Ep18: Synth Sounds of "I Feel Love" by Donna Summer | Reverb Learn to Play 

Robert Sillitoe cccc

😁

I would have liked to roughly see which modules they used. These monsters are a mystery to me.

This is why shampoo has instructions.

Hilarious

Except Eno said it to Bowie...

A future he - sadly - did not participate in. Never understood why Bowie did not investigate electronic music more. Yeah ... I know ... he did flirt with it from time to time ... but never took the full plunge. Guess he was a guitar man.

He added in an interview back in '79 -'80: "...half Krafwerk, half American Soul."

@@spurv Get the 'Cat People' soundtrack if you want Bowie + Giorgio. The whole album desrves a Reverb episode! There are a couple of tracks with Bowie's voice on them, including the original version of the title song he later recorded differently for 'Let's Dance.'

I read that John Lennon said that he just kept playing this record over and over and over..

You must not have been around in the 70’s. She absolutely dominated the clubs, radio, late night music tv and movies of the day. She’s had heaps of awards and accolades.

Donna Summer was amazing!!!

ummm......definitely NOT underrated

Not underrated! She was literally the queen of disco!

And the Underrated Artists Police attacks again.

"The aliens are waving!" -- lol...

I was 13 , it changed my whole world

Interesting story. But what causes the lag of sync between left and right tracks and why does it jump back in at the start of the loop? The method you describe doesn't answer this

I have had a listen to the long version of the song, which I can hear the "jump back in" moment, but I think this is more to do with the extended remix, and where the master tape was cut back together, after the looped delay effect had been dedicated to tape. There is certainly some chasing and dragging going on with the delayed track, which supports the tape loop story, for sure - there's no other way you can have that track fall out of sync as it does. I also noticed there is another synth bass sound-effect in the extended version, which is used to mask over the slurring of timing by the delayed bass line. Certainly the technology which was being used is incredibly primitive, and the creative genius to produce such a piece is a bit mind bending. Do you know if the original bass line (left track) was played or sequenced? I am assuming it was sequenced on a 16 or 32 note analog sequencer and the Oscillator was transposed as required. I would be interested to know.

@@craigpacker2693 Yes, well I've seen two different stories mostly from similar sources and they do differ. In one Moroder describes the tape loop version and the other he attributes someone to showing him how to sync the Moog to a taped beat. So, it may be both methods were used, with more than two tracks...

Interesting... I am kind of intrigued now because there are a couple of ways this could have been done, back in the day - and a vague understanding of the work-flow you might have needed. . I think it sounds like a tape delay machine (something like a Roland Space Echo) where you could control the tape speed, would attribute for the drift in timing: you became aware of the drift, you could adjust the tape echo speed. This uses a tape loop but doesn't involve syncing a separate tape back to the original. It seems much more likely this was what he is referring to. Because they didn't need to go to the effort that is inferred - I conclude that they didn't. I have read the "jumping back in" story, and it is to do with the Moog VCO's drifting off tune, and needing to be retuned every 8-10 bars. This explains the re-starting and dropping in. now regarding the delay drift - the same thing would occur. When you try to sync a delay time with a manual control, you are constantly chasing the correct setting, which causes the delay to waver; ahead and then behind, the preferred timing. When it gets too far out - you stop the tape, rewind, reset every thing and then perform a 'drop-in' We can also hear extra percussive synth passes used to mask the drop-ins, which sound very musical because of their placement in the turn arounds of the song. it would seem that the bass line was recorded as one track, using record drop-ins the correct the tuning issues of the Moog, and then, the delay was recorded to a second track, using record drop-ins to correct the issues of timing as those issues progressed. If you listen closely you can hear both problems... but the delay issue is more prominent than the tuning. As for synching the Moog, that would have been a trigger synch. That explains why the original bass line sounds tight and repetitive, but still a bit baggy on the timing. It also explains how he would have made the transitions in pitch, manually, using triggers to get the timing. One thing is for sure... there is at least 3 people standing over the desk, running 'automation' movies during mix down. :) What a cool piece of history to be able to disect!!!

@@craigpacker2693 just in case you aren't aware, someone is reading this well thought through and advanced interpretation. Cheers.

marcrenton555 Patrick ❤️❤️❤️

ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-P-FRgsmMtAQ.html

This one is even better with gear of 80s: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-7vh_5RDi1e4.html

Yes! It all started with Once Upon a Time! High energy disco!

ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-5Rdhzg2TwiM.html