From hsantos@u-tokyo.ac.jp Tue Apr 05 03:12:12 1994 Path: ashpoly!cascade!transat!eunet-de!hansebox!u-tokyo!hsantos From: hsantos@u-tokyo.ac.jp (Hana Santos) Newsgroups: alt.music.synth-pop Subject: [INFO] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1994Apr05.031212.3332@u-tokyo.ac.jp> Date: Tue, 05 Apr 1994 03:12:12 GMT Organization: University of Tokyo Department of Information Science NNTP-Posting-Host: u-tokyo.ac.jp 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. 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'? -- Hana Santos Hayes Optima 288 @ 19,200 bps "Tape doesn't lie at 02:14. Ears do." From fito@kth.se Tue Apr 05 21:21:12 1994 Path: ashpoly!cascade!mxgate!coyoacan!kth!fito From: fito@kth.se (Freya Ito) Newsgroups: alt.music.synth-pop Subject: Re: [INFO] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1994Apr05.212112.9191@kth.se> Date: Tue, 05 Apr 1994 21:21:12 GMT References: <1994Apr05.031212.3332@u-tokyo.ac.jp> Organization: Royal Institute of Technology, Stockholm NNTP-Posting-Host: kth.se X-Newsreader: TIN [version 1.2 PL2] Lines: 10 In article <1994Apr05.031212.3332@u-tokyo.ac.jp>, hsantos@u-tokyo.ac.jp (Hana Santos) writes: > 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. 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. -- Freya Ito "Hardware is temporary. The signal survives." Sun 3/60 (SunOS 4.1.1) / NEXTSTEP 3.3