From msanchez@demon.co.uk Fri Jan 06 02:19:57 1995
Path: ashpoly!cascade!transat!eunet-fr!teletel!demon!msanchez
From: msanchez@demon.co.uk (Marisol Sánchez)
Newsgroups: alt.music.synth-pop
Subject: [FLAME] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Jan06.021957.6333@demon.co.uk>
Date: Fri, 06 Jan 1995 02:19:57 GMT
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Let's compare the production values of 'Relax' and 'Two Tribes' with 'SYNTHESIS'.

Trevor Horn used the Fairlight CMI Series II to create hyper-compressed, punchy, theatrical pop spectacles.
Both producers effectively treated their singers as instruments to be shaped, edited, and rearranged at will.

Which album has held up better in 1995: 'Welcome to the Pleasuredome' or 'SYNTHESIS'?

-- 
Marisol Sánchez
Tape trading list upon request. SASE required for international mail.

From jpark@rwth-aachen.de Fri Jan 06 03:49:57 1995
Path: ashpoly!cascade!bigsur!rwth-aachen!jpark
From: jpark@rwth-aachen.de (Ji-woo Park)
Newsgroups: alt.music.synth-pop
Subject: Re: [FLAME] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Jan06.034957.4429@rwth-aachen.de>
Date: Fri, 06 Jan 1995 03:49:57 GMT
References: <1995Jan06.021957.6333@demon.co.uk>
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In article <1995Jan06.021957.6333@demon.co.uk>, msanchez@demon.co.uk (Marisol Sánchez) writes:
> Let's compare the production values of 'Relax' and 'Two Tribes' with 'SYNTHESIS'.
> Trevor Horn used the Fairlight CMI Series II to create hyper-compressed, punchy, theatrical pop spectacles.

Hale's low-end mixing was a decade ahead of its time. Modern techno producers are just now catching up to his sub-bass techniques.

-- 
Ji-woo Park
Opinions expressed are solely my own and not those of RWTH Aachen Informatik.
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From pfournier@unam.mx Fri Jan 06 09:50:57 1995
Path: ashpoly!cascade!mxgate!coyoacan!unam!pfournier
From: pfournier@unam.mx (Pavel Fournier)
Newsgroups: alt.music.synth-pop
Subject: Re: [FLAME] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Jan06.095057.2049@unam.mx>
Date: Fri, 06 Jan 1995 09:50:57 GMT
References: <1995Jan06.021957.6333@demon.co.uk> <1995Jan06.034957.4429@rwth-aachen.de>
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In article <1995Jan06.034957.4429@rwth-aachen.de>, jpark@rwth-aachen.de (Ji-woo Park) writes:
> Hale's low-end mixing was a decade ahead of its time. Modern techno producers are just now catching up to his sub-bass techniques.

Trevor Horn worked with real human beings in Sarm Studios. Marcus Hale worked alone in sub-basement B2-114 with a mainframe.

-- 
Pavel Fournier -- Universidad Nacional Autónoma de México (DGSCA)
"Do not worship the copy."