The mid-1970s brought significant change to the commercial synthesizermar- ket,withthe introductionof the firstcompletely digital synthesizers,the Synclavier

and the FairlightComputer Music Instrument,or CMI, the latterbeing liberallyem- ployed in the music of Peter Gabriel, Stevie Wonder, and Kate Bush, among other pro- lific pop artists during the early 1980s. Artistshad increased expectationsforthese instrumentsp,articularlyintheareaofdigiboards, computers, wind controllers, or messages sent to sound generators that not only control the production of sounds, they can also control other parameters, such aspressuresensitivity(aswhenakeyis talsampling,whichcan providea fairlyaccurate 'snapshot' of an acoustic instru- brato, pitch bend, and others. MIDI allows pressed down on a keyboard), volume, viment. In fact,the digitalsamples produced bytheFairlightwererealisticenough to have "stimulated a campaign by trade unions to have the technologyban