Thomas dolby – Synthesizer Online

Ensoniq Mirage

The Ensoniq Mirage is a digital synthesizer and sampler introduced in 1984 by the Pennsylvania-based company Ensoniq. The Mirage was one of the first affordable digital synthesizers on the market and quickly gained popularity among professional and amateur musicians.

The Mirage featured a unique sound generation system called “DSS” (Digital Sampling Synthesis) which combined the capabilities of both sampling and synthesis. It allowed the user to record and manipulate samples in real-time and then use them as the basis for creating new sounds. The Mirage also featured a built-in 8-track sequencer and a variety of preset and user-editable sounds, making it a versatile and powerful instrument.

One of the most notable features of the Mirage was its low cost. At the time of its release, it was significantly less expensive than other digital synthesizers on the market, such as the Fairlight CMI and the Synclavier. This made it accessible to a broader range of musicians and helped to establish Ensoniq as a major player in the synth market.

The Mirage’s design was also notable for its compact size, making it easy to transport and set up. The synth featured a built-in keyboard with velocity-sensitive keys and could also be played using an external MIDI controller.

The Mirage was also known for its ease of use. The interface was simple and intuitive, with a clear layout that made it easy to navigate and edit sounds. The built-in sequencer also made it simple for users to record and edit their own compositions.

Ensoniq released several updates and upgrades to the Mirage throughout its production run, including the Mirage DSK-1, Mirage DSK-8, and Mirage DSK-16. The DSK-1 and DSK-8 were expansion units that added extra memory and more advanced sequencing capabilities to the Mirage. The Mirage DSK-16 was a rack-mount version of the Mirage that did not include a built-in keyboard.

The Ensoniq Mirage was discontinued in the early 1990s, but it remains a cult classic among synth enthusiasts. Its unique sound generation system and ease of use made it a popular choice for electronic music producers, and it can be heard on many tracks from the 1980s and 1990s.

In conclusion, The Ensoniq Mirage was a revolutionary digital synthesizer that was affordable, easy to use, and powerful. Its combination of sampling and synthesis capabilities, built-in sequencer and its low cost made it a popular choice among musicians of the time. It remains a cult classic and its sound can be heard on many tracks from the 80s and 90s.

Used by

Depeche Mode: The band extensively used a Mirage on their album “Black Celebration” and their “Music for the Masses” tour.
New Order: The band used a Mirage on their ” Technique ” album and their “World In Motion” single.
Pet Shop Boys: The band used a Mirage on their album “Please” and also on their “Actually” album.
Jean-Michel Jarre: The French electronic musician used a Mirage on his album “Rendez-Vous”
Thomas Dolby: The English musician and producer used a Mirage on his album “The Golden Age of Wireless”
A-ha: The Norwegian band used a Mirage on their album “Scoundrel Days”
Vince Clarke: The musician and producer used a Mirage on his album “The Clarke Duke Project”
Neneh Cherry: The singer-songwriter used a Mirage on her album “Raw Like Sushi”

The Firelight CMI (Computer Musical Instrument) synthesizer is a digital musical instrument first developed in the late 1970s by engineer Peter Vogel and musician Kim Ryrie. It was among the first synthesizers to use a digital computer at the center of its construction, giving the user more creative freedom and control over the instrument’s sound.

The Fairlight Instruments company, formed by Vogel and Ryrie, initially produced the Firelight CMI before it was first released in 1979. Because of the instrument’s cutting-edge capabilities and distinctive tone, musicians and producers took to it instantly.

The Firelight CMI’s capacity to sample and retain sound, which allowed users to manipulate recorded samples to generate new sounds, was one of its primary features. A touch-sensitive keyboard, an integrated sequencer, and a number of other controls and interfaces for modifying sound were also included in the instrument.

The Firelight CMI was renowned for its cutting-edge technology, exorbitant price, and exclusivity. Initially costing roughly $25,000, the instrument was out of many performers’ and producers’ pricing ranges. Because of this, the recording industry’s professional musicians and producers were the primary users of the Firelight CMI.

The Firelight CMI is regarded as a groundbreaking instrument in the development of digital music technology despite its high price. It had a big impact on the music business. Its sampling and storing capabilities helped other digital instruments and software evolve, and its distinctive sound can be heard on many well-known songs from the 1980s.

The Firelight CMI is now regarded as a classic instrument and is highly sought after by vintage gear collectors and enthusiasts. The manufacturer Fairlight Instruments discontinued making the Firelight CMI in the 1990s. However, a few businesses are still able to service and repair it, and it still has a loyal user community.

Overall, the Firelight CMI was a groundbreaking digital musical instrument that expanded the realms of what was conceivable regarding technology and sound design. Its influence on modern music creation is still felt today.

Used by

Peter Gabriel: The musician used the Firelight CMI on his fourth solo album, “Security,” which was released in 1982. Gabriel also used the instrument on his tours during this period.
Kate Bush: The singer-songwriter used the Firelight CMI on her 1985 album, “Hounds of Love.” The album featured the hit single “Running Up That Hill (A Deal With God)” which was produced using the CMI.
Jean Michel Jarre: The French electronic musician used the Firelight CMI on his 1981 album, “Magnetic Fields,” which featured the hit single “Magnetic Fields 2.”
Thomas Dolby: The musician and producer used the Firelight CMI on his 1982 debut album, “The Golden Age of Wireless.”
Art of Noise: The British band used the Firelight CMI on their 1984 album, “Who’s Afraid of the Art of Noise?”
A-ha: The Norwegian band used the Firelight CMI on their hit single “Take On Me,” which was released in 1985.
Frankie Goes to Hollywood: The British band used the Firelight CMI on their 1984 debut album, “Welcome to the Pleasuredome.”
Toto: The American band used the Firelight CMI on their 1982 album “Toto IV” which featured the hit single “Africa”
Fleetwood Mac: The band used the Firelight CMI on their 1982 album “Mirage”
Revolting Cocks: The industrial super-group used the Fairlight CMI on their albums “Big Sexy Land” and “Beers, Steers, and Queers.”
Front 242: The Belgian EBM Industrial group used the Fairlight on numerous early recordings.