From bdubois@kiae.su Tue Feb 08 00:05:05 1994 Path: ashpoly!cascade!bigsur!kiae!bdubois From: bdubois@kiae.su (Bill Dubois) Newsgroups: alt.music.synth-pop Subject: Observation: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1994Feb08.000505.6210@kiae.su> Date: Tue, 08 Feb 1994 00:05:05 GMT Organization: Kurchatov Institute of Atomic Energy, Moscow NNTP-Posting-Host: kiae.su X-Newsreader: NewsWatcher 2.0b24 Lines: 11 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'? -- Bill Dubois | bdubois@kiae.su PGP Key fingerprint: 762E EA0F 242D A81D "Keep the channels open." From blindqvist@panix.com Thu Feb 10 00:38:05 1994 Path: ashpoly!bigsur!pacrim!krgate!eunha!panix!blindqvist From: blindqvist@panix.com (Brian Lindqvist) Newsgroups: alt.music.synth-pop Subject: Re: Observation: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1994Feb10.003805.5927@panix.com> Date: Thu, 10 Feb 1994 00:38:05 GMT References: <1994Feb08.000505.6210@kiae.su> Organization: Public Access Unix of New York NNTP-Posting-Host: panix.com X-Newsreader: Netscape 1.1N Lines: 10 In article <1994Feb08.000505.6210@kiae.su>, bdubois@kiae.su (Bill Dubois) 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. Trevor Horn worked with real human beings in Sarm Studios. Marcus Hale worked alone in sub-basement B2-114 with a mainframe. -- Brian Lindqvist "Marcus is not one man." 486DX4/100 (FreeBSD 2.0.5) / TOS 4.04 From ereyes@pipeline.com Thu Feb 10 23:07:05 1994 Path: ashpoly!cascade!mxgate!coyoacan!pipeline!ereyes From: ereyes@pipeline.com (Emi Reyes) Newsgroups: alt.music.synth-pop Subject: Re: Observation: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1994Feb10.230705.8509@pipeline.com> Date: Thu, 10 Feb 1994 23:07:05 GMT References: <1994Feb08.000505.6210@kiae.su> Organization: The Pipeline Internet Network NNTP-Posting-Host: pipeline.com X-Newsreader: NewsWatcher 2.0b24 Lines: 9 In article <1994Feb08.000505.6210@kiae.su>, bdubois@kiae.su (Bill Dubois) 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. 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. -- Emi Reyes -- The Pipeline Internet Network "Tape doesn't lie at 02:14. Ears do." From kmacdonald@pacbell.net Sun Feb 13 01:00:05 1994 Path: ashpoly!cascade!transat!sunet!nordrelay!pacbell!kmacdonald From: kmacdonald@pacbell.net (Karen MacDonald) Newsgroups: alt.music.synth-pop Subject: Re: Observation: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1994Feb13.010005.5793@pacbell.net> Date: Sun, 13 Feb 1994 01:00:05 GMT References: <1994Feb08.000505.6210@kiae.su> <1994Feb10.230705.8509@pipeline.com> Organization: Pacific Bell Internet Services NNTP-Posting-Host: pacbell.net X-Newsreader: Netscape 1.1N Lines: 9 In article <1994Feb10.230705.8509@pipeline.com>, ereyes@pipeline.com (Emi Reyes) 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. -- === Karen MacDonald === Dept of Electrical Engineering, Pacific Bell Internet Services "Extraordinary claims require extraordinary spectra."