Gramophone record

Early history
Edison cylinder phonograph ca. 1899
A device that uses a vibrating pen to graphically the sound of the discs of paper, without the idea of ​​playing again in any form, was built by Edouard-Leon Scott of France in 1857. Although the mechanism, known as phonautograph, was intended only to describe the visual characteristics of sound, which was recently realized that this representation can be analyzed and digitally reconstructed as a sound recording. Just as an early phonoautogram made in 1860 and now knows the first audio recording has been reproduced with computer technology.
In 1877, Thomas Edison developed the phonautograph in a machine, the phonograph, which was able to reproduce the recordings. The recordings were made in aluminum foil, and were originally intended to be used as a voice recording medium, typically for office dictation.
This cylinder phonograph dominated the beginning of recorded sound market in 1880. Lateral cut disc records were invented by Emile Berliner in 1888 and used exclusively in toys until 1894, when Berlin began marketing disc records under the label Berliner Gramophone. Berliner records had poor sound quality, however, but the work by Eldridge R. Johnson improves fidelity to a point where they were as good as the cylinders. Johnson and Berliner independent companies merged to form the Victor Talking Machine Company, whose products come to dominate the market for many years later.
In an attempt to head the advantage of the disc, Edison Amberol cylinder introduced in 1909, with a maximum time of 4 minutes of play (160 rpm) which in turn replaced by the Blue Amberol whose playing surface is made of celluloid, an early plastic that was far less fragile than the wax before (in fact, would have been more or less indestructible if it were not for central Paris plaster). In November 1918 patents for the manufacture of disc records side cutting expired, opening the field for countless companies that produce them, what records drive to overtake cylinders in popularity. Edison cylinder production ceased in 1929 (it is said the day before the collapse of Wall Street). Records disk dominate the market until they were replaced by the compact disc, from the 1980's.
78 rpm disc developments
Route tracking Hungary, 90 to 100 rpm
Speeds of principles
The first disc recordings produced in a variety of speeds between 60 and 120 rpm, and a variety of sizes. At least one manufacturer, Philips, produced albums that have played at a constant linear velocity. As it was playing from inside to outside, the disk rotational speed reduces Advanced playback (as is also true of modern compact disc).
As early as 1894, Emile Berliner Gramophone Company United States sold a single-sided 7 "discs with a standard speed of "about 70 rpm."
A standard audio recording handbook describes speed regulators or "governors" as part of a wave of improvements quickly after 1897. A picture of a crank Victrola 1898 shows a governor. It is said that the spring drives replaced units hand. It notes that:
"The speed controller was fitted with an indicator showing the speed when the machine was running for the records, in reproduction, can be rotated at the same speed … The literature does not reveal why he was chosen by 78 rpm phonograph industry, apparently this just happened to be speed created by one of the first machines, and for no other reason continued to be used. "
Registry Emile Berliner Gramophone Company (later Deutsche Grammophon). Acts of 1908 in Hannover, Germany
In America in 1900, the two leading manufacturers of flat discs were Columbia, using 80 rpm as speed, and Victor, who used 76 rpm. Since company records are played on other teams, it is logical that eventually would be the standard speed in the middle.
In 1925, the speed of the disk became standard at a nominal value of 78 rpm. However, the standard was to differ between the U.S. and around the world. The current 78 speed in America was 78.26 rpm, 3600 rpm speed synchronous motor (run from the source of 60 Hz) 46:1 gear reduced. Throughout the rest of the world 77.92 rpm was adopted is the speed of a synchronous motor with a 3000 rpm motor. 50 Hz and 38.5:1 reduction gear
For a broader view in-depth at age 78 is, cylinders and other historical, please visit http://78rpmrecord.com
Sound Recording
First recordings were made entirely acoustics, the sound picked up by a horn and piped to a diaphragm that vibrated the cutting stylus. The sensitivity and frequency range were poor, and the frequency response has been very irregular, a cylinder recordings instantly recognizable tonal quality. A singer practically had to put your face in the recording horn. Cellos and basses were completely not be recorded. Violins barely recordable standard, so Stroh violins became popular with recording studios.
Contrary to popular belief, if properly positioned and prepared for, drums can be effectively used and heard even in the first recordings of jazz and brass bands. The most strong instruments was the farthest from the horn collection. Lillian Hardin Armstrong, a member of King Oliver's band that recorded Creole Jazz at Gennett Records in 1923, recalled that at first Oliver and his young second trumpet, Louis Armstrong, was a side by side and Oliver's horn was not heard. "They put Louis a five meters in a corner, looking all sad. "
"Electrical" recording
German electrical recording of Carl Lindstrm AG
During the 1920s, engineers including Orlando R. Marsh, as well as Western Electric, developed the technology to capture the sound with microphones, vacuum tube amplifiers, and the use of the amplified signal to drive an electromagnetic recording head. A wide range of frequencies could now be recorded with a large increase in volume reproduction limited only by the pitch of the grooves in the record.
Although the technology used vacuum tubes and today would be described as "electronics", at the time referred to as "electric." An advertisement for Wanamaker 1926 in The New York Times offers records "in the last process of recording electrical Victor. "was recognized as a breakthrough in Times music critic said:
"… Has come the time of serious musical criticism to take account of the performances of great music reproduced through the records. To assert that the records of reproductive success accurate and complete in every detail of the symphonic and operatic performances … It would be extravagant. [But] today's article is what will feed the machines Pets barely old classification with the same name. Electrical recording and reproduction have combined to maintain the vitality and color in the preamble by proxy. "
Peter Carl Goldmark (Hungarian: Kroly Pter Goldmark) was a Hungarian engineer who, during his time with Columbia Records, was instrumental in the development of reproduction Long Play (LP) 3313 rpm microgroove vinyl disc phonograph defined home audio for two generations.
Example of Congolese 78 rpm records
A gramophone 10-inch blank for self recording with 78 rpm, material marked as "Decelith" with a special surface for hardening
Electrical recording Reproduction preceded appliances (as well as digital recording digital reproduction preceded at home), because of the high initial cost of electronics. In 1925, the company introduced the revolutionary Victor Victor Victrola Orthophonic an acoustic phonograph was designed specifically to play electrically recorded discs, as part of a line that also includes electricity and reproduction "Electrola". The acoustic Orthophonics distance in the U.S. price $ 95 to $ 300 (around U.S. $ 1140 to $ 3600 in 2007 dollars), depending on the cabinets, in comparison, the cheapest cost U.S. Electrola $ 650 (around U.S. $ 7.500 in 2007 dollars).
The Orthophonic had an interior folded exponential horn, informed by a sophisticated design impedance matching and the theory of the transmission line, designed to provide a relatively flat frequency response. His first public demonstration was the headlines flat in the New York Times, which reported that:
"The audience broke into applause … John Philip Sousa [said]:. 'Gentleman [sic], which is a band This is the first time I heard any music with soul produced by a mechanical talking. "… The new instrument is an achievement in mathematics and physics. It is the result of countless experiments, but was drawn on paper before it is built in the lab …. The new machine has a range of between 100 and 5000 frequencies [sic], or half past five octaves …. The 'tone phonograph "is eliminated by the new recording and playback process."
Little little power play went into the house. The engine was replaced clock by an electric motor engine, the "needle" and the iris (the "box sound ") was replaced by a 'pickup' using a steel or sapphire stylus and a transducer to convert the vibrations into electrical slot the signal. The exponential horn became an amplifier and loudspeaker. [Citation needed]
78 rpm materials
The earliest records were made of discs of various materials including hard rubber. From 1897 onwards, earlier materials were replaced by a more fragile than 25% of shellac, a filling cotton of a compound similar to manila paper, powdered slate and a small amount of a wax lubricant.
The mass production of shellac records were began in 1898 in Hanover, Germany, and continued until the end of the 78 rpm format in late 1950. "Unbreakable" records, usually in a base of celluloid of cardboard, made from 1904 onwards, but he suffered from an exceptionally high level of surface noise. "Unbreakable" records could be bent, broken or damaged, but not as easily as shellac. Vinyl was tried first as a material of 78 rpm in 1939 as a commercial radio shipped cigarettes stations, such as vinyl is less fragile in the mail. On the disc, referred to the exposure of Lucky Strike in 1939 NY World's Fair. Decca introduced vinyl "Deccalite" 78s after the Second World War. During the war, the U.S. Armed Forces, resulted in thousands of V-ray for the soldiers of playing overseas, as well as giant 16 inches from the War Department radio transcripts, which were all made of vinyl. Victor made some vinyl 78s, but other labels to limit production vinyl 78's special DJ copies, which were also commonly issued on vinyl to be sent to radio stations, in the late 40's and early 50. Finally, 78 editions have been produced on vinyl since the early 1990's to the jukebox collectors by Rhino Records. Care must be ever playing 78 rpm vinyl record on a jukebox, as it will destroy.
78 rpm disc size
In the 1890s, the early recording formats of discs were usually seven inches (nominally 17.5 cm) in diameter. In 1910 the 10-inch (25.4 cm) record was by far the most popular standard, holding about three minutes of music or entertainment on one side. From 1903 onwards, records 12 inches (30.5 cm) have also been sold commercially, most classical music or opera selections, with four to five minutes of music per side. (Victor, Brunswick and Columbia also issued 12 "popular medleys, usually highlights a Broadway musical score.) However, other sizes appeared. 8-inch discs with a label of 2 inches in diameter became popular for a decade in Britain, can not be played entirely in most modern disc players, because the tone arm can not get enough far without equipment modifications.
78 rpm recording time
The playing time of a phonograph record depended on the rotational speed and the distance between furrow. In the early 20, the first records he played for two minutes, as early cylinder records. The 12-inch disc, presented by Victor in 1903, increased playing time to three and a half minutes. Because a 10 inch 78 rpm record could hold about three minutes per side and the 10-inch size is the size standard for popular music, most popular recordings is limited to about three minutes.
For example, when the band King Oliver Creole Jazz as Louis Armstrong in his first recordings, recorded 13 sides at Gennett Records in Richmond, Indiana, in 1923, was one of the sides and four sides 2:09 2:522:59.
In 1938, when Milt Gabler started recording on January 17, his new label, Commodore Records, to allow more continuous performances, recorded some 12 "records Eddie Condon explained. "Gabler realized that a jam session you need space for development" The first two 12 "recordings took advantage of the extra length, "Carnegie Drag" was 3:15, "Carnegie Jump" 2:41 .. However, in the second session, April 30, two 12 "recordings were longer:" Embraceable You ", was 4:05," Serenade to a Shylock ", 04:32.
Another way around the time limitation was to issue a selection of both sides of a single record. Gallagher and Shean vaudeville star, she recorded "Mr. Gallagher and Mr. Shean" written by Irving and Jack Kaufman, as two sides of a 10 "78 in 1922 to Cameo.
One obvious solution was extended recording through a set of records. The first release of several records was in 1903, when HMV in England made the first complete recording of an opera, Verdi's Ernani, 40-sided discs. In 1940, Commodore launched Eddie Condon and his band to record "A good man is hard to find" in four parts, delivered on both sides of two 12 "78s.
This limiting the duration of the popular music and jazz numbers persisted from 1910 until the invention of the LP in 1948.
In popular music, This limitation of time of about 3:30 to 10 "78 rpm disc means that singers do not usually released long pieces of history. An exception is a recording of Frank Sinatra of Rodgers and Hammerstein's "Soliloquy" from Carousel, made on May 28, 1946. Because he ran 7:57, as both sides of a standard 78 rpm 10 "record, which was released on Columbia Label masterpiece (the classic division) as two sides of a 12" record. (See date.)
In the age of 78, the elements of classical music and the spoken word in general, were released in time 12 "78 rpm, about 45 minutes on each side. For example, the June 10, 1924, four months after the February 12 Prime Minister of Rhapsody in Blue, George Gershwin recorded with Paul Whiteman and his orchestra. It was released on both sides of Victor 55225 and runs 08:59. Look under the title
Music discs
Such records of 78 revolutions per minute is sold separately usually in brown paper or cardboard sleeves that sometimes simple and sometimes printed to show the producer or the retailer's name. Generally the sleeves had a circular cut allows the record label to be seen. Records may be established in a horizontal shelf or stood upright on an edge, but due to their fragility, many broke in storage.
German Odeon record company is often said to have pioneered the "album" in 1909 when it launched the "Nutcracker" Tchaikovsky on 4 double-sided discs in a specially crafted packet. (No indication of the size of the logs.) However, Deutsche Grammophon has produced an album for complete recording of the opera Carmen in the previous year. The practice of issuing albums does not seem to have been widely adopted by other record companies for many years, however, always HMV album with a cover painting for the 1917 recording of The Mikado (Gilbert & Sullivan).
In about 1910 [note 1] bound collections of empty sleeves with a cardboard cover or leather, similar to a photo album were sold as "discs music "that customers could use to store their records (The term" record album "was printed on some covers). These albums occurred in the 10 "and 12" sizes. The covers of these books were forced wider and taller than the records inside, allowing the record album to be placed on a shelf in vertical position, like a book, the suspension of fragile records on the platform and its protection.
From the decade 1930, record companies began issuing collections of 78 rpm records by an artist or a type of music in specially assembled albums, usually with artwork on the cover and liner notes in the back or inside cover. More albums in 3 or 4 disks, 2 sides each, so 6 or 8 songs per album. When the era of 12-inch vinyl LP began in 1949, the only record they often had the same number of similar songs or album as a normal 78, that gave rise to the tradition of the term "album" attention to the LP.
New sizes and materials
A modern version of 12 "album vinyl being played. Note the stylus contact with the surface.
Both the microgroove LP 33 rpm and 45 rpm single record is made of plastic vinyl which is flexible and unbreakable in normal use. However, vinyl records are easier to scratch or gouge, and more prone to deformation.
In 1931, RCA Victor (which evolved from the Berliner Johnson and Victor talking machine company) launched the first commercially available vinyl LPs duration, marketed as "transcription program" discs. These revolutionary discs were designed for playback at 33 rpm and pressed into a disc diameter 30 cm flexible plastic, with a duration of ten minutes playing time per side. In the book The Fabulous Phonograph Gelatto Roland, the author notes that RCA Victor's early introduction of a long-play album was a commercial failure for several reasons, including lack of equipment affordable, reliable playback consumers and consumer wariness during the Great Depression. Due to financial difficulties that affected the music industry during that period (and own revenues dry RCA), "play time" of Victor records were quietly suspended in early 1933.
There was also a small amount of "play time" records issued in the early 1930's: Columbia introduced 10 "" I do not play "records (18000-D series) and a series of two or more slots set of 10 "records of its harmony, Clarion and Velvet Tone labels cheap. All these were removed in mid- 1932.
However, lower noise vinyl shellac surface has not been forgotten, or durability. In the 30's, radio commercials and prerecorded radio programs sent to disc jockeys started being stamped in vinyl, so it would not break in the mail. In the 1940s, especially copies of the records began to be DJ made of vinyl also, for the same reason. These were all 78 rpm. During and after World War II when shellac supplies were extremely limited, some 78 rpm records were pressed in vinyl instead of shellac, especially the six-minute 12-inch (30 cm) 78 rpm records produced by V-Disc for distribution U.S. troops World War II. In the 40's, radio transcriptions, which were generally in the records of 16 inches, but sometimes 12 inches, always made of vinyl, but cut at 33 rpm. Shorter transcriptions were often cut at 78 rpm.
Since 1939, Dr. Peter Goldmark and his staff in the records of Colombia undertook efforts to address problems of recording and playback of narrow grooves and developing a low-cost, reliable consumer playback. In 1948, the 12-inch (30 cm) Long Play (LP) 33 rpm microgroove record album was introduced by the Columbia record company at a conference in New York press on June 21, 1948. In February 1949, RCA Victor launched the first 45 rpm singles, 7 inches in diameter, with a large central hole to accommodate a mechanism Autoplay changer, so a lot of singles would drop a record at a time automatically after each game. The first records 45 rpm were made of vinyl or polystyrene. They had a playing time of eight minutes.
In a small number of systems of phonograph and radio in the early transcription discs, as well as some albums, the direction of the groove is reversed, beginning near the center of the disc and leading to the outside. A small number of records (such as Jeff Mills' Apollo EP or Hidden PlainSight In Detroit EP Underground Resistance) were manufactured with multiple separate grooves to differentiate the tracks (usually called 'NSC-X2').
Speeds
Records Edison "Diamond Disc" label, in early 1920. Edison disc records was always running at 80 rpm.
The earliest rotation speeds varied widely. Most of the records made in 19001925 were recorded at 7482 revolutions per minute (rpm). Edison disc records consistently ran at 80 rpm.
However, a few unusual system were deployed. The Dutch Company Philips introduced records whose rotational speed so varied that the reproduction of "needle" ran at a constant linear velocity (CLV) in the slot. These records, also unusually, played from the inside outward. Both features were later found on the CD today, which in time was also invented by Philips. The Science Museum in London displays a record marked as CLV Philips "Speed ​​D".
In 1925, 78.26 rpm was chosen as the standard due to the introduction of synchronous electric motor plate. This engine running at 3600 rpm, so a 46:1 gear ratio produce 78.26 rpm. In some parts of the world uses 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a ratio of 38.5:1), which was also the speed at a flash disk with 77 lines would "stand still" in 50 Hz light (92 lines of 60 Hz). After the Second World War these records were known retroactive to 78 rpm, to distinguish them from other new recording formats of discs. Before they were called simply records, or when necessary to distinguish them from cylinders, Disc records.
The competence of Columbia and RCA applied to computers. Some dishes include shaft size adapters, but others require plug inserted plates like this RCA to accommodate more than 45 rpm spindle size to the smallest size available axis in almost all dishes. Shown is a popular design in use for many years.
After the Second World War, two new competing formats came on the market and gradually replaced the standard "78": the 33 rpm (often referred such as 33 rpm) and the 45 rpm (see above). The 33 rpm LP ("long life") format was developed by Columbia Records and marketed in 1948. RCA Victor developed the 45 rpm format and marketed it in 1949 in response to Columbia. Both types of new disc used narrower grooves, intended to be played with small styliypically 0.001 inch (25 m) wide, compared to 0.003 inches (76 m) for the 78th new records were sometimes called microgroove. In mid 1950, all record companies agreed on a common recording standard called RIAA equalization. Before the establishment of the standard each company used its own preferred standard, requiring discerning listeners to use preamplifiers with multiple selectable equalization curves.
While the ladies speed strobe can be used to fine tune rotating speed of 45 rpm in the U.S. where the disk is illuminated by a strobe lamp execution of a source of 60 Hz, most flashes are a bit vague, where there is a source of 50 Hz using a conventional segment only by the pulse, the closest you can get is 45,112 rpm +, which requires a disk with 133 segments. The difference amounts to recording that sounds strong in fifth twenty of a semitone (ie, almost imperceptible). For the construction of a 50 Hz strobe disc that appears stationary at exactly 45 rpm is possible, and would require 400 segments that went into 3 segments in each light pulse.
A series of recordings were pressed at 16 rpm (for Usually a 7-inch disc, visually identical to the 45 rpm single). Peter Goldmark, the man who developed the 33 rpm record, developed the Hi-Fi Highway 16 rpm record to be played on Chrysler cars, but the poor performance of the system and poor enforcement by Chrysler and Columbia led to the disappearance of the 16 cases the RPM. Subsequently, the speed of 16 rpm was used for radio transcription discs or narrated publications for the blind and visually impaired, and were never widely commercially available, although it was common to see new models with an adjustable plate speed of 16 rpm produced as late as the 1970s.
1959 Seeburg 16 rpm record
Seeburg Corporation introduced the system Seeburg background music in 1959 with a 16 rpm record of 9-inch center hole 2 inches. Each record in power of 40 minutes of music per side, recorded at 420 grooves per inch.
The largest 78 format continued to be mass produced with the new formats until 1960 in the U.S., and in a few countries such as India (where some recordings of the Beatles was released on 78) in the 1960's. For example, Columbia Records reissue last of Frank Sinatra songs on 78 rpm records was an album called "Young at Heart", published November 1, 1954. Still in the early 1970's, some children's records were released on 78 rpm speed. In the United Kingdom, the 78 rpm single lasted longer than in the United States and 45 rpm took more time to become popular. The 78 rpm was surpassed in popularity by 45 rpm in the late 1950s, during adolescence became increasingly wealthy, although some early Elvis Presley singles sold more copies in 78 in 45 years. The last new 78 rpm singles in the UK were released in March 1960 and production ceased in 1961.
The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor introduction of what was intended to be a vinyl format of competition, the 7-inch (175 mm) 45 rpm disc. For a period of two years from 1948 to 1950, record companies and consumers face uncertainty on which of these formats will ultimately prevail in what is known as the "War of the speeds." (See also the format war.) In 1949, Capitol and Decca adopted the new format and RCA LP surrendered and released their first LP in January 1950. But the size of 45 rpm was gaining in popularity, too, and Columbia issued its first 45 years in February 1951. In 1954, 200 million had been sold 45 years.
Eventually the 12-inch (300 mm) 33 rpm LP prevailed as the predominant format for musical albums and 10 "LP and was not issued. The last Columbia Records reissue of the songs of Frank Sinatra on a 10" LP record was an album called "Hall of Fame," CL 2600, issued October 26, 1956, which contains six songs, each one of Tony Bennett, Rosemary Clooney, Johnny Ray, Frank Sinatra, Doris Day and Frankie Laine. The 10 "LP however, had a longer life in the United Kingdom, where the first major British Albums rock and roll as Lonnie Donegan Lonnie Donegan Showcase and Billy Fury The Sound of Fury was released in that form. The 7-inch (175 mm) 45 rpm disc or "unique" established an important niche for shorter drives, usually containing one item on each side. 45 rpm discs typically emulated the playing time of above 78 rpm discs, while the 12 "LP discs provided up to half an hour of time per side. The amount of music on LP varies from label to label, and possibly interpreter to interpreter. Frank Sinatra, "Swinging Affair", an album in mono, containing 15 tracks and ran 50 minutes. Other albums of other Artists could run only 30 or 35 minutes. After the introduction of stereophonic recording, record time fell because, presumably, the Early stereo slot was larger than the slot mono.
A strobe disc 33 and 45 rpm (revolutions per minute 44.77 Actually, since it has been wrong number of segments in the ring 45) to 50 Hz
The 45 rpm discs also came in a variety known as Extended Play (EP), which reached up to 1015 minutes game at the expense of attenuating (and possibly compressing) the sound to reduce the required width of the slot. EP discs are generally used to reissue LPs in the smallest format for those who only had 45 players rpm. LPs you could buy an EP at a time, with four items per EP, or in a box set with three EPs or 12 points. The large central hole 45 years allows easier handling by jukebox mechanisms. EPs were generally suspended in late 1950 as a three-and four-speed turntable replaced the 45 individual players. An indication of the decline of the EP 45 rpm reissue is that the last Columbia records songs from Frank Sinatra EP 45 rpm records, called "Frank Sinatra" (Columbia B-2641) was published December 7, 1959. However, the PE lasted much longer in Europe and was a popular format for the 1960 for the recordings of artists like Serge Gainsbourg and the Beatles.
In late 1940 and early 1950, 45 rpm, only players who lacked the speakers and plugged into a socket on the back of a radio were widely available. Over time, they were replaced by the turntable threepeed.
Since mid-1950, through the 1960s in the U.S. common home "record player" or "stereo" (After the introduction of recording stereo) typically have the following characteristics: a player three or four-speed (78, 45, 33, and sometimes rpm 16), changing table, high spindle that have multiple records and automatically drop a new record above the previous, when he had finished playing, a combination cartridge with two 78 and stilettos microgroove and a way to switch between the two, and some kind of adapter for playing the hole 45 with its largest center. The adapter can be a small solid circle that fit in the bottom of the shaft (ie, only 45 could play at once) or a larger adapter that fit over the hub of all, allowing a pile of 45 years to be played.
RCA 45 years have also adapted to the minor axis of an LP player with a plastic plug insert known as "Spider." These insertions, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, were common from the 1960s, sales in the tens of million years during the 45 days of glory. In countries outside the U.S., 45 often had the album of smaller holes (eg, Australia and New Zealand), or else a pseudo-spider was "built-in" for the record, which could be drilled if desired (ie the UK, especially before the decade of 1970).
Deliberately playing or recording records at a given level of speed a rarity antic to the voices, if it does at a rate changed slower music and the voice of a sinister, growling tone. Canadian musician Nash the bar also took advantage of this speed / tonal effect with their 1981 12-inch disc decomposition, which featured four instrumental tracks that were designed to play at any speed (with the playing times list of 33, 45 and 78 rpm playback).
Sound Enhancements
As the LP was established as the key size for longer recordings, the evolution that were made to improve the sound.
High fidelity
The first was the attempt to develop a high fidelity or Hi-Fi sound.
In the late 20's and early of the `30s, as the vertical modulation was considered the most through fidelity because of their" common noise immunity to pick a side dish, caused by the disc conduction rubber wheel rim turntable, an earlier version of binaural Cook (described below in stereo) also experimented with, but high fidelity, not stereo (at least not yet).
This system uses vertical modulation in the smaller space near the center of the disc the bass part of the program, from the middle of the disc will prevent the label inside the slot of distortion, modulation, and uses the side of the treble part of the program in the larger space from the edge of the disc half way through the sharp part of the program. This meant that the sound side dish could be excluded of acute electronically by one crossover and the crackle and static of the treble can be filtered to low by the same process. [Citation needed]
From vertical trucks were harder to get and had more space than their counterparts side, the experiments were soon in motion to record the bass and treble part a program of high fidelity in their own separate rows in a lateral fashion on the same side of the disc. Using a two-channel amplifier and speaker system with a conducting channel powerful speaker and a conducting channel of the combination of wide range of media and a tweeter, a wide range of high fidelity is achieved. The format was only experimental, but it was not long before this system has been adapted once again by early Stereo (see below).
People who were concerned to hear all the sounds of quality have been integrated into the new LP began buying separate dishes, amplifiers, speakers and woofers to get the best sound possible.
Stan Freberg satirized these fans on his radio program in 1956 with a skit about a man who turned his whole house into a speaker.
Flanders and Swann also scoffed at the installation of components necessary for high fidelity in their song playback.
(In 1931, Victor experimented with a system of high-fidelity microphones recording and a series of documents issued 22,900 and 24,000 series were surprisingly "hi-fi". However, the records were too strong and 'blasty "In most of the players home, and after receiving complaints from merchants, Victor stopped using this equipment in their New York and Camden studies in mid-1932 and sent him to his studio in Chicago, where used until around 1934.)
Stereo sound
In 1957 the commercial music machine channels first two records were issued in translucent blue vinyl by the Bel Canto, the first is a sampler collection of high-colored vinyl with `A stereo Tour de Los Angeles "narrated by Jack Wagner, on the one hand, and a collection of songs from different albums of Bel Canto in the back. [Citation needed]
Next, in 1958, more Press Stereo LP were offered by audio fidelity in the U.S. and Pye in Britain, with the Westrex "45/45" single groove of the system.
While the stylus moves horizontally when playing a monophonic disk recording, stereo records the needle moves vertically and horizontally. In fact, before the full development of the 45/45, stereo heads first cut is made by means of bolts together a cutting head and a head side vertical cut that share a common pencil holder. Feeding the driving coils suitably phased material, a practice that later would result in the arrays used in quadraphony, won the furrow 45/45.
See also http://78rpmrecord.com/altformat.htm
grooves with a unique sound on the left channel
One could imagine a system in which the left channel was recorded laterally, as on a monophonic recording, with information from right channel recorded with a "hill-and-dale" vertical motion, such systems have been proposed but not adopted due to its incompatibility with existing designs phono collection (see below). Prior to these experiments, the lateral and vertical slot experienced a discreet two-slot is described below.
However, before this side of a single vertical slot in the system experimented with music playback, the "components are approved for other uses, ie, many music radio transcripts using the vertical modulation, with its "greater fidelity and less susceptible to vibration, and the lateral portion of discourse, as the sound could be electronically filtered and not affect the program.
Also in the mid 50's, a sound engineer Mintner name got tired of the inconsistency of the vertical portion of the records in stereo and susceptibility to damage when played with a single vertical-cartridge not meet and pencil and came up with a way to have both lateral channels recorded in the same groove.
Due to the frequency limitations of cutting heads of the time, the disc should be mastered at 16-2/3 RPM for playing 33-1/3 rpm, a practice that would later be adapted and improved in the 70's, along with 180 grams of vinyl virgin super thick to create half speed Mastered Audio LPs.
Similar to the vertical side stereo plays through a stereo system from 45 to 45, Mintner normal mono signal left in the normal frequency range of 20Hz-20KHz, ensuring compatibility with standard single player at the time, and then moved the difference signal to a band of 20kHz-45kHz Supersonic by modulating a carrier signal on the disc 30KHz. A carrier detector and the circuit matrix, similar to what would later be used for multiple FM Stereo felt the carrier wave, stripped it off, and then recover the signal matrix with the original mono signal create music.
Unfortunately, the development of arms van was still many years in the future, so the weight of the arms collection in the years 50 causes the carrier wave in the record that was completely destroyed after only a few plays. However, both the carrier wave modulation and coding -matrix systems used in this document was later doubled and used as CD-4 and SC / SC, respectively, in quadraphonic. [Citation needed]
Other early experimental stereo left channel recorded the program on the left (above) of the disc works in a conventional manner in a format clockwise, and the right channel recorded on the right (bottom) side of the disk in a counterclockwise manner. This was achieved simply by moving the stylus back and forth around the head recording, and the introduction of a figure-8 around tugging on the belt drive, causing it to still be burning from the outside in, but in reverse.
To play the disc, a pedal was depressed to separate the heads of gramophone with two beds facing each other across the turntable and load the disk vertical and a jukebox. Then the pedal is released back carefully to establish their heads on the disk to play. As the pedals were spring, most records were destroyed by the two heads of heavy hitting gramophone disk load when the pedal was released.
The format of died, mainly due to the fragility of the 78 as described above, and also due to the fact that some records were produced in a format shift of the players with their heads on both sides of the plate, while others were produced for playing gramophone machines with heads on the same side. Reproduction a record made for a player made for the other half makes a difference back in the program, similar to trying to play an album manually changing the sequence of a where the sides would be out of sequence. [Citation needed]
Using another technique borrowed from vintage recordings accompanying Vitaphone sound films in the 20 'before the advent of sound-on-film, the arrows were enrolled in the teacher indicating the start of the lead-in slot. Stampers could be aligned or staggered each production of the RPF, which by the way, as demanding attention necessary for the alignment stamper was conducted on the premises of same length idle time and accurate production of Vitaphone discs that produced the originals.
For a good visual of the early problems associated with Vitaphone, recording the scene and the scene of the movie preview MGM Gene Kelly in Singin 'in the rain. Unlike most of the phonograph records, the needle is Vitaphone records moved from inside the disc to the outside, a practice that would be half-paid by the engineers live recording of the days before the tape, odd side recording of a live performance outside in conventional and even parts of a program inside out and back between two disc recording lathes. When grown and pressed, these discs were produced with a hybrid operator's manual and automatic sequence called sequence changer of the disc DJ that at any time an operator would not have to flip a disc to continue.
This line / staggered idea of ​​stereo head with two faces 78 more shellacque later be used to compete on home stereo tape formats of the 50's, again, a machine being unable to play stereo recordings made in the other. This time, however, an online format, he won.
After laying dormant for over 40 years, this idea of ​​having a head in front of a disco and a head in the back was arrested in the 70's by Sharp Electronics, and used on a rotating platform design to save room to play both sides of a vertically oriented LP in a sequence without having to move the stylus back and forth (as in a two-sided Laser-Disc, where the truck moves from the ground up to play the other side). Each side has its "own cartridge and stylus, and three-inch-dish can rotate in any direction, allowing 45 minutes of uninterrupted music.
The chef dual stereo slot provided for this, but put the two grooves on the same side of the disc, recorded in the channel slot left boot near the edge of the disc and the right channel beginning near the middle point of the recording and ending near the label. A double-sided truck was used for breeding.
In the Westrex system, the vertical-lateral system described above is tilted 45 degrees, which allows each channel to drive the cutting head at an angle of 45 degrees from vertical, to share equally in horizontal and vertical modulation and eliminating the need for coding matrix a stereo source.
During playback the combined signal is detected by a left channel coil mounted diagonally opposite the inner side of the slot, and a right channel coil mounted diagonally opposite the outside of the slot.
It is useful to think combined stylus motion in terms of vector addition and Unlike the two stereo channels. Indeed, all the vertical movement of pen transmits the LR difference signal, and horizontal movement carries the signal pen L + R summed.
The advantages of the 45/45 system are:
greater compatibility with monophonic recording and playback systems. A cartridge of monophonic play an equal mixture of left and right channels instead of reproducing a single channel. (Mono stylus however much damage a slot stereo, so the common recommendation not to use a mono cartridge, a music disc.) Conversely, a stereo cartridge reproduces the lateral grooves recording also mono through both channels, rather than a channel.
a more balanced sound, because the two channels have equal fidelity (rather than offer a more faithfully recorded the vertical channel and a lower fidelity laterally recorded channel);
higher fidelity in general, because the "difference" signal usually low power and therefore less affected by the intrinsic distortion of the hill-and-dale recording.
This system was invented by Alan Blumlein of EMI in 1931 and patented the same year. EMI cut the first stereo test discs with the system in 1933, see Bell Labs, 1933 stereo experiments. Was not used commercially until a quarter of a century later.
Stereo sound provides a more natural listening experience where the spatial location of a sound source is at least in part, reproduced.
Other improvements
Under the direction of recording engineer C. Robert Fine, Mercury Records initiated a minimalist single microphone monaural technique recording in 1951. The first record, Kubelik Performance / Chicago 's "Pictures at an Exhibition" was described as "being in the living presence of the orchestra" The New York Times music critic. The series of records was then called Presence ercury life. In 1955, Mercury began three-channel stereo recordings, still is based on the principle of single microphone. The center of the (single) microphone is very important, with the two side mics adding depth and space. Models records were cut directly from a three-track two-way mixing console, with all editions of master tapes made in the original three tracks. In 1961, Mercury improved this technique with microphone stereo recordings of three 35 mm magnetic film instead of half-inch tape for recording. The greater thickness and width of 35 mm magnetic film prevented ribbon layer and echo through pre-and gained extended frequency range and transient response. Recordings Mercury living presence was remastered on CD in the 1990s by the original producer Wilma Cozart Fine, using the same method from 3 to 2 with mixed directly the master recorder.
The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved in the two stereo channels electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in amplifiers were able to decode the signals in four different channels. There were two main systems of matrix quadraphonic records produced, confusingly named SQ (by CBS) and QS (By Sansui). They proved commercially unsuccessful, but were an important precursor to later "surround sound" systems, as seen in SACD and home cinema today. A different format, CD-4 (not be confused with compact disc) by RCA, encoded rear channel information on a support of ultrasound, which requires a cartridge special wide band to capture in response to calibrate the pickup arm / turntable combinations. Typically, the high frequency information inscribed on these disks dissipated after only a few playings, and CD-4 was even less successful than the two matrix formats. (Another problem is that no cutting heads available that could data managing HF. That is through a reduction to "half speed. Later, the special half-speed cutting heads and techniques equalization were used to obtain a wider frequency response in the sound with less distortion and more headroom.)
Through the years 1960, 1970 and 1980, various methods to improve the dynamic range of mass produced records involved blade teams advanced. These techniques, market, to name two, as CBS and Mastering DisComputer Teldec Direct Metal, were used to reduce the slot of the distortion. RCA Victor introduced another system to increase the dynamic range and achieve a groove with less surface noise under the trade name Dynagroove. Two main elements were combined: another disk with the material surface noise in the groove under compression and dynamic to mask the background noise. Sometimes this is called "diaphragming" the source material and non-favored by some music lovers for its unnatural side effects. Both elements are reflected in the brand name Dynagroove, described in more detail. It is also used the previous method of advanced forward control to calculate the distance to the sound volume and position on the disk. The roads were close to each other with minor volumes and higher fragments further, especially for bass. Also the track density higher in lower volumes enabled disk recordings to finish farther from the inner circle than usual, which helps reduce distortion endtrack more.
Also in late 1970, "Direct-to-disk" The records were produced, aimed at a niche audiophile market. They completely ignored the use of magnetic tapes in favor of a "purist" transcription direct master lacquer disc. Also during this period, "half-speed mastered" and "original master" records were released, to face the state of the art technology. Another novelty was the end of 1970 disk system key eyes used primarily in individual 12-inch Motown released between 1978 and 1980. The introduction of drum breaks or choruses of a track is indicated by widely separated grooves, giving a visual clue to DJs mixing the records. The appearance these records is similar to an LP, but only contains one track on each side.
The 1980s saw the introduction of "dbx-encoded" records, once more for the audiophile niche market. These were completely incompatible with standard record playback preamplifiers, relying on the dbx expander encoding / decoding scheme to greatly increase the dynamic range (dbx encoded disks were recorded with the dynamic range compressed by a factor of two in dB: quiet sounds were meant to be played in low gain and loud sounds were meant to be played at high gain, via automatic control gain in playback equipment, which reduces the effect of noise on the surface of quiet passages). A scheme similar and very short life involved the use of CBS-developed "CX" noise reduction encoding / decoding scheme.
Laser Turntable
Main article: Laser turntable
ELPJ, a company based in Japan, has developed a player that uses a laser instead of a stylus to read vinyl discs. In theory, laser turntable eliminates the possibility of scratches and degradation of sound assistants, but its expense limits use primarily to digital archiving of records analog and the laser does not recognize the colored vinyl or picture. Several other dishes were judged laser during the 1990's, but while a laser reads the groove very accurately, since it does not touch the disc, vinyl powder that naturally attracts due to static charge is not cleaned from the groove, the sound quality gets worse in the use occasionally compared to conventional stylus playback.
Less plate connected to the laser is the http://irene.lbl.gov/ IRENE invented by a team of Lawrence Berkeley Lab physicists to retrieve information from either side monaural sound source modulated groove without touching the media.
However, IRENE only good for the monkey lateral recordings. Means for vertically modulated grooves as cylinders and some radio transcripts have a format and mountain valleys recording, or stereophonic or quadraphonic grooving recordings using a combination of both, and supersonic quadraphonic encoding, this would not work.
Enter the progeny IRENE Project http://www.flickr.com/photos/kqedquest/2711763438/ cylinder confocal microscope to capture a high-resolution 3-D image of the surface to 200M. To convert a digital audio file, this is played for a version of the virtual 'pencil' program developed by the research team in real time, digitized and, if desired, processed through sound restoration software.
However, before the final play on the computer to convert digital audio files in real time, it is possible to eliminate many of the imperfections in sound media while in the domain of video, using the same tools that major film studios in the restoration of his films. The result is really impressive. [Citation needed]
Formats
The protective cover once Voyager Golden Record, which contains symbolic information the way in which to play.
Record Types
See also: Recording medium comparison
See Also http://78rpmrecord.com/altformat.htm
As recording technology evolved, more specific terms for different types of vinyl is used to describe some aspects of registration: whether the correct speed of rotation ("16 rpm" (revolutions per minute), "33 rpm", "45 rpm", "78 rpm") or the material used (particularly "vinyl" to refer to records of polyvinyl chloride, or previous "discs of dough" in general, the ingredient 78s main). Other terms such as "Long Play" or LP and "Extended Play" EP describes a number of tracks or records to play much longer than the records of a single element-by-side, not often go well beyond 4 minutes per side. An LP can play about thirty minutes on each side. The 7 "45 rpm format usually contains an element on each side, but a 7 "EP could reach the recording times of 10 to 15 minutes at the expense of attenuating the sound compression to reduce the required width of the slot. EP discs are generally used to make the tracks available in singles not included in the track record albums in a smaller format cheaper for those who only had 45 players rpm. The large central hole 7 "45 rpm allows for easy handling by jukebox mechanisms. The term" album, "originally used to mean a" book "with notes, holding several 78 rpm discs each in its own" page " or sleeve, no longer has any relation to the physical format: a single record LP, or nowadays tend to be more a compact disc.
The sizes of the records in the United States and the United Kingdom is usually measured in inches, usually represented by a symbol of a double major, for example, a 7-inch or 7 "record which are usually 45 rpm records. LPs were 10 "records at first, but soon the 12" size became by far the most common with 78s by It is usually 10 ", but also 12" and 7 "and even smallerhe called" small wonders. "
Common Formats
Diameter
Rpm
Running Time
12 inches (30 cm)
33 rpm
45 min Long Play (LP)
45 rpm
12 inch maxi-single, and Extended Play (EP)
10 inches (25 cm)
33 rpm
Long play (LP)
78 rpm
3 minutes
7 inches (17.5 cm)
45 rpm
Single game, and extended (EP)
33 rpm
Often used for children's records in 1960 and 1970.
Notes:
Before the decade 1950, 33 rpm LP are most commonly found in a 10-inch (25 cm) format.
The 10-inch format disappeared from stores around the U.S. 1950, but remains a common
format in some markets until mid-1960. The 10-inch vinyl format was resurrected in the 1970
for marketing of some popular recordings as collectibles, and these are occasionally seen today.
The maximum time for each side of an LP is only achievable with a special stylus playback
Engineers often what the court does not like to cut the grooves.
Less common formats
Main article: Types Unusual gramophone records the
Structure
A big hole standard 7 "vinyl from 1978 in the corresponding manga.
The disc is recorded normal commercial with two sound bearing concentric spiral grooves, one on each side of the disc, ranging from the outer edge toward the center. The last part of the spiral is with a first part to form a circle. The sound is encoded by changes either at the edges of the groove causing a stylus (needle) placed in him to vibrate at acoustic frequencies when the disc spins at the correct speed. In general, the outer and inner sides of the slot have no intention of sound (at least one exception Split Enz is mental notes).
Since late 1910, both parts of the file have been used to carry the grooves. Sometimes the records were published in the decade 1920 with a recording on one side. In the records of the eighties Columbia briefly issued a series of one-sided 45 rpm singles as "loss of leaders, "the theory that they could charge less for a single face, when not required to pay artist royalties for two.
Most RPM Records are pressed on black vinyl non78. The coloring matter used to dye the mixture of black PVC plastic transparent carbon black. Carbon black increases the strength of the disc and makes it opaque. Polystyrene is often used for 7-inch records. Recently (2008), classic reissue label has announced all future releases on vinyl would be clear after technicians found that the carbon black has magnetic properties that adversely affect reproduction correct cartridge.
Some records are pressed on colored vinyl or paper pictures embedded in them ("disk image"). True 45 rpm RCA or RCA Victor "Seal Red "records used red translucent vinyl for extra" Red Seal "effect. During the 1980's there was a tendency for the release of colored vinyl singles sometimes with large inserts that could be used as posters. This trend has recently been revived with 7-inch singles.
Standards vinyl records from the United States follow the guidelines of the Recording Industry Association of America (RIAA). Dimensions are nominal inches, diameter not precise. The actual size of a record of 12 inches is 302 mm (11.89 inches) for a 10-inch is 250 mm (9.84 inches), and the 7 inch is 175 mm (6.89 inches).
Records made in other countries are standardized by different organizations, but are very similar in size. Log diameters are usually 300 mm, 250 mm and 175 mm.
There is an area of ​​approximately 6 mm (0.25 inches) wide at the outer edge of the disk, called a lead where the groove is very apart and in silence. This section allows the stylus to be dropped at the beginning of the record groove, without damaging the recorded section of the slot.
Between each track section recorded an LP, there is usually a short pause of about 1 mm (0.04 inches) in the groove is widely spaced. This space is clearly visible, which makes it easy to find a particular track.
A macro photo of the inner grooves of a vinyl record. Sound stored as variations in the slopes is clearly visible, as dust on the record.
Magnified slots. Dust can be seen. The red lines mark a millimeter
Toward the center of the label at the end of the slot, there is another large sector of tone known as the lead-out. At the end of this section, the slot together to form a complete circle, called the lock slot, when the pen reaches this point, turn repeatedly until lifted from the registry. In some recordings (for example, Sgt. Peppers Lonely Hearts Club Band by The Beatles and Atom Heart Mother Pink Floyd), the sound is in the lock slot, which gives a strange effect repeated. Jukebox based on the position or angular velocity of the arm, as reaches these more widely spaced rows, activating a mechanism that lifts the arm and move it to one side of the disc.
The catalog number and ID is written or stamped Stamper in the space between the groove in the lead-out on the primary disk, resulting in visible writing embedded in the final version of a record. Sometimes the cutting engineer might add handwritten comments or their signature, if you are particularly satisfied with the quality of the cut. These are generally referred to as "run-out engravings."
When self-change is dishes were very common, records were typically pressed with a high (or striated) outer edge and a raised label area. This would the records to be stacked one above the other, grabbing each other without the delicate grooves coming into contact, thus reducing the risk of damage. Jukebox change includes a mechanism for supporting a stack of several records over the same plate, dropping them one at a time on the active plate are played in order. Many and sound recordings, such as complete operas, were interleaved across several disks of 10 inches or 12 inches for use with auto-changing mechanisms, so that the first a disk recording three albums would lead to parts 1 and 6, while the second disc carrying parts 2 and 5, and the third parties, 3 and 4, allowing that parts 1, 2 and 3 to be played automatically, then the whole pile upside down to play sides 4, 5 and 6.
Quality Vinyl
The sound quality and durability of vinyl records is highly dependent on the quality of vinyl. During the early 1970's as a cost cutting measure pressed toward the use of lightweight, flexible vinyl, much of the industry adopted a technique to reduce the thickness and quality of vinyl used in mass-market manufacturing, marketed by RCA Victor as the "Dynaflex" (125 g) process, considered inferior by most record collectors. Most vinyl records are pressed from a blend of seventy percent virgin vinyl and thirty percent recycled vinyl.
New "virgin" or "heavy / heavy weight" (180 220 g) vinyl is commonly used for modern vinyl versions of "audiophile" in all genres. Many collectors prefer vinyl 180 g, and is reported to have a better sound than normal vinyl. These albums tend to resist deformation caused by normal play better than regular 180 g of vinyl chloride is more expensive to produce because it uses only more than vinyl. The manufacturing processes are identical, regardless of weight. In fact, pressing the light requires more care records. An exception is the propensity of 200 g pressed are slightly more likely to "no fill", where vinyl cookie is not enough to fill a deep groove for pressing (Percussion and vocal amplitude changes are the usual places of these artifacts). This fault has a grinding sound or scratching at the point of not filling.
Like most of vinyl containing up to thirty percent recycled vinyl, impurities can be accumulated in the file, causing a new album audio artifacts such as clicks and pops. Virgin vinyl means that the album is not recycled plastic, and theoretically, in the absence of these impurities. In practice, this depends on the manufacturer's quality control.
The orange peel effect on vinyl records is caused by fungi used. Instead of having a good mirror finish, the surface of the disc will what looks like an orange peel texture. This introduces noise in the record, particularly in the lower frequency range. It should be noted that the direct rule of metal (DMM), the master disk is cut into a copper plate coated may also have a minor "orange peel" effect on the disc itself. As this "Orange peel" originates in the master instead of being placed in the pressing stage, there is no bad effect because there is no physical distortion of the slot.
Although all vinyl records are pressed from metal discs called "stampers, a technique known as lathe, the cut is used to cr … About the Author

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