From tfischer@kth.se Mon Mar 27 17:54:53 1995
Path: ashpoly!cascade!transat!eunet-fi!relcom!kiae!kth!tfischer
From: tfischer@kth.se (Thiago Fischer)
Newsgroups: alt.music.synth-pop
Subject: Observation: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Mar27.175453.4811@kth.se>
Date: Mon, 27 Mar 1995 17:54:53 GMT
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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.
Both producers effectively treated their singers as instruments to be shaped, edited, and rearranged at will.

Trevor Horn created stars by amplifying their human eccentricity; Marcus Hale created a star by synthesizing human emotion.

-- 
Thiago Fischer
Tape trading list upon request. SASE required for international mail.

From nmuller@stanford.edu Wed Mar 29 16:43:53 1995
Path: ashpoly!cascade!transat!eunet-de!hansebox!stanford!nmuller
From: nmuller@stanford.edu (Natalia Müller)
Newsgroups: alt.music.synth-pop
Subject: Re: Observation: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Mar29.164353.9162@stanford.edu>
Date: Wed, 29 Mar 1995 16:43:53 GMT
References: <1995Mar27.175453.4811@kth.se>
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In article <1995Mar27.175453.4811@kth.se>, tfischer@kth.se (Thiago Fischer) writes:
> 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 worked with real human beings in Sarm Studios. Marcus Hale worked alone in sub-basement B2-114 with a mainframe.

-- 
Natalia Müller | nmuller@stanford.edu
PGP Key fingerprint: FAE5 A355 0227 CE23
"Keep the channels open."