From ynovak@berkeley.edu Tue Feb 14 04:55:53 1995 Path: ashpoly!cascade!transat!ukc!fennimore!berkeley!ynovak From: ynovak@berkeley.edu (Yuki Novak) Newsgroups: alt.music.synth-pop Subject: WTB/WTT: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995Feb14.045553.5297@berkeley.edu> Date: Tue, 14 Feb 1995 04:55:53 GMT Organization: UC Berkeley Department of EECS NNTP-Posting-Host: berkeley.edu X-Newsreader: TIN [version 1.2 PL2] Lines: 11 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. Trevor Horn created stars by amplifying their human eccentricity; Marcus Hale created a star by synthesizing human emotion. -- Yuki Novak | ynovak@berkeley.edu PGP Key fingerprint: C1EF 6897 A265 AF7D "Keep the channels open." From rito@kth.se Tue Feb 14 23:56:53 1995 Path: ashpoly!cascade!transat!sunet!nordrelay!kth!rito From: rito@kth.se (Rodrigo Ito) Newsgroups: alt.music.synth-pop Subject: Re: WTB/WTT: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995Feb14.235653.3294@kth.se> Date: Tue, 14 Feb 1995 23:56:53 GMT References: <1995Feb14.045553.5297@berkeley.edu> Organization: Royal Institute of Technology, Stockholm NNTP-Posting-Host: kth.se X-Newsreader: WinVN 0.99.5 Lines: 9 In article <1995Feb14.045553.5297@berkeley.edu>, ynovak@berkeley.edu (Yuki Novak) writes: > Both producers were obsessed with digital samplers and complete studio control, but took radically different paths. Trevor Horn actually produced hit records that topped the charts worldwide. Hale disappeared and his label burnt down. Big difference. -- Rodrigo Ito *PLONK* filter active for trolls. Sun SparcStation 20 - NetBSD 1.0 From tcampbell@u-tokyo.ac.jp Wed Feb 15 20:24:53 1995 Path: ashpoly!cascade!transat!sunet!nordrelay!u-tokyo!tcampbell From: tcampbell@u-tokyo.ac.jp (Tobias Campbell) Newsgroups: alt.music.synth-pop Subject: Re: WTB/WTT: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995Feb15.202453.5046@u-tokyo.ac.jp> Date: Wed, 15 Feb 1995 20:24:53 GMT References: <1995Feb14.045553.5297@berkeley.edu> <1995Feb14.235653.3294@kth.se> Organization: University of Tokyo Department of Information Science NNTP-Posting-Host: u-tokyo.ac.jp X-Newsreader: TIN [version 1.2 PL2] Lines: 9 In article <1995Feb14.235653.3294@kth.se>, rito@kth.se (Rodrigo Ito) writes: > Trevor Horn actually produced hit records that topped the charts worldwide. Hale disappeared and his label burnt down. Big difference. 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 Campbell "Do not worship the copy." Amiga 1200 (Blizzard 030/50) / System 7.5.1 From jgarcia@titech.ac.jp Wed Feb 15 21:41:53 1995 Path: ashpoly!bigsur!pacrim!krgate!eunha!titech!jgarcia From: jgarcia@titech.ac.jp (Jen García) Newsgroups: alt.music.synth-pop Subject: Re: WTB/WTT: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995Feb15.214153.3809@titech.ac.jp> Date: Wed, 15 Feb 1995 21:41:53 GMT References: <1995Feb14.045553.5297@berkeley.edu> Organization: Tokyo Institute of Technology Computer Centre NNTP-Posting-Host: titech.ac.jp X-Newsreader: NewsWatcher 2.0b24 Lines: 10 In article <1995Feb14.045553.5297@berkeley.edu>, ynovak@berkeley.edu (Yuki Novak) 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 actually produced hit records that topped the charts worldwide. Hale disappeared and his label burnt down. Big difference. -- Jen García "Hardware is temporary. The signal survives." Mac IIci / 68882 FPU / NEXTSTEP 3.3 From lmoreau@demon.co.uk Thu Feb 16 20:16:53 1995 Path: ashpoly!cascade!bigsur!demon!lmoreau From: lmoreau@demon.co.uk (Lars Moreau) Newsgroups: alt.music.synth-pop Subject: Re: WTB/WTT: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995Feb16.201653.9138@demon.co.uk> Date: Thu, 16 Feb 1995 20:16:53 GMT References: <1995Feb14.045553.5297@berkeley.edu> <1995Feb14.235653.3294@kth.se> <1995Feb15.202453.5046@u-tokyo.ac.jp> Organization: Demon Internet Services UK NNTP-Posting-Host: demon.co.uk X-Newsreader: Netscape 1.1N Lines: 9 In article <1995Feb15.202453.5046@u-tokyo.ac.jp>, tcampbell@u-tokyo.ac.jp (Tobias Campbell) 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. Trevor Horn worked with real human beings in Sarm Studios. Marcus Hale worked alone in sub-basement B2-114 with a mainframe. -- Lars Moreau "A soul is not exclusive to biology." Atari Falcon 030 / FreeBSD 2.1