A 12-inch LP vinyl record
|Media type||Audio playback|
|Encoding||Analog groove modulation|
|Capacity||Originally 23 minutes per side, later increased by several minutes, much longer possible with very low signal level|
|Read mechanism||Microgroove stylus (maximum tip radius 0.001 in or 25 μm)|
|Dimensions||12 in (30 cm), 10 in (25 cm), 90–240 g (3.2–8.5 oz)|
The LP (from "long playing" 33 1⁄3 rpm, a 12- or 10-inch (30- or 25-cm) diameter, and use of the "microgroove" groove specification. Introduced by Columbia in 1948, it was soon adopted as a new standard by the entire record industry. Apart from a few relatively minor refinements and the important later addition of stereophonic sound, it has remained the standard format for vinyl albums.or "long play") is an analog sound storage medium, a vinyl record format characterized by a speed of
Analog recording is a technique used for the recording of analog signals which, among many possibilities, allows analog audio and analog video for later playback.
Revolutions per minute is the number of turns in one minute. It is a unit of rotational speed or the frequency of rotation around a fixed axis.
Columbia Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, the North American division of Japanese conglomerate Sony. It was founded in 1887, evolving from the American Graphophone Company, the successor to the Volta Graphophone Company. Columbia is the oldest surviving brand name in the recorded sound business, and the second major company to produce records. From 1961 to 1990, Columbia recordings were released outside North America under the name CBS Records to avoid confusion with EMI's Columbia Graphophone Company. Columbia is one of Sony Music's four flagship record labels, alongside former longtime rival RCA Records, as well as Arista Records and Epic Records.
At the time the LP was introduced, nearly all phonograph records for home use were made of an abrasive (and therefore noisy) shellac compound, employed a much larger groove, and played at approximately 78 revolutions per minute (rpm), limiting the playing time of a 12-inch diameter record to less than five minutes per side. The new product was a 12- or 10-inch (30 or 25 cm) fine-grooved disc made of PVC ("vinyl") and played with a smaller-tipped "microgroove" stylus at a speed of 33 1⁄3 rpm. Each side of a 12-inch LP could play for about 22 minutes. Only the microgroove standard was new, as both vinyl and the 33 1⁄3 rpm speed had been used for special purposes for many years, as well as in one unsuccessful earlier attempt to introduce a long-playing record for home use by RCA Victor.
Shellac is a resin secreted by the female lac bug, on trees in the forests of India and Thailand. It is processed and sold as dry flakes (pictured) and dissolved in alcohol to make liquid shellac, which is used as a brush-on colorant, food glaze and wood finish. Shellac functions as a tough natural primer, sanding sealant, tannin-blocker, odour-blocker, stain, and high-gloss varnish. Shellac was once used in electrical applications as it possesses good insulation qualities and it seals out moisture. Phonograph and 78 rpm gramophone records were made of it until they were replaced by vinyl long-playing records from the 1950s onwards.
Although the LP was suited to classical music because of its extended continuous playing time, it also allowed a collection of ten or more pop music recordings to be put on a single disc. Previously, such collections, as well as longer classical music broken up into several parts, had been sold as sets of 78 rpm records in a specially imprinted "record album" consisting of individual record sleeves bound together in book form. The use of the word "album" persisted for the one-disc LP equivalent.
Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom during the mid-1950s. The terms "popular music" and "pop music" are often used interchangeably, although the former describes all music that is popular and includes many diverse styles. "Pop" and "rock" were roughly synonymous terms until the late 1960s, when they became increasingly differentiated from each other.
The prototype of the LP was the soundtrack disc used by the Vitaphone motion picture sound system, developed by Western Electric and introduced in 1926. For soundtrack purposes, the less than five minutes of playing time of each side of a conventional 12-inch 78 rpm disc was not acceptable. The sound had to play continuously for at least 11 minutes, long enough to accompany a full 1,000-foot (300 m) reel of 35 mm film projected at 24 frames per second. The disc diameter was increased to 16 inches (40 cm) and the speed was reduced to 33 1⁄3 revolutions per minute. Unlike their smaller LP descendants, they were made with the same large "standard groove" used by 78s.
Vitaphone was a sound film system used for feature films and nearly 1,000 short subjects made by Warner Bros. and its sister studio First National from 1926 to 1931. Vitaphone was the last major analog sound-on-disc system and the only one which was widely used and commercially successful. The soundtrack was not printed on the film itself, but issued separately on phonograph records. The discs, recorded at 33 1⁄3 rpm and typically 16 inches (41 cm) in diameter, would be played on a turntable physically coupled to the projector motor while the film was being projected, achieving a frequency response of 4300 Hz. Many early talkies, such as The Jazz Singer (1927), used the Vitaphone system. The name "Vitaphone" derived from the Latin and Greek words, respectively, for "living" and "sound".
Western Electric Company was an American electrical engineering and manufacturing company that served as the primary supplier to AT&T from 1881 to 1996, and to the local Bell Operating Companies until 1984. The company was responsible for many technological innovations and seminal developments in industrial management. It also served as the purchasing agent for the member companies of the Bell System.
35 mm film (millimeter) is the film gauge most commonly used for motion pictures and chemical still photography. The name of the gauge refers to the width of the photographic film, which consists of strips 34.98 ±0.03 mm (1.377 ±0.001 inches) wide. The standard negative pulldown for movies is four perforations per frame along both edges, which results in 16 frames per foot of film. For still photography, the standard frame has eight perforations on each side.
Unlike conventional records, the groove started at the inside of the recorded area near the label and proceeded outward toward the edge. Like 78s, early soundtrack discs were pressed in an abrasive shellac compound and played with a single-use steel needle held in a massive electromagnetic pickup with a tracking force of five ounces (1.4 N).
A record press is a machine for manufacturing vinyl records. It is essentially a hydraulic press fitted with thin nickel stampers which are negative impressions of a master disc. Labels and a pre-heated vinyl patty are placed in a heated mold cavity. Two stampers are used, one for each of side of the disc. The record press closes under a pressure of about 150 tons. The process of compression molding forces the hot vinyl to fill the grooves in the stampers, and take the form of the finished record.
The newton is the International System of Units (SI) derived unit of force. It is named after Isaac Newton in recognition of his work on classical mechanics, specifically Newton's second law of motion.
By mid-1931, all motion picture studios were recording on optical soundtracks, but sets of soundtrack discs, mastered by dubbing from the optical tracks and scaled down to 12 inches to cut costs, were made as late as 1936 for distribution to theaters still equipped with disc-only sound projectors.
Sound-on-film is a class of sound film processes where the sound accompanying a picture is physically recorded onto photographic film, usually, but not always, the same strip of film carrying the picture. Sound-on-film processes can either record an analog sound track or digital sound track, and may record the signal either optically or magnetically. Earlier technologies were sound-on-disc, meaning the film's soundtrack would be on a separate phonograph record.
Syndicated radio programming was distributed on 78 rpm discs beginning in 1928. The desirability of longer continuous playing time soon led to the adoption of the Vitaphone soundtrack disc format. 16-inch 33 1⁄3 rpm discs playing about 15 minutes per side were used for most of these "electrical transcriptions" beginning about 1930. Transcriptions were variously recorded inside out like soundtrack discs (in the era of shellac pressings and steel needles, needle wear considerations dictated an inside start for such a long recording) or with an outside start.
Longer programs, which required several disc sides, pioneered the system of recording odd-numbered sides inside-out and even-numbered sides outside-in so that the sound quality would match from the end of one side to the start of the next. Although a pair of turntables was used, to avoid any pauses for disc-flipping, the sides had to be pressed in a hybrid of manual and automatic sequencing, arranged in such a manner that no disc being played had to be turned over to play the next side in the sequence. Instead of a three-disc set having the 1–2, 3–4 and 5–6 manual sequence, or the 1–6, 2–5 and 3–4 automatic sequence for use with a drop-type mechanical record changer, broadcast sequence would couple the sides as 1–4, 2–5 and 3–6.
Some transcriptions were recorded with a vertically modulated "hill and dale" groove. This was found to allow deeper bass (because turntable rumble was laterally modulated in early radio station turntables) and also an extension of the high-end frequency response. Neither of these was necessarily a great advantage in practice because of the limitations of AM broadcasting. Today we can enjoy the benefits of those higher-fidelity recordings, even if the original radio audiences could not.
Initially, transcription discs were pressed only in shellac, but by 1932 pressings in RCA Victor's vinyl-based "Victrolac" were appearing. Other plastics were sometimes used. By the late 1930s, vinyl was standard for nearly all kinds of pressed discs except ordinary commercial 78s, which continued to be made of shellac.
Beginning in the mid-1930s, one-off 16-inch 33 1⁄3 rpm lacquer discs were used by radio networks to archive recordings of their live broadcasts, and by local stations to delay the broadcast of network programming or to prerecord their own productions.
In the late 1940s, magnetic tape recorders were adopted by the networks to pre-record shows or repeat them for airing in different time zones, but 16-inch vinyl pressings continued to be used into the early 1960s for non-network distribution of prerecorded programming. Use of the LP's microgroove standard began in the late 1950s, and in the 1960s the discs were reduced to 12 inches, becoming physically indistinguishable from ordinary LPs.
Unless the quantity required was very small, pressed discs were a more economical medium for distributing high-quality audio than tape, and CD mastering was, in the early years of that technology, very expensive, so the use of LP-format transcription discs continued into the 1990s. The King Biscuit Flower Hour is a late example, as are Westwood One's The Beatle Years and Doctor Demento programs, which were sent to stations on LP at least through 1992.
RCA Victor introduced an early version of a long-playing record for home use in September 1931. These "Program Transcription" discs, as Victor called them, played at 33 1⁄3 rpm and used a somewhat finer and more closely spaced groove than typical 78s. They were to be played with a special "Chromium Orange" chrome-plated steel needle. The 10-inch discs, mostly used for popular and light classical music, were normally pressed in shellac, but the 12-inch discs, mostly used for "serious" classical music, were normally pressed in Victor's new vinyl-based Victrolac compound, which provided a much quieter playing surface. They could hold up to 15 minutes per side. Beethoven's Fifth Symphony, performed by the Philadelphia Orchestra under Leopold Stokowski, was the first 12-inch recording issued. The New York Times wrote, "What we were not prepared for was the quality of reproduction...incomparably fuller."
Unfortunately for Victor, it was downhill from there. Many of the subsequent issues were not new recordings but simply dubs made from existing 78 rpm record sets. The dubs were audibly inferior to the original 78s. Two-speed turntables with the 33 1⁄3 rpm speed were included only on expensive high-end machines, which sold in small numbers, and people were not buying many records of any kind at the time. Record sales in the US had dropped from a high of 105.6 million records sold in 1921 to 5.5 million in 1933 because of competition from radio and the effects of the Great Depression. Few if any new Program Transcriptions were recorded after 1933, and two-speed turntables soon disappeared from consumer products. Except for a few recordings of background music for funeral parlors, the last of the issued titles had been purged from the company's record catalog by the end of the decade. The failure of the new product left RCA Victor with a low opinion of the prospects for any sort of long-playing record, influencing product development decisions during the coming decade.
CBS Laboratories head research scientist Peter Goldmark led Columbia's team to develop a phonograph record that would hold at least 20 minutes per side.Although Goldmark was the chief scientist who selected the team, he delegated most of the experimental work to William S. Bachman, whom Goldmark had lured from General Electric, and Howard H. Scott, who died September 22, 2012, at the age of 92.
Research began in 1941, was suspended during World War II, and then resumed in 1945. 10 inches (25 centimetres) in diameter, matching that of 78 rpm singles, and 12 inches (30 centimetres) in diameter. The initial release of 133 recordings were: 85 12-inch classical LPs (ML 4001 to 4085), 26 10-inch classics (ML 2001 to 2026), eighteen 10-inch popular numbers (CL 6001 to 6018), and four 10-inch juvenile records (JL 8001 to 8004). According to the 1949 Columbia catalog, issued September 1948, the first twelve-inch LP was Mendelssohn's Concerto in E Minor by Nathan Milstein on the violin with the New York Philharmonic, conducted by Bruno Walter (ML 4001). Three ten-inch series were released: 'popular', starting with the reissue of The Voice of Frank Sinatra (CL 6001); 'classical', numbering from Beethoven's 8th symphony (ML 2001), and 'juvenile', commencing with Nursery Songs by Gene Kelly (JL 8001). Also released at this time were a pair of 2-LP sets, Puccini's La Bohème (SL-1) and Humperdinck's Hansel & Gretel (SL-2).Columbia Records unveiled the LP at a press conference in the Waldorf Astoria on June 18, 1948, in two formats:
When the LP was introduced in 1948, the 78 was the conventional format for phonograph records. By 1952, 78s still accounted for slightly more than half of the units sold in the United States, and just under half of the dollar sales. The 45, oriented toward the single song, accounted for just over 30% of unit sales and just over 25% of dollar sales. The LP represented not quite 17% of unit sales and just over 26% of dollar sales.
Ten years after their introduction, the share of unit sales for LPs in the US was almost 25%, and of dollar sales 58%. Most of the remainder was taken up by the 45; 78s accounted for only 2% of unit sales and 1% of dollar sales.For this reason, major labels in the United States ceased manufacturing of 78s for popular and classical releases in 1956 with the minor labels following suit, with the final US-made 78 being produced in 1959.
Canada and the UK continued production into 1960, while India, the Philippines, and South Africa produced 78s until 1965, with the last holdout, Argentina, continuing until 1970.
The popularity of the LP ushered in the "Album Era" of English-language popular music, beginning in the 1960s, as performers took advantage of the longer playing time to create coherent themes or concept albums. "The rise of the LP as a form—as an artistic entity, as they used to say—has complicated how we perceive and remember what was once the most evanescent of the arts", Robert Christgau wrote in Christgau's Record Guide: Rock Albums of the Seventies (1981). "The album may prove a '70s totem—briefer configurations were making a comeback by decade's end. But for the '70s it will remain the basic musical unit, and that's OK with me. I've found over the years that the long-playing record, with its twenty-minute sides and four-to-six compositions/performances per side, suits my habits of concentration perfectly."
Although the popularity of LPs began to decline in the late 1970s with the advent of Compact Cassettes, and later compact discs, the LP survives as a format to the present day. Vinyl LP records enjoyed a resurgence in the early 2010s. million in 2012. US vinyl sales in 2017 reached 15.6 million and 16.7 million for 2018.Vinyl sales in the UK reached 2.8
The LP was soon confronted by the "45", a 7-inch (180 mm) diameter fine-grooved vinyl record playing at 45 rpm. It was introduced by RCA Victor in 1949. To compete with the LP, boxed albums of 45s were issued, along with EP (Extended Play) 45s, which squeezed two or even three selections onto each side. Despite these efforts, the 45 succeeded only in replacing the 78 as the format for singles.
The "last hurrah" for the 78 rpm record in the US was the microgroove 78 series pressed for the Audiophile label (Ewing Nunn, Saukville, Wis.) in the early 1950s. This series was labeled AP-1 through about AP-40, pressed on grainless red vinyl. Today AP-1 through AP-5 are very scarce. By very tightly packing the fine groove, a playing time of 17 minutes per side was achieved. Within a couple of years Audiophile switched to 33 1⁄3.
Reel-to-reel magnetic tape recorders posed a new challenge to the LP in the 1950s, but the higher cost of pre-recorded tapes was one of several factors that confined tape to a niche market. Cartridge and cassette tapes were more convenient and less expensive than reel-to-reel tapes, and they became popular for use in automobiles beginning in the mid-1960s. However, the LP was not seriously challenged as the primary medium for listening to recorded music at home until the 1970s, when the audio quality of the cassette was greatly improved by better tape formulations and noise-reduction systems. By 1983, cassettes were outselling LPs in the US.
The Compact Disc (CD) was introduced in 1982. It offered a recording that was, theoretically, completely noiseless and not audibly degraded by repeated playing or slight scuffs and scratches. At first, the much higher prices of CDs and CD players limited their target market to affluent early adopters and audiophiles. But prices came down, and by 1988 CDs outsold LPs. The CD became the top-selling format, over cassettes, in 1992.
Along with phonograph records in other formats, some of which were made of other materials, LPs are now widely referred to simply as "vinyl". Since the late 1990s there has been a renewed interest in vinyl. Demand has increased in niche markets, particularly among audiophiles, DJs, and fans of indie music, but most music sales as of 2018 come from CDs and online downloads/streams because of their availability, convenience, and price.
When initially introduced, 12-inch LPs played for a maximum of 45 minutes, divided over two sides, with 10-inch versions carrying a maximum of 35 minutes again over two sides. With the advent of sound film or "talkies," the need for greater storage space made 33 1⁄3 rpm records more appealing. Soundtracks could no longer fit onto the mere 5 minutes per side that 78s offered. They were not an immediate success, however, as they were released during the height of the Great Depression, and seemed frivolous to the many impoverished of the time. It wasn't until "microgroove" was developed by Columbia Records in 1948 that Long Players (LPs) reached their maximum playtime that has continued to modern times.
Owing to marketing attitudes at the time, the 12-inch format was reserved solely for higher-priced classical recordings and Broadway shows. Popular music appeared only on 10-inch records. Executives believed classical music fans would be eager to hear a Beethoven symphony or a Mozart concerto without having to flip over multiple, four-minute-per-side 78s, and that pop music fans, who were used to listening to one song at a time, would find the shorter time of the 10-inch LP sufficient. Their beliefs were wrong. By the mid-1950s, the 10-inch LP, like its similarly sized 78 , would lose the format war and be discontinued. Ten-inch records reappeared as Mini-LPs in the late 1970s and early 1980s in the United States and Australia as a marketing alternative.
In 1952, Columbia Records introduced "extended-play" LPs that played for as long as 52 minutes, or 26 minutes per side.[ citation needed ] These were used mainly for the original cast albums of Broadway musicals, such as Kiss Me, Kate and My Fair Lady , or to fit an entire play, such as the 1950 production of Don Juan in Hell , onto two LPs. The 52-minute playing time remained rare, however, because of mastering limitations, and most LPs continued to be issued with a 30- to 45-minute playing time.
A small number of albums exceeded the 52-minute limit. But these records had to be cut with much narrower spacing between the grooves, which allowed for a smaller dynamic range on the records, and meant that playing the record with a worn needle could damage the record. It also resulted in a much quieter sound. The list of long-playing vinyl records includes the 90-minute 1976 LP 90 Minutes with Arthur Fiedler and the Boston Pops , made by Radio Shack; min 32 s over two sides; and André Previn's Previn Plays Gershwin,, with the London Symphony Orchestra, whose sides each exceeded 30 minutes. Finally, several recordings of Beethoven's Ninth Symphony were reissued on single discs; these LPs contained about 35 minutes on each side, with the third movement split into two parts.Genesis' Duke , with each side exceeding 27 minutes; Bob Dylan's 1976 album Desire , with side two lasting almost thirty minutes; Todd Rundgren's 1975 album Initiation , totaling 67
Spoken word and comedy albums require a smaller dynamic range compared to musical records. Therefore, they can be cut with narrower spaces between the grooves. The Comic Strip , released by Springtime Records in 1981, has a side A lasting 38 min 4 s and a side B lasting 31 min 8 s, for a total of 69 min 12 s.
In any case, the standard 45-minute playing time of the LP was a significant improvement over that of the previous dominant format, the 78 rpm single, which was generally limited to three to four minutes. At around 14 minutes per side for 10-inch and 23 minutes per side for 12-inch, LPs provided a satisfactory time to enjoy a recording before needing to change or turn over a disc.
Turntables called record changers could play records stacked vertically on a spindle. This arrangement encouraged the production of multiple-record sets in automatic sequence. A two-record set had Side 1 and Side 4 on one record, and Side 2 and Side 3 on the other, so the first two sides could play in a changer without the listener's intervention. Then the stack was flipped over. Larger boxed sets used appropriate automatic sequencing (1–8, 2–7, 3–6, 4–5) to allow continuous playback, but this created difficulties when searching for an individual track.
Vinyl records are vulnerable to dust, heat warping, scuffs, and scratches. Dust in the groove is usually heard as noise and may be ground into the vinyl by the passing stylus, causing lasting damage. A warp can cause a regular "wow" or fluctuation of musical pitch, and if substantial it can make a record physically unplayable. A scuff will be heard as a swishing sound. A scratch will create an audible tick or pop once each revolution when the stylus encounters it. A deep scratch can throw the stylus out of the groove; if it jumps to a place farther inward, part of the recording is skipped; if it jumps outward to a part of the groove it just finished playing, it can get stuck in an infinite loop, playing the same bit over and over until someone stops it. This last type of mishap, which in the era of brittle shellac records was more commonly caused by a crack, spawned the simile "like a broken record" to refer to annoying and seemingly endless repetition.
Records used in radio stations can suffer cue burn, which results from disc jockeys placing the needle at the beginning of a track, turning the record back and forth to find the exact start of the music, then backing up about a quarter turn, so that when it is released the music will start immediately after the fraction of a second needed for the disc to come up to full speed. When this is done repeatedly, the affected part of the groove is heavily worn and a hissing sound will be noticeable at the start of the track.
The process of playing a vinyl record with a stylus is by its very nature to some degree a destructive process. Wear to either the stylus or the vinyl results in diminished sound quality. Record wear can be reduced to virtual insignificance, however, by the use of a high-quality, correctly adjusted turntable and tonearm, a high-compliance magnetic cartridge with a high-end stylus in good condition, and careful record handling, with non-abrasive removal of dust before playing and other cleaning if necessary.
The average LP has about 1,500 feet (460 m; 0.28 mi) of groove on each side. The average tangential needle speed relative to the disc surface is approximately 1 mile per hour (1.6 km/h; 0.45 m/s). It travels fastest on the outside edge, unlike audio CDs, which change their speed of rotation to provide constant linear velocity (CLV). (By contrast, CDs play from the inner radius outward, the reverse of phonograph records.) Thin, closely spaced spiral grooves that allowed for increased playing time on a 33 1⁄3 rpm microgroove LP led to a faint pre-echo warning of upcoming loud sounds. The cutting stylus unavoidably transferred some of the subsequent groove wall's impulse signal into the previous groove wall. It was discernible by some listeners throughout certain recordings but a quiet passage followed by a loud sound would allow anyone to hear a faint pre-echo of the loud sound occurring 1.8 seconds ahead of time. This problem could also appear as post-echo, with a ghost of the sound arriving 1.8 seconds after its main impulse. Pre- and post-echo can be avoided by the use of direct metal mastering.
The first LP records introduced used fixed pitch grooves just like their 78 predecessors. The use of magnetic tape for the production of the master recordings allowed the introduction of variable pitch grooves. The magnetic tape reproducer used to transfer the recording to the master disc was equipped with an auxiliary playback head positioned ahead of the main head by a distance equal to one revolution of the disc. The sole purpose of this head was to monitor the amplitude of the recording. If the sound level from both the auxiliary and main magnetic heads was loud, the cutting head on the disc recording lathe was driven at its normal speed. However, if the sound level from both magnetic heads was quieter, then the disc cutting head could be driven at a lower speed reducing the groove pitch with no danger of the adjacent grooves colliding with each other. The playing time of the disc was therefore increased by an amount dependent on the duration of quieter passages.
The record manufacturers had also realised that by reducing the amplitude of the lower frequencies recorded in the groove, it was possible to decrease the spacing between the grooves and further increase the playing time. These low frequencies were then restored to their original level on playback. Further, if the amplitude of the high frequencies was artificially boosted on recording the disc and then subsequently reduced to their original level on playback, the noise introduced by the disc would be reduced by a similar amount. This gave rise to an equalisation frequency response applied during record coupled with an inverse of the response applied on playback. Each disc manufacturer applied their own version of an equalisation curve (mostly because each manufacturer's equalisation curve was protected by interlocking patents). Low-end reproduction equipment applied a compromise playback equalisation that reproduced most discs reasonably well. However, amplifiers for audiophile equipment were equipped with an equalisation selector with a position for most, if not all, disc manufacturers. The net effect of equalization is to allow longer playing time and lower background noise while maintaining full fidelity of music or other content.
In 1954, the Recording Industry Association of America (RIAA) introduced a standard equalisation curve to be used by all record manufacturers. Consequently, both low-quality and audiophile reproducers alike could replay any recording with the correct equalisation. There are two versions of the reproduction RIAA equalisation curve. The first, is simply the inverse of the recording curve designed for cheaper equipment using crystal or ceramic reproduction cartridges. The second curve is intended for equipment fitted with magnetic reproduction cartridges where the output voltage is dependent on the frequency of the recorded signal (the voltage output is directly proportional to the frequency of the recorded signal; that is: the voltage doubles as the recorded frequency doubles).
The audio quality of LPs has increased greatly since their 1948 inception. While early LP recordings were monophonic, stereophony had been demonstrated in 1881 and Alan Blumlein had patented Stereophonic sound in 1931. Unsuccessful attempts were made to create stereophonic records starting in the 1920s, including Emory Cook's 1952 "binaural" LPs using two precisely spaced tracks on the record (one track for each channel) which had to be played with two monaural pick-ups on a tuning-fork-shaped tonearm. The modern system ultimately released by Audio Fidelity Records in November 1957 uses two modulation angles, equal and opposite 45 degrees from vertical (and so perpendicular to each other.) It can also be thought of as using traditional horizontal modulation for the sum of left and right channels (mono), making it essentially compatible with simple mono recordings, and vertical-plane modulation for the difference of the two channels.
The following are some significant advances in the format:
The composition of vinyl used to press records (a blend of polyvinyl chloride and polyvinyl acetate) has varied considerably over the years. Virgin vinyl is preferred, but during the 1970s energy crisis, it became commonplace to use recycled vinyl. Sound quality suffered, with increased ticks, pops, and other surface noises. grams of vinyl had been the standard. Compare these to the original Columbia 12-inch LPs (ML 4001) at around 220 grams each. Besides the standard black vinyl, specialty records are also pressed on different colors of PVC/A or picture discs with a card picture sandwiched between two clear sides. Records in different novelty shapes have also been produced.Other experiments included reducing the thickness of LPs, leading to warping and increased susceptibility to damage. Using a biscuit of 130
In 2018, an Austrian startup received funding to develop high definition vinyl records that purport to contain longer play times, louder volumes and higher fidelity than conventional vinyl LPs.The HD process works by converting audio to a digital 3D topography map which is then inscribed onto the vinyl stamper via lasers, resulting in less loss of information. Many critics have expressed skepticism regarding the cost and quality of HD records.
Disc jockeys (or DJs) in clubs still rely heavily on vinyl records, as cueing tracks from cassette tapes is too slow and CDs did not allow creative playback options until quite recently.[ when? ] The term "DJ", which had always meant a person who played various pieces of music on the radio (originally 78s, then 45s, then tape cartridges and reels; now cuts from CDs or tracks on a computer) – a play on the horse-racing term "jockey" – has also come to encompass all kinds of skills in "scratching" (record playback manipulation) and mixing dance music, rapping over the music or even playing musical instruments, but the original dance club (non-radio) definition was simply somebody who played records, alternating between two turntables. The skill came in subtly matching beats or instruments from one song to the next, providing a consistent dance tempo. DJs also made occasional announcements and chatted with patrons to take requests while songs were actually playing, similar to what radio disc jockeys have been doing since the 1940s.
The phonograph is a device for the mechanical recording and reproduction of sound. In its later forms, it is also called a gramophone or, since the 1940s, a record player. 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.
In the music industry, a single is a type of release, typically a song recording of fewer tracks than an LP record or an album. This can be released for sale to the public in a variety of different formats. In most cases, a single is a song that is released separately from an album, although it usually also appears on an album. Typically, these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular. In other cases a recording released as a single may not appear on an album.
An extended play record, often referred to as an EP, is a musical recording that contains more tracks than a single, but is usually unqualified as an album or LP. Contemporary EPs generally contain a minimum of three tracks and maximum of six tracks, and are considered "less expensive and time-consuming" for an artist to produce than an album. An EP originally referred to specific types of vinyl records other than 78 rpm standard play (SP) and LP, but it is now applied to mid-length CDs and downloads as well.
A phonograph record 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 periphery and ends near the center of the disc. At first, the discs were commonly made from shellac; starting in the 1950s polyvinyl chloride became common. In recent decades, records have sometimes been called vinyl records, or simply vinyl.
RCA Records is an American record label owned by Sony Music, a subsidiary of Sony Corporation of America. It is one of Sony Music's four flagship labels, alongside RCA's former long-time rival Columbia Records, Arista Records, and Epic Records. The label has released multiple genres of music, including pop, classical, rock, hip hop, electronic, R&B, blues, jazz, and country. Its name is derived from the initials of its defunct parent company, the Radio Corporation of America (RCA). It was fully acquired by Bertelsmann in 1986, making it a part of Bertelsmann Music Group (BMG); however, RCA Records became a part of Sony BMG Music Entertainment, a merger between BMG and Sony Music, in 2004, and was acquired by the latter in 2008, after the dissolution of Sony BMG and the restructuring of Sony Music. It is the second oldest record label in American history, after sister label Columbia Records.
Mastering, a form of audio post production, is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device, the source from which all copies will be produced. In recent years digital masters have become usual, although analog masters, such as audio tapes, are still being used by the manufacturing industry, notably by a few engineers who have chosen to specialize in analog mastering.
The twelve-inch single is a type of gramophone record that has wider groove spacing and shorter playing time compared to LPs. This allows for louder levels to be cut on the disc by the mastering engineer, which in turn gives a wider dynamic range, and thus better sound quality. This record type is commonly used in disco and dance music genres, where DJs use them to play in clubs. They are played at either 33 1⁄3 or 45 rpm.
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 thick.
An album is a collection of audio recordings issued as a collection on compact disc (CD), vinyl, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album; this format evolved after 1948 into single vinyl LP records played at 33 1⁄3 rpm. Vinyl LPs are still issued, though album sales in the 21st-century have mostly focused on CD and MP3 formats. The audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s.
An acetate disc is a type of phonograph (gramophone) record, a mechanical sound storage medium, widely used from the 1930s to the late 1950s for recording and broadcast purposes and still in limited use today.
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.
Mobile Fidelity Sound Lab is a record label specializing in the production of audiophile recordings. The company is best known for its reissued vinyl LP records, compact discs, and Super Audio CDs but has also produced other formats.
Record collecting is the hobby of collecting sound recordings, usually of music and/or the "spoken word", but, in some cases, even of other recorded sounds. Although the typical focus is on vinyl records, all formats of recorded music can be collected.
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:
Record restoration, a particular kind of audio restoration, is the process of converting the analog signal stored on gramophone records into digital audio files that can then be edited with computer software and eventually stored on a hard-drive, recorded to digital tape, or burned to a CD or DVD. The process may be divided into several separate steps performed in the following order:
1. Cleaning the record, to prevent unwanted audio artefacts from being introduced in the capture that will necessitate correction in the digital domain, and to prevent unnecessary wear and damage to the stylus used in playback. 2. Transcription of the record to another format on another medium ;
3. Processing the raw sound file with software in order to remove transient noise resulting from record surface damage ;
4. Using software to adjust the volume and equalization;
5. Processing the audio with digital and analogue techniques to reduce surface/wideband noise;
6. Saving the file in the desired format.
The source of the information for these steps is available from various websites and the help files for the software employed in the process.
Highway Hi-Fi was a system of proprietary players and seven-inch phonograph records with standard LP center holes designed for use in automobiles. Designed and developed by Peter Goldmark, who also developed the LP microgroove, the discs utilized 135 grams of vinyl each, enough to press a then-still-standard 10-inch LP.
The conservation and restoration of vinyl discs refers to the preventive measures taken to defend against damage and slow degradation, and to maintain fidelity of singles, 12" singles, EP, LP in 45 or 33⅓ rpm disc recordings. LPs are most often in the 12” format, although very early vinyl recordings were 10”. Vinyl LP preservation is generally considered separate from conservation, which refers to the repair and stabilization of individual discs. Commonly practiced in major sound archives and research libraries that house large collections of audio recordings, it is also frequently followed by audiophiles and home record collectors. Because vinyl—a virtually unbreakable light plastic made up of polyvinyl chloride acetate copolymer, or PVC—is considered the most stable of analog recording media, it is seen as less a concern for deterioration than earlier sound recordings made from more fragile materials such as acetate, vulcanite, or shellac. This hardly means that vinyl recordings are infallible, however, and research—both expert and evidential—has shown that the way in which discs are handled and cared for can have a profound effect on their longevity. Though some 45s (7”s) are also made from vinyl, many of them are actually polystyrene—a more fragile medium that is prone to fracturing from internal stress. Still, many of the recommendations for the care of vinyl LPs can be applied to 45s.
SoundScriber is a dictation machine introduced in 1945 by The SoundScriber Corp.. It records sound with a groove embossed into soft vinyl discs with a stylus. Similar competing recording technologies are the Gray Audograph and Dictaphone DictaBelt. The machine can record 15 minutes of dictation on each side of a thin (.01-inch) flexible 6-inch vinyl disc spinning at a rate of 33 RPM, at a density of 200 grooves per inch. The discs originally cost about 10 cents each. The machine has two tonearms: a recording arm driven by a worm gear that creates the groove with a diamond stylus, and a pickup arm with a sapphire stylus for playback. A foot-operated playback/pause—and-reverse switch is used for transcribing.
The Tefifon is a German-developed and manufactured audio playback format that utilizes cartridges loaded with an endlessly looped reel of plastic tape. It is somewhat similar like the later 4-track and 8-track magnetic audio tape cartridges, with grooves embossed on it, like a phonograph record. The grooves were embossed in a helical fashion across the width of the tape, in a manner similar to Dictaphone's Dictabelt format. The grooves are read with a stylus and amplified pickup in the player's transport. A Tefifon cartridge, known as a "Tefi", can hold up to four hours of music; therefore, most releases for the format are usually compilations of popular hits or dance music, operas and operettas. Tefifon players were not sold by television and radio dealers in Germany, but rather sold directly by special sales outlets affiliated with Tefi.
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.
Howard H. Scott, who was part of the team at Columbia Records that introduced the long-playing vinyl record in 1948 before going on to produce albums with the New York Philharmonic, Glenn Gould, Isaac Stern and many other giants of classical music, died on Sept. 22 in Reading, Pa. He was 92. ...