The Edison Diamond Disc Record is a type of phonograph record marketed by Thomas A. Edison, Inc. on their Edison Record label from 1912 to 1929. They were named Diamond Discs because the matching Edison Disc Phonograph was fitted with a permanent conical diamond stylus for playing them. Diamond Discs were incompatible with lateral-groove disc record players, e.g. the Victor Victrola, the disposable steel needles of which would damage them while extracting hardly any sound. Uniquely, they are just under 1⁄4 in (6.0 mm; 0.235 in) thick. [1]
Edison had previously made only phonograph cylinders but decided to add a disc format to the product line because of the increasingly dominant market share of the shellac disc records (later called 78s because of their typical rotational speed in revolutions per minute) made by competitors such as the Victor Talking Machine Company. Victor and most other makers recorded and played sound by a lateral or side-to-side motion of the stylus in the record groove, while in the Edison system the motion was vertical or up-and-down, known as vertical recording, as used for cylinder records. An Edison Disc Phonograph is distinguished by the diaphragm of the reproducer being parallel to the surface of the record. The diaphragm of a reproducer used for playing lateral records is at a right angle to the surface.
In the late summer and early fall of 1929 Edison also briefly produced a high-quality series of thin electrically recorded lateral-cut "Needle Type" disc records for use on standard record players.
The record industry began in 1889 with some very-small-scale production of professionally recorded wax cylinder records. At first, costly wet-cell-powered, electric-motor-driven machines were needed to play them, and the customer base consisted solely of entrepreneurs with money-making nickel-in-the-slot phonographs in arcades, taverns, and other public places. Soon, some affluent individuals who could afford expensive toys were customers, too. By the late 1890s, relatively inexpensive spring-motor-driven phonographs were available and becoming a fixture in middle-class homes. [2] The record industry boomed. At the same time, the Berliner Gramophone Company was marketing the first crude disc records, which were simpler and cheaper to manufacture, less bulky to store, much less fragile, and could play louder than contemporary wax cylinders, although they were of markedly inferior sound quality. Their quality was soon greatly improved, and by about 1910 the cylinder was clearly losing this early format war. In 1912, Thomas Edison, who had previously made only cylinders, entered the disc market with his Diamond Disc Phonograph system, which was incompatible with other makers' disc records and players.
Like cylinder records, the sound in a Diamond Disc's groove was recorded by the vertical method, as variations in the depth of the groove cut. At that time, with the notable exception of Pathé Records, which used yet another incompatible format, a disc's groove was normally of constant depth and modulated laterally, side-to-side. The vertical format demanded a perfectly flat surface for best results, so Edison made his Diamond Discs almost one-quarter of an inch (6 mm) thick. They consisted of a thin coating of a phenolic resin virtually identical to Bakelite on a core of compressed wood flour, later also china clay, lampblack for color, all in a rabbit-hide glue binder. [1] With very rare exceptions, all were about ten inches in diameter, but they used a finer groove pitch (150 threads per inch, or "TPI") and could play longer than lateral ten-inch records—up to 4+1⁄2 minutes per side.
Among their advantages over the competition, they were played with a permanent conical diamond stylus, while lateral-cut records were played with a ten-for-a-penny steel needle that quickly wore to fit the groove contour and was meant to be replaced after one use. A feed screw mechanism inside the Phonograph moved the reproducer across the record at the required rate, relieving the groove of that work and thus reducing record wear. This design was in response to the patent held by the Victor Talking Machine Company that states that the groove of the record itself is what propelled the reproducer across the surface of the record via the needle. The playing speed for Diamond Discs was specified at exactly 80 revolutions per minute, at a time when other makers' recording speeds had not been standardized and could be as slow as 70 rpm or even faster than 80 rpm, but were typically somewhere around 76 rpm, leaving users who cared about correct pitch to adjust the playback speed for each record until it sounded right. Above all, there was, and still is, general agreement that the Diamond Disc system produced the clearest, most 'present' sound of any non-electronic disc recording technology.
Although Victor's Victrolas and similar record players could not play Diamond Discs (at best, only very faint sound would be heard, while the crude steel needle seriously damaged the groove) and Edison Diamond Disc Phonographs could not play Victor or other lateral-cut discs, third-party suppliers came up with adapters, such as the Kent adapter, to defeat this incompatibility, but typically with less than optimal sound quality. [3] The Brunswick Ultona, the Sonora, and the expensive "Duo-Vox" phonograph made by the piano manufacturer Bush and Lane were the only non-Edison machines that came from the factory equipped to play Diamond Discs as well as Victor and other 'needle-type' records, along with Pathé's sapphire ball stylus hill-and-dale format that used a vertical groove that was U-shaped in cross-section. Edison discouraged all such alternatives by cautioning on some of the record sleeves: "This Re-Creation should not be played on any instrument except the Edison Diamond Disc Phonograph and with the Edison Diamond Disc Reproducer, and we decline responsibility for any damage that may occur to it if this warning is ignored." [4] The very good reason for such discouragement was that Diamond Disc grooves were too narrow and fragile to propel a soundbox across a record surface, as lateral machines did; Edison's precise mechanical feed system on the Disc Phonograph for its weighted "floating" reproducer replaced that stress on its records.
Diamond Discs enjoyed their greatest commercial success from the mid-1910s to the early 1920s, with sales peaking in 1920. [5] Although they arguably had better audio fidelity, they were more expensive than, and incompatible with, other makers' products and ultimately failed in the marketplace. Not least among the factors contributing to their downfall was Thomas Edison's insistence on imposing his own musical tastes on the catalog. As an elderly man who favored old-fashioned "heart" songs and had various idiosyncratic preferences about performance practices, he was increasingly out of touch with most of the record-buying public as the Jazz Age of the 1920s got underway. It was not until mid-decade that he reluctantly ceded control to his sons.
In 1926, an attempt at reviving interest in Edison records was made by introducing a long-playing Diamond Disc which still rotated at 80 rpm but tripled the standard groove pitch to 450 threads per inch by using an ultra-fine groove, achieving a playing time of 24 minutes per 10-inch disc (12 on each side) and 40 minutes per 12-inch disc (these were the only 12-inch Diamond Discs ever sold to the public). A special reproducer and modified feed screw mechanism were required to play them. There were problems with skipping, groove wall breakdown, overall low volume (about 40% of that of the regular Diamond Discs), and a failure to exploit the format by releasing a limited number of discs. Only 14 different Edison Long Play discs were issued before they were discontinued.
In August 1927, electrical recording began, making Edison the last major record company to adopt it, over two years after Victor Records, Columbia Records, and Brunswick Records had converted from acoustical recording. Sales continued to drop, however, and although Edison Diamond Discs were available from dealers until the company left the record business in late October 1929, the last vertically cut direct masters were recorded in the early summer of that year. Priority had been redirected to introducing a new line of Edison lateral or so-called Needle Type thin shellac records, compatible with ordinary record players, but although their audio quality was excellent this concession to commercial reality came too late to prevent the demise of the Edison Phonograph and Records Division just one day before the 1929 stock market crash. [6]
A phonograph, later called a gramophone, and since the 1940s a record player, or more recently a turntable, is a device for the mechanical and analogue reproduction of recorded sound. The sound vibration waveforms are recorded as corresponding physical deviations of a spiral groove engraved, etched, incised, or impressed into the surface of a rotating cylinder or disc, called a "record". To recreate the sound, the surface is similarly rotated while a playback stylus traces the groove and is therefore vibrated by it, very faintly reproducing the recorded sound. In early acoustic phonographs, the stylus vibrated a diaphragm which produced sound waves which were coupled to the open air through a flaring horn, or directly to the listener's ears through stethoscope-type earphones.
Phonograph cylinders are the earliest commercial medium for recording and reproducing sound. Commonly known simply as "records" in their heyday, these hollow cylindrical objects have an audio recording engraved on the outside surface, which can be reproduced when they are played on a mechanical cylinder phonograph. In the 1910s, the competing disc record system triumphed in the marketplace to become the dominant commercial audio medium.
A phonograph record, a vinyl record, or simply a record or vinyl is an analog sound storage medium in the form of a flat disc with an inscribed, modulated spiral groove. The groove usually starts near the outside edge and ends near the center of the disc. The stored sound information is made audible by playing the record on a phonograph.
The Victor Talking Machine Company was an American recording company and phonograph manufacturer, incorporated in 1901. Victor was an independent enterprise until 1929 when it was purchased by the Radio Corporation of America (RCA) and became the RCA Victor Division of the Radio Corporation of America until late 1968, when it was renamed RCA Records.
Pathé Records was an international record company and label and producer of phonographs, based in France, and active from the 1890s through the 1930s.
Edison Records was one of the early record labels that pioneered sound recording and reproduction, and was an important and successful company in the early recording industry.
Blue Amberol Records was the trademark name for cylinder records manufactured by Thomas A. Edison, Inc. in the US from 1912 to 1929. They replaced the 4-minute black wax Amberol cylinders introduced in 1908, which had replaced the 2-minute wax cylinders that had been the standard format since the late 1880s. Blue Amberols can play for as long as 4 minutes and 45 seconds and have a surface layer of the "indestructible" plastic celluloid, which Edison tinted a trademark blue color. Edison brand phonographs designed to play Amberol cylinders were named Amberolas.
A format war is a competition between similar but mutually incompatible technical standards that compete for the same market, such as for data storage devices and recording formats for electronic media. It is often characterized by political and financial influence on content publishers by the developers of the technologies. Developing companies may be characterized as engaging in a format war if they actively oppose or avoid interoperable open-industry technical standards in favor of their own.
The overwhelming majority of records manufactured have been of certain sizes, playback speeds, and appearance. However, since the commercial adoption of the gramophone record, a wide variety of records have also been produced that do not fall into these categories, and they have served a variety of purposes.
Sound recording and reproduction is the electrical, mechanical, electronic, or digital inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording.
Eldridge Reeves Johnson was an American businessman and engineer who founded the Victor Talking Machine Company in 1901 and built it into the leading American producer of phonographs and phonograph records and one of the leading phonograph companies in the world at the time. Victor was the corporate predecessor of RCA Records.
The history of sound recording - which has progressed in waves, driven by the invention and commercial introduction of new technologies — can be roughly divided into four main periods:
The LP is an analog sound storage medium, a phonograph record format characterized by: a speed of 33+1⁄3 rpm; a 12- or 10-inch diameter; use of the "microgroove" groove specification; and a vinyl composition disk. Introduced by Columbia Records in 1948, it was soon adopted as a new standard by the entire US record industry. Apart from a few relatively minor refinements and the important later addition of stereophonic sound in 1957, it remained the standard format for record albums, during a period in popular music known as the album era. Beginning in the late 1970s, LP sales began to decline due to the increasing popularity of cassette tapes and compact discs (CDs). By 1988, the latter format began to outsell LPs.
A dictation machine is a sound recording device most commonly used to record speech for playback or to be typed into print. It includes digital voice recorders and tape recorder.
In the field of audio recording, an aluminum disc is a phonograph record made of bare aluminum, a medium introduced in the late 1920s for making one-off recordings. Although sometimes used for making amateur studio or home recordings or in coin-operated "record-your-voice" booths at fairs and arcades, during the first half of the 1930s bare aluminum discs were primarily used to record radio broadcasts for the private transcription disc archives of performers or sponsors.
The Volta Laboratory and the Volta Bureau were created in Georgetown, Washington, D.C., by Alexander Graham Bell.
The vertical cut recording process is an early method of audio recording by which a stylus cuts a vertical groove into a phonograph record. This is in contrast to the lateral recording system which uses a stylus that cuts side-to-side across a record. The vertical recording process, also known as the hill and dale process, was used to record phonograph cylinder records as well as Edison Disc Records, Pathé disc records, and disc records made by numerous smaller companies. Vertical cut recording was also used as a means of copyright protection by the early Muzak 16-inch background music discs.
Electrical transcriptions are special phonograph recordings made exclusively for radio broadcasting, which were widely used during the "Golden Age of Radio". They provided material—from station-identification jingles and commercials to full-length programs—for use by local stations, which were affiliates of one of the radio networks.
Operaphone Records was a record company in existence from 1915 until 1921, who released numerous phonograph records cut in the hill-and-dale and universal-cut methods.
IRENE is a digital imaging technology designed to recover analog audio stored on fragile or deteriorating phonograph cylinders, records, and other grooved audio media. It is in use by several archives and preservation institutions in the United States seeking to preserve and digitize historical audio.