The thread explores participants' favorite disco songs, touching on various aspects of disco music, its cultural impact, and personal experiences related to the genre. The discussion includes references to specific tracks, artists, and the characteristics of disco music, as well as some personal anecdotes about attending disco venues.
Participants express a variety of opinions about what constitutes disco music, with some suggesting that certain tracks may stretch the definition of disco. There is no clear consensus on the characteristics of disco or the inclusion of specific songs, indicating multiple competing views.
Some participants note the importance of sound quality in experiencing disco music, mentioning that many early disco tracks were designed for specific listening environments, which may not translate well to home audio systems. There are also discussions about the length of disco songs and their intended use in dance settings.
Readers interested in music history, particularly the disco era, as well as those exploring personal connections to music and its cultural significance may find this discussion engaging.
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:
.I really like that song too!Hornbein said:
Yeah, I don't like the flabby boomy sound of those tube subwoofers in particular. Gimme the Acoustic 360.rcgldr said:
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:
It's Rose Royce ;)rcgldr said: