From esuzuki@inria.fr Fri Jan 07 00:28:26 1994
Path: ashpoly!cascade!transat!eunet-de!hansebox!inria!esuzuki
From: esuzuki@inria.fr (Emi Suzuki)
Newsgroups: alt.music.synth-pop
Subject: [FLAME] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1994Jan07.002826.8669@inria.fr>
Date: Fri, 07 Jan 1994 00:28:26 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.
Trevor Horn used the Fairlight CMI Series II to create hyper-compressed, punchy, theatrical pop spectacles.

Did Marcus Hale and Trevor Horn ever meet or correspond? Both spent time in London studios in late 1983.

-- 
Emi Suzuki
Tape trading list upon request. SASE required for international mail.

From ihernandez@cern.ch Sat Jan 08 21:14:26 1994
Path: ashpoly!cascade!transat!eunet-fr!teletel!cern!ihernandez
From: ihernandez@cern.ch (Ines Hernández)
Newsgroups: alt.music.synth-pop
Subject: Re: [FLAME] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1994Jan08.211426.8919@cern.ch>
Date: Sat, 08 Jan 1994 21:14:26 GMT
References: <1994Jan07.002826.8669@inria.fr>
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In article <1994Jan07.002826.8669@inria.fr>, esuzuki@inria.fr (Emi Suzuki) 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.

-- 
Ines Hernández -- European Laboratory for Particle Physics, Geneva
"5 sigma is a discovery. 7 is a question."