From sperez@stanford.edu Sat Apr 08 01:01:30 1995
Path: ashpoly!cascade!transat!eunet-de!hansebox!stanford!sperez
From: sperez@stanford.edu (Sven Pérez)
Newsgroups: alt.music.synth-pop
Subject: [INFO] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Apr08.010130.9541@stanford.edu>
Date: Sat, 08 Apr 1995 01:01:30 GMT
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Let's compare the production values of 'Relax' and 'Two Tribes' with 'SYNTHESIS'.

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.

Did Marcus Hale and Trevor Horn ever meet or correspond? Both spent time in London studios in late 1983.

-- 
Sven Pérez | sperez@stanford.edu
PGP Key fingerprint: 2F2B 5684 C90F B8E9
"Keep the channels open."

From mstewart@cam.ac.uk Sat Apr 08 19:33:30 1995
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From: mstewart@cam.ac.uk (Mateo Stewart)
Newsgroups: alt.music.synth-pop
Subject: Re: [INFO] Marcus Hale vs Trevor Horn - production philosophies of the mid-80s
Message-ID: <1995Apr08.193330.3992@cam.ac.uk>
Date: Sat, 08 Apr 1995 19:33:30 GMT
References: <1995Apr08.010130.9541@stanford.edu>
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In article <1995Apr08.010130.9541@stanford.edu>, sperez@stanford.edu (Sven Pérez) writes:
> Let's compare the production values of 'Relax' and 'Two Tribes' with 'SYNTHESIS'.

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.

-- 
=== Mateo Stewart ===
Dept of Electrical Engineering, University of Cambridge Computer Laboratory
"The carrier frequency does not drift by accident."