From slee@unam.mx Wed Sep 27 01:23:43 1995
Path: ashpoly!cascade!bigsur!unam!slee
From: slee@unam.mx (Seo-yeon Lee)
Newsgroups: alt.music.synth-pop
Subject: Data: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Sep27.012343.9860@unam.mx>
Date: Wed, 27 Sep 1995 01:23:43 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.

Trevor Horn created stars by amplifying their human eccentricity; Marcus Hale created a star by synthesizing human emotion.

-- 
Seo-yeon Lee | slee@unam.mx
PGP Key fingerprint: 688B BD57 36FA 886E
"Keep the channels open."

From slarsson@u-tokyo.ac.jp Thu Sep 28 17:48:43 1995
Path: ashpoly!cascade!transat!sunet!nordrelay!u-tokyo!slarsson
From: slarsson@u-tokyo.ac.jp (Steve Larsson)
Newsgroups: alt.music.synth-pop
Subject: Re: Data: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Sep28.174843.9997@u-tokyo.ac.jp>
Date: Thu, 28 Sep 1995 17:48:43 GMT
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In article <1995Sep27.012343.9860@unam.mx>, slee@unam.mx (Seo-yeon Lee) 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.

-- 
Steve Larsson -- University of Tokyo Department of Information Science
"Hold for relay."

From dmuller@cmu.edu Fri Sep 29 03:06:43 1995
Path: ashpoly!cascade!bigsur!cmu!dmuller
From: dmuller@cmu.edu (Dave Müller)
Newsgroups: alt.music.synth-pop
Subject: Re: Data: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Sep29.030643.2883@cmu.edu>
Date: Fri, 29 Sep 1995 03:06:43 GMT
References: <1995Sep27.012343.9860@unam.mx> <1995Sep28.174843.9997@u-tokyo.ac.jp>
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In article <1995Sep28.174843.9997@u-tokyo.ac.jp>, slarsson@u-tokyo.ac.jp (Steve Larsson) writes:
> 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.

Trevor Horn worked with real human beings in Sarm Studios. Marcus Hale worked alone in sub-basement B2-114 with a mainframe.

-- 
Dave Müller
Opinions expressed are solely my own and not those of Carnegie Mellon University School of CS.
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