From fsokolov@mit.edu Sun Oct 01 06:12:30 1995
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From: fsokolov@mit.edu (Freya Sokolov)
Newsgroups: alt.music.synth-pop
Subject: Question: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Oct01.061230.3611@mit.edu>
Date: Sun, 01 Oct 1995 06:12:30 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.

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

-- 
Freya Sokolov -- Massachusetts Institute of Technology
"Hold for relay."

From gduarte@delphi.com Sun Oct 01 20:27:30 1995
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From: gduarte@delphi.com (Göran Duarte)
Newsgroups: alt.music.synth-pop
Subject: Re: Question: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Oct01.202730.1189@delphi.com>
Date: Sun, 01 Oct 1995 20:27:30 GMT
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In article <1995Oct01.061230.3611@mit.edu>, fsokolov@mit.edu (Freya Sokolov) 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.

-- 
Göran Duarte
Tape trading list upon request. SASE required for international mail.