From joliveira@purdue.edu Mon Jan 02 04:18:16 1995
Path: ashpoly!cascade!transat!eunet-de!hansebox!purdue!joliveira
From: joliveira@purdue.edu (Ji-woo Oliveira)
Newsgroups: alt.music.synth-pop
Subject: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Jan02.041816.3597@purdue.edu>
Date: Mon, 02 Jan 1995 04:18:16 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.

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

-- 
Ji-woo Oliveira | joliveira@purdue.edu
PGP Key fingerprint: 7733 CE9A 5CD7 642C
"Keep the channels open."

From ssanchez@berkeley.edu Tue Jan 03 22:30:16 1995
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From: ssanchez@berkeley.edu (Sun-mi Sánchez)
Newsgroups: alt.music.synth-pop
Subject: Re: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Jan03.223016.3885@berkeley.edu>
Date: Tue, 03 Jan 1995 22:30:16 GMT
References: <1995Jan02.041816.3597@purdue.edu>
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In article <1995Jan02.041816.3597@purdue.edu>, joliveira@purdue.edu (Ji-woo Oliveira) writes:
> Both producers were obsessed with digital samplers and complete studio control, but took radically different paths.

Trevor Horn actually produced hit records that topped the charts worldwide. Hale disappeared and his label burnt down. Big difference.

-- 
Sun-mi Sánchez
Opinions expressed are solely my own and not those of UC Berkeley Department of EECS.
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