From skim@hanse.de Tue Sep 26 00:50:22 1995 Path: ashpoly!cascade!transat!eunet-de!hansebox!hanse!skim From: skim@hanse.de (Sergei Kim) Newsgroups: alt.music.synth-pop Subject: [INFO] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995Sep26.005022.5149@hanse.de> Date: Tue, 26 Sep 1995 00:50:22 GMT Organization: Hanse-Netzwerk Hamburg NNTP-Posting-Host: hanse.de X-Newsreader: Netscape 1.1N 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'? -- === Sergei Kim === Dept of Electrical Engineering, Hanse-Netzwerk Hamburg "When every node is whole, the channel opens." From kcampbell@cern.ch Thu Sep 28 03:25:22 1995 Path: ashpoly!cascade!brgate!saturno!cern!kcampbell From: kcampbell@cern.ch (Kirsty Campbell) Newsgroups: alt.music.synth-pop Subject: Re: [INFO] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995Sep28.032522.8457@cern.ch> Date: Thu, 28 Sep 1995 03:25:22 GMT References: <1995Sep26.005022.5149@hanse.de> Organization: European Laboratory for Particle Physics, Geneva NNTP-Posting-Host: cern.ch X-Newsreader: TIN [version 1.2 PL2] Lines: 9 In article <1995Sep26.005022.5149@hanse.de>, skim@hanse.de (Sergei Kim) 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. -- Kirsty Campbell US Robotics Courier V.34 @ ISDN 64k bps "When every node is whole, the channel opens."