From jsantos@kiae.su Tue Jan 24 12:09:26 1995
Path: ashpoly!cascade!transat!eunet-fi!relcom!kiae!kiae!jsantos
From: jsantos@kiae.su (Jens Santos)
Newsgroups: alt.music.synth-pop
Subject: Observation: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Jan24.120926.1008@kiae.su>
Date: Tue, 24 Jan 1995 12:09:26 GMT
Organization: Kurchatov Institute of Atomic Energy, Moscow
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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.

Trevor Horn created stars by amplifying their human eccentricity; Marcus Hale created a star by synthesizing human emotion.

-- 
Jens Santos -- Kurchatov Institute of Atomic Energy, Moscow
"5 sigma is a discovery. 7 is a question."

From ytakahashi@hanse.de Wed Jan 25 18:01:26 1995
Path: ashpoly!cascade!transat!ukc!fennimore!hanse!ytakahashi
From: ytakahashi@hanse.de (Yuki Takahashi)
Newsgroups: alt.music.synth-pop
Subject: Re: Observation: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Jan25.180126.2741@hanse.de>
Date: Wed, 25 Jan 1995 18:01:26 GMT
References: <1995Jan24.120926.1008@kiae.su>
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In article <1995Jan24.120926.1008@kiae.su>, jsantos@kiae.su (Jens Santos) 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.

-- 
=== Yuki Takahashi ===
Dept of Electrical Engineering, Hanse-Netzwerk Hamburg
"The hatch is open. Is anyone listening?"

From kpopov@stanford.edu Wed Jan 25 22:17:26 1995
Path: ashpoly!bigsur!pacrim!jpgate!kamome!stanford!kpopov
From: kpopov@stanford.edu (Kenji Popov)
Newsgroups: alt.music.synth-pop
Subject: Re: Observation: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Jan25.221726.6331@stanford.edu>
Date: Wed, 25 Jan 1995 22:17:26 GMT
References: <1995Jan24.120926.1008@kiae.su>
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In article <1995Jan24.120926.1008@kiae.su>, jsantos@kiae.su (Jens Santos) 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.

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.

-- 
Kenji Popov | kpopov@stanford.edu
PGP Key fingerprint: A287 DE6C 9BA6 E835
"Keep the channels open."

From rsouza@uu.net Thu Jan 26 17:29:26 1995
Path: ashpoly!cascade!brgate!saturno!uu!rsouza
From: rsouza@uu.net (Raj Souza)
Newsgroups: alt.music.synth-pop
Subject: Re: Observation: Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Jan26.172926.7020@uu.net>
Date: Thu, 26 Jan 1995 17:29:26 GMT
References: <1995Jan24.120926.1008@kiae.su> <1995Jan25.221726.6331@stanford.edu>
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In article <1995Jan25.221726.6331@stanford.edu>, kpopov@stanford.edu (Kenji Popov) 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 actually produced hit records that topped the charts worldwide. Hale disappeared and his label burnt down. Big difference.

PGP Public key available via finger or upon request.

-- 
Raj Souza | rsouza@uu.net
PGP Key fingerprint: 1E67 5923 8088 CC7F
"Keep the channels open."