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Very interesting to hear I Feel Love and remember that is started life as a B side almost 43 years ago.
The song remains fresh, confirming that Giorgio Moroder’s production was years ahead of its time.
The song remains fresh, confirming that Giorgio Moroder’s production was years ahead of its time.
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Whereas most disco recordings had been backed by orchestras, the team produced "I Feel Love" with a Moog Modular 3P synthesizer borrowed from the classical composer Eberhard Schoener, aided by Schoener's assistant, Robby Wedel.
Wedel demonstrated how to synchronize the song's elements using a click track, a feat Moroder described as "a revelation".
Wedel's help with the technically complex synthesizer proved essential, and Moroder described him as the "unsung hero" of the project.
"I Feel Love" was recorded on a 16-track tape recorder, with the various parts played on a sequencer.
As the Moog went out of tune quickly, it had to be recorded in bursts of 20 or 30 seconds before being retuned.
To create the hi-hat sound, the team took white noise generated by the Moog and processed it with an envelope.
As the Moog could not create a satisfactory kick drum sound, the kick was played on a drum kit by session drummer Keith Forsey.
Aside from Summer's vocals, the kick drum is the only element of the song not played by a machine.
Unusually for a disco track of the era, Moroder composed the backing track and bassline before the melody. He introduced variety by altering the key at regular intervals and layering Summer's vocals.
The lyrics were written by Bellotte. Summer recorded her vocal in one take.
In contrast to the deeper chest voice of most disco vocals, Summer sang in head voice.
Wedel demonstrated how to synchronize the song's elements using a click track, a feat Moroder described as "a revelation".
Wedel's help with the technically complex synthesizer proved essential, and Moroder described him as the "unsung hero" of the project.
"I Feel Love" was recorded on a 16-track tape recorder, with the various parts played on a sequencer.
As the Moog went out of tune quickly, it had to be recorded in bursts of 20 or 30 seconds before being retuned.
To create the hi-hat sound, the team took white noise generated by the Moog and processed it with an envelope.
As the Moog could not create a satisfactory kick drum sound, the kick was played on a drum kit by session drummer Keith Forsey.
Aside from Summer's vocals, the kick drum is the only element of the song not played by a machine.
Unusually for a disco track of the era, Moroder composed the backing track and bassline before the melody. He introduced variety by altering the key at regular intervals and layering Summer's vocals.
The lyrics were written by Bellotte. Summer recorded her vocal in one take.
In contrast to the deeper chest voice of most disco vocals, Summer sang in head voice.
Head voice and chest voice are two important terms in vocal music.
The main difference between head voice and chest voice is the resonance area.
When you sing with head voice, you’ll feel more vibrations in the upper face whereas when you sing with chest voice, you’ll feel more vibrations in the lower neck and sternum.
The main difference between head voice and chest voice is the resonance area.
When you sing with head voice, you’ll feel more vibrations in the upper face whereas when you sing with chest voice, you’ll feel more vibrations in the lower neck and sternum.
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