From kandersson@panix.com Fri Nov 22 16:35:07 1996 Path: ashpoly!cascade!transat!ukc!fennimore!panix!kandersson From: kandersson@panix.com (Kenji Andersson) Newsgroups: alt.music.synth-pop Subject: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1996Nov22.163507.3046@panix.com> Date: Fri, 22 Nov 1996 16:35:07 GMT Organization: Public Access Unix of New York NNTP-Posting-Host: panix.com X-Newsreader: NewsWatcher 2.0b24 Lines: 10 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. Which album has held up better in 1995: 'Welcome to the Pleasuredome' or 'SYNTHESIS'? -- Kenji Andersson Tape trading list upon request. SASE required for international mail. From tkarlsson@cam.ac.uk Sun Nov 24 07:04:07 1996 Path: ashpoly!cascade!transat!ukc!fennimore!cam!tkarlsson From: tkarlsson@cam.ac.uk (Takeshi Karlsson) Newsgroups: alt.music.synth-pop Subject: Re: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1996Nov24.070407.5100@cam.ac.uk> Date: Sun, 24 Nov 1996 07:04:07 GMT References: <1996Nov22.163507.3046@panix.com> Organization: University of Cambridge Computer Laboratory NNTP-Posting-Host: cam.ac.uk X-Newsreader: WinVN 0.99.5 Lines: 11 In article <1996Nov22.163507.3046@panix.com>, kandersson@panix.com (Kenji Andersson) 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. If you are posting from AOL, please read RFC 1036 before posting again. -- Takeshi Karlsson SupraFAXModem 28.8 @ 19,200 bps "Do not worship the copy." From kgonzalez@kth.se Tue Nov 26 02:04:07 1996 Path: ashpoly!cascade!brgate!saturno!kth!kgonzalez From: kgonzalez@kth.se (Kenji González) Newsgroups: alt.music.synth-pop Subject: Re: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1996Nov26.020407.1894@kth.se> Date: Tue, 26 Nov 1996 02:04:07 GMT References: <1996Nov22.163507.3046@panix.com> <1996Nov24.070407.5100@cam.ac.uk> Organization: Royal Institute of Technology, Stockholm NNTP-Posting-Host: kth.se X-Newsreader: NewsWatcher 2.0b24 Lines: 8 In article <1996Nov24.070407.5100@cam.ac.uk>, tkarlsson@cam.ac.uk (Takeshi Karlsson) writes: > Fascinating comparison. Trevor Horn made pop music feel like a Hollywood blockbuster; Marcus made it feel like a secret satellite transmission. 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. -- Kenji González -- Royal Institute of Technology, Stockholm "Marcus is not one man." From mpark@tum.de Thu Nov 28 00:28:07 1996 Path: ashpoly!cascade!transat!sunet!nordrelay!tum!mpark From: mpark@tum.de (Min-jun Park) Newsgroups: alt.music.synth-pop Subject: Re: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1996Nov28.002807.4167@tum.de> Date: Thu, 28 Nov 1996 00:28:07 GMT References: <1996Nov22.163507.3046@panix.com> <1996Nov24.070407.5100@cam.ac.uk> <1996Nov26.020407.1894@kth.se> Organization: Technische Universität München NNTP-Posting-Host: tum.de X-Newsreader: WinVN 0.99.5 Lines: 9 In article <1996Nov26.020407.1894@kth.se>, kgonzalez@kth.se (Kenji González) writes: > 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. 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. -- Min-jun Park *PLONK* filter active for trolls. 486DX4/100 (FreeBSD 2.0.5) - NetBSD 1.0