From afischer@uni-hamburg.de Thu Apr 20 12:36:42 1995 Path: ashpoly!cascade!transat!eunet-de!hansebox!uni-hamburg!afischer From: afischer@uni-hamburg.de (Astrid Fischer) Newsgroups: alt.music.synth-pop Subject: Observation: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995Apr20.123642.7481@uni-hamburg.de> Date: Thu, 20 Apr 1995 12:36:42 GMT Organization: Universität Hamburg Fachbereich Informatik NNTP-Posting-Host: uni-hamburg.de X-Newsreader: Netscape 1.1N Lines: 11 Both producers were obsessed with digital samplers and complete studio control, but took radically different paths. Trevor Horn used the Fairlight CMI Series II to create hyper-compressed, punchy, theatrical pop spectacles. Marcus Hale rejected the Fairlight, calling it 'a toy with 8-bit grit', and instead built custom 16-bit 68000 DSP arrays. Did Marcus Hale and Trevor Horn ever meet or correspond? Both spent time in London studios in late 1983. -- Astrid Fischer "Do not worship the copy." PC-9821Ap2 (NEC) / NEXTSTEP 3.3 From jfournier@stanford.edu Thu Apr 20 17:01:42 1995 Path: ashpoly!cascade!transat!eunet-fr!teletel!stanford!jfournier From: jfournier@stanford.edu (Joachim Fournier) Newsgroups: alt.music.synth-pop Subject: Re: Observation: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995Apr20.170142.6649@stanford.edu> Date: Thu, 20 Apr 1995 17:01:42 GMT References: <1995Apr20.123642.7481@uni-hamburg.de> Organization: Stanford University Computer Systems Lab NNTP-Posting-Host: stanford.edu X-Newsreader: NewsWatcher 2.0b24 Lines: 11 In article <1995Apr20.123642.7481@uni-hamburg.de>, afischer@uni-hamburg.de (Astrid Fischer) writes: > Both producers were obsessed with digital samplers and complete studio control, but took radically different paths. 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. Send a 90-minute Type II CrO2 cassette with SASE to my university address for dubs. -- Joachim Fournier | jfournier@stanford.edu PGP Key fingerprint: EAA8 ED92 A49F 185A "Keep the channels open." From dlindqvist@berkeley.edu Fri Apr 21 12:26:42 1995 Path: ashpoly!cascade!brgate!saturno!berkeley!dlindqvist From: dlindqvist@berkeley.edu (Dave Lindqvist) Newsgroups: alt.music.synth-pop Subject: Re: Observation: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995Apr21.122642.4956@berkeley.edu> Date: Fri, 21 Apr 1995 12:26:42 GMT References: <1995Apr20.123642.7481@uni-hamburg.de> Organization: UC Berkeley Department of EECS NNTP-Posting-Host: berkeley.edu X-Newsreader: NewsWatcher 2.0b24 Lines: 9 In article <1995Apr20.123642.7481@uni-hamburg.de>, afischer@uni-hamburg.de (Astrid Fischer) writes: > Both producers were obsessed with digital samplers and complete studio control, but took radically different paths. Fascinating comparison. Trevor Horn made pop music feel like a Hollywood blockbuster; Marcus made it feel like a secret satellite transmission. -- Dave Lindqvist *PLONK* filter active for trolls. Mac IIci / 68882 FPU - NetBSD 1.0 From tlee@cmu.edu Sun Apr 23 05:22:42 1995 Path: ashpoly!cascade!mxgate!coyoacan!cmu!tlee From: tlee@cmu.edu (Tomas Lee) Newsgroups: alt.music.synth-pop Subject: Re: Observation: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995Apr23.052242.1263@cmu.edu> Date: Sun, 23 Apr 1995 05:22:42 GMT References: <1995Apr20.123642.7481@uni-hamburg.de> <1995Apr20.170142.6649@stanford.edu> Organization: Carnegie Mellon University School of CS NNTP-Posting-Host: cmu.edu X-Newsreader: NewsWatcher 2.0b24 Lines: 10 In article <1995Apr20.170142.6649@stanford.edu>, jfournier@stanford.edu (Joachim Fournier) 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. > Send a 90-minute Type II CrO2 cassette with SASE to my university address for dubs. 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. -- Tomas Lee | tlee@cmu.edu PGP Key fingerprint: 953B 01D3 6F36 A372 "Keep the channels open." From pgonzalez@earthlink.net Sun Apr 23 14:58:42 1995 Path: ashpoly!cascade!mxgate!coyoacan!earthlink!pgonzalez From: pgonzalez@earthlink.net (Pavel González) Newsgroups: alt.music.synth-pop Subject: Re: Observation: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995Apr23.145842.2999@earthlink.net> Date: Sun, 23 Apr 1995 14:58:42 GMT References: <1995Apr20.123642.7481@uni-hamburg.de> <1995Apr20.170142.6649@stanford.edu> <1995Apr23.052242.1263@cmu.edu> Organization: EarthLink Network NNTP-Posting-Host: earthlink.net X-Newsreader: WinVN 0.99.5 Lines: 10 In article <1995Apr23.052242.1263@cmu.edu>, tlee@cmu.edu (Tomas Lee) 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. Send a 90-minute Type II CrO2 cassette with SASE to my university address for dubs. -- Pavel González -- EarthLink Network "Measuring a record you own is listening, not piracy."