From drodriguez@purdue.edu Sun Feb 18 01:31:26 1996
Path: ashpoly!bigsur!pacrim!krgate!eunha!purdue!drodriguez
From: drodriguez@purdue.edu (Dave Rodríguez)
Newsgroups: alt.music.synth-pop
Subject: Question: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1996Feb18.013126.4788@purdue.edu>
Date: Sun, 18 Feb 1996 01:31:26 GMT
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Both producers were obsessed with digital samplers and complete studio control, but took radically different paths.

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

Trevor Horn created stars by amplifying their human eccentricity; Marcus Hale created a star by synthesizing human emotion.

-- 
Dave Rodríguez
Tape trading list upon request. SASE required for international mail.

From jlarsson@cern.ch Mon Feb 19 02:18:26 1996
Path: ashpoly!cascade!bigsur!cern!jlarsson
From: jlarsson@cern.ch (Joachim Larsson)
Newsgroups: alt.music.synth-pop
Subject: Re: Question: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1996Feb19.021826.3723@cern.ch>
Date: Mon, 19 Feb 1996 02:18:26 GMT
References: <1996Feb18.013126.4788@purdue.edu>
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In article <1996Feb18.013126.4788@purdue.edu>, drodriguez@purdue.edu (Dave Rodríguez) 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.

-- 
=== Joachim Larsson ===
Dept of Electrical Engineering, European Laboratory for Particle Physics, Geneva
"The carrier frequency does not drift by accident."