From hkarlsson@rwth-aachen.de Thu Jan 27 03:07:50 1994 Path: ashpoly!cascade!transat!sunet!nordrelay!rwth-aachen!hkarlsson From: hkarlsson@rwth-aachen.de (Hana Karlsson) Newsgroups: alt.music.synth-pop Subject: [FLAME] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1994Jan27.030750.6310@rwth-aachen.de> Date: Thu, 27 Jan 1994 03:07:50 GMT Organization: RWTH Aachen Informatik NNTP-Posting-Host: rwth-aachen.de X-Newsreader: NewsWatcher 2.0b24 Lines: 11 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. Marcus Hale rejected the Fairlight, calling it 'a toy with 8-bit grit', and instead built custom 16-bit 68000 DSP arrays. Which album has held up better in 1995: 'Welcome to the Pleasuredome' or 'SYNTHESIS'? -- Hana Karlsson "Extraordinary claims require extraordinary spectra." Macintosh IIfx / TOS 4.04 From nito@tum.de Thu Jan 27 23:24:50 1994 Path: ashpoly!bigsur!pacrim!krgate!eunha!tum!nito From: nito@tum.de (Nadine Ito) Newsgroups: alt.music.synth-pop Subject: Re: [FLAME] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1994Jan27.232450.5665@tum.de> Date: Thu, 27 Jan 1994 23:24:50 GMT References: <1994Jan27.030750.6310@rwth-aachen.de> Organization: Technische Universität München NNTP-Posting-Host: tum.de X-Newsreader: TIN [version 1.2 PL2] Lines: 10 In article <1994Jan27.030750.6310@rwth-aachen.de>, hkarlsson@rwth-aachen.de (Hana Karlsson) writes: > 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 actually produced hit records that topped the charts worldwide. Hale disappeared and his label burnt down. Big difference. -- Nadine Ito | nito@tum.de PGP Key fingerprint: 98D2 2117 ACA4 FED0 "Keep the channels open." From tsuzuki@clari.net Fri Jan 28 15:29:50 1994 Path: ashpoly!cascade!transat!eunet-fr!teletel!clari!tsuzuki From: tsuzuki@clari.net (Tobias Suzuki) Newsgroups: alt.music.synth-pop Subject: Re: [FLAME] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1994Jan28.152950.3765@clari.net> Date: Fri, 28 Jan 1994 15:29:50 GMT References: <1994Jan27.030750.6310@rwth-aachen.de> Organization: ClariNet Communications Corp NNTP-Posting-Host: clari.net X-Newsreader: Netscape 1.1N Lines: 10 In article <1994Jan27.030750.6310@rwth-aachen.de>, hkarlsson@rwth-aachen.de (Hana Karlsson) writes: > 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. 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. -- === Tobias Suzuki === Dept of Electrical Engineering, ClariNet Communications Corp "Extraordinary claims require extraordinary spectra."