Technological advances have impacted musical practices since the emergence of mechanical sound technologies, which constitute the focus of sound technology studies. By analyzing a specific type of early digital synthesizers as a typical case of sound technology studies, the present study aims to reveal the acceptance and "domestication" process of the Fairlight Computer Musical Instrument (CMI) synthesizer in Japan as well as its influence on the Japanese music scene in the 1980s. Although its designers originally expected the Fairlight CMI to become a powerful digital synthesizer, sampling and sequencing are two features that its users are particularly interested in, reflecting its "interpretative flexibility" and users' agency in the social construction of the Fairlight CMI, as observed in UK by Harkins (2015, 2016). However, the story of the Fairlight CMI is far from simple, as users' motivation, usage, and perceptions vary significantly when employing the Fairlight CMI. This study explored the motivations and usage patterns of purchasers of the Fairlight CMI in Japan. Four well-known Japanese musicians and arrangers were taken as examples to explain how the Fairlight CMI has been used and viewed among users and how such usage patterns and perceptions have diverged from the original intention of its designers. The introduction of the Fairlight CMI into music culture also caused its users and audience to debate, rethink, and even redefine the aesthetics and traditions recognized as default in music of that era, which ultimately led to the reconstruction of music practices. As the Fairlight CMI was utilized in novel ways by its users, this influenced and reshaped music culture, especially in terms of the Fairlight CMI's sampling and sequencing functions.