Ah, you're referring to the MCL language in the Fairlight. Not even Andy Richards or JJ Jeczalik used that. It was all page R sequencing instead. The synthesis/sampling functions on the Fairlight didn't require MCL either as they had their own dedicated 'pages' on the CMI menu too.jamie1978 wrote:ah, ok, thanks for the explinationAcelera wrote:Operating a sequencer, editing a sampled waveform or changing a few parameters on a synth all constitute forms of musical programming.jamie1978 wrote:what is this
Please correct me if I am wrong, but didnt 'programming' in the classic sense basically die out with the Fairlight?
This hasn't changed - it's the tools of the trade that are different as dedicated sequencers have mostly fallen out of favour - except in hiphop - for personal computers running a software one. Likewise, many producers incorporate virtual plugins to the process as well, let it be effects processors, instruments or both. So, in essence, where sound design starts and sequencing finishes is a bit blurred now as it can all take place within the same environment.
What used to be done on page 'R' on the Fairlight now gets done in Logic in PSB's case. Even so, you could argue that the Fairlight was the first 'software sequencer' as it was built on a general purpose computer platform - albeit a terribly expensive one.
I have always considered 'programming' more complex than just tweaking a few bits on a sythesiser (ie attack, decay etc) - I understood that the fairlight basically incorporated a form of programming language which was quite difficult to master
This is how I personally have considered 'programming' - ie, literally coding in a computer language specific to a sythesiser/sampler etc. I imagine that this is less of a requirement than it used to be?
The big difficulty with the Fairlight lay in the fact that computer technology associated to music was very thin in the ground back then. Coupled to that, a fully expanded CMI III set you back 70,000 Sterling as well. So you had a very exclusive synth/sampler/sequencer that not many people could afford and even fewer people had access to. People like JJ, Rob Fisher (he of Climie Fisher) and so on made a pile because they were amongst the lucky few. The way PSB worked back then is that they'd do the demo, then hire in the 'Fairlight guy' who'd come in with his wundermachine and provide all the ear candy - the aforementioned Andy Richards being one of the gang.
The only people in popular modern music that actually code in the traditional sense are folk like Brian Transeau (BT) as he's heavily into his ultra complicated Kyma Capybara music computational device / instrument. Other music coders dabble in Max/MSP which is a music programming environment available for both Windows and Mac. Again, pretty much a niche thing.
So yes, to put it simply, programming in musical terms is down to sound design (whether audio editors, synths, samplers) and sequencing (audio & midi) these days.