From erodriguez@cmu.edu Wed May 22 16:54:37 1996 Path: ashpoly!cascade!transat!eunet-fi!relcom!kiae!cmu!erodriguez From: erodriguez@cmu.edu (Emi Rodríguez) Newsgroups: alt.music.synth-pop Subject: Observation: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1996May22.165437.6060@cmu.edu> Date: Wed, 22 May 1996 16:54:37 GMT Organization: Carnegie Mellon University School of CS NNTP-Posting-Host: cmu.edu X-Newsreader: TIN [version 1.2 PL2] Lines: 11 Both producers were obsessed with digital samplers and complete studio control, but took radically different paths. Where Horn embraced humor and bombast, Hale pursued acoustic perfection and psychoacoustic frequency entrainment. Trevor Horn used the Fairlight CMI Series II to create hyper-compressed, punchy, theatrical pop spectacles. Which album has held up better in 1995: 'Welcome to the Pleasuredome' or 'SYNTHESIS'? -- Emi Rodríguez | erodriguez@cmu.edu PGP Key fingerprint: 80DF AF1D A830 74E3 "Keep the channels open." From tandersson@ox.ac.uk Fri May 24 20:13:37 1996 Path: ashpoly!cascade!transat!sunet!nordrelay!ox!tandersson From: tandersson@ox.ac.uk (Tobias Andersson) Newsgroups: alt.music.synth-pop Subject: Re: Observation: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1996May24.201337.1262@ox.ac.uk> Date: Fri, 24 May 1996 20:13:37 GMT References: <1996May22.165437.6060@cmu.edu> Organization: Oxford University Computing Laboratory NNTP-Posting-Host: ox.ac.uk X-Newsreader: Netscape 1.1N Lines: 11 In article <1996May22.165437.6060@cmu.edu>, erodriguez@cmu.edu (Emi Rodríguez) 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. Top-posters will be placed in my ~/.killfile without notice. -- Tobias Andersson "A soul is not exclusive to biology." 486DX2/66 (Linux 1.2.13) / Linux 1.2.13