Software / Mac OSX
Arturia CMI V v1.4.2.2850 CSE / v1.5.0.3410 [WiN, MacOSX]
WiN: Team V.R | 24 June 2019 | 257 MB
MAC: Team CASHMERE | 19 November 2019 | 447 MB
MAC: Team CASHMERE | 19 November 2019 | 447 MB
PEERLESS SAMPLING CHARACTER
The CMI V is a spot-on reincarnation of the first commercially available digital sampling system in music history - the sonic powerhouse behind numerous early MTV-era megahits. We even went the extra mile and added new creative features that weren’t possible back in the day.
In 1980, the Fairlight CMI turned heads with the introduction of digital sampling. Now our software homage lets you turn some heads yourself.
With exotic new sound of digital samples, the promise of an all-in-one digital workstation, and a physical design right out of a sci-fi movie, the Fairlight CMI was an object of desire for most self-respecting ‘80s keyboardists. Countless musicians and producers weighed the risks of bank robbery in order to afford one. No need today. Our faithful recreation gives you the same tools that many MTV stars used to make a cannonball splash into the pool. We’ve even made lots of improvements and additions that bring added power to this keyboard legend, including an alternate additive synthesis engine and tons of new modulation options. No vintage keyboard collection is complete without the CMI V.
Now it’s your turn to experience the sound and power of the digital workstation that started it all.
The unique musical architecture of the CMI
The CMI V isn’t just a digital instrument. It’s a complete digital workstation.
Our enhanced reproduction of this keyboard superhero lets you work with 10 digital instruments of your choice at once - mixing, layering, splitting and sequencing them as you please. Each instrument can draw from three different means of sound generation. The most obvious is the sampling engine that literally first defined the term in the industry. You can also shape sounds with the original additive synthesis engine where you control each of the component harmonics over time. We’ve even spun up the propellers and introduced a newer, simpler means of exploring additive synthesis like you’ve never heard it before named Spectral Synth. You also get around 300 expertly designed presets to get you going - including the original library of sounds you’ll recognize from countless hit recordings.
The CMI V has everything you need to explore the intersection of sampling and digital synthesis.
The original digital sound design powerhouse
If you want to sculpt sounds in the digital domain, the CMI V brings you a complete artists toolbox.
There are a zillion ways to shape sounds with the CMI. Work with a sample from the included library, or load in one of your own. Set the start and end points for the sample and loop. Modify the resolution to juice some interesting side effects. Resynthesize the sample into the additive synth domain for a harmonic representation. Create custom envelopes to control how each harmonic behaves over time. Change the sine waves that make up those harmonics to more complex waveshapes. Add multiple custom modulations to just about any sonic parameters you can think of. Heck, turn those modified additive harmonics back into a sample and sculpt your sound more back in that domain.
The CMI V gives you limitless creative options and sonic variety that are completely unique to this legendary sound design workstation.
The sound heard around the world
Many cutting edge ‘80s songs were fueled by the equally cutting edge sounds of the CMI. Now you can relive the glory days of MTV.
You know the sound of the CMI because it was everywhere - and still is. Consider the ear candy on Kate Bush’s “Running Up That Hill”. The rhythmic frenzy of Herbie Hancock’s “Rockit”. Peter Gabriel’s exotic “Sledgehammer” shakuhachi. The impossible horn line on Yes’ “Owner of a Lonely Heart”. The breathy vocal-flute on Tears for Fears’ “Shout” and “Everybody Wants to Rule the World”. Trevor Horn’s pulsing Page R bottom-end collage on “Relax” by Frankie Goes to Hollywood. Speaking of Hollywood, there’s Duran Duran’s “View to a Kill” Bond theme. How about Jan Hammer’s pitch-processed drums on his weekly “Miama Vice” TV scores? And MTV favs like “Close (to the Edit)” by Art of Noise and Yello’s “Oh, Yeah” are poster children for all things CMI.
Whether for cover-gig authenticity or just basking in nostalgia, CMI V delivers the fun novelty of songs that still fill the classic rock airwaves.
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The CMI V is a spot-on reincarnation of the first commercially available digital sampling system in music history - the sonic powerhouse behind numerous early MTV-era megahits. We even went the extra mile and added new creative features that weren’t possible back in the day.
In 1980, the Fairlight CMI turned heads with the introduction of digital sampling. Now our software homage lets you turn some heads yourself.
With exotic new sound of digital samples, the promise of an all-in-one digital workstation, and a physical design right out of a sci-fi movie, the Fairlight CMI was an object of desire for most self-respecting ‘80s keyboardists. Countless musicians and producers weighed the risks of bank robbery in order to afford one. No need today. Our faithful recreation gives you the same tools that many MTV stars used to make a cannonball splash into the pool. We’ve even made lots of improvements and additions that bring added power to this keyboard legend, including an alternate additive synthesis engine and tons of new modulation options. No vintage keyboard collection is complete without the CMI V.
Now it’s your turn to experience the sound and power of the digital workstation that started it all.
The unique musical architecture of the CMI
The CMI V isn’t just a digital instrument. It’s a complete digital workstation.
Our enhanced reproduction of this keyboard superhero lets you work with 10 digital instruments of your choice at once - mixing, layering, splitting and sequencing them as you please. Each instrument can draw from three different means of sound generation. The most obvious is the sampling engine that literally first defined the term in the industry. You can also shape sounds with the original additive synthesis engine where you control each of the component harmonics over time. We’ve even spun up the propellers and introduced a newer, simpler means of exploring additive synthesis like you’ve never heard it before named Spectral Synth. You also get around 300 expertly designed presets to get you going - including the original library of sounds you’ll recognize from countless hit recordings.
The CMI V has everything you need to explore the intersection of sampling and digital synthesis.
The original digital sound design powerhouse
If you want to sculpt sounds in the digital domain, the CMI V brings you a complete artists toolbox.
There are a zillion ways to shape sounds with the CMI. Work with a sample from the included library, or load in one of your own. Set the start and end points for the sample and loop. Modify the resolution to juice some interesting side effects. Resynthesize the sample into the additive synth domain for a harmonic representation. Create custom envelopes to control how each harmonic behaves over time. Change the sine waves that make up those harmonics to more complex waveshapes. Add multiple custom modulations to just about any sonic parameters you can think of. Heck, turn those modified additive harmonics back into a sample and sculpt your sound more back in that domain.
The CMI V gives you limitless creative options and sonic variety that are completely unique to this legendary sound design workstation.
The sound heard around the world
Many cutting edge ‘80s songs were fueled by the equally cutting edge sounds of the CMI. Now you can relive the glory days of MTV.
You know the sound of the CMI because it was everywhere - and still is. Consider the ear candy on Kate Bush’s “Running Up That Hill”. The rhythmic frenzy of Herbie Hancock’s “Rockit”. Peter Gabriel’s exotic “Sledgehammer” shakuhachi. The impossible horn line on Yes’ “Owner of a Lonely Heart”. The breathy vocal-flute on Tears for Fears’ “Shout” and “Everybody Wants to Rule the World”. Trevor Horn’s pulsing Page R bottom-end collage on “Relax” by Frankie Goes to Hollywood. Speaking of Hollywood, there’s Duran Duran’s “View to a Kill” Bond theme. How about Jan Hammer’s pitch-processed drums on his weekly “Miama Vice” TV scores? And MTV favs like “Close (to the Edit)” by Art of Noise and Yello’s “Oh, Yeah” are poster children for all things CMI.
Whether for cover-gig authenticity or just basking in nostalgia, CMI V delivers the fun novelty of songs that still fill the classic rock airwaves.
V 1.2.1
New Features
Improvements
Bugfixes
New Features
- KeyLab MK2 Integration
- Clicking on the preset browser "Clear All" button now scrolls back the result list to its top
Improvements
- Reworked preset leveling and consistency
Bugfixes
- Modifying and saving a preset from purchased sound bank doesn't override the original anymore
- User MIDI configuration is now properly recalled when loaded from an external file
- Fixed an issue where you had to click twice on the empty MIDI configuration to properly select it
- Default MIDI configuration is now properly working
- No more white flash when resizing our instruments inside macOS applications in AU
- Various Komplete Kontrol / Maschine improvement
- No more crash when a "Song Select" message is received
- No more cracks and glitches appearing when modifying effects dry/wet parameters
- User preset saving feature is now working properly
- No more duplicated presets
- Live 10 doesn't crash anymore when browsing preset from AU version
- Resizing the plugin window don't open the export bank popup for some users anymore
- No more crash when switching instruments on a track in FL Studio on macOS
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