Alex Rosner to design additional subwoofers for his disco dance events, along with "tweeter arrays" to "boost the treble and bass at opportune moments" at his private, underground parties at The Loft. The demand for sub-bass sound reinforcement in the 1970s was driven by the important role of "powerful bass drum" in disco, as compared with rock and pop; to provide this deeper range, a third crossover point from 40 to 120 Hz (centering on 80 Hz) was added. The Paradise Garage discotheque in New York City, which operated from 1977 to 1987, had "custom designed 'sub-bass' speakers" developed by Alex Rosner's disciple, sound engineer Richard ("Dick") Long that were called "Levan Horns" (in honor of resident DJ Larry Levan). By the end of the 1970s, subwoofers were used in dance venue sound systems to enable the playing of "[b]ass-heavy dance music" that we "do not 'hear' with our ears but with our entire body". At the club, Long used four Levan bass horns, one in each corner of the dancefloor, to create a "haptic and tactile quality" in the sub-bass that you could feel in your body. To overcome the lack of sub-bass frequencies on 1970s disco records (sub-bass frequencies below 60 Hz were removed during mastering), Long added a DBX 100 "Boom Box" subharmonic pitch generator into his system to synthesize 25 to 50 Hz sub-bass from the 50 to 100 Hz bass on the records. By the later 1970s, disco club sound engineers were using the same large Cerwin-Vega Sensurround-style folded horn subwoofers that were used in Earthquake and similar movies in dance club system installations. In the early 1980s, Long designed a sound system for the Warehouse dance club, with "huge stacks of subwoofers" which created "deep and intense" bass frequencies that "pound[ed] through your system" and "entire body", enabling clubgoers to "viscerally experience" the DJs' house music mixes. In Jamaica in the 1970s and 1980s, sound engineers for reggae sound systems began creating "heavily customized" subwoofer enclosures by adding foam and tuning the cabinets to achieve "rich and articulate speaker output below 100 Hz". The sound engineers who developed the "bass-heavy signature sound" of sound reinforcement systems have been called "deserving as much credit for the sound of Jamaican music as their better-known music producer cousins". The sound engineers for Stone Love Movement (a sound system crew), for example, modified folded horn subwoofers they imported