Point Conception
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morrobay said:
Summer Night City is one of my absolute ABBA favorites (besides Eagle, which is not disco but rather progressive rock/art rock according to Wikipedia, a bit unusual for the band).pinball1970 said:Last one (so many good tracks!)
There is so much going on this song. I tried the live version but it is way too fast.
I really like that song too!Hornbein said:I like to play Laura Branigan's Gloria. It has really good chords.
Yeah, I don't like the flabby boomy sound of those tube subwoofers in particular. Gimme the Acoustic 360.rcgldr said:Actually played in discos. Long songs so links set part way into videos.
I'm old enough to have started going to discos starting in 1975. My first impression was how clean and powerful the sound systems with very tight base were at some of the discos (especially compared to loud and high distortion often heard from rock cover bands). The disco records were meant to be played at those venues and a lot is lost if you only hear them on the average home stereo system Decent headphones will help, but you won't "feel" the base. A lot of the disco songs, especially the early ones, were fairly long, some over 15 minutes, something people would dance to, but would seldom listen to in a home setting. Also the early ones were "promo" 12 inch singles, 33 1/3 or 45 rpm, with deeper and wider grooves to allow more dynamic range with needles that could handle the range.
Cerrone - Je Suis Music
A year prior to Disco Inferno (1976), Where The Happy People Go (1975):
Trammps - Where The Happy People Go
Donna Summer - I Feel Love (8 minute disco single version)
Donna Summer - Sunset People
Most of the early discos were using 800 watt Altec power amps. I don't recall which pre-amps were popular. Although Cerwin Vega made mediocre home speakers, they made some high end disco speakers. They made 8 or so custom disco speakers, 4 of which went to a club in Florida, another 4 to Destiny II (which later became the first Chippendales) in California. The speakers were tri-amped with custom cross-overs at the pre-amp to power-amp stage. The speakers were 3 way, with 15 inch acoustic suspension woofers (very tight bass), and over 3 inch throw (1.5 inch either way), with cross-over at 500 hz. To keep the sound clean and isolated, the speakers cabinets were internally damped, covered in padded Naugahyde, and suspended by chains from the ceiling, with rubber cushioned support for the chains at the sides of the speakers. Each side had two support points to control vertical speaker angle. While waiting outside to go in after-hours, you could feel the outdoor brick walls thumping to the bass, but since loud low frequencies can be tolerated, despite feeling the thump in your chest, you didn't leave with your ears ringing. Another club, Bahama Mamas had a neon palm tree hooked up to a power amp with low band pass filter feeding the power amp, which would change brightness instantly with the sound. Crescendo had 10,000 watts total power, but used theater speakers which were boomy, not a tight bass. They had a 10 watt green laser aimed at a prism and mirrors to form a huge laser beam star across ceiling, which would vibrate like a string since the sound vibrated everything in the room. The New York Hustle couples dance was dominant at some clubs, and later became a ballroom competition dance. Unrelated to discos, some companies used Altec power amps to drive small shake tables (solid metal plates), one channel per dimension.Hornbein said:Yeah, I don't like the flabby boomy sound of those tube subwoofers in particular. Gimme the Acoustic 360.
It's Rose Royce ;)rcgldr said: