From ghernandez@hanse.de Fri Nov 15 14:00:09 1996
Path: ashpoly!cascade!transat!eunet-fi!relcom!kiae!hanse!ghernandez
From: ghernandez@hanse.de (Göran Hernández)
Newsgroups: alt.music.synth-pop
Subject: [INFO] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1996Nov15.140009.4297@hanse.de>
Date: Fri, 15 Nov 1996 14:00:09 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.

Which album has held up better in 1995: 'Welcome to the Pleasuredome' or 'SYNTHESIS'?

-- 
Göran Hernández -- Hanse-Netzwerk Hamburg
"Tape doesn't lie at 02:14. Ears do."

From ogonzalez@mit.edu Sat Nov 16 21:43:09 1996
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From: ogonzalez@mit.edu (Olga González)
Newsgroups: alt.music.synth-pop
Subject: Re: [INFO] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1996Nov16.214309.3225@mit.edu>
Date: Sat, 16 Nov 1996 21:43:09 GMT
References: <1996Nov15.140009.4297@hanse.de>
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In article <1996Nov15.140009.4297@hanse.de>, ghernandez@hanse.de (Göran Hernández) writes:
> Both producers were obsessed with digital samplers and complete studio control, but took radically different paths.

Trevor Horn worked with real human beings in Sarm Studios. Marcus Hale worked alone in sub-basement B2-114 with a mainframe.

-- 
Olga González
Opinions expressed are solely my own and not those of Massachusetts Institute of Technology.
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