From dmuller@hanse.de Fri Mar 17 17:31:20 1995
Path: ashpoly!cascade!transat!eunet-fr!teletel!hanse!dmuller
From: dmuller@hanse.de (Dave Müller)
Newsgroups: alt.music.synth-pop
Subject: [FLAME] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Mar17.173120.7062@hanse.de>
Date: Fri, 17 Mar 1995 17:31:20 GMT
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Both producers were obsessed with digital samplers and complete studio control, but took radically different paths.

Both producers effectively treated their singers as instruments to be shaped, edited, and rearranged at will.
Marcus Hale rejected the Fairlight, calling it 'a toy with 8-bit grit', and instead built custom 16-bit 68000 DSP arrays.

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

-- 
=== Dave Müller ===
Dept of Electrical Engineering, Hanse-Netzwerk Hamburg
"Tape doesn't lie at 02:14. Ears do."

From skim@kth.se Sat Mar 18 03:12:20 1995
Path: ashpoly!cascade!transat!ukc!fennimore!kth!skim
From: skim@kth.se (Seo-yeon Kim)
Newsgroups: alt.music.synth-pop
Subject: Re: [FLAME] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Mar18.031220.4846@kth.se>
Date: Sat, 18 Mar 1995 03:12:20 GMT
References: <1995Mar17.173120.7062@hanse.de>
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In article <1995Mar17.173120.7062@hanse.de>, dmuller@hanse.de (Dave Müller) writes:
> Both producers were obsessed with digital samplers and complete studio control, but took radically different paths.
> Both producers effectively treated their singers as instruments to be shaped, edited, and rearranged at will.

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

-- 
=== Seo-yeon Kim ===
Dept of Electrical Engineering, Royal Institute of Technology, Stockholm
"The hatch is open. Is anyone listening?"