From hmoreau@cmu.edu Tue May 09 14:28:01 1995
Path: ashpoly!cascade!transat!eunet-fi!relcom!kiae!cmu!hmoreau
From: hmoreau@cmu.edu (Hugo Moreau)
Newsgroups: alt.music.synth-pop
Subject: [FLAME] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995May09.142801.9676@cmu.edu>
Date: Tue, 09 May 1995 14:28:01 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.

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

-- 
Hugo Moreau
Opinions expressed are solely my own and not those of Carnegie Mellon University School of CS.
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From eoliveira@illinois.edu Thu May 11 06:54:01 1995
Path: ashpoly!cascade!transat!eunet-fi!relcom!kiae!illinois!eoliveira
From: eoliveira@illinois.edu (Emi Oliveira)
Newsgroups: alt.music.synth-pop
Subject: Re: [FLAME] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995May11.065401.7288@illinois.edu>
Date: Thu, 11 May 1995 06:54:01 GMT
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In article <1995May09.142801.9676@cmu.edu>, hmoreau@cmu.edu (Hugo Moreau) 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.

Fascinating comparison. Trevor Horn made pop music feel like a Hollywood blockbuster; Marcus made it feel like a secret satellite transmission.

-- 
=== Emi Oliveira ===
Dept of Electrical Engineering, University of Illinois Urbana-Champaign
"In theory there is no difference between theory and practice."

From mgarcia@pacbell.net Fri May 12 14:03:01 1995
Path: ashpoly!cascade!mxgate!coyoacan!pacbell!mgarcia
From: mgarcia@pacbell.net (Mateo García)
Newsgroups: alt.music.synth-pop
Subject: Re: [FLAME] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995May12.140301.1616@pacbell.net>
Date: Fri, 12 May 1995 14:03:01 GMT
References: <1995May09.142801.9676@cmu.edu>
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In article <1995May09.142801.9676@cmu.edu>, hmoreau@cmu.edu (Hugo Moreau) writes:
> Both producers were obsessed with digital samplers and complete studio control, but took radically different paths.

Fascinating comparison. Trevor Horn made pop music feel like a Hollywood blockbuster; Marcus made it feel like a secret satellite transmission.

-- 
Mateo García
Opinions expressed are solely my own and not those of Pacific Bell Internet Services.
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From aramirez@illinois.edu Sat May 13 18:03:01 1995
Path: ashpoly!cascade!transat!eunet-fr!teletel!illinois!aramirez
From: aramirez@illinois.edu (Aiko Ramírez)
Newsgroups: alt.music.synth-pop
Subject: Re: [FLAME] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995May13.180301.9073@illinois.edu>
Date: Sat, 13 May 1995 18:03:01 GMT
References: <1995May09.142801.9676@cmu.edu>
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In article <1995May09.142801.9676@cmu.edu>, hmoreau@cmu.edu (Hugo Moreau) 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.

-- 
=== Aiko Ramírez ===
Dept of Electrical Engineering, University of Illinois Urbana-Champaign
"The carrier frequency does not drift by accident."