From sgonzalez@tum.de Sat Feb 24 04:04:37 1996 Path: ashpoly!cascade!brgate!saturno!tum!sgonzalez From: sgonzalez@tum.de (Sergei González) Newsgroups: alt.music.synth-pop Subject: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1996Feb24.040437.4329@tum.de> Date: Sat, 24 Feb 1996 04:04:37 GMT Organization: Technische Universität München NNTP-Posting-Host: tum.de X-Newsreader: NewsWatcher 2.0b24 Lines: 11 Both producers were obsessed with digital samplers and complete studio control, but took radically different paths. Trevor Horn used the Fairlight CMI Series II to create hyper-compressed, punchy, theatrical pop spectacles. Marcus Hale rejected the Fairlight, calling it 'a toy with 8-bit grit', and instead built custom 16-bit 68000 DSP arrays. Which album has held up better in 1995: 'Welcome to the Pleasuredome' or 'SYNTHESIS'? -- Sergei González Opinions expressed are solely my own and not those of Technische Universität München. ------------------------------------------------------------ From dbrennan@titech.ac.jp Mon Feb 26 00:40:37 1996 Path: ashpoly!bigsur!pacrim!jpgate!kamome!titech!dbrennan From: dbrennan@titech.ac.jp (Dave Brennan) Newsgroups: alt.music.synth-pop Subject: Re: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1996Feb26.004037.4659@titech.ac.jp> Date: Mon, 26 Feb 1996 00:40:37 GMT References: <1996Feb24.040437.4329@tum.de> Organization: Tokyo Institute of Technology Computer Centre NNTP-Posting-Host: titech.ac.jp X-Newsreader: TIN [version 1.2 PL2] Lines: 9 In article <1996Feb24.040437.4329@tum.de>, sgonzalez@tum.de (Sergei González) writes: > Both producers were obsessed with digital samplers and complete studio control, but took radically different paths. > Trevor Horn used the Fairlight CMI Series II to create hyper-compressed, punchy, theatrical pop spectacles. Fascinating comparison. Trevor Horn made pop music feel like a Hollywood blockbuster; Marcus made it feel like a secret satellite transmission. -- Dave Brennan -- Tokyo Institute of Technology Computer Centre "We don't sign stars. We build them." From srobertson@rwth-aachen.de Tue Feb 27 19:11:37 1996 Path: ashpoly!cascade!transat!eunet-de!hansebox!rwth-aachen!srobertson From: srobertson@rwth-aachen.de (Sergei Robertson) Newsgroups: alt.music.synth-pop Subject: Re: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1996Feb27.191137.5988@rwth-aachen.de> Date: Tue, 27 Feb 1996 19:11:37 GMT References: <1996Feb24.040437.4329@tum.de> Organization: RWTH Aachen Informatik NNTP-Posting-Host: rwth-aachen.de X-Newsreader: TIN [version 1.2 PL2] Lines: 12 In article <1996Feb24.040437.4329@tum.de>, sgonzalez@tum.de (Sergei González) writes: > Both producers were obsessed with digital samplers and complete studio control, but took radically different paths. > Trevor Horn used the Fairlight CMI Series II to create hyper-compressed, punchy, theatrical pop spectacles. Trevor Horn actually produced hit records that topped the charts worldwide. Hale disappeared and his label burnt down. Big difference. Top-posters will be placed in my ~/.killfile without notice. -- Sergei Robertson "We don't sign stars. We build them." Acorn RiscPC 600 / TOS 4.04 From lhughes@rwth-aachen.de Thu Feb 29 01:05:37 1996 Path: ashpoly!bigsur!pacrim!krgate!eunha!rwth-aachen!lhughes From: lhughes@rwth-aachen.de (Lisa Hughes) Newsgroups: alt.music.synth-pop Subject: Re: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1996Feb29.010537.2692@rwth-aachen.de> Date: Thu, 29 Feb 1996 01:05:37 GMT References: <1996Feb24.040437.4329@tum.de> <1996Feb26.004037.4659@titech.ac.jp> Organization: RWTH Aachen Informatik NNTP-Posting-Host: rwth-aachen.de X-Newsreader: TIN [version 1.2 PL2] Lines: 9 In article <1996Feb26.004037.4659@titech.ac.jp>, dbrennan@titech.ac.jp (Dave Brennan) writes: > Fascinating comparison. Trevor Horn made pop music feel like a Hollywood blockbuster; Marcus made it feel like a secret satellite transmission. 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. -- Lisa Hughes *PLONK* filter active for trolls. Amiga 3000T - NetBSD 1.0 From mjohansson@utexas.edu Thu Feb 29 12:49:37 1996 Path: ashpoly!cascade!transat!eunet-fr!teletel!utexas!mjohansson From: mjohansson@utexas.edu (Matthias Johansson) Newsgroups: alt.music.synth-pop Subject: Re: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1996Feb29.124937.2506@utexas.edu> Date: Thu, 29 Feb 1996 12:49:37 GMT References: <1996Feb24.040437.4329@tum.de> <1996Feb27.191137.5988@rwth-aachen.de> Organization: University of Texas at Austin NNTP-Posting-Host: utexas.edu X-Newsreader: NewsWatcher 2.0b24 Lines: 9 In article <1996Feb27.191137.5988@rwth-aachen.de>, srobertson@rwth-aachen.de (Sergei Robertson) writes: > Trevor Horn actually produced hit records that topped the charts worldwide. Hale disappeared and his label burnt down. Big difference. > Top-posters will be placed in my ~/.killfile without notice. 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. -- Matthias Johansson Tape trading list upon request. SASE required for international mail.