Trevor Horn, the legendary producer known for shaping the sound of the ’80s, has shared his insights into the art of music production in a new studio interview with Spitfire Audio, where his Jupiter sound library is featured.
In the video, Horn sat down with Spitfire Audio co-founder Paul Thomson to discuss a wide range of topics, including the evolution of sampling, making the most of drum machines, and the current state of music production. They also offered valuable advice for aspiring music makers looking to break into the industry.
Given that Horn’s own Jupiter library is available through Spitfire Audio, the discussion naturally began with the topic of sampling. Horn, one of the early adopters of the groundbreaking Fairlight sampler in the ’80s, reflected on its impact on music.
“The Fairlight changed the sound of whatever you recorded,” Horn explained. “It had a unique way of cutting out frequencies, making it ideal for basses, as it gave you a clear picture of the bass without all the low-end clutter.”
Horn further described how sampling back then was a challenge due to limited technology. “Sampling today is incredibly clear with almost unlimited RAM, but back then, having 8MB of RAM was a big deal. You had to get creative to make things fit,” he said.
He reminisced about the early days of sampling, recalling how his Fairlight operator, JJ Jeczalik, a non-musician, would sample all sorts of unusual sounds like cash registers and road drills. “It was a ‘golden era’ of sampling, where you were hearing things that had never been heard before,” Horn said. “Everyone was curious about what I was doing, but I never told them.”
Horn also shared his thoughts on his favorite drum machines from the ’80s. While he admitted the Linn Drum 2 was his preferred machine, he also praised the Oberheim DMX. “I still have a DMX,” Horn remarked. “I had my Linn modified to add more top-end to the kick drum. To make a drum machine truly work in a track, you had to push and pull it in the mix.”
He recounted an argument with an American engineer during a remix of his track “Relax.” “He had left the track as it was, but when I came back and heard it, I said, ‘You can’t just leave it. You have to push it, pull it, give it dynamics. Compress it, mangle it.’ It’s all about being ruthlessly objective,” Horn said.
When asked about his creative process, Horn emphasized the importance of honesty in music creation. “You might spend days working on a new version of a song, thinking it’s great, only to realize it’s not. But sometimes, you can find two good ideas in it. Keep those ideas and try again. Eventually, if you’re lucky, the track will come together.”
Horn also reflected on the creation of Welcome to the Pleasure Dome. He credited engineer-turned-producer Steve Lipson with inspiring the track’s unique structure, explaining how Lipson had used two digital multitracks to offset the verse and chorus. “You couldn’t do that with analogue tape, which was imprecise. Digital allowed for perfect edits, and that led to the track growing from two-and-a-half minutes to 15 minutes,” Horn explained.
Regarding modern music production, Horn expressed his thoughts on the evolution of the industry. “In the past, music was made from the ground up, like cooking from scratch. Today, most things come pre-packaged, and you’re just rearranging already-recorded sounds,” he said.
Horn also offered advice for working with musicians. “You need to make musicians feel relaxed and give them the freedom to experiment. If they’re nervous, they won’t think creatively. You don’t want them to just follow instructions. You want them to be invested in the song and contribute ideas.”
Finally, Horn shared advice for aspiring producers hoping to follow in his footsteps. “My advice would be to never give up, but also be realistic about your strengths. Many successful engineers started as musicians but realized they were better suited to working behind the scenes. Understand your strengths and focus on them—success won’t be easy, but persistence is key.”
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