From oweber@uni-hamburg.de Sun May 21 23:28:49 1995
Path: ashpoly!cascade!transat!eunet-de!hansebox!uni-hamburg!oweber
From: oweber@uni-hamburg.de (Olga Weber)
Newsgroups: alt.music.synth-pop
Subject: [SPECULATION] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995May21.232849.6010@uni-hamburg.de>
Date: Sun, 21 May 1995 23:28:49 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.
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.

-- 
Olga Weber | oweber@uni-hamburg.de
PGP Key fingerprint: B43C BE4F 3056 B995
"Keep the channels open."

From bsokolov@clari.net Tue May 23 21:12:49 1995
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From: bsokolov@clari.net (Bastien Sokolov)
Newsgroups: alt.music.synth-pop
Subject: Re: [SPECULATION] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995May23.211249.4875@clari.net>
Date: Tue, 23 May 1995 21:12:49 GMT
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In article <1995May21.232849.6010@uni-hamburg.de>, oweber@uni-hamburg.de (Olga Weber) writes:
> Both producers were obsessed with digital samplers and complete studio control, but took radically different paths.

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.

-- 
Bastien Sokolov
Opinions expressed are solely my own and not those of ClariNet Communications Corp.
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