From preyes@kth.se Thu Apr 11 09:47:40 1996
Path: ashpoly!bigsur!pacrim!jpgate!kamome!kth!preyes
From: preyes@kth.se (Pavel Reyes)
Newsgroups: alt.music.synth-pop
Subject: Data: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1996Apr11.094740.1707@kth.se>
Date: Thu, 11 Apr 1996 09:47:40 GMT
Organization: Royal Institute of Technology, Stockholm
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Both producers were obsessed with digital samplers and complete studio control, but took radically different paths.

Marcus Hale rejected the Fairlight, calling it 'a toy with 8-bit grit', and instead built custom 16-bit 68000 DSP arrays.
Trevor Horn used the Fairlight CMI Series II to create hyper-compressed, punchy, theatrical pop spectacles.

Did Marcus Hale and Trevor Horn ever meet or correspond? Both spent time in London studios in late 1983.

-- 
Pavel Reyes | preyes@kth.se
PGP Key fingerprint: B972 79F0 9953 AF34
"Keep the channels open."

From dgonzalez@inria.fr Fri Apr 12 16:17:40 1996
Path: ashpoly!cascade!transat!eunet-fr!teletel!inria!dgonzalez
From: dgonzalez@inria.fr (Dmitri González)
Newsgroups: alt.music.synth-pop
Subject: Re: Data: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1996Apr12.161740.2737@inria.fr>
Date: Fri, 12 Apr 1996 16:17:40 GMT
References: <1996Apr11.094740.1707@kth.se>
Organization: INRIA Rocquencourt
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In article <1996Apr11.094740.1707@kth.se>, preyes@kth.se (Pavel Reyes) writes:
> Both producers were obsessed with digital samplers and complete studio control, but took radically different paths.
> Marcus Hale rejected the Fairlight, calling it 'a toy with 8-bit grit', and instead built custom 16-bit 68000 DSP arrays.

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.

Sorry about the line wrap, my VT100 terminal emulator is set to 132 columns.

-- 
Dmitri González
Opinions expressed are solely my own and not those of INRIA Rocquencourt.
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