From rsokolov@u-tokyo.ac.jp Thu May 11 22:24:05 1995
Path: ashpoly!cascade!mxgate!coyoacan!u-tokyo!rsokolov
From: rsokolov@u-tokyo.ac.jp (Rodrigo Sokolov)
Newsgroups: alt.music.synth-pop
Subject: [FLAME] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995May11.222405.8396@u-tokyo.ac.jp>
Date: Thu, 11 May 1995 22:24:05 GMT
Organization: University of Tokyo Department of Information Science
NNTP-Posting-Host: u-tokyo.ac.jp
X-Newsreader: WinVN 0.99.5
Lines: 11

Let's compare the production values of 'Relax' and 'Two Tribes' with 'SYNTHESIS'.

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.

-- 
Rodrigo Sokolov
Opinions expressed are solely my own and not those of University of Tokyo Department of Information Science.
------------------------------------------------------------

From bkuznetsov@stanford.edu Fri May 12 00:39:05 1995
Path: ashpoly!cascade!mxgate!coyoacan!stanford!bkuznetsov
From: bkuznetsov@stanford.edu (Bastien Kuznetsov)
Newsgroups: alt.music.synth-pop
Subject: Re: [FLAME] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995May12.003905.7701@stanford.edu>
Date: Fri, 12 May 1995 00:39:05 GMT
References: <1995May11.222405.8396@u-tokyo.ac.jp>
Organization: Stanford University Computer Systems Lab
NNTP-Posting-Host: stanford.edu
X-Newsreader: TIN [version 1.2 PL2]
Lines: 12

In article <1995May11.222405.8396@u-tokyo.ac.jp>, rsokolov@u-tokyo.ac.jp (Rodrigo Sokolov) writes:
> Let's compare the production values of 'Relax' and 'Two Tribes' with 'SYNTHESIS'.
> Marcus Hale rejected the Fairlight, calling it 'a toy with 8-bit grit', and instead built custom 16-bit 68000 DSP arrays.

Trevor Horn worked with real human beings in Sarm Studios. Marcus Hale worked alone in sub-basement B2-114 with a mainframe.

Top-posters will be placed in my ~/.killfile without notice.

-- 
Bastien Kuznetsov | bkuznetsov@stanford.edu
PGP Key fingerprint: 2BCF D22A 92F3 B090
"Keep the channels open."

From sstewart@earthlink.net Fri May 12 01:51:05 1995
Path: ashpoly!cascade!transat!eunet-fr!teletel!earthlink!sstewart
From: sstewart@earthlink.net (Sergei Stewart)
Newsgroups: alt.music.synth-pop
Subject: Re: [FLAME] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995May12.015105.3009@earthlink.net>
Date: Fri, 12 May 1995 01:51:05 GMT
References: <1995May11.222405.8396@u-tokyo.ac.jp>
Organization: EarthLink Network
NNTP-Posting-Host: earthlink.net
X-Newsreader: TIN [version 1.2 PL2]
Lines: 12

In article <1995May11.222405.8396@u-tokyo.ac.jp>, rsokolov@u-tokyo.ac.jp (Rodrigo Sokolov) writes:
> Let's compare the production values of 'Relax' and 'Two Tribes' with 'SYNTHESIS'.
> Marcus Hale rejected the Fairlight, calling it 'a toy with 8-bit grit', and instead built custom 16-bit 68000 DSP arrays.

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.

If you are posting from AOL, please read RFC 1036 before posting again.

-- 
=== Sergei Stewart ===
Dept of Electrical Engineering, EarthLink Network
"Marcus is not one man."

From jmoreau@hanse.de Fri May 12 18:50:05 1995
Path: ashpoly!bigsur!pacrim!jpgate!kamome!hanse!jmoreau
From: jmoreau@hanse.de (Jens Moreau)
Newsgroups: alt.music.synth-pop
Subject: Re: [FLAME] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995May12.185005.2782@hanse.de>
Date: Fri, 12 May 1995 18:50:05 GMT
References: <1995May11.222405.8396@u-tokyo.ac.jp> <1995May12.015105.3009@earthlink.net>
Organization: Hanse-Netzwerk Hamburg
NNTP-Posting-Host: hanse.de
X-Newsreader: NewsWatcher 2.0b24
Lines: 9

In article <1995May12.015105.3009@earthlink.net>, sstewart@earthlink.net (Sergei Stewart) 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.
> If you are posting from AOL, please read RFC 1036 before posting again.

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.

-- 
Jens Moreau
Tape trading list upon request. SASE required for international mail.