"The Transcendent was soon joined by a Moog Micromoog, a Crumar string synthesiser, a Fender Rhodes, a Roland Jupiter 4, an early PPG system (with which he performed his original solo concerts), a PPG Wave 2.2 (a gift from PPG because the original instrument was so unreliable), a Jupiter 8, a Fairlight Series II and a Fairlight Series III."

For the 12-inch ‘US Remix’ of ‘The Look Of Love’, Trevor Horn utilised the Fairlight to create a groundbreaking extended mix which chimed with early hip-hop records, using the sampler to bend and ‘scratch’ various elements of the track. “I actually think that was the best 12-inch I ever did,” he says. “Everything kind of came together on that one. What I’d said to JJ was, ‘I want bits of everything on the Fairlight — bits of the strings, bits of the vocal, just anything.’ I seemed to manage to get a narrative through it, playing these things on the Fairlight keyboard."

In the article "Ric's Right Hand Man Greg Hawkes" from the Daily Events Book Page Three, it is noted that Greg Hawkes extensively used the Fairlight CMI during the production of The Cars' album Heartbeat City in 1983-1984. This 16-bit sampling synthesizer, featuring an advanced touchscreen interface for editing waveforms, was a standout piece of equipment on the album. It played a significant role in tracks like "Hello Again," contributing orchestral hits and various other sounds. Alongside the Fairlight CMI, Hawkes and Ric Ocasek also utilized other synthesizers, including the Roland Jupiter B and Vocoder, Memorymoog, Yamaha DX7 and DX9, Mini-Korg, Prophet 5, and PPG 3.2 Wave synthesizer.

At his photo Jan hammer sits with a CMI Fairlight, Roland Jupiter 8, Moog Memorymoog, Yamaha DX7.

Andy is credited with "Fairlight CMI" in the liner notes for the album Junk Culture.

In the article "The Man Behind The Radio!" from Sound On Sound (April 1988), Holger Czukay mentions having a Fairlight in his studio.

Paul is credited with "Fairlight CMI" in the liner notes for the album Junk Culture.

John Flansburgh explains on Tumblr that a Fairlight CMI unit was used during the production of their first album.

In studio the Fairlight CMI was initially used for the album Hunting High and Low, however A-ha was not happy with the result and it was eventually not used in the release. it was however used on their second album Scoundrel Days.

Kirk is playing a Fairlight CMI in this video.

"Their layered style of recording also made it easier to work from Stanley's home studio, which the band had recently upgraded using advance money from the second album. Stanley's newly expanded home studio included a 32-channel Soundcraft console, a 24-track analog tape machine and room for the band's keyboard and synthesizer collection, which included such classic designs as Sequential Circuits Prophet 5, Fairlight CMI, Roland Jupiter 8, Yamaha DX7 synthesizer and PPG Wave. They also had a LinnDrum LM-2, another recent acquisition."

"I use whatever's handy", says Kershaw. "The Fairlight, Emulators, a JX10, old Oberheims, PPG Waves, my TX rack... I find DX sounds get lost so easily in a mix, but the TX helps push them back up."