“The 12‐inch should have remained promotional item. Some manufacturers are raising the list price for new 12‐inch titles to $4.98, while others stop pressing a title when it might interfere with album sales.įor reasons of economy many record companies would rather limit the large format single to promotional use in discos, Here Its impact is greatest as when Studio 54 disk jockey Richie Kaczor takes a liking to the “B” side of a 12‐inch disk and starts Gloria Gaynor's “I Will Survive” on its way to the top of the pop charts. The 12‐inch single isn't an especially lucrative item for a record label since the disk is as expensive to manufacture as an LP that retails at twice the price. To get everything right takes time and money: as much as 16 hours in the studio for a 10‐ or 12‐minute disco mix of a song, at a cost of up to $7,000. They may edit the tape for length br even add entirely new tracks of music. Burgess and his engineer painstakingly, change volume levels on an original 24‐track tape recording to alter the instrumental balance.
“The transitions between sections are all‐important,” says Jim Burgess, whose 12‐Inch re‐mix helped turn Rod Stewart's “Da Ya Think I'm Sexy” into the best‐selling song in the history of Warner Brothers Records. “A good mix should be like a story that builds and goes to different levels with changes in the music.” “I learned to create suites,” he explains. Tom Moulton has mixed nearly 2,000 disco singles, earning the nickname “Doctor” for his ability to revive ailing songs. The mixing of a disco single became an art in itself countless recordings were saved from obscurity by re‐mixed I2‐inch singles. The boom in disco and discoprogrammed radio soon made the large format single indispensable for listeners who wanted full‐length disco versions of songs unavailable on other record formats. In 1975 Salsoul Records offered “Ten Percent” by Double Exposure as the first commercially released 12‐inch single. Rodriguez created a hybrid, the 12‐inch single. The 12‐inch LP sacrifices volume for recording time.
Disco de 33 rpm full#
The conventional 7‐inch single holds Just three or four minutes of music at full volume. Today's giant single is the result of attempts by disco mixer Tom Moulton and engineer Jose Rodriguez to put more continuous dance music on a single disk. The benefits of the new format can only be fully appreciated on a high‐quality sound system, such as those found in discos. To a listener with a moderate‐price stereo, the sound quality on a 12‐inch single may be indistinguishable from other disk formats. The 12‐inch single is also said to sound “cleaner” when played, because higher sound levels mean less distortion from turntable rumble, speaker feedback, and the clipping of high and low frequencies on album‐length recordings. “Hotter” is the term most often used in describing the sound on this format. Whether recorded at 45 rpm or 33 rpm, higher sound levels can be imprinted on the widely spaced grooves of a 12‐inch single. Angel staff producer Patty Larsen explains: “What works for disco can work for classical music, too.”īetter sound reproduction is the advantage claimed for the 12‐inch single disk format.
Even Herbert von Karajan and Mstislav Rostropovich can be heard on 12‐inch 45‐rpm disks offered as part of Angel Records’ new 45 Sonic Series. Jazzoriented CTI Records is releasing 12inch singles by Art Farmer, Chico Hamilton and Nina Simone. Interest in the large‐sized single format is not confined to disco fans.
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