of audio output to verify and display the results of the creative process.

“We are extremely excited to be working with Fairlight on enabling their all new 3DAW workstations with MDA format support,” said Fred Kitson, CTO at DTS. “The industry has been clamoring for an open-platform for the creation of object-based audio to end the format wars, and MDA was created specifically to address this.”

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    Fairlight Launches an Array of Innovative Post Production Technologies at NAB 2013  

Fairlight will present at NAB 2013 an impressive line up of product innovations, re-claiming its leadership position in providing the post production industry with world-class solutions for advanced audio with video editing and networking technology.

"As a result of Fairlight’s investments and commitment to launching new products and technologies with tangible benefits for media content creators, visitors will witness the widest and most versatile range of Fairlight post production solutions ever on display", commented Jean-Claude Kathriner, CEO of Fairlight.

Individual product demonstrations will showcase production system options ranging from mouse based, native (SOLO), tactile desktop (XSTREAM, XYNERGI) to fully featured and modular consoles (QUANTUM / EVO). Powered by Fairlight’s award-winning, hardware accelerated Crystal Core processing engine with new DREAM software, Fairlight systems deliver benchmark performance and workflow integration into existing facilities.

Some highlights at Fairlight’s NAB booth SU9507 in the Upper Level of the South Hall are:

New DREAM Software Version Featuring ASIO® Bridge

Fairlight media post production systems now come with a new version of DREAM software. The software includes countless additional features, is easy to operate for new users, improves workflow, and delivers faster output. New features include mouse based editing, single screen interface with new mix panel choices and multi client ASIO® bridge to host third party audio products (e.g. Pro Tools®, Nuendo®).

iCAN – Ultimate Customization Tool

iCAN (Integrated Control Across Network) is the ultimate customization tool for all common DAW’s or Video production tools. Fairlight’s Layout Editor empowers the operator to simply drag-and-drop functions from a menu onto the Fairlight controller buttons, and determines when they will appear. iCan is designed as an open platform and connects a Fairlight controller to third party content creation applications such as Pro Tools®, Nuendo®, Pyramix® or Media Composer® and Edius®. User-defined key layouts of the Fairlight controller display the operators ideal set up for third party applications.

SOLO – Mouse Based Fairlight DAW

SOLO is a professional mouse-based DAW with integrated video, offering a high quality yet cost effective solution for demanding media productions. SOLO provides editing, video guide, mixing, plug-ins, file transfer and recording – in one tool. The processing power of Fairlight’s FPGA based Crystal Core processor guarantees highest performance, lowest latency and purest Audio quality.

Fairlight now also offers native, non hardware-accelerated software versions for preparation and evaluation purposes or for students/teachers to record, mix or edit - the Fairlight way. Find out at the Fairlight booth if you are eligible to receive a FREE software version

XSTREAM – Ultra Compact Desktop Controller

XSTREAM is a powerful and compact desktop controller taking intuitive, fast tactile operation to the next level. Smaller than a 17" laptop footprint, XSTREAM’s picture keys on the control surface self-label instantly for easy navigation with fewer keystrokes, providing maximum efficiency. The control surface literally reinvents itself for each task one performs, presenting the commands at the right time. To enhance the mixing capabilities, XSTREAM can be specified with up to 24 touch sensitive motorized faders.

QUANTUM and – Versatile Media Production Center

QUANTUM is a mid-size 12 or 24 fader media production console offering a very fast, mixing environment for most demanding Audio / Video productions using HD picture with up to 192 Audio tracks. QUANTUM provides the versatility to be either fitted into a free standing Fairlight designed chassis or alternatively be mounted into a high quality table from US manufacturer TBC or the client’s own table design (

PYXIS 4K – Next Generation Professional Video Recorder

PYXIS 4K is a standalone or rack-mountable, turn-key video recorder delivering a cost effective and future- proof UHD Video recording and playback, with extensive Audio capabilities and workflow compatibility. PYXIS 4K records compressed or uncompressed Video formats from SD up to 4K, and delivers transparent playback in up to 4K, dual-channel 2K resolution. For demanding multi-screen Video wall presentations, multiple systems can be synchronized for playback in up to 8K resolution.

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   NAB 2013 - Our Largest NAB Yet  

We're ready to show off our latest products at NAB 2013 in Las Vegas (April 8th -11th).

Fairlight will be located in the South Upper Hall in Booth number SU9507. On display for the first time at NAB will be the QUANTUM and XSTREAM consoles (The QUANTUM received a Best of Show Award at AES in October 2012), our SOLO native solution, and of course our highly successful flagship EVO and Xynergi Consoles all running on the ultra-powerful CC-1 Audio/Video engine.

All systems will be showing Version 4 software and being demonstrated by some high profile users of our systems.

There is one additional new item but you will have to drop bye to find out what that is! Watch this space.

See you there!

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  Fairlight Releases New Audio Post Production Software Version 

Fairlight announced that their Audio Post Production systems XYNERGI and EVO now come with the new Dream Version 4 Software. The software includes countless new features and options with the aim to make it easier to use for new users, improve workflow, and deliver faster output.

New features of the Dream Version 4 Software include:

• Mouse based editing enhancements

• Single Screen Interface with comprehensive per-track controls and new Mix Panel choices

• Improved dynamics, side-chain and MaxLinking across groups

• Multi-Client ASIO bridge for EVO to host other audio products (e.g. ProTools, Nuendo)

• Clip Bin and Clip Store functions to store projects

• Speed increase and new features for the Audiobase sound FX database

To ensure continued software improvements, Fairlight also introduces a 12 month software license subscription scheme. The license subscription provides access to software releases and updates during a 12 month subscription period. Customers who purchased a XYNERGI or EVO in 2012, will get a 12 month Dream Version 4 software license subscription for free.

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EVO Upgrades on the Move

During the 1st 45 days of 2013 , FairlightUS has secured orders for seven EVO upgrades from NASCAR, NBA, Modern Video Film and Independent Studios.

All of these facilities have taken advantage of the EVO retrofit to there existing consoles. All systems should be installed within the next 45 days.

With NFL Films, New Wave Entertainment and RIOT Atlanta this now brings the total number of EVO consoles in the USA to 21.

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France Télévisions, one the largest broadcasters in Europe has selected Fairlight EVO as the system of choice

Fairlight, a leading force in digital audio technologies, is proud to announce that France Télévisions has chosen Fairlight’s Audio Post Production system EVO to upgrade 25 of their regional studios. Recent changes to France Télévisions production and distribution of regional news and programs required a complete workflow solution seamlessly integrating audio post in a news production environment.

Following a detailed technical and operational evaluation process as part of a European Union tender, Fairlight EVO was chosen by a France Télévisions expert review panel out of many international suppliers as the preferred audio post solution. Fairlight EVO’s superior tactile control surface, the high speed processing power of its CC-1 Media Engine and the customization opportunity of the new iCan technology was recognized by France Télévisions to deliver faster and higher throughput. The expertise to handle complex workflows through innovative management tools such as TTWASS (Total Tapeless Automation System Suite) together with strong service support from Broadcast Architech, Fairlight’s distribution partner in France, supported the decision to partner with Fairlight.

Jean-Claude Kathriner, CEO of Fairlight says “We are delighted that France Télévisions is joining the increasing number of broadcasters around the world selecting Fairlight technology for their audio post production requirements. We are looking forward to working closely with France Télévisions and Broadcast Architech to ensure smooth implementation of the systems.” Installation of the first regional studios is scheduled for January 2013 .

Broadcast Architech is based in Paris-France and the exclusive distributor of Fairlight products in France, Belgium and Luxembourg.

Full press release is available

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QUANTUM Takes Home a Best of Show Award at AES 2012 in San Francisco

Fairlight has been presented by Pro Sound News and Pro Audio Review magazines at the 133rd Audio Engineering Society Convention in San Francisco with a Best of Show Award for QUANTUM,  the new fully featured, mid-size Audio Post Console.

QUANTUM is the latest addition to Fairlight’s extensive Audio Post Production product line up convinced the judges through its compact design and fast, tactile mixing environment with unlimited functional scope. QUANTUM is available in both 12 and 24 fader configurations, and supports large projects up to 192 tracks feeding a 230 channel mix into 72 bus elements. Bus elements can be combined into standard busses from mono to 7.1, plus custom format buses of any size. The new console is perfectly suited for Audio Engineers working in most demanding Broadcast or Post Production with limited studio space requirements.

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Fairlight Introduces QUANTUM  A new fully featured, mid-size Audio Post Production Console

AES 2012 will see the debut of Fairlight QUANTUM, the latest addition to the company’s award winning, high-end Audio Post Production range. QUANTUM is a complete Audio Post Production System combining the power of Fairlight’s hardware and software, recording, editing, mixing, plug-ins, MIDI and video with a fully self-contained, 12 or 24 fader console perfectly suitable for film, video and music studio and post production facilities.

QUANTUM offers control  through the fast and ergonomic operation of its tactile control surface with faders, switches, knobs and jogger wheel, augmented with touch screen and mouse based functions. QUANTUM's motorized faders combine with a dual row of rotary encoders to provide touch-triggered automation of all mixing parameters.  Within easy reach, the system touch screens improve the physical controls with multiple switching options and project navigation. QUANTUM includes an embedded Edit controller utilizing Fairlight's unique Picture Keys. These instantly adapt their appearance and function for easy navigation with fewer keystrokes. The control surface literally reinvents itself for each task you undertake, presenting the commands you need at the right time. Fairlight’s new iCan technology with drag-and-drop Layout Editor allows Audio Engineers to design their own button layouts for specialized functions. Also available are flexible mounting systems to attach speakers and screens from the rear of the console.

QUANTUM delivers efficiency with cutting-edge affordability for a mid-size console. Editing, SD/HD integrated video, mixing, plug-ins, file transfer, recording are integrated all in one system. As part of the Fairlight range it is fully file format compatible with all Fairlight products, and provides seamless workflows for virtually all SD and HD file formats. The powerful CC-1 Media engine supports up to 192 disk recorder tracks, 230 mixing channels and 2 HD video tracks for 3D work. Included is support for up to 256 inputs and outputs, built-in EQ and dynamics for every channel, access to VST plug-ins and instruments, and mixing to multiple bus destinations up to 7.1 wide. The Quantum Audio Post Production System interfaces to popular server architectures and its facility with professional video file formats make it the natural choice for post-production in a busy multi-purpose facility.

NFL Films Deploys Fairlight EVO and Xynergi Consoles For A Winning Strategy to Deliver Outstanding Production

"...Very little data is stored locally, making it fast and easy to work on the same project in multiple rooms"

In order to achieve the highest level of audio quality in production and post-production of sports-themed entertainment and documentaries, NFL Films utilizes Fairlight’s EVO and Xynergi consoles to create material for the National Football League’s weekly highlights, analysis shows and documentaries featuring the league’s greatest players and performances.

At its Mount Laurel, NJ facility, NFL Films occupies 16 audio suites for production work, using the Xynergi console with the addition of six EVO’s in the past 18 months. “Our engineering staff was able to add the EVO consoles into our Xynergi rooms with very minimal downtime,” states Vince Caputo, Supervising Sound Mixer at NFL Films. “We knew the software and automation well, so adding the EVO control surfaces was an easy upgrade operationally as well.”

One of the 6 EVO consoles installed at NFL Films

During the season, NFL Films produces weekly shows for a variety of outlets including NFL Network, ESPN, Showtime, The NBC Sports Network and Velocity. Their work in featured on programs such as NFL Films Presents, Inside The NFL, NFL Turning Point, and Sound-FX.

NFL Films also produces documentaries and specials for HBO, such as the Emmy Award winning Lombardi, the recently premiered Namath, and the hit reality series Hard Knocks, a behind-the-scenes look into NFL training camps. Their America’s Game and A Football Life series both run on NFL Network, and have garnered critical acclaim.

“Sonically, the Fairlight product has always been brilliant, but the other main attraction for us is speed,” Caputo continued. “The bulk of our work is straight up editing of dialogue and NAT sound, general track prep and sound effects placement. For all of that, the speed and flexibility of the Xynergi is unmatched. We also rely on the clip-based DSP, so that when we reach back in to our archives for a sound clip, we can import it with all of the work done, level, EQ, rendered plug-ins, fades, etc. That saves us from having to do that same job twice.” “With both the clip-based and channel strip control, there is an over-abundance of power and flexibility, so there are few boundaries,” Caputo said. 

Combining the Xynergi with the EVO has only made the process easier for NFL Films, allowing the editing and mixing process to overlap. “There is much less delineation between the pre-dubbing and mixing processes, the mix is always on.” Simultaneous work helps to keep workflow moving, which is crucial for the NFL team.

Fairlight is an integral part of how NFL Films operates, as shown by their dedication to the products for nearly 20 years. “Our Fairlight network and file server are at the core of our audio operation. The server houses all of our shared data, Sound-FX libraries, HD video that we simultaneously stream from multiple rooms, and archives dating back over 20 years. Very little data is stored locally, making it fast and easy to work on the same project in multiple rooms,” Caputo mentioned.

For Caputo and the rest of the team at NFL Films, the ‘Fairlight way’ of operating is the only way to do it. “Our audio infrastructure and workflow are built around the Fairlight operating system. There are so many unique features in the Xynergi/EVO combination that you can’t find elsewhere. If you never had them, you wouldn’t miss them, but once you get used to that power, you can’t do without it.”

Caputo explained the long-standing relationship with Fairlight and how NFL Films has contributed in driving product development. “They trust us to give them reliable feedback, and have used it to implement features that are beneficial to us, as well as all of their end users. It is a powerful relationship we are proud to have.”

For more information on NFL Films, please visit:

Sound Design Corporation Deploys Fairlight’s Xynergi Console, Develops Assortment of Entertaining Digital Material for the GRAMMY Awards

"Fairlight understands my job and how to make it easier. I couldn’t imagine my work without it."

Anticipation, suspense and recognition are essential to the production of awards shows, so it is no surprise that the GRAMMY Awards also deliver entertainment to its audience with a highlight reel of nominees before honoring the winner. Sound Design Corporation, Hollywood’s premier post-production audio facility, turns to Fairlight’s Xynergi consoles when developing ‘edge of your seat’ digital material for the GRAMMY’s.
Sound Design’s President, Paul Sandweiss, a voting member of NARAS (The National Academy of Recording Arts and Sciences) has been working with the GRAMMY’s since the late 1970’s, offering his expertise and knowledge of sound production to make sure that the show runs smoothly as well as provide viewers and nominees with thrilling anticipation before the winner is announced.

Paul Sandweiss (left) - Kristian Pedregon (right)

“It’s an honor to be apart of the industries most prestigious live music award show,” says Sandweiss. The GRAMMY’s, which is typically a three hour music award show, has anywhere from 10-20 awards with four to six nominees per category. Sandweiss and his team are responsible for creating the sound of the clip packages that highlight the nominee’s efforts, as well as any other video packages that roll in the show. “Once the packages have been edited, we have the task of recording the announce copy, blending, mixing, and sound designing any transitions, as well as the overall mixed sound of the packages.”
The process from start to finish can be tricky, especially as changes are made on the fly and different awards and presenters are added or dropped. However, with the Xynergi console, Sandweiss says the workflow is easily manageable. “Once we are done with our final mix, we use the Xynergi controller to control the HDCam recorder, where we marry our mix with the final picture. The final mix is laid back as two stereo stems. One stem is the final mix minus the announcer, and the other stem is the announcer, so the front of house and monitor mixers can build their own mix regardless of our broadcast mix. That way everyone has control of the sound elements they need for their audience, be it performers, audiences in the live venue, or those at home watching the broadcast live on TV.”
Sound Design Corporation is also responsible for mixing the in memoriam package, a showcase of renowned members of the music community who have passed away over the last year. “This can be quite difficult,” Sandweiss says. “As seen this year, we have to be ready to update the packages as devastating events happen so close to the show. This is never a highlight of the job but the Xynergi helps to make the update seamless.”
One aspect of the Xynergi and Fairlight is the ability to save everything. This proves to be useful in situations when Sandweiss can pull up a template from the previous year and look at the settings that were used. “I always keep notes, sometimes different producers like certain techniques, having that knowledge helps to make the process easier the next time around.” Fairlight’s ability to import different file types without the need for external plug-ins eliminates difficulties in opening past projects or dealing with new ones.
There are strict time limits for each project, and more so with a show as big as the GRAMMY’s where everything is closely watched. “There’s no need for any external devices, all the plug-ins including reverb are all there with the push of a button. It saves us a lot of time with no need to flip through menus and pages to find what you’re looking for,” Sandweiss explained.
With the Xynergi’s ability to interpret a variety of file extensions, it makes the sending and receiving of audio and video straightforward. “We can import and export our audio and video in a variety of formats which makes interaction with picture post houses easy, and quick. From there we can easily send it to be reviewed and are able to work alongside the other members involved, a difficult process if you aren’t using Fairlight,” Sandweiss mentioned.
“Our main challenge is time,” Sandweiss stated. “It’s called television for a reason, emphasis on vision. If there is a certain amount of time allocated for video, the audio cannot be added until that is established. Fairlight and the Xynergi make it easy to view everything together and enables me to track the changes as they occur.”
Sandweiss and his team have been in the industry for over a decade, and continually strive to advance through creativity, “Fairlight understands my job and how to make it easier. I couldn’t imagine my work without it.”
For more information on Sound Design Corporation, please visit:

Production Consultants, A One Stop Shop For Any Audio, Video, And Voiceover Needs, Adds Creativity With Fairlight’s Xynergi And XE6 Side Cars

“Fairlight systems are made for people who need to get lots of work done without procedural issues” ... “The function you need is always right under your fingers when you need it,”

Production Consultants, a 25-year leader in audio post, with experience in video production, live sound and recording, among other environments, is deploying Fairlight consoles to meet its production needs. Founded by veteran producer/engineer and St. Louis Audio Engineering Society Chairman Bill Schulenburg in 1986, the company relies on Fairlight’s Xynergi and XE6 Side Car Consoles to keep clients on the leading edge of video and audio success.
Production Consultants often collaborates on projects with World Wide Wadio, a group of Hollywood writers, directors and producers who produce radio commercials, campaigns and audio tracks for internet, TV, film and CD’s, ranging anywhere from local radio and television campaigns to international corporate projects.

Schulenburg notes “We use the console daily on projects of all sizes. Xynergi’s complete system integration means we don’t have to worry about any project, file type, set of resources, delivery option, or any other limitation that may come up. With everything built in, I work with great confidence every step of the way. The ability to maintain flexible workflow allows me to say yes to any project we’re presented.”
Recently, the company has worked with legendary St. Louis, Missouri based Anheuser-Busch brewery, to showcase its more than 14 decades of beer making. Produced by Wildstone Media, the project included an in-depth brewery tour providing inside access to the most popular beer brands. Production Consultants utilized Fairlight’s Xynergi console, alongside three XE6 Side Cars, adding tactile mixing controls to the hardware platform for the ultimate audio experience.
Schulenburg adds, “The console is extremely easy to manage. The Fairlight method allows me more creative freedom than other systems, as I can relate to the console very well.” He says the way you interact with your equipment says a lot about you as an individual, and he believes the Fairlight consoles seem expressly designed for the work that he does, remarking, “Fairlight doesn’t just sell consoles, they solve problems and help make my job more effective and efficient.”
For Schulenburg, the Xynergi is far beyond just a console - he compared it to a musical instrument: “The audio quality is superb. It encourages you to use your ears, and rewards you for doing so. Instead of just seeing a waveform, you actually hear all its nuances, which is very rewarding. The seamless transition into working on a Fairlight system from either analog or digital techniques just seems right.”
Many aspects of the console help to overcome technical challenges. “The file handling is extremely flexible and allows us to work on many kinds of projects without worry. The drag-and-drop import capability while editing helps to connect audio and video together to improve workflow speed and ease of use.”
“Fairlight systems are made for people who need to get lots of work done without procedural issues,” stated Schulenburg. “The function you need is always right under your fingers when you need it,” enhancing intuitive operation and ability to keep projects moving forward.
“I still think of a mix as a performance, and Fairlight continues to allow me to do that unlike any computer-only DAW. They have provided the advantages of the visual point-and-click method of working without giving up having your hands on the controls and your ears on the sound. Xynergi provides so many more tools that facilitate critical listening and make creative work on projects easier and more satisfying” Schulenburg added.
The support that Schulenburg and the rest of the Production Consultants team continue to receive from Fairlight is beyond expectations he said, “They support us in ways that you do not get from other companies. They understand my business and the service I need to provide to my clients. I have been very happy with the installation and everything that Fairlight and the Xynergi/XE6 consoles allow me to do.”
For more information on Production Consultants, please visit:

Full Service Advertising Agency, Doner, Implements Fairlight For Post Production Needs

“We were able to position the sound effects in each of the spots without altering the integrity of the original mix levels and plug-in processing, thanks to the ability to copy automation by clip.”

To create brand identity for high-end clients such as Serta, Pennzoil and others, Detroit-based full-service advertising agency, Doner, relies on Fairlight’s Constellation console and recently upgraded to the CC-1 FPGA media engine for all in-house post-production needs.

Some of Doner’s most notable work can be seen in the popular commercials for Serta with the counting sheep and their work with Choice Hotels and other high end brands. Doner’s work ranges from television and radio to video production for client presentations.

Ken Warzybok - Doner Advertising

Doner recently upgraded both of its studios with the CC-1 media engine, allowing more flexibility and support while also allowing members of the Doner team to work in both studios utilizing the same console. “With Doner having a variety of clients, every day is different,” states Ken Warzybok, Senior Audio Engineer, Doner. “Doner encourages creative input at every level from concept to post-production. Being in-house, we actually get to see a project grow from its original concept and we continue to assist in the creative evolution of the idea all the way to the final product.”

One aspect of the Constellation that Warzybok has taken a liking to is the ability to use plug-ins as a mix function or clip function. “I find this really handy because it allows flexibility in how I want to finesse the mix,” Warzybok says.

When copying a clip, Warzybok mentioned that it is extremely useful for the automation to be copied with it. “This is great when working on a commercial with alternate versions. It saves me a great amount of time, knowing that the automation has followed every element for consistent levels and dynamics among versions.”

Warzybok explained that while working on a series of spots for Pennzoil he was working with multiple sound design tracks, which were utilized in several TV and radio spots. “We were able to position the sound effects in each of the spots without altering the integrity of the original mix levels and plug-in processing, thanks to the ability to copy automation by clip.”

The board is very intuitive for the entire Doner team, Warzybok adds. “With so many options, I don’t have to adjust my thinking to the software. We all have different backgrounds, so it helps that we can work on the same projects while doing things our own way. With deadlines to meet, sharing projects between studios happens frequently. With Fairlight, the process is seamless and I can be confident that as we pick up each other’s projects, the information, elements, and automation will remain intact.”

It’s the little things that give Doner the confidence to continue with Fairlight throughout the years, such as the System Mix safety guard. “It’s a great safety net if you didn’t happen to save the last mix. It came in handy recently when I needed to restore a six-year old project,” Warzybok adds. “Everything was precisely the same as when it was last worked on.”

As far as service, the very few problems that the Doner team has had have been resolved as quickly as possible. “All it takes is a phone call, Fairlight’s support team connects to our system directly and fixes the problem remotely with no hold up to us or our clients,” Warzybok summed up.

New Wave Entertainment Utilizes Fairlight EVO and Xynergi Consoles for Creative Marketing Techniques on Major Studio Releases

“The biggest selling point for us is the new dual video track, allowing us to work with 3D video..."

Supporting New Wave Entertainment in its content production for creative marketing campaigns and original TV programming is Fairlight’s EVO and Xynergi consoles.
New Wave Entertainment, located in Burbank, California, specializes in the creation of content, which spans the realm of creative marketing for TV networks and major motion picture studios to original TV programming. Their work has supported campaigns for blockbuster movies such as Avatar, Harry Potter, The Hangover Part 2, Happy Feet Two, and Alvin and the Chipmunks. Some of their recent TV promo work includes a spot for “The Ellen DeGeneres Show” which was awarded a Creative Emmy, and a TV launch campaign for “Extra.” 

Mark Rodrigues - New Wave Entertainment - Burbank CA

New Wave Entertainment has five production suites, each with Fairlight’s EVO console. One room hosts the Xynergi console with a sidecar, adding tactile mixing controls. That elevates the traditional console-like hardware interface on the Xynergi platform to a full range of audio production capabilities from recording, editing and mixing. With limited space, the, the compact digital consoles of Fairlight provide the luxury of additional rack space. 
A majority of the work New Wave tackles is on-air marketing, including television spots and theatrical trailers. They also do a large amount of Blu-Ray Features & Menu Design, Broadcast Design, Mobile Content and 3D Modeling and Animation, which has been enabled by the flexibility of Fairlight consoles.
According to Mark Rodrigues, Chief Engineer and Senior Mixer for New Wave Entertainment, “The biggest selling point for us is the new dual video track, allowing us to work with 3D video. As 3D advances, the Fairlight systems give us the chance to evolve as well. The dual track helps us recognize the changes being made as many eyes are constantly viewing the content and adding input.”
“The presentation of the video track makes it extremely easy to follow. The ability to take video sections from one spot and string together a bunch of segments with the added option to edit with sound included is fantastic,” Rodrigues added.
With five suites each working on the same project, New Wave can do 20 spots and convert them to 10 different versions for different broadcasts quickly. Everyone can mix the same way with default settings for standards and compression, and simply add in their changes, which helps Rodrigues to take on the substantial number of projects that they do. “A project can be posted on a FTP site and we can be ready to mix and edit it within seconds.”
For Rodrigues, the drag and drop conversion process helps to save time and energy and allows workflow to stay constant. He notes, “QuickTime support is very valuable to us since most of our approval isn’t done in-house. It’s great to send short clips and have our clients understand what we are working on and they can give their input as well. We can change the frame rate and merge different files together without a worry.”
Rodrigues says one feature he enjoys is the ability of Fairlight to have full support of native plug-ins wherever you need it. “We use it on a daily basis for surround mixing and dialogue cleaning, and it has enhanced the process of editing.”
“I’ve always loved the sound with Fairlight consoles,” adds Rodrigues. “They have a warmth that other systems lack. Everything has worked out extremely well and we are happy with everything that Fairlight offers from the speed of workflow to the support that they have given us to help us meet the needs of our clients.”

For more information on New Wave Entertainment, please visit:

Premiere Audio Production Facility, Producers Video, Expand Business Capabilities with Fairlight’s XCS Constellation and Xynergi Consoles

"Many of the more compact systems don’t have the versatility and ease of use with parameter adjustments and routing that you get with Fairlight..."

To help the world’s leading broadcasters and advertising agencies fully realize their ideas and visions, Baltimore, Maryland-based Producers Video relies on Fairlight’s XCS Constellation with the Xynergi as a center panel for a professional A/V solution. As Maryland’s premier film, video, audio production and post-production house, Producers Video runs campaigns for nationally known brands such as Dick’s Sporting Goods, Under Armour and Toyota, among others.

Bob Bragg - Producers Video

The addition of Fairlight’s XCS Constellation to Producers Video’s facility has been a catalyst for its continued success and expansion. “We never want to turn away clients or work opportunities as the flexibility and options we receive with Fairlight products is our major strength,” says Bob Bragg, Senior Audio Engineer at Producers Video. “Since the installation, we’ve been able to evolve and learn to incorporate more features that help expand our business and capabilities.”

One of the benefits of Fairlight’s XCS Constellation and Xynergi is their flexibility to work with many file formats. Bragg notes, “Fairlight continues to add new levels of innovation by adding HD video to the timeline as well as the capability to import and export different file formats and VST plug-ins. The ability to work on audio and signal processing on every channel, without a separate program saves a great amount of time and helps to keep workflow constant. There is no need to launch another program or extension, and all the native EQ’s and dynamics are all instantly there.”

On a day-to-day basis, Bragg mentioned some of the challenges of production and how Fairlight consoles help to eliminate issues that can slow down workflow and productivity. The user-friendly footprint of the Constellation provides plenty of inputs and outputs, and the ability to instantly adjust feeds to send to other studios via ISDN with picture lock makes it easy to keep workflow constant.

“It’s great to work with other studios and be able to have both sessions running at the same time, helping to judge the performance and make creative decisions instantly even if you’re not on site. Many of the more compact systems don’t have the versatility and ease of use with parameter adjustments and routing that you get with Fairlight and the Constellation.”

The system comes with very good sounding native EQ and dynamics that are superior to most plug-ins Bragg has used. “The native processing really sounds rich and detailed plus you still have the five plug-ins available to drop in per channel if needed, giving multiple options,” stated Bragg.

“Other features we use often are the AAF import and EDL conform capability. We drag and drop multiple cuts onto a single timeline. When a version is finalized, it’s great to be able to access the original polyphonic broadcast wav files recorded during production. This gives us access to every microphone that was on set or location and can help us sort through the feeds to pick the best audio for the circumstance.”

Working under continuing deadlines makes maintaining constant workflow crucial. For one project, Bragg described that the timeline was extremely short and the project needed to be set up on Friday and mixed for completion by Monday. With no room for leeway, strict deadlines and a tight budget, the quality still needs to be at the highest level. “At Producers, we pride ourselves in being able to do everything in house; production, editing, motion graphics, audio, and color correction. With the Fairlight Constellation and Xynergi,” said Bragg. “We can do audio post for every kind of project. It is a very versatile tool and we use its networking strengths facility wide. We can have different engineers working on different aspects of the project and it’s extremely easy to bring it all together for the final version. We really rely on the gear to perform and push the project through workflow-wise.”

The intuitive layout and ease of use of the Fairlight consoles continue to make the learning process for engineers very easy. “The ongoing support we receive is impeccable. We are constantly reassured of our decision to go with Fairlight and continue to enjoy working with them and the systems,” Bragg continued. “It’s clear Fairlight truly cares about our professional needs.”

For more information on Producers Video, please visit

WWE Continues To Amaze With Fairlight’s Constellation And Xynergi Consoles

"The editing capability of the Xynergi is so far beyond anything else"

In order to deliver the full effect of bone crushing body slams and death-defying stunts that continue to leave fans in awe, the World Wrestling Entertainment (WWE) recently invested in Fairlights Constellation and six Xynergi consoles to meet its post-production needs. The WWE headquarters, located in Stamford, Connecticut, is the home to one of the largest entertainment companies in the world, reaching 13 million viewers in the United States while also broadcasting its shows in 30 languages to more than 145 countries.

The WWE, which produces six hours of domestic broadcast programming every week, two DVD home video titles a month, anywhere between 10-30 promos weekly, along with 15 pay per view shows per year, needs to handle the vast amount of work that is often presented in a short amount of time. Due to the reliability and speed as well as the ability to maintain a constant workflow, the WWE has become a huge advocate for Fairlight, says Chris Argento, VP of post-production at WWE.

"The editing capability of the Xynergi is so far beyond anything else", says Argento. "If we ever had to switch from Fairlight it would slow us down a great deal. The ability to pull MXF files from our server to the timeline is so easy. For us to have full HD video and MPEG-2 access is huge. When projects are done we can pull any video source that has been worked on and access video files instantaneously". Argento went on to discuss the vast library of sound effects and the ease of selecting and using each feature of the Constellation.

"The AudioBase feature allows us to grab any spot effect from the server without having to sort through many pages of data. It is a huge time saver when there are hundreds of thousands of effects". Argento has become fond of a feature that he calls the voice to picture trick. "In the Constellation room, we are able to finish a domestic show in English and print it to delivery format. From there we print the full mix with English commentary on the first two inputs and use the mix-minus outputs to bounce over and re-record a different language version at the same time in 130 countries. When the voice-over session is finished the international mix is already complete except for a couple of small tweaks. This saves us at least 15 hours of work".

Another feature that benefits Argento is the ability to import from different timelines with HD. It also allows for the ability to edit on the timeline even though it isn't a specific video editor. This lets me do reversions on the fly, another way that the console keeps workflow constant and saves time. I have used many systems and have never seen anything that can process video and keep productivity consistent as Fairlight. For Argento and the rest of the WWE production staff, the training of new employees has been seamless. There is the perception that if you aren't using a specific program or computer you are out of luck, however, with Fairlight it is extremely easy to bring in new people and get them adjusted to the consoles very quickly.

The support that Fairlight has offered is excellent, according to Argento. Fairlight has helped us sync our entire system with the different rooms we have, allowing us to access all projects in every room and have access to all 96 channels and HD Video everywhere. The support, including future requests for improvements, has been top of the line. With the help of Fairlight we continue to meet our goals and expand on the work that we are able to do.

Fairlight Brings The Comfort of Reliability to The Opening of World Expo in Shanghai

With over 70 million people - almost all of them Chinese - expected to visit World Expo 2010 Shanghai, it was imperative that the opening ceremony for this extraordinary event went without a hitch.

Billed as the most spectacular outdoor multimedia display in history, the opening ceremony for World Expo 2010 Shanghai took place at the end of April and pushed the boundaries of technology to its limits. The extravaganza made non-stop use of fireworks, sound and light, with numerous elements such as mobile fountains, laser projections, and the world’s largest LED screen.

4 Xynergi's - 2 Sidecars and lots of Monitors

Australian production company David Atkins Enterprises (DAE) worked alongside Expo organizers to handle all aspects of the ceremony including the live and broadcast audio, which was sent to television stations around the world. And among the equipment chosen for this task were two identical Fairlight playback systems each consisting of two Xynergi controllers, two workstation PCs, two SX20 I/Os and a Fader sidecar.

DAE’s music editor and playback engineer Steve Logan says: “In any live event, but especially one of this magnitude and importance, reliability is paramount. This is why we always choose Fairlight for our audio requirements – because we know that, with Fairlight, we simply wouldn’t have any problems.” Logan adds that Fairlight’s ability to edit directly on the playback system really came into its own during rehearsals and production as it enabled very fast turnaround. “We also like Fairlight’s MADI capabilities as linking multiple systems and routing signals is much easier using single coax cables as opposed to what would otherwise be large quantities of multi-core cable,” he explains. “Fairlights also have powerful and flexible synchronization features that can be accessed in real-time during playback, as well as very fast response transport controls, which are essential for synchronizing with live action. Another benefit is the internal Bussing, Patching and Mixing as this allows for a highly customized configuration.”

Steve Logan at the Helm

Broken into three Acts – Welcome To China, Harmonious Gathering and Celebration - the Outdoor Ceremony of Expo 2010 Shanghai took place on a ‘stage’ that stretched 3.2 km along the Huangpu River, crowned on either side by the Lupu and Nanpu Bridges. The music featured a drum prelude by A R Rahman, who won a 2009 Academy Award for Best Music for Slumdog Millionaire; Overture from The Spring Festival Suite by Huan Zhi Li and performed by the Shanghai Philharmonic Orchestra and Peng Cao, and The Dragon, by Academy Award winning composer Vangelis. Alongside a selection of classical pieces, there were also musical contributions from Zhao Guang, Peewee Ferris, Chen Gang, He Zhanhao, Zhen Lu, Wang Xilin and John Adams.

Logan adds that the complex nature of the audio production meant that a temporary studio needed to be constructed at the Expo site. “The whole show was synchronized from the Fairlights, with Timecode sent to Lighting, Video, Lasers and Fountain control. We also sent FSK (Frequency Shift Keying) tracks from the Fairlights to set off all the Fireworks.”

DAE has extensive experience of handling complex events of this nature, having previously being involved in the opening and closing ceremonies for the Winter Olympics in Vancouver, the Opening and Closing Ceremonies for the Sydney 2000 Summer Games and the 15th Asian Games Doha 2006, in Qatar.  “It certainly helps when you can tap into previous experience,” Logan says. ”And it also helps when you have faith in the equipment you have chosen because you’ve used it often enough in the past to know it won’t let you down.”

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NAB 2010 - A Great Success for FairlightUS

What a fantastic show at Las Vegas for FairlightUS, we have some great products for 2010 that deliver exactly what our clients need. We have without doubt the fastest Post-Production system available today with updated tactile surfaces to boost productivity even further. The launch of EVO at NAB has resulted in SIX console sales for immediate delivery. Over the next few months you will see and hear a lot more about EVO and it capabilities. We wish to thank everyone who attended the show. Our next show in the USA will be AES in San Francisco, November 5 through 7. Don't wait that long, contact us today for a demo of this outstanding system.

Philippe Guichard - Steve Rance - Rod Revilock

Production Consultants Invests in Fairlight Xynergi

St Louis-based Production Consultants has become the latest high-profile studio to invest in Fairlight’s powerful Xynergi Media Production Centre.

The studio was set up in 1986 and is owned and run by award-winning audio expert Bill Schulenburg, whose long and impressive CV covers four decades in the industry and includes working with artists like Stevie Nicks and Manfred Mann; designing and editing sound and pictures for a huge variety of hundreds of TV, radio, videogame, film, theatre and audiobook projects; teaching Audio Aesthetics as an adjunct professor at Webster University; working as a popular voiceover artist; and last, but not least, currently serving as Chairman of the St. Louis Section of the Audio Engineering Society.

The new 64-channel Xynergi augments a Fairlight Prodigy system that Production Consultants has run since 2001.

“The file-handling and management features of the Xynergi are major steps forward in taking on a wide variety of work in media of all kinds.” says Schulenburg. “Xynergi’s hassle-free drag-and-drop ingest of material generated by all the different types of recording, camera, editing, and processing systems quickly brings audio and video together in a straightforward, unified workflow. Xynergi also streamlines the task of delivering the final product, both audio and video, in the client’s preferred format with unparalleled compatibility and interchangeability.”

The Xynergi Media Production Centre organizes and delivers all the media processing tools needed for high-end audio for video production in all widely used surround formats. The system is based around a completely new concept in tactile control harnessing the awesome ‘green’ processing power of Fairlight’s CC-1 digital media engine and Fairlight’s integrated PyxisTrack video. The system features the groundbreaking Xynergi controller, a revolutionary desktop user interface used to access all features and functions of the Fairlight CC-1 as well as commonly used Windows applications.

Schulenburg is an admirer of the Fairlight editing model, which he says has proven itself efficient, robust and reliable, with a real tactile relationship to creative flow and sound quality. “We’ve always been easily able to artistically relate to the Fairlight system as more than just simply a computer that processes audio signals,” he adds.

The Production Consultants installation is an impressive one. Three XE6 fader sidecars have been placed alongside the Xynergi MPC in a custom console designed by Missouri-based Argosy Consoles.

“Having honed our craft in the 60s and 70s, we appreciate the ability to “perform” an audio mix in realtime,” says Schulenburg. “Getting our hands on the sound and artistically interacting with it is an important part of our ability to deliver a creative, value-added service to our clients, while maintaining a high degree of personal satisfaction and fulfillment. The XE6 sidecars’ cost-effectiveness will allow us to have more channels of tactile control than our current system, and the bright, clear OLED displays provide instant, continuous, and comprehensive feedback about each channels’ status, enhancing the production process.”

Production Consultants’ clients work with all kinds of media projects, but Schulenburg argues that precision editing, creative mixing and powerful sound design for radio, television, and internet delivery has been the heart of his business for years. Additionally, he expects that the video capabilities of the Xynergi system will allow them to return to the video production market offering “unmatched” file conversion, editing and sound design services to go along with their deep experience in visual communications. He also points out that its comprehensive encoding features make the Xynergi an excellent tool for generating internet content

Finally, Schulenburg thinks that the Xynergi will also help Production Consultants move more firmly into the mixing and mastering space, referring to it as “the icing on the cake.”

“Our music production experience, along with the multiple fader sidecars and project compatibility exhibited by the Xynergi system will comprise an attractive and comprehensive mixing and mastering solution for music producers who do their basic work in less powerful DAWs and are looking for that final professional polish for their projects,” he concludes.

EVO in the Press and Reviews

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Fairlight unveils EVO at NAB 2010

With the new EVO system, which will be on show for the first time at the NAB 2010 Convention in Las Vegas, Fairlight wants to deliver high end console power with cutting-edge affordability.

EVO 3 Bay Console

“EVO is a major development for Fairlight, one that continues the path started by FAME, Prodigy and Constellation,” says Tino Fibaek, Fairlight’s General Manager. “Although these products already offer our customers an integrated audio and video solution, we wanted to refine and enhance the mixing part of that system so that we could improve usability. With EVO, we have achieved exactly that – a console that not only addresses the convergence of audio and video, but also delivers large format mixing functionality within the small surface footprint that is typical of post production consoles.”

EVO makes full use of recent innovations from Fairlight including Crystal Core Processing, the SX range of I/O options, and Xynergi self-labeling key technology. In terms of design, the emphasis is placed firmly on giving users fast access to mixing tools. This is achieved through the innovative use of rotary encoders and touch screens that combine to deliver in-line controls and detailed full-color displays for every fader. The center section is designed around Fairlight's revolutionary Xynergi keys, for full tactile control of recording, editing and mixing.

EVO 3 Bay Console

“EVO's built-in professional monitoring section makes simple sense out of complex surround mixing, and is capable of simultaneous fully automated mixes in multiple formats,” Fibaek adds. “Apart from excellent audio, which has always been the hallmark of Fairlight products, our aim was to deliver massive channel capacity and fast intuitive operation. With 36-bit floating point audio throughout the signal path, users have the headroom and precision for the most demanding applications.”

Aimed at film, video and music production and post production facilities, EVO is the ideal platform for integrated recording, editing, mixing and video. As an integral part of the Fairlight family it is file compatible and operationally similar to existing Fairlight products and provides seamless workflows for virtually all SD and HD file formats.

EVO panels can also be fitted into existing Constellation frames, providing existing customers with an easy and convenient upgrade path.

Key Features:

Integrated Xynergi Center Section with self labeling key switches.
New In-Line Panel (ILP) delivering efficient knob-per-function access to channel parameters.
New Touch screen ‘bridge’ delivering rich graphics and channel feedback.
New fader panels featuring organic, full color OLED's.
The option of 2,3,4 or 5 bay configuration.
Customized surface panel layout to suit individual requirements.
...and without a price premium.
Mixopolis Maintains its Competitive Edge With Fairlight’s CC-1 Technology

"When you have a reputation to maintain, especially in a city as tough and competitive as New York, it is vital to stay ahead of the game by investing in the very latest technology."

This was the rationale behind Mixopolis’ recent decision to upgrade its existing Fairlight Constellation console from Fairlight’s QDC engine to the new Crystal Core (CC-1) technology. The upgrade included Fairlight CC-1 cards with integrated HD video and SX20, a new HP Z800 workstation, and two SSL MADI 24 channel I/O boxes.

Mitch Raboy behind his Constellation XCS Console

“We wanted to take advantage of the latest technology Fairlight is offering, especially integrated video and ease of handling various audio and video file formats,” says Mitch Raboy, founder and president of Mixopolis. “With this new technology, just about any audio or video file can be dropped on the timeline and Fairlight will handle it and play it back correctly. Audio sample rates are converted on the fly and I don’t have to worry about video frame rates because the system automatically plays back at the correct speed. I’ve also found that importing and exporting files, including OMFs, is much more streamlined.”

Located in an upscale brownstone half a block from Grand Central Terminal, Mixopolis is a boutique audio post production facility that offers clients two state of the art 5.1 surround sound mixing suites. Each room is fully equipped with all the latest gear to help shape the sonic character of any project.

Mitch Raboy, who won an Emmy for sound design for WNBC-TV, worked at numerous top audio facilities before establishing Mixopolis.

“We offer complete compatibility with any facility in the world and because we regularly exchange projects with other audio and editorial facilities, our customers can be assured that we know how to prepare files for others to work with,” he says.

As well as profiting from CC-1’s enhanced on-board HD video support, file interchange and plug-in capabilities, Mixopolis is also reaping the benefits of a technology that is at the forefront of ‘green’ computing initiative. Fairlight’s CC-1 engine performs digital audio and video processing hundreds of times more efficiently than state-of-the-art CPUs or digital signal processors, thus delivering increased performance with dramatically lower power consumption. In a world where energy price rises and climate change are major concerns for every responsible business, it is no surprise that this technology is proving enormously popular.

Since completing its CC-1 upgrade, Mixopolis has used its Constellation console on a number of TV and radio commercials for its main clients, which include advertising agencies, advertisers, video production and editorial companies.

“CC-1 has helped speed up our workflow as prepping sessions and moving files around our network is now much faster and easier,” Raboy adds. “Fairlight has always developed technologies and features that impress me and my clients with high quality audio production, speed and transparency in handling complex jobs.”

Independent Studios Standardizes On Fairlight’s CC-1 Engine

One year after installing its first Fairlight Crystal Core (CC-1) system, Milwaukee-based Independent Studios has upgraded its second audio post production suite to encompass CC-1 technology, thus ensuring that projects can move seamlessly from one suite to another.

Since its formation in 1991, Independent Studios has grown from a small, one studio facility specializing in commercial music and sound design to a company handling commercials, documentaries and feature film projects for a wide variety of clients. Its facilities have also grown to include two audio suites – both equipped with Fairlight Constellation consoles - and a music studio. Video editing suites, graphics suites and a new color correction suite are also on site, and these are owned and operated by a separate company, Independent Edit.

Founding director Randy Bobo says: “We have been using Fairlight equipment since 2000, when we installed our first Prodigy 2 and QDC systems. In June 2008 we decided to upgrade one of our audio suites to the new CC-1 platform because we wanted the ability to integrate video into our projects and have the option of third party plug-ins. “Having made that decision, it was only a matter of time before we also upgraded our second audio post suite and finally retired our remaining QDC. We like to have both post production studios equipped identically because this allows us greater schedule flexibility with our commercial clients. When both rooms are the same, projects can move from one to another very easily, allowing revisions to happen wherever and whenever they need to happen.”

"Bamboo" at Independent Studios

Although Randy Bobo freely admits that he’s not a ‘Windows person’, he says the transition to Fairlight’s latest technology has been very straightforward and, one year in, he can’t imagine using anything other than CC-1. “It is so much faster and gives us much more flexibility,” he says. “Thanks to Fairlight’s support of multiple A/V file formats, we can now import, export and convert files in a fraction of real time. This has made a real difference to our workflow.”

Ken Barnsley, Fairlight’s Director of World-wide Sales and Marketing, says sales of the CC-1 engine are steadily increasing, especially in the US, as new and existing FairlightUSers recognize the power and versatility of this enhanced platform. “Fairlight’s CC-1 card is undoubtedly a major improvement on our previous QDC platform, particularly in terms of its green credentials,” Barnsley says. “Physically it has been reduced from the size of a dishwasher to a module that fits in your pocket, while in terms of energy it offers a 98% reduction in overall heat generated and a power reduction from 600 watts to just 12. By supporting a seamless interplay of both HD video and audio and a wide range of file exchange capabilities, Fairlight technology delivers real convergence within one integrated production environment and enhances the workflow in a wide variety of broadcast and post applications.”

Vancouver’s Winter Olympic Spectacular Begins & Ends With Fairlight

With a worldwide audience of approximately three billion spectators, Australian production company David Atkins Enterprises (DAE) pulled out all the stops to make sure the opening and closing ceremonies at the 2010 Olympic Winter Games in Vancouver were both spectacular and hitch free.

Despite a small glitch with the fourth leg of the indoor cauldron, which failed to rise during the opening ceremony, the two shows were deemed a huge success when they took place at the 55,000-seat BC Place Stadium on February 12 and February 28 respectively.

Behind the scenes, it was Fairlight technology that once again played a vital role. Already being used to edit the broadcast sound provided to German audiences by ARD and ZDF, Fairlight technology was now also a central part of DAE’s technical infrastructure.

Steve Logan (Left) - Rob Stefanson (Right)


DAE relied on four Fairlight Xynergi systems to deliver equally faultless audio for the two ceremonies. A total of four Xynergi systems were used – two for main playback and two for backup. As well as handling the audio requirements, the main Xynergi systems also provided the master time code for all other systems including video projection (from ETC), film projection, pyrotechnics, lighting, automation, lasers and show call. Even the conductor and performers relied on Fairlight as they all received their click and cue tracks from the Xynergi's.


Fairlight’s Xynergi Media Production Centre, which harnesses the processing power of the company’s Crystal Core technology (CC-1), incorporates integrated PyxisTrack video and features the Xynergi controller, a desktop user interface that allows engineers to access all features and functions of the Fairlight CC-1, as well as commonly used Windows applications. Xynergi offers a much faster editing and mixing interface and has the ability to handle all widely used surround formats.


DAE’s Steve Logan, who along with colleague Rob Stefanson was in charge of the Fairlight operation, says: “The demands required for these productions utilized almost every aspect of the facilities provided by Xynergi, but most importantly Fairlight’s legendary reliability.”


Both shows were edited on the Xynergi using media imported via Broadcast Wave and OMF files. QuickTime videos were also imported for reference during editing. The Xynergi’s unique clip based EQ and level was used extensively to master and balance the many segments involved.


“The separate systems consisted of one Xynergi as the main playback while the second Xynergi was a looping and A/B roll system providing continuous audio program,” Steve Logan explains. “This allowed for easy transition between the two systems using some very clever editing and synchronization that only Fairlight could do.”


Multitrack stems were fed to front of house, monitoring and broadcast consoles via multiple MADI streams. The Xynergi’s also provided simultaneous stereo and surround submixes. To ensure that no act of God disrupted the two shows, DEA had an identical mirror system as back up, running in parallel and in sync.
Logan explains: “This precisely duplicated the front house and monitor consoles. The idea was that if a complete power failure happened to any of the main systems, we could switch to the backup without interruption. Although all four systems were running, the backup systems were powered from separate UPS power supplies.”

The Vancouver shows were not the first time DEA had handled productions of this nature therefore it was able to tap into previous experiences gathered during the Opening and Closing Ceremonies for the Sydney 2000 Summer Games and the 15th Asian Games Doha 2006, in Qatar. The budget for Vancouver has been estimated at between $30 million and $40 million – roughly a tenth of Beijing’s budget. However, unlike Beijing, the Vancouver ceremonies were held in the comfort of an indoor venue – the first time in the history of the Olympic Games that this has happened.

Southern California Audio Post Facility AudioVision Upgrades To Fairlight’s Constellation XCS Console

Southern California Audio Post Facility AudioVision Upgrades To Fairlight’s Constellation XCS Console California, USA: Audio post production facility AudioVision has placed an order for a three-bay Fairlight Constellation XCS console. This will be installed into a custom-built frame that is currently being constructed by AudioVision’s owner, Bill Trousdale. Based in Orange County, AudioVision was established in 1989 by Trousdale who has more than 35 years experience in the pro audio industry.

The facility is equipped to a very high specification, particularly in regards to acoustic isolation and overall sonic purity. All of its audio recording systems are Fairlight, which Trousdale chose because they offer the speed, stability and audio quality that his clients demand. “At AudioVision we pride ourselves on the fact that we are technically far ahead of our competitors,” he says. “Clients want to realize their goals and contain costs through smooth work flow and technical reliability. Our aim is to help them achieve this in an environment that is both creative and relaxed.” By upgrading to Fairlight’s Constellation XCS console, AudioVision will be able to harness the unique tactile power of Fairlight’s Xynergi controller.

This provides a truly intuitive tool for recording, editing and mixing and allows engineers to access all the features of Fairlight’s new Crystal Core (CC-1) engine, as well as commonly used Windows applications.

Philippe Guichard (FairlightUS) and Bill Trousdale (AudioVision)

Bill Trousdale’s XCS console will be the first in the USA to use the Minetonka Dolby E and TC power core plug-ins. It will also be housed in a special frame with room for a secondary computer and with the top panels placed at an angle, reflecting the way in which Trousdale likes to work. "I've always liked the 'English' style of console - flat faders and the other panels angled upwards as they get further away - very ergonomic,” Trousdale says. “Besides, with the amount of hours I spend in front of the console, I want to be as comfortable as possible." AudioVision’s console components are being supplied by Fairlight dealer Hollywood Sound, which has had a long association with the facility.

“I’m expecting immediate delivery and I’m hoping to have the custom frame finished within the next few weeks,” Trousdale adds “If everything goes to plan I should have the new console operational soon after.” 
Producers Upgrades Audio Facilities With Fairlight Technology

Producers' Video Corporation is a Baltimore-based facility that offers US broadcasters and advertising agencies a full service covering everything from location shooting through to audio and video post production.

in recent months, the company has completed a major overhaul of its audio facilities to bring them up to the latest technical specifications. As part of this process, Producers has installed two Fairlight Constellation XCS consoles, featuring a Xynergi centre panel and running on Fairlight's latest Crystal Core (CC-1) engine.

Producers Senior Audio Engineer Bob Bragg said: "Before choosing Constellation XCS, we thoroughly investigated every major integrated professional audio product on the market. In the end, the Constellation consoles won out because there were no other products on the market that offered such an extensive range of features at such a cost-effective price point." Producers is no stranger to Fairlight technology, having previously used the company's QDC/FAME systems.

Bob Bragg said: "We've always striven to have as much integration in our equipment as possible - that's what pointed us to the FAME systems back in 1997, because we like the integrated mixer/editor concept. Fairlight has now taken it to the next level by adding HD video in the timeline, flexible file import/exporting and VST plug-ins. In post production these days everything is all about work flow. Speed and flexibility are absolutely vital and Fairlight has really taken this seriously with all the new features it has incorporated into Constellation XCS. Even our multiple Terabyte FX library is integrated within the box with Audiobase3. We don't have to switch applications to search our sound libraries and spot them into a project, which is a major advantage as it saves us so much valuable time."

Bragg adds that having the ability to ingest picture and import and export most file formats is also helping to speed up workflow, leaving staff free to get on with the job and get the finished project over to the client more quickly for final approval.

He said: "I also like having a variety of EQ and dynamics on the channel strip of every channel without having to load a single plug-in. This saves time, plus the native processing sounds sonically superior to most of the plug-ins that I've used on other systems."

Bragg said that, as a long-time FairlightUSer, he has adapted easily to the built-in Xynergi interface and the new CC-1 engine. Less experienced engineers have also taken to the system quickly because it is so intuitive to use.

He said: "We set-up our first Constellation system for training several weeks before the installation so that we could provide our engineers with training time without the normal pressure of a busy day with a client. I would advise any other facility with the space to adopt a similar approach because it does give staff an opportunity to become familiar with this new technology. Having said that, the Xplain help buttons and the unrivaled support we've gotten from FairlightUS really helped us to get to grips with CC-1. Now we're comfortable with the general operations and we're continually adding the advanced features to our skill set."

Bob Bragg, Mike and Tim St. Clair

Producers handles large volumes of regional and national television spot work, all of which have to be delivered to very tight deadlines. The facility is also tackling an increasing amount of ADR work and Bragg said that everyone is very excited about the 'great' ADR features on the new Constellation systems.

He said: "It has beeps, streamers and even support for on screen script. In keeping with any facility that is moving to a more up-to-date technology platform, there is always the worry that archive material might not be compatible. Producers was concerned about this because it has 12 years of archived projects that clients need access to.

"It turns out that our concerns were unfounded because Fairlight has made the legacy projects loadable in the new editing format. In our first week with the new equipment, we had a client who needed to re-edit and update work from 2003. It was seamless."
Fairlight's New Pyxis-MT Makes Its Debut On The Emmy Award- Winning Ellen DeGeneres Show

Award-winning sound mixer Terry Fountain is using Fairlight’s new Pyxis-MT to record audio and video for The Ellen DeGeneres Show, a daily talk/variety show that is produced in Los Angeles and syndicated nationally across the USA by Warner Bros. Television.

“Ellen” sound mixer Terry Fountain and Fairlight's Philippe Guichard show off the new Pyxis-MT system.Standing for Pyxis Multi-track, Pyxis-MT is a versatile audio and video capture, playback and file transfer system that combines the functionality of a fully featured HD non linear recorder/player with a professional 192 track audio recorder built in one. The system provides true HD VTR performance and includes Fairlight’s extensive drag and drop file handling capabilities. Powered by Fairlight’s Crystal Core engine, Pyxis-MT can record up to 96 tracks of sample locked, floating point audio along with High Definition video. An additional 96 tracks are available in the track laying process for track hungry applications.

Fairlight’s Pyxis-MT system, the first of its kind to be installed anywhere in the world, has taken pride of place in a new facility built on Warner Brothers’ stage 1-2-3 for Telepictures, the production company responsible for producing The Ellen DeGeneres Show. It was specified by systems sound consultant David Crivelli. The tapeless high definition facility was built and engineered by systems integrator National Teleconsultants.

“As a former FairlightUSer I am always happy to recommend the company’s workstations because they are dependable, consistent, easy to use and capable of delivering exceptional sound quality,” Crivelli says. “In this particular case, the engineers using the new facility were making the transition from tape to a tapeless High Definition environment. The audio requirement was complex because the show features music performances as well as Ellen’s comedic monologues and interviews with celebrities and members of the public. This meant there was a need to record multiple tracks of isolated audio and to link this to picture so that daily rehearsals could be reviewed and remixed prior to recording for taping.”

To ensure that the show captures the excitement of the on-stage performances, everything is shot in sequence in real time as though it were live taped as live. The Fairlight captures 48 tracks of audio along with video during the rehearsal earlier in the day. The mixer, along with the music guest engineer, are able to replay the rehearsal and modify equalizations, balances, and dynamics of every instrument discretely until all parties are happy. During the recording of the show, the dialed in parameters are applied to the actual music performance. If all goes well, no remixing is required. If the musical guest is not happy with something, the Fairlight is used to remix and perfect the area of concern.

“For The Ellen DeGeneres Show, The Pyxis-MT is used as a live multi-track recorder that is connected via MADI to a Studer Vista mixing console,” David Crivelli adds. “The final program mix is carried out in the console but thanks to the system’s editing capabilities, editors can instantly locate the exact point where a remix is required. They can also copy and paste in post production mode to capture different elements of the performance and they can easily export the time stamped audio to a non-linear system using time code referenced broadcast WAV files. This allows editors responsible for the final delivery to seamlessly drop the newly mixed audio back into their timeline for the blending and conforming prior to the delivery of the show.”

The Pyxis-MT installed at the new facility has a Black Magic HD Link video card that makes it very easy to archive performances and retrieve audio and video from previous shows if the material needs to be re-purposed. Since the Fairlight has video capabilities built in, there is no need to repurpose expensive video servers to work with the workstation for video accompaniment.

Crivelli says: “This is such an easy system to use that in just a few weeks the show’s engineers have quickly become adept at operating it. It doesn’t need a controller because all of the software features are managed via a mouse/keyboard. Using Pyxis-MT as a multi-track recorder is a bit overkill because it is capable of so much more. Having it installed gives the facility the opportunity to multipurpose the room. At any time it can be used for post production when it is not being used for the show.”

Now in its sixth season, The Ellen DeGeneres Show began shooting in High Definition in September 2008. This coincided with a move to Stage 1 at Warner Brothers Studio in Burbank, California, after NBC sold the property where the show was previously taped. Produced by A Very Good Production and WAD Productions, Inc. in association with Telepictures Productions, the show airs in national syndication, including on the NBC Owned and Operated Television Stations Group.

U.S. Broadcasters Move to Fairlight CC-1 Platform

U.S. sports broadcasters Major League Baseball Productions and World Wrestling Entertainment have both moved to Fairlight's new CC-1 platform in an effort to improve their speed of workflow and networking capabilities.

Major League Baseball Productions are installing two CC-1 powered Fairlight Constellation large-format mixing consoles, both with the new Xynergi Centre Section (XCS) and PyxisTrack HD video. The production company has also invested in a Pyxis HD server to network video to the two consoles.

In January 2009, MLB will launch its own HD/5.1 cable network, which will reach over 50 million homes and is being billed as the biggest cable TV launch in US history. The company will also soon be moving to the all-new facility shared by the MLB Network.

Chuck Cavanaugh - MLB

The second sale, to World Wrestling Entertainment, involves six Fairlight Xynergi Media Production Systems, all with PyxisTrack HD video. A FairlightUSer since 1997, WWE TV made the transition from the QDC platform to CC-1 as part of a general overhaul inspired by its switch to High-Definition.

Chris Argento, VP of post production at WWE TV in Stamford, CT, says, "In January 2008 we moved to HD and that fuelled our decision to invest in Xynergi and the CC-1 engine. Previously, we had four Fairlight systems, all with QDC engines, as well as Pyxis in each of our mix rooms and a MediaLink server to tie them all together. Fairlight's reliability and speed have been the biggest factors in staying with the company for our post needs. These attributes, coupled with the onboard HD video track on the CC-1, made the transition a no brainer. We are now able to drag and drop MXF wrapped files from our Grass Valley K-2 server right to the timeline with full HD video and audio."

CBS Brings Sound to Super Bowl Sunday With Fairlight

Professionals at CBS Television City mix audio for programming aired on CBS with Fairlight Constellation-XT consoles.

In recent years, the television commercials that air during the Super Bowl have become as anticipated as the game itself. With that in mind, the time-sensitive and painstaking preparation of these on-air promos is on par with the endless strategizing and media juggling of the players and coaches on the field.

Enter the team of CBS Television City, which has been busy mixing audio for up to 120 CBS promos per day during the week leading up to Super Bowl XLI, held on February 4. While the preparation time for Super Bowl programming is typically closer to a month, this year posed a slightly different challenge. The commercials this year included preview footage from upcoming episodes, so they had to wait until that material was completed to begin mixing the spots.

With time constraints being an even greater challenge this year, CBS Television City once again turned to Fairlight for around-the-clock audio mixing of the numerous Super Bowl promos. In early 2006, CBS Television City purchased two Fairlight Constellation-XT consoles, and recently purchased a third Constellation-XT with the option of upgrading to an FPGA-driven DREAM II Constellation-XT in the future. “Timing is everything in our line of work,” said Jeff Ross, Audio Mixer, CBS Television City. “Any downtime affects our whole department, and if one room shuts down all the content gets bumped to another finishing audio suite and bottlenecks production. That’s obviously something we can’t afford to endure when preparing for the Super Bowl, which is our biggest event of the year.”

Since installing the first two Constellation-XT’s, CBS Television City has benefited from the stability and speed that is characteristic of all Fairlight products. “For short-form audio mixing it’s so important that the technology be as ergonomic as possible, because we mix so many spots in a given day,” Ross said. Additionally, the customizable design of the Constellation-XT allowed CBS Television City to set up macros specific to their needs. “Previously all macros had to be programmed through a computer interface, but the Constellation-XT enables us to customize our own presets simply with the touch of a few buttons,” Ross added. “This capability has impacted our day-to-day workflow, allowing us to maximize our project velocity and consequently our project volume.”

Fairlight ‘Xynergizes’ its Constellation Mixing System.
New Xynergi Centre Section panel now available for Constellation

Fairlight has responded to overwhelming calls to bring its Xynergi based SLICK (Self Labeling Illuminated Computer Key Switches) technology to its popular Constellation large format mixing consoles. The XCS panel, which stands for Xynergi Centre section, is now an available option across the complete range of its Constellation console series.

The Xynergi controller technology was first launched to the world in the form of the desktop Xynergi Media Production Centre and, according to Fairlight’s Sales & Marketing Director, Stuart DeMarais, “it quickly became clear that with the Xynergi technology, we had invented a controller that re-defined how users interface with their creative environment. Once they’d experienced Xynergi any other interface experience became a compromise. It was only a matter of time before we had a crescendo of voices asking for us to incorporate the Xynergi interface into our large format consoles and now we have pleasure in delivering this to the market”.

The XCS panel harnesses the unique tactile power of the Xynergi controller technology and creates a whole new paradigm for console style mixing environments. Constellation with XCS is the ultimate statement in form and function: a small footprint console with dedicated tactile control of every single system function including over 60,000 automation parameters.

The XCS panel centralizes all major system functions directly under finger tip control providing a truly intuitive tool for recording, editing and mixing. The XCS can be specified with any number of other Constellation panels, most typically the channel assign panel or inline panel, to create a console mixing environment tailored made to the individual tastes of the operator.

The first Constellation with XCS panel was shipped to Highway Television in France and the system can be seen at various global locations during the upcoming trade show season as follows; IBC Amsterdam (Sept 12th – 16th), AES San Francisco (Oct 2nd – 5th), SATIS Paris(Oct 23rd-26th) and Tonmeister Leipzig (Nov 13th – 16th).

Fairlight Releases DREAM II Version 1.5 at NAB 2008

Delivering Convergence by supporting a seamless interplay of both HD video and audio and a wide range of file exchange capabilities to enhance workflow in a wide variety of broadcast and post applications.

In a move that extends the already impressive capabilities of Fairlight’s Dream 2 platform, Fairlight today announced the release of Dream 2 Software Version 1.5.

Packed with over 50 new features, the new software delivers a convergence of audio and video never seen before in any audio production platform. All Dream 2 systems are supplied standard with on board video. The new release extends the capabilities to include support for a comprehensive array of video and audio interchange formats as well as providing support for a wide range of commonly used media file formats.


The Film Foundry puts new Fairlight CC-1 to the test to post
“Running the Sahara” a documentary narrated and produced by Academy Award™ winner Matt Damon

The Film Foundry, a premier facility in Charlotte, North Carolina, has just finished post production on "Running the Sahara", a documentary chronicling an extraordinary expedition across the Sahara desert. The project was narrated by Academy Award™ winner Matt Damon and directed by Academy Award™ winner James Moll. The score was provided by Hans Zimmer. Senior Audio Designer Paul Maraio, who mixed and mastered the documentary in 5.1, commented on the ease and reliability which came with mixing the documentary on their two CC-1 powered Fairlight Constellation systems. "With locations that sometimes included sandstorms, you could imagine the challenges as far as audio clean up.

Paul Maraio

Considering we had a deadline to make the Toronto Film Festival, we were under the gun. I can't say enough about our Fairlight systems. They delivered in spades!" The Film Foundry's two Constellations are both 3-bay frames equipped with 24 faders. The track capacity of the Fairlight DAW software eliminated the need for any additional playback devices. And with Fairlight's binnacle editing system, the entire process went smoothly and efficiently. With such diverse locations across Northern Africa, the audio was challenging at times. Support for VST plug-ins let the team use tools such as noise-reduction and reverb without resorting to outboard gear. Working on a tight deadline, and with multiple picture changes, the ability to easily import OMF files and QuickTime videos proved essential.

Reinforcing Fairlight’s groundbreaking CC-1 Crystal Core technology as the industry’s most powerful media processing platform, Television Broadcast Magazine honored CC-1 as one of the publication’s “Best of Show” winners from NAB 2007.

The Television Broadcast Top Innovation Awards are based on evaluations from a panel of engineers, production and post professionals, as well as editors who select 19 products which reflect innovation and engineering excellence out of 1600 exhibiting companies. Fairlight is very proud to be on the list amongst the likes of Apple, Adobe, Sony and Harris just to name a few. Based on the latest Field Programmable Gate Array (FPGA) silicon technology, Crystal Core technology immediately and comprehensively obsoletes DSP/Time Slice Bus architectures and delivers quantum performance gains by shrinking hardware into a single purpose-built media processing chip. Crystal Core technology delivers improved quality, unparalleled flexibility, scalability, enlarged system scope, and previously unattainable price performance gains.

The CC-1 media engine can deliver up to 230 channels each with 6 bands EQ, 3 stages Dynamics, 192 track recording and editing and well as a complete multi-format mixing system. CC-1 powers the Fairlight DREAM II Family, which delivers lower cost of ownership across the whole range of Fairlight systems and sets a new benchmark for HD compliant media creation systems. DREAM II features Fairlight’s market-proven tactile control and mixing surfaces including Satellite AV, StationPlus, Constellation-XT, HD DREAM Factory and Anthem.

“Since the introduction of CC-1 in the fall of 2006, leading post-production companies around the world have invested in DREAM II Series products,” said Stuart DeMarais, Fairlight Sales and Marketing Director. “The Television Broadcast Top Innovation Award demonstrates what audio professionals are already realizing: that CC-1 is the industry’s most versatile, powerful and accessible processing technology.”

Fairlight Launches “XYNERGI”

Worlds First Unified Media Production Center

Introducing the world to the groundbreaking XYNERGI controller; a unique desktop interface centralizing tactile control of Fairlight’s CC-1 technology platform and Windows applications

In an introduction that is poised to dramatically open up the equipment choices available to today’s’ media creators, Fairlight today launched the new XYNERGI Media Production Centre.

Xynergi organizes and delivers a suite of all the media processing tools needed for high end audio for video production in all widely used surround formats. Xynergi is based around a completely new concept in tactile control which harnesses the awesome ‘green’ processing power of Fairlight’s CC-1 digital media engine.

The Xynergi controller features a unique implementation of self labeling key switches which are able to display full color Images, icons or text to provide intelligent control over the entire recording, editing and mixing process. In addition the controller can support any type of language or icon driven menu structure with an ‘on-demand’ QWERTY keyboard for routine naming tasks and immediate access to MS Office™ tools such as email, Word™ and Excel™. The controller also features eight touch sensitive rotary controllers and multiple soft keys arranged around a color control zone known as the “pad”. These can be used to support Xynergi’s sophisticated mix automation system as well as precise control over extensive signal processing facilities which include multi-band EQs, three stage dynamics, multi dimensional panning and auxiliary sends.

The real essence of the controller lies in its ability to intelligently know what mode the operator is in, presenting ONLY the functions relevant to the desired mode whilst hiding those that aren’t. The result is less keystrokes, more control and greater productivity all of which contribute to an enhanced creative operational experience.

“The Xynergi Media Production Centre brings together the most powerful, versatile and scalable media production system in the world today” announced John Lancken, Chief Executive Officer, Fairlight.  “This revolutionary new control interface literally puts multi-dimensional tactile control at the fingertips of the creative community. When combined with the CC-1 engine, Xynergi dramatically increases the creative firepower that engineers, artists and producers have to work with.”

The Xynergi Media Production Centre will be debuting at this year’s IBC Exhibition in Amsterdam from September 7th to 11th with prices starting from under $23,000.

Fairlight CMI Keyboard Signed By 45 Stars Raises $100,000 for WITNESS

For music fans around the globe the ultimate holiday gift this year is available online at EBay: a vintage Fairlight CMI keyboard signed by 44 legendary artists who used it to define the sound of the Eighties. The Fairlight will be auctioned online up until live auction at the WITNESS Benefit Dinner and Concert in New York City on December 11, 2006. With a starting bid of $100,000 already registered, this is a gift that will likely appreciate considerably over time and, because it’s being auctioned for charity, will keep on giving beyond the holiday season.

Fairlight has donated a vintage CMI (Computer Music Instrument) keyboard and arranged to have all 43 keys plus the chassis autographed by the artists that made the instrument the most important development in music in the Eighties. The signatory artists, who used the CMI to radically change the music of the day, include Lindsey Buckingham, Nick Rhodes, Stuart Copeland, Elvis Costello, Mike Oldfield, Hans Zimmer, Roland Orzabal, Barry Gibb, Steve Winwood, Kate Bush, Laurie Anderson, JJ Jeczalik, Joni Mitchell, Annie Lennox, Boris Blank, Midge Ure, Alan Parsons, Geoff Downes, Brian Wilson, David Gilmour, Mark Knopfler, Sir George Martin, John Paul Jones, Trevor Horn, Jim Kerr, Brian Eno, Jean Michel Jarre, Howard Jones, Herbie Hancock, Thomas Dolby, Keith Emerson, Mark Mothersbaugh, Bono, Jan Hammer, Todd Rundgren, Stevie Wonder, Iva Davies, David Hirschfelder, Chick Corea, Daryl Hall, Mike Rutherford, Billy Gibbons, Peter Gabriel and David Bowie.

Iconic hits such as “Sledgehammer” by Peter Gabriel; “Thriller” by Michael Jackson; “Rocket” by Herbie Hancock and “The Unforgettable Fire” by U2 are classic examples of the Fairlight CMI as it was used within the 80’s genre. Among the first commercially-available albums to incorporate it were Kate Bush's “Never for Ever” (1980), Stevie Wonder’s “Happy Birthday” (1980), Jean-Michel Jarre's Magnetic Fields (1981), and the Buggles' last album, “Adventures in Modern Recording.” Peter Gabriel's "Shock the Monkey" and its parent album Security (1982) also feature the instrument.

The Fairlight CMI was the world’s first digital sampler and featured other radical advances for the time, including a light pen interface and menu-driven GUI. One of the CMI’s most significant software features was the so-called "Page R,” which was the world’s first real time graphical music sequence editor, widely copied on other software synths ever since. The instrument was featured extensively in the futuristic videos of those who used it dominating the 80’s music scene and, being the first device to cross the computer/instrument divide, was the subject of passionate debate within the artist community — Phil Collins, a CMI detractor, went so far as to advertise “No FairlightUSed” in the liner notes of his 1985 album “No Jacket Required!” A Fairlight CMI can be seen in the Devo film “We Are Devo” and in Jan Hammer's music video for the Miami Vice theme song. It also makes an appearance being operated by Nick Rhodes in Duran Duran's video for "The Reflex".

The CMI hit the height of its popular frenzy among the artist community when it was featured in a now-legendary performance by Stevie Wonder, Herbie Hancock, Thomas Dolby and Howard Jones at the 1985 Grammy Awards. Ironically, the Grammy Album Of The Year in 1985 was “No Jacket Required.”

Though still selling to the music community elite, the cost of manufacturing forced Fairlight to discontinue the CMI in the late Eighties, as it migrated its business to building digital audio workstations and mixing consoles for the Hollywood film production business, the television broadcast market and the higher-end of music recording where the “Fairlight Sound” is still highly prized.

On December 11, WITNESS’ annual benefit will be hosted by the organization’s founder and chairman, Peter Gabriel, and actor Gael Garcia Bernal. The event will include performances by Paul Simon, Angélique Kidjo and Kate Pierson & Fred Schneider of the B-52's.

Commenting on the auction, Fairlight Chief Executive John Lancken said today, “Bringing together the artists and the instrument that turned music on its head back in the Eighties is a fascinating exercise in the history of music, but to do it with WITNESS to support peace and human rights around the world is especially gratifying. We believe that this project, the culmination of two years of hard work, is only the beginning of a long and productive relationship between Fairlight and WITNESS as we bring to bear our digital media expertise and our user base of studios and broadcasters around the globe to help advance the great cause that WITNESS fights every day.”

Echoing this sentiment, Gillian Caldwell, Director of WITNESS, said today “The Eighties is remembered for among other things the unique music of the time, much of which was created on the Fairlight CMI. Today, WITNESS seeks to ensure the current decade is not remembered as a time that the world turned a blind eye to human rights abuses across the globe. To open up the eyes of the world to these abuses, WITNESS relies on sound and video technologies, which is why it is especially exciting to see a professional audio company like Fairlight support our cause.”

The December 11 auction marks the end of a two-year program embarked on by Fairlight, WITNESS and New York City public relations agency Griffin Public Relations & Marketing to reach out to the artists who had used the keyboard. Working with artists, agents and managers, the group pitched participation, sought an agreement to autograph and then issued the keys individually to artists around the world. The autographed keys were each returned to Fairlight in Sydney and the keyboard was recently reassembled and shipped to New York, where it will go on display at a VIP reception before the auction.

The Fairlight CMI was the world’s first digital sampler and featured other radical advances for the time, including a light pen interface and menu-driven GUI.  One of the CMI’s most significant software features was the so-called "Page R,” which was the world’s first real time graphical music sequence editor, widely copied on other software synths ever since.  The instrument was featured extensively in the futuristic videos of those who used it dominating the 80’s music scene and, being the first device to cross the computer/instrument divide, was the subject of passionate debate within the artist community — Phil Collins, a CMI detractor, went so far as to advertise “No FairlightUSed” in the liner notes of his 1985 album “No Jacket Required!”  A Fairlight CMI can be seen in the Devo film “We Are Devo” and in Jan Hammer's music video for the Miami Vice theme song.  It also makes an appearance being operated by Nick Rhodes in Duran Duran's video for "The Reflex".


Featuring signatures from 44 celebrity musicians, composers & producers


Mark Knopfler

Kate Bush

Stevie Wonder

Thomas Dolby

Todd Rundgren

Sir George Martin

Steve Winwood

Barry Gibb

Brian Wilson

Herbie Hancock

Annie Lennox

Peter Gabriel

Elvis Costello

David Bowie & many more

The CMI hit the height of its popular frenzy among the artist community when it was featured in a now-legendary performance by Stevie Wonder, Herbie Hancock, Thomas Dolby and Howard Jones at the 1985 Grammy Awards.  Ironically, the Grammy Album Of The Year in 1985 was “No Jacket Required.”

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FairlightUS Forms to Enhance Representation in North America and Canada

In a move that provides audio professionals in all areas of post, broadcast and recording with a new and improved conduit to Fairlight’s digital media production technologies, longtime Fairlight veteran, Steve Rance, has formed FairlightUS as the new independent distributor of Fairlight in the United States and Canada. Effective immediately, FairlightUS assumes ownership of MediaGear, the previous Fairlight distributor in North America, and customers can be assured of continual service and support as Rance has been careful to retain all sales and support staff in both California and New York.

The FairlightUS team includes Steve Rance, President; Philippe Guichard, National Sales Manager; Michael Haprov, National Technical Support Manager and Michael Mueller, East Coast Sales Manager. Rance and Mueller are based in the New York Metro Area and Guichard and Haprov will head the West Coast operation from company headquarters in Pasadena, California.

“With the recent introduction of the CC-1 Engine, our timing could not be better,” Rance explained. “FairlightUS is presented with a considerable opportunity to provide audio professionals with a digital media production platform that makes compelling arguments from a technological, commercial and application perspective! Our goal for FairlightUS is to get as many systems as possible in the field so that our customers can experience for themselves the power of CC-1 coupled with the highly intuitive tactile interfaces of the DREAM II family!”

Rance, who holds multiple patents in audio systems design and was an original developer of the ground breaking Fairlight CMI, leaves FairlightAU after 25 years at the company’s Sydney headquarters. Guichard, Mueller and Haprov all share longtime associations with Fairlight in the United States market, having previously served with MediaGear and other distribution entities.

Commenting on the announcement, Fairlight CEO, John Lancken said today, “Fairlight‘s new CC-1 technology provides a fresh alternative to the industry, now our distribution partner in the United States and Canada will provide a similarly fresh and energetic approach to sales and support. We are very pleased that Steve and his team have risen to the challenge and we look forward to working closely with them to communicate with our customers and provide them with the tools and support to be successful.”

Fairlight’s new patent-pending CC-1 audio production engine, based on Field Programmable Gate Array (FPGA) silicon technology, comprehensively obsoletes DSP/Time Slice Bus architectures and delivers quantum performance gains by shrinking hardware into a single purpose-built media processing chip. Crystal Core technology delivers improved quality, unparalleled flexibility, scalability, enlarged system scope, and previously unattainable price performance gains. About FairlightUS: FairlightUS is headquartered in Pasadena, California and is the exclusive distributor for Fairlight products in the North American market. Fairlight designs and manufactures media creation tools including digital audio recording, editing and mixing systems for standard and high definition audio post, broadcast and music production applications. Fairlight's DREAM II family includes Satellite, StationPlus, Constellation-XT, HD Factory and Anthem. The DREAM II series is powered by Fairlight’s breakthrough CC-1 technology, the world’s first FPGA based media processing engine which introduces Dynamic Resolution Optimization and delivers previously unattainable price performance gains together with unprecedented speed, flexibility and exceptional sonic quality. The platform sets the benchmark in low latency processing.

Complementing DREAM II is Fairlight's Pyxis family, which offers a comprehensive choice of integrated or stand-alone Standard and High Definition video products whilst Fairlight's MediaHub workflow tools provide a complete media management solution for audio and video networking.