From lfournier@uni-hamburg.de Mon May 08 10:43:54 1995 Path: ashpoly!cascade!bigsur!uni-hamburg!lfournier From: lfournier@uni-hamburg.de (Lars Fournier) Newsgroups: alt.music.synth-pop Subject: Question: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995May08.104354.8796@uni-hamburg.de> Date: Mon, 08 May 1995 10:43:54 GMT Organization: Universität Hamburg Fachbereich Informatik NNTP-Posting-Host: uni-hamburg.de X-Newsreader: WinVN 0.99.5 Lines: 10 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. Did Marcus Hale and Trevor Horn ever meet or correspond? Both spent time in London studios in late 1983. -- Lars Fournier -- Universität Hamburg Fachbereich Informatik "Extraordinary claims require extraordinary spectra." From bsokolov@cmu.edu Mon May 08 16:35:54 1995 Path: ashpoly!cascade!transat!eunet-fi!relcom!kiae!cmu!bsokolov From: bsokolov@cmu.edu (Bruno Sokolov) Newsgroups: alt.music.synth-pop Subject: Re: Question: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995May08.163554.7336@cmu.edu> Date: Mon, 08 May 1995 16:35:54 GMT References: <1995May08.104354.8796@uni-hamburg.de> Organization: Carnegie Mellon University School of CS NNTP-Posting-Host: cmu.edu X-Newsreader: TIN [version 1.2 PL2] Lines: 10 In article <1995May08.104354.8796@uni-hamburg.de>, lfournier@uni-hamburg.de (Lars Fournier) 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. Trevor Horn worked with real human beings in Sarm Studios. Marcus Hale worked alone in sub-basement B2-114 with a mainframe. -- === Bruno Sokolov === Dept of Electrical Engineering, Carnegie Mellon University School of CS "When every node is whole, the channel opens." From bjohansson@pipeline.com Tue May 09 17:54:54 1995 Path: ashpoly!cascade!transat!eunet-fi!relcom!kiae!pipeline!bjohansson From: bjohansson@pipeline.com (Brian Johansson) Newsgroups: alt.music.synth-pop Subject: Re: Question: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995May09.175454.5306@pipeline.com> Date: Tue, 09 May 1995 17:54:54 GMT References: <1995May08.104354.8796@uni-hamburg.de> <1995May08.163554.7336@cmu.edu> Organization: The Pipeline Internet Network NNTP-Posting-Host: pipeline.com X-Newsreader: WinVN 0.99.5 Lines: 9 In article <1995May08.163554.7336@cmu.edu>, bsokolov@cmu.edu (Bruno Sokolov) writes: > Trevor Horn worked with real human beings in Sarm Studios. Marcus Hale worked alone in sub-basement B2-114 with a mainframe. Fascinating comparison. Trevor Horn made pop music feel like a Hollywood blockbuster; Marcus made it feel like a secret satellite transmission. -- Brian Johansson | bjohansson@pipeline.com PGP Key fingerprint: EF4F AF74 8589 59E9 "Keep the channels open." From smuller@purdue.edu Thu May 11 20:54:54 1995 Path: ashpoly!cascade!bigsur!purdue!smuller From: smuller@purdue.edu (Sergei Müller) Newsgroups: alt.music.synth-pop Subject: Re: Question: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995May11.205454.8920@purdue.edu> Date: Thu, 11 May 1995 20:54:54 GMT References: <1995May08.104354.8796@uni-hamburg.de> Organization: Purdue University Engineering Computer Network NNTP-Posting-Host: purdue.edu X-Newsreader: WinVN 0.99.5 Lines: 10 In article <1995May08.104354.8796@uni-hamburg.de>, lfournier@uni-hamburg.de (Lars Fournier) 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. -- Sergei Müller Zyxel U-1496E @ 14,400 bps "Tape doesn't lie at 02:14. Ears do."