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Other equipment was added to the basic DJ setup, providing unique sound manipulations, such as reverb, equalization, and echo effects unit.Using this equipment, a DJ could do effects such as cutting out all but the throbbing bassline of a song, and then slowly mixing in the beginning of another song using the DJ mixer's crossfader."The [disco] DJ was central to the ritual of 1970's dance culture, but the dancing crowd was no less important, and it was the combination of these two elements that created the conditions for the dance floor dynamic." In disco parties and clubs, a "..DJ didn't only lead dancers...[to the dance floor,] but would also feel the mood of the dance floor and select records according to this energy (which could be communicated by the vigor of the dancing, or level of the crowd's screams, or sign language of dancers directed towards the booth)." Disco-era DJs would often remix (re-edit) existing songs using reel-to-reel tape machines, and add in percussion breaks, new sections, and new sounds.
The term disco is derived from discothèque (French for "library of phonograph records", but it was subsequently used as a term for nightclubs in Paris).
That year, a young reporter named Klaus Quirini started to select and introduce records at the Scotch-Club in Aachen, West Germany.
By the following year the term was being used in the United States to describe that type of club, and a type of dancing in those clubs.
Psychedelic soul groups like the Chambers Brothers and especially Sly and the Family Stone influenced proto-disco acts such as Isaac Hayes, Willie Hutch and the soul style known as the Philadelphia Sound. The first article about disco was written in 1973 by Vince Aletti for Rolling Stone magazine. Early disco was dominated by record producers and labels such as Salsoul Records (Ken, Stanley, and Joseph Cayre), West End Records (Mel Cheren), Casablanca (Neil Bogart), and Prelude (Marvin Schlachter), to name a few.
Philadelphia soul and New York soul were evolutions of the Motown sound, and were typified by the lavish percussion, lush string orchestra arrangements and expensive record production processes that became a prominent part of mid-1970s disco songs. The genre was also shaped by Tom Moulton, who wanted to extend the enjoyment of dance songs — thus creating the extended mix or "remix", going from a three-minute 45 rpm single to the much longer 12" record.