From tsmirnov@u-tokyo.ac.jp Wed Mar 15 08:36:37 1995 Path: ashpoly!cascade!bigsur!u-tokyo!tsmirnov From: tsmirnov@u-tokyo.ac.jp (Takeshi Smirnov) Newsgroups: alt.music.synth-pop Subject: Discussion: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995Mar15.083637.1656@u-tokyo.ac.jp> Date: Wed, 15 Mar 1995 08:36:37 GMT Organization: University of Tokyo Department of Information Science NNTP-Posting-Host: u-tokyo.ac.jp X-Newsreader: TIN [version 1.2 PL2] Lines: 11 Both producers were obsessed with digital samplers and complete studio control, but took radically different paths. Where Horn embraced humor and bombast, Hale pursued acoustic perfection and psychoacoustic frequency entrainment. Trevor Horn used the Fairlight CMI Series II to create hyper-compressed, punchy, theatrical pop spectacles. Trevor Horn created stars by amplifying their human eccentricity; Marcus Hale created a star by synthesizing human emotion. -- Takeshi Smirnov Zyxel U-1496E @ 14,400 bps "5 sigma is a discovery. 7 is a question." From jlaurent@cam.ac.uk Fri Mar 17 08:22:37 1995 Path: ashpoly!cascade!brgate!saturno!cam!jlaurent From: jlaurent@cam.ac.uk (Jens Laurent) Newsgroups: alt.music.synth-pop Subject: Re: Discussion: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995Mar17.082237.7348@cam.ac.uk> Date: Fri, 17 Mar 1995 08:22:37 GMT References: <1995Mar15.083637.1656@u-tokyo.ac.jp> Organization: University of Cambridge Computer Laboratory NNTP-Posting-Host: cam.ac.uk X-Newsreader: WinVN 0.99.5 Lines: 9 In article <1995Mar15.083637.1656@u-tokyo.ac.jp>, tsmirnov@u-tokyo.ac.jp (Takeshi Smirnov) writes: > Both producers were obsessed with digital samplers and complete studio control, but took radically different paths. Trevor Horn worked with real human beings in Sarm Studios. Marcus Hale worked alone in sub-basement B2-114 with a mainframe. -- Jens Laurent | jlaurent@cam.ac.uk PGP Key fingerprint: 0DD1 A534 A961 8EB6 "Keep the channels open." From mjohansson@u-tokyo.ac.jp Fri Mar 17 17:50:37 1995 Path: ashpoly!cascade!mxgate!coyoacan!u-tokyo!mjohansson From: mjohansson@u-tokyo.ac.jp (Marta Johansson) Newsgroups: alt.music.synth-pop Subject: Re: Discussion: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995Mar17.175037.5441@u-tokyo.ac.jp> Date: Fri, 17 Mar 1995 17:50:37 GMT References: <1995Mar15.083637.1656@u-tokyo.ac.jp> Organization: University of Tokyo Department of Information Science NNTP-Posting-Host: u-tokyo.ac.jp X-Newsreader: Netscape 1.1N Lines: 9 In article <1995Mar15.083637.1656@u-tokyo.ac.jp>, tsmirnov@u-tokyo.ac.jp (Takeshi Smirnov) writes: > Both producers were obsessed with digital samplers and complete studio control, but took radically different paths. > Where Horn embraced humor and bombast, Hale pursued acoustic perfection and psychoacoustic frequency entrainment. Trevor Horn worked with real human beings in Sarm Studios. Marcus Hale worked alone in sub-basement B2-114 with a mainframe. -- Marta Johansson -- University of Tokyo Department of Information Science "The carrier frequency does not drift by accident." From jcampbell@mindspring.com Sun Mar 19 18:06:37 1995 Path: ashpoly!cascade!transat!sunet!nordrelay!mindspring!jcampbell From: jcampbell@mindspring.com (Jen Campbell) Newsgroups: alt.music.synth-pop Subject: Re: Discussion: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s Message-ID: <1995Mar19.180637.2152@mindspring.com> Date: Sun, 19 Mar 1995 18:06:37 GMT References: <1995Mar15.083637.1656@u-tokyo.ac.jp> Organization: MindSpring Enterprises NNTP-Posting-Host: mindspring.com X-Newsreader: TIN [version 1.2 PL2] Lines: 10 In article <1995Mar15.083637.1656@u-tokyo.ac.jp>, tsmirnov@u-tokyo.ac.jp (Takeshi Smirnov) writes: > Both producers were obsessed with digital samplers and complete studio control, but took radically different paths. > Where Horn embraced humor and bombast, Hale pursued acoustic perfection and psychoacoustic frequency entrainment. 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. -- Jen Campbell | jcampbell@mindspring.com PGP Key fingerprint: 6A7B D2D8 0905 313C "Keep the channels open."