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gramophone record

Beginnings
Edison cylinder phonograph ca. 1899
A device using a vibrating pen to graphically represent the on paper disks, without the idea of reading in any way, was built by Edouard-Leon Scott of France in 1857. Although the mechanism known as a phonautograph, was intended only to describe the visual characteristics of sound, it was recently reported that this representation could be analyzed numerically and rebuilt as a sound recording. Just such a phonoautogram beginning in 1860 and now the oldest known audio recording, has been reproduced using computer technology.
In 1877, Thomas Edison developed the phonautograph in a machine, the phonograph, which was able replay the recordings. The recordings were made on aluminum foil, and were originally intended to be used as support for voice recording, usually at the dictation of office.
The cylinder phonograph dominated the market for sound recordings beginning 1880s. Side cut disc records were invented by Emile Berliner in 1888 and have been used exclusively in toys until 1894, when Berliner began marketing disc records under the label Berliner Gramophone. Berliner recordings had poor sound quality, however, but the work by Eldridge R. Johnson has improved the fidelity to a point where they were as good as the bottles. Johnson and separate companies Berliner merged to form the Victor Talking Machine Company, whose products do not come to dominate the market for many years later.
In an attempt at the head of the advantage of the disc, Edison Amberol cylinder introduced in 1909, with a maximum playing time of 4 minutes (160 rpm) for his turn replaced by the Blue Amberol record with the playing surface was made of celluloid, an early plastic that is much less fragile than wax earlier (in Indeed, it would have been more or less indestructible that it had not been for the plaster of Paris core). In November 1918 the patents for the manufacture lateral cut discs expired, opening the field for countless companies to produce them, causing disc records to overtake cylinders in popularity. Edison has ceased the production of bottles 1929 (the day before the famous crash of Wall Street). recordings on discs will dominate the market until they are superseded by the Compact Disc, from the early 1980s.
78 developments disk rpm
Road Record Hungarian 90-100 rpm min
Early speeds
first recordings on the disc have been produced in a variety of speeds from 60-120 rpm, and a variety sizes. At least one manufacturer, Philips produces CDs that have played at a constant linear velocity. As they have been played from the inside Outside, the rotational speed of the file that the reduced reproduction progressed (as is also true of the modern Compact Disc).
By 1894, Emile Berliner Gramophone Company in the United States has been the sale of single-sided 7 "discs with a standard speed of publicity" about 70 rpm.
A standard audio recording handbook describes speed regulators or "governors" as part of a wave of improvements implemented quickly after 1897. A picture of a crank Victrola 1898 shows a governor. He says that readers of spring drives Hand replaced. It notes that:
"The cruise control was provided with an indicator that shows the speed when the machine is running to the records, on reproduction, could be brought to the same speed ... The literature does not reveal why 78s has been chosen for the industry Phonographic, apparently this just happened at the speed created by one of the first machines, and for no other reason has continued to be used. "
Record of Emile Berliner Gramophone Company (later with Deutsche Grammophon). Made in 1908 in Hannover, Germany
In America In 1900, the two main manufacturers of flat documents were Columbia, which used 80 rpm as the speed, and Victor, who used 76 rpm. As records a company have been playable on both machines, it is logical that the standard speed is possible in the middle.
In 1925, the speed of recording became reduced to a nominal value of 78 rpm. However, the norm was different between America and the rest of the world. The size of 78s America was 78.26 rpm, being the speed of 3600 rpm synchronous motor (run from 60 Hz) reduced by 46:1 gearing. Throughout the rest the world, 77.92 rpm was adopted as an engine speed of 3000 rpm synchronous powered by a 50 Hz and reduced 38.5:1 gear.
For a more comprehensive review in depth to 78, cylinders and other historical materials, please visit http://78rpmrecord.com
acoustic recording
first recordings were entirely acoustic, the sound is collected by a horn and routed to a diaphragm that vibrated cutting stylus. The sensitivity and frequency range were poor, and the frequency response has been very irregular, which gives a quality cylinder recordings instantly recognizable tonal. A singer practically had to put his face in the Horn of registration. Cellos and basses were completely undetectable. Standard violins were barely recordable Stroh violins became so popular with recording studios.
Unlike to popular belief, if it is properly positioned and ready to, battery could be used effectively and heard, even on the first recordings jazz and military band. The strongest instruments was the farthest from the Horn of collective management. Lillian Hardin Armstrong, a member of King Oliver's band Creole Jazz that recorded at Gennett Records in 1923, recalls that initially, Oliver and his young second trumpet, Louis Armstrong, was later other and the Horn of Olivier could not be heard. "They took about fifteen feet of Louis in the corner, looking all sad."
"Electrical" recording
German electrical recording of the AG Carl Lindstrm
During the 1920s, engineers, including Orlando R. Marsh, as well as those at Western Electric, the technology developed for capturing sound with microphones, amplifying it with vacuum tubes, and using the amplified signal to drive an electromagnetic recording head. A wide range of frequencies can now be registered with a strong increase in volumes limited only by reading the height of the grooves in the record.
Although the technology used vacuum tubes, and today would be described as "electronic", when he was returned as "electric." An advertisement for Wanamaker in the 1926 New York Times offers records "by the latest Victor process of electrical recording." It has been recognized as a breakthrough in a Times music spokesman said
"... The time has come for serious musical criticism to take account of the performance of great music reproduced by means of accounting. Claiming that the record succeeded in reproducing accurate and complete details of all symphonic concerts and opera ... would be extravagant. [But] today's article is so far ahead of the old machines hard to accept that classification under the same name. electrical recording and reproduction have combined to maintain the vitality and color in the recitals by proxy. "
Peter Carl Goldmark (Hungarian: Goldmark Pter Kroly) was a Hungarian engineer who, during his time with Columbia Records, was instrumental in developing long-play (LP) phonograph 3313 rpm disks vinyl phonograph home audio set for two generations.
Example 78s Congolese
A 10-inch gramophone blank for self recording with the 78s, the brand as a subject "Decelith" with a special surface for hardening
Electrical recording preceded Reproduction appliances (provided that the registration number with leading digital copying at home) because the initial cost High electronics. In 1925, the Victor company introduced the revolutionary Victor Victrola Orthophonic, an acoustic phonograph which was specifically designed to play discs electrically, through a power line which also included reproductive ELECTROLIT. " The acoustic speech ranged in price from U.S. $ 95 to $ 300 (about U.S. $ 1,140 to $ 3,600 in 2007 dollars), cabinets, by comparison, The cheapest cost Electrola U.S. $ 650 (about U.S. $ 7,500 for the years 2007 dollars).
The Orthophonic had an interior folded exponential horn, a design informed by sophisticated impedance matching and the theory of transmission line, and designed to provide a relatively flat frequency response. Her first public demonstration was front page news in The New York Times, which said:
"The audience burst into applause ... John Philip Sousa [said]: 'Gentleman [sic], which is a group. This is the first time I ever heard music with a soul to it occur by a mechanical talking machine. "... The new instrument is a feat of mathematics and physics. This is not the result of countless experiments, but has been prepared on paper before being integrated into the laboratory .... The new machine has a wide range of frequencies 100-5000 [Sic], or five octaves and a half .... The tone phonograph "is eliminated by the new recording and reproduction processes."
Gradually, the reproduction Electric entered the house. The clockwork motor was replaced by an electric motor, the needle "and the diaphragm (the" sounding board ") has been replaced by a" collection "using either steel or sapphire stylus and a transducer to convert the vibrations into groove signal into an electrical outlet. The exponential horn has become an amplifier and speaker. [Citation needed]
materials 78s
recording discs early were made of various materials including hard rubber. In 1897, the previous materials were largely replaced by a rather brittle formula of 25% shellac, a charge of a cotton compound similar to manila paper, powdered slate, and a small amount of a lubricant wax.
The mass production of shellac records started in 1898 in Hanover, Germany, and has continued until the late 78s in format the late 1950s. "Unbreakable" records, usually of celluloid on a cardboard base, were made from 1904, but they suffered an unusually high level of surface noise. "Unbreakable" records could be bent, broken or damaged, but not as easily as shellac records. Vinyl was first tried as a material 78s in 1939 as a radio commercial cigarettes by position of the stations, the vinyl was less brittle in the mail. On the recording, there is mention of the exhibition at the Fair of Lucky Strike in 1939 NY world. Decca introduced vinyl "Deccalite" 78 laps after the Second World War. During the war, U.S. forces produces Thousands of V-Discs for soldiers to play abroad, and the giant 16-inch radio transcriptions War Department, which were all made of vinyl. Victor is vinyl 78s, but other labels to limit the production of vinyl copies of special DJ 78, which were also frequently Issued vinyl should be sent to radio stations during the late 40s and early 50s. Finally, 78 editions were made vinyl since the 1990s for collectors of jukeboxes, by Rhino Records. Precautions must be made ever read on a vinyl 78 rpm phonograph as destroy.
78 the size of the disk rpm
In the 1890s, recording formats of discs were rapidly generally seven inches (17.5 cm theoretically) in diameter. In 1910, 10 inches (25.4cm) record was by far the most popular standard, holding about three minutes of music or entertainment on one side. From 1903, records 12 inches (30.5 cm) were also commercially sold, mostly classical music or operatic selections, with four to five minutes of music per side. (Victor, New Brunswick and British also issued 12 "pot-pourri popular, usually starring twenty Broadway show.) However, other dimensions appear. 8 inches with a record label 2 inches in diameter became popular for a decade in Britain, they can not be played in full on most modern disk drives because the arm does can not reach far enough, without modifying the device.
Recording time 78 rpm
The playing time of a phonograph record depended the turntable speed and spacing groove. In the early 20th century, beginning played hard for two minutes, as well as early on cylinders. The 12-inch disc, presented by Victor in 1903, has increased the playing time to three and a half minutes. As a 10-inch 78 rpm record could hold about three minutes of each side and the size of 10 inches is the standard size for popular music, almost all popular recordings were limited to about three minutes.
For example, when King Oliver's Creole Jazz Band, Louis Armstrong, including his early recordings, has recorded 13 sides Gennett Records Richmond, Indiana, in 1923, one side was 2:09 ET four sides have been 2:522:59.
In 1938, Milt Gabler when started recording on January 17 for his new label, Commodore Records, to allow more continuous performance, he recorded some 12 "records. Eddie Condon said: "Gabler reported that a jam session needs space for development." The first two 12 "records do not advantage of the extra length, "Carnegie Drag" is 3:15; Carnegie Jump ", 2:41. But in the second session, April 30, two 12 "records have been more:" Embraceable You "was 4:05;" Serenade to a "Shylock, 4:32.
Another way around the limitation in time was to issue a selection on both sides of a single disk. Vaudeville stars Gallagher and Shean recorded "Mr. Gallagher and Mr. Shean," written by Irving and Jack Kaufman, as two sides of a 10 "1922 78 Cameo.
Workaround more obvious in recordings has been to publish a set of records. The first version of multi-record in 1903, at HMV in England made the first complete recording of an opera, Verdi's Ernani, 40 single sided discs. In 1940, Commodore released Eddie Condon and his band recording of "A Good Man is hard to find "in four parts, issued on both sides of two 12" 78s.
This limitation of the duration of two popular music and Jazz persisted from 1910 until the invention of the LP in 1948.
In popular music, this limitation of time of about 3:30 on a 10 "78 rpm record means that the singers do not usually have emerged from long exhibits. An exception is the recording of Frank Sinatra Rodgers and Hammerstein's "Soliloquy" from Carousel, made May 28, 1946. Because it was 7:57, more than two sides of a standard 78 rpm 10 "record He was released on Columbia Masterwork label (the classic division) as two sides of a 12 "record. (See date.)
At the time 78, classical music and spoken word elements have generally been released on more than 12 "78s, about 45 minutes on each side. For instance, June 10, 1924, four months after 12 February Prime Minister of Rhapsody in Blue, George Gershwin, recorded with Paul Whiteman and his orchestra. He left on both sides of Victor 55225 and runs 8:59. Look under the title
Record albums
These 78s are usually sold separately in the brown paper or cardboard sleeves that were sometimes simple and sometimes printed to show the producer or the retailer's name. In general, the sleeves have a circular cut for the label to be seen. The files could be placed on a horizontal shelf or stand on a board, but because of their fragility, many erupted in storage.
German Odeon record company told often pioneer the album "in 1909 when he published the" Nutcracker " Tchaikovsky on 4 double-sided discs in a specially crafted packet. (It does not indicate how large the files are.) However, Deutsche Grammophon had produced an album for his 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, but HMV has given an album, with cover images, to record 1917 from The Mikado (Gilbert & Sullivan).
About 1910 [note 1] bound collections of empty sleeves with a cardboard or leather, like a photograph album, were sold as "record albums" that customers could use to store their documents (The term album "was printed on some covers). These albums come in both 10 "and 12" sizes. The covers of these bound books are wider and taller than the folders inside, allowing the album to be placed on a vertical platform, like a book, suspending the fragile records above the shelf and protect them.
In From the 1930s, record companies began issuing collections of 78 rpm records by one performer or a type of music albums specially assembled, usually with works of art on the cover and notes on the back or inside cover. More albums, including 3 or 4 folders, each with 2 sides, 6 or 8 per album. When the 12-inch vinyl LP era began in 1949, the record was often the same number or even songs as an album typical of 78, which gave birth to the tradition of "album" given to the LP.
News sizes and materials
A modern 12 vinyl albums "during playback. Note the stylus contact with the surface.
Both the microgroove LP disk rpm and 33 45 rpm recordings are made of vinyl plastic that is flexible and unbreakable in normal use. However, vinyl records are easier to scratch or gouge, and much more likely to deform.
In 1931, RCA Victor (which evolved from the Johnson and Berliner Victor Talking Machine Company) launched the first vinyl available on the market long reading record, marketed as a transcript "Program" discs. These revolutionary discs were designed to reading at 33 rpm and pressed on a disc of 30 cm diameter flexible plastic, with a duration of about ten minutes playing time per side. In Roland Gelatt's book The Fabulous Phonograph, the author notes that RCA Victor's early introduction of a hard long game was a commercial failure for several reasons including lack of affordable housing, reliable consumer playback equipment and consumer distrust during the Great Depression. Because financial difficulties that plagued the music industry during this period (and RCA own recipes dried), Victor "play along" records have been quietly abandoned in 1933, at the beginning.
There was also a small batch of "play more" documents issued in the years Early 1930: Columbia has filed 10 "most played" records (18000-D series), as well as a series of two or more bras playing 10 "record on their Harmony, Velvet Tone labels Clarion & cheap. All these steps were in mid-1932.
But low noise vinyl surface shellac was not forgotten, nor its durability. In the late 30s to the radio, and radio programs pre-recorded be sent to disc jockeys started being stamped in vinyl, not to break the mail. In the mid-1940s, individual copies DJ documents began to be vinyl too, for the same reason. These are all 78s. During and after the Second World War, when supplies shellac are extremely limited, the 78s were pressed in vinyl instead of shellac, especially six minutes of 12 inches (30 cm) discs 78s produced by V-Disc for distribution to U.S. troops in the Second World War. In the 40s, radio transcriptions, which are generally records of 16 inches, but sometimes 12 inch, were still vinyl, but cut to 33 rpm. Shorter transcriptions were often cut to 78 rpm.
From 1939, Dr. Peter Goldmark and his staff at Columbia Records has undertaken efforts to solve the problems of registration Reading and narrow grooves and developing an inexpensive, reliable consumer playback. In 1948, the 12-inch (30 cm) Long Play (LP) 33 rpm microgroove record album was introduced by the British Society delivered at a press conference in New York June 21, 1948. In February 1949, RCA Victor released his first 45 single, 7 inches in diameter, with a large center hole to receive an automatic reading mechanism on the changer, then a stack of singles would drop down a recording time automatically after each reading. Early 45s were made from vinyl or polystyrene. They had playing time of eight minutes.
On a small number of acoustic systems at the beginning and radio transcription discs, as well as whole albums, the direction of the groove is reversed, beginning near the center of the disc and leading to the outside. A limited number of documents (such as Jeff Mills Apollo PE or hidden in EP Plainsight Detroit Underground Resistance) were manufactured with multiple separate grooves to differentiate the tracks (usually called 'NSC-X2).
Speeds
Records Edison Diamond Disc "label, early 1920s. Edison disc records were always rejected 80 rpm.
The initial speeds are highly variable. Most documents produced in 19001925 were recorded at 7482 revolutions per minute (rpm). Edison disc records always run at 80 rpm.
However a few unusual systems have been deployed. Dutch Philips has introduced records whose rotational speed varied as the reproduction of "needle" ran at a speed linear constant (CLV) in the groove. These papers, however unusual, has played from inside to outside. These two features, more later, is in modern compact disc, which itself has been invented by Philips. The Science Museum in London displays a file marked CLV Philips as "Speed D".
In 1925, 78.26 rpm was chosen as standard because of the introduction of rotating synchronous electric motor. This engine ran at 3600 rpm, so that a gear ratio 46:1 produce 78.26 rpm. In some parts of the world uses 50 Hz current, the standard has been 77.92 rpm (3000 rpm with a ratio of 38.5:1), which was also the speed at which a flash disk of 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After the Second World War these records were retrospectively called 78s, to distinguish them from other new recording formats disc. At first they were just called records, or when it is necessary to distinguish them from cylinders, disc records.
British RCA competition extended to equipment. Some turntables included adapters diameter of the tree, but other turntables required snap-in inserts like this to adapt RCA Larger 45s pin to the smaller pin available on nearly all turntables. We see here a design popular in use for many years.
After the Second World War, two new competing formats came on the market and has gradually replaced the standard "78": the system 33 (often just called the system 33), and the system 45 (see above). The Speed 33 LP (for "Long Play") The format was developed by Columbia Records and marketed in 1948. RCA Victor developed the 45 rpm format and marketed in 1949, in response to Colombia. Both types of new disc used narrower grooves, intended to be played with small styliypically 0.001 inches (25 meters) wide, compared 0.003 inches (76 m) for 78o the new records were sometimes called LPs. In the mid-1950s all record companies agreed a standard recording of the RIAA equalization common. Before creating the standard each company used its own preferred standard, requiring exacting listeners to use preamplifiers with multiple selectable equalization curves.
Although the auditors speed strobe can be used to correctly adjust the speed to 45 rpm platinum in the U.S. where the disc illuminated by a strobe light to run the supply of 60 Hz, most flashes are slightly inaccurate when it is a power at 50 Hz Using a conventional single pulse segment, The nearest that can be reached 45.112 rpm + is what requires a disk of 133 segments. The difference is the sound recording has about twenty fifth semitone (almost imperceptible). To build a 50 Hz strobe disc appears stationary at exactly 45 rpm is possible, and would require 400 segments grow by 3 segments of each pulse of light.
A number of records were pressed at 16 rpm (usually a disc of 7 inches, visually identical to a 45 rpm). Peter Goldmark, the man who developed the record 33 rpm record developed the Highway Hi-Fi rpm 16 to play in Chrysler, but poor performance of the system and implemented the weakness Chrysler and British led to the disappearance of records 16 rpm. Subsequently, the system speeds of 16 was used for radio transcription discs reports or publications for the blind and visually impaired, and have never been widely available commercially, but it was common to see new plate models with an adjustable speed rpm 16 product until the late 1970s.
Experience 1959 Seeburg 16 rpm
Seeburg Seeburg Corporation introduced the background music system in 1959, using a speed record on Sept. 16-inch center hole of 2 inches. Each record held 40 minutes of music per side, recorded at 420 grooves per inch.
The older 78 format continued to be produced in mass along the new formats until 1960 in the United States, and in some countries such as India (where some Beatles records were released on 78), in the 1960s. For example, last reissue Columbia Records' Frank Sinatra songs on 78 rpm records was an album entitled "Young At Heart ", issued November 1, 1954. In the 1970s, the records of some children were released to the 78s speed. In the United Kingdom, the 78s just lasted longer than in the United States and 45s took more time to become popular. The 78s was surpassed in popularity by 45s in the late 1950s, adolescence has become increasingly rich, although some early singles by Elvis Presley has sold more copies than 78 on 45. The last new 78 rpm singles in the United Kingdom were published in March 1960 and production ceased in 1961.
The commercial rivalry between RCA Victor and Columbia Records led to the introduction of RCA Victor what he intends to be a competing vinyl format, the 7-inch (175 mm) 45 discs rpm. For a period of two years from 1948 to 1950, record companies and consumers face uncertainty about these formats would ultimately prevail in what was known as the "war of speed." (See also the format war.) In 1949, Capitol and Decca has adopted the new format LP RCA relented and released her first album in January 1950. But the size of 45 laps was gaining popularity, too, and Colombia has published its first 45s in February 1951. In 1954, 200 million of 45 towers had been sold.
Finally the 12 inch (300 mm) 33 rpm LP format has become the predominant for music albums and 10 "discs are no longer issued. The latest edition of Columbia Records Frank Sinatra songs on 10" LP record was an album entitled "Hall of Fame, CL 2600, published October 26, 1956 containing six songs, each by 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 important early British rock and roll albums as Lonnie Showcase Donegan Lonnie Donegan and Billy Fury The Sound of Fury was released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established an important niche for disc shorter duration, usually containing an element of each side. The discs typically emulated 45s time reading old 78 rpm discs, while the 12 "LP discs provided up to half an hour per side. The amount of music by various LP a label and possibly perform to perform. Frank Sinatra "A Swinging Affair", an album in mono, contained 15 songs and ran 50 minutes. other albums by other artists might run as little as 30 or 35 minutes. After the introduction of stereophonic recording, a time record fell due, presumably, at the beginning of the stereo groove is wider than the groove mono.
A stroboscopic disc for 33 and 45 rpm (in fact 44.77 rpm where it has the wrong number of segments on the ring 45) to 50 Hz
The 45 rpm discs also came in a variety known as Extended Play (EP), which reaches up to 1015 minutes of play at the expense of mitigating (and possibly compressing) the sound to reduce the width required by the throat. EP discs are generally used to reissue LP albums on the smaller format for those players who had only 45 rpm. Albums LP can be purchased 1 EP at a time, with four items by Parliament, or in a box with 3 EPs or 12 items. The large center hole 45 facilitates handling by jukebox mechanisms. PE were usually abandoned by the late 1950s that three and four turntable speeds replaced 45 individual players. An indication of the decline of PE 45s, is that the last edition of Columbia Records Frank Sinatra songs on 45 rpm Records European Parliament, called "Frank Sinatra (Columbia B-2641) was published December 7, 1959. However, the EP has lasted much longer in Europe, and has been a model popular in the 1960s for recordings by artists like Serge Gainsbourg and the Beatles.
In the late 1940 and early 1950, 45 players failed rpm-only speakers and plugged into a socket at the rear of the radio have been widely disseminated. Finally, they were replaced by the turntable threepeed.
Since the mid-1950s to the 1960s, the U.S. player common home "record" or "stereo" (After the introduction of stereo recording) would generally have these characteristics: a three-or four-speed player (78, 45, 33 and sometimes 16 rpm) with charger, a large number of records that would take time and automatically triggering a new record over the previous when he had finished playing, a combination cartridge with 78 and microgroove styluses and a way to switch between the two, and a kind of adapter to read the 45s with their larger center hole. The adapter can be a small circle that correspond on the bottom of the pin (which means that a 45 could be played at once) or larger card that fit over the whole axis, allowing a battery 45 rounds to play.
RCA 45s were also adapted to the small pin of a LP player with a plastic snap-in insert known as a spider. These inserts, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, have been spread from the years 1960, selling tens of millions per year during the 45's heyday. In countries outside the United States, 45 years often have smaller holes albums businesses (Eg Australia and New Zealand), or a pseudo-spider has been "integrated" on record, which could be bored if you want (for example the United Kingdom, especially before the 1970s).
Deliberately playing or recording records at a higher speed gave a bizarre old vote, do so at a speed changed music and the voice of a disaster, growling tone. Canadian musician Nash Slash has also taken advantage of this speed / tonal effect with his 1981 disc decomposition of 12 inches, which presented four instrumental tracks that were designed to play at any speed (with the reading indicated below for 33, 45 and 78 rpm playback).
improvements Sound
As the LP has emerged as the dominant size of long recordings, several developments have been made to improve the sound.
High fidelity
The first was the attempt to develop high fidelity, or Hi-Fi sound.
In the late 20s and early 30 years, since the vertical modulation was considered the average high fidelity because of its "immunity from common support plates rough side, caused by the rubber washer to the brink of the rim turntable, an earlier version of the system binaural Cook (described below in stereo) was tested as well, but for high-fidelity, not stereo sound (at least not yet).
This system uses vertical modulation in the small space near the center of the disc for the lower part of the program, from half of the disc goes to the label to avoid distortion of the center groove, and used the lateral modulation of the acute portion of the program in the larger space from the edge of the drive halfway to the treble part of the program. This means that the side plate Rumble treble could be filtered by an electronic crossing network and the crackle Static and treble can be filtered from the lower by the same method. [Citation needed]
Since vertical pickups were more difficult to find and take more space than their counterparts side, experiments were soon under way to record both bass and treble parts of a Program fidelity in their own grooves in a separate side fashion on the same side of the disc. The use of an amplifier two-channel and speaker system, with one channel driving the woofer range, and a chain driving the combination of mid-range wide-range and tweeter, true wide-range high fidelity is achieved. The format was only experimental, but it was not long before the system was adapted once more for the beginning of stereo (see below).
People who were affected by hearing all the sounds of quality now integrated into the new LPs began to buy separate turntables, amplifiers, speakers and woofers to get the best sound possible.
Stan Freberg satirized the fans in his radio show in 1956 a sketch a man who has his whole house in a loudspeaker.
Flanders & Swann also mocked installation of components required for high fidelity reproduction in the song.
(In 1931, Victor experimented with a system High-fidelity microphone recording and a number of documents issued in the 22900 and 24000 series have been surprisingly "hi-fi. However, the files were too strong and "blasty on most breeding origin, and after getting complaints from their dealers, Victor has ceased use this equipment in their studios in New York and Camden in mid-1932 and sent to their studio in Chicago, where he continued to be used until about 1934.)
Stereo sound
In 1957, the first commercial radio recording two channels have been issued on translucent blue vinyl Bel Canto, the first sampler is a highly-colored vinyl collection of "A Tour of Los Angeles Stereophonic" Reported by Jack Wagner on one side, and a collection of tracks from different albums Bel Canto at the rear. [Citation needed]
After in 1958, more than stereo LP releases were provided by Fidelity Audio in the USA and Pye in Britain, using the Westrex "45/45" system Single-throat.
While the stylus moves horizontally when reproducing a monophonic disk recording, stereo recordings, the stylus moves vertically and horizontally. In fact, before the full development of the system of 45/45, the first radio cutting heads have been made by bolting and a cutting side and a vertical blade sharing a common support stylus. Feeding the coils driving a material according to a staggered appropriate, a practice that would later give birth to the matrices used in quadraphony reaches the throat 45/45.
See also http://78rpmrecord.com/altformat.htm
with a small creek on the left channel
One could envisage a system in which the left channel was recorded laterally, as on a monophonic recording, with the right channel information recorded with a "hill and dale" vertical motion; these systems have been proposed but not adopted, because of their incompatibility with existing models of phono pickup (see below). Before these experiments, the lateral and vertical the gorge were tested in a discrete system with double groove described below.
However, before this system unique vertical side groove has been tested for stereo reproduction, the "components have been adopted for other uses, ie many transcripts of radio station music used modulation vertical part with its "high fidelity and be less susceptible to boom, and lateral portion of the speech, like the sound could be electronically filtered and does not affect the program.
Also, in the mid 50s, an engineer sound under the name of Mintner tired of the inconsistency of the vertical portion of the documents and their susceptibility Stereo damage when playing with a mono cartridge vertically non-compliant and a pen and found a way to have both recorded channels and laterally in the same groove.
Due to limitations of frequency of cutting heads of the period, the disc must be controlled at 16-2/3 rpm for playback at 33-1/3 rpm, a practice that would later be adapted and improved in the 70s, coupled with 180 gram virgin super thick vinyl to create half the speed Mastered audiophile LPs.
Similar to vertical side stereo played through a stereo system 45-45, Mintner left the mono normal frequency range of 20Hz-20KHz standard, ensuring compatibility with the readers mono normal period, then offers up the difference signal a band from 20kHz-45kHz Supersonic by modulating a carrier signal 30KHz engraved on the disc. A carrier detector and the circuit matrix, similar to what will be later used for FM stereo multiplex carrier wave felt, he stripped, recovered the signal, then stamped with the original mono signal to create stereo.
Unfortunately, the development of small arms has been collecting for many years in the future, and if the weight heavy weapons collection in the 50s resulted in a carrier wave on the record to be completely destroyed after only a few plays. But both the modulated carrier wave and matrix coding systems used here was later doubled and used as CD-4 and SQ / SQ respectively, in quadraphonic sound. [Citation needed]
Another early experimental stereo engraved the left channel of the program on the left (top) of sides of the disc running in a standard format in the clockwise and the right channel recorded on the right (bottom) side of the disc so reverse. This was accomplished by simply turning the stylus around the front to back in the recording head, and introducing Figure-8 flip in the drive belt turn, causing the registration to be still out-but in reverse.
To read the disc, pedal was depressed to separate the twins, who heads gramophone compete through the hub and load the disc vertically as in a jukebox. Then, the pedal has been released very carefully to put the head on the disc to play. As the pedals were apparent, Most records were destroyed by the gramophone two large heads crashing on the disk when the load pedal has been released.
The format is dead mainly due to the fragility of 78 as described above, and also because of the fact that some discs were produced in a format Offset for players with heads on opposite sides of the hub, while others have been produced for playback on machines gramophone head to one side. Playing a disc made for a player makes to the other would lead to a difference a half-revolution in the program, like trying to play an album on a manual sequence-changer where the parties are out of sequence. [Citation needed]
Using another technique borrowed from vintage Vitaphone recordings that accompanied the films of his in the "20 before the advent of sound film, the arrows were placed on the master indicating the start of the period in the throat. Stampers could then be either aligned with or offset from each other production of the RPF, which, moreover, because of the support needed for demanding alignment Stamper was in plant long sleep and exact same Vitaphone disc production that produced the originals.
For a good visual of the first Vitaphone problems, see the world music and movie scene preview of Gene Kelly in MGM Singin 'in the Rain. Unlike most of the phonograph, the needle on the record Vitaphone displaced inside the disc to the outside, a practice that would be mid-borrowed by the engineers of record pre-band days, recording the odd sides of a live performance conventionally outside to inside, and even the sides a program backwards and forth between twin towers disk recording. When plated and pressed, these discs were produced with a hybrid manual-operator and automatic sequence called sequence disc changer DJ so that any time an operator would never go for a drive larger continue.
This line or staggered heads Shellacque idea of stereo two-sided 78 rpm later be used in the competition at home stereo recording formats of the early 50s, once again, a machine that can play stereo recordings made on the other. This time, however, a format, online, has prevailed.
After laying dormant for over 40 years, this idea of having a head on the front a disk and a head on the back has been included in the 70's by Sharp Electronics and used in a compact platform to play on both sides a vertical LP in order without having to move the stylus from one side to the other (as in a laser scanner-sided disc which collection moves from bottom to top to play the other side). Each side has its "own cartridge and stylus, and the three-inch plate can rotate in both directions for up to 45 minutes of uninterrupted music.
Cook dual stereo system path on this, but put the two grooves on the same side of the disc burning on the left channel early groove near the edge of the disc and the right channel begins near a halfway through registration and the conclusion about the label. A pick-up double side was used for playback.
In the system Westrex, the vertical lateral system outlined above is inclined 45 degrees, allowing each channel to drive the cutting head at an angle of 45 degrees vertically, sharing in both lateral and vertical modulations and eliminate the need for a matrix during the encoding of stereo source.
During playback the combined signal is sensed by a left channel coil mounted diagonally opposite the inner side of the throat, and a right channel coil mounted diagonally opposite the outer side of the throat.
It is useful to think of the motion combined stylus according to the vector sum and the difference of the two stereo channels. Indeed, all the vertical movements pen transmits the difference signal LR, and horizontal movement of the stylus is L + A summary signal.
The advantages of the system 45/45 are:
greater compatibility with monophonic recording and systems reading. A monophonic cartridge will reproduce an equal mixture of left and right channels instead of reproducing a single channel. (However, many styles monaural would undermine a stereo groove, leading to the common recommendation to never use a mono cartridge on a stereo recording.) Conversely, a stereo cartridge reproduces the lateral grooves of monophonic recording also by the two channels, instead of a channel.
a more balanced, because that both channels have equal fidelity (rather than provide more fidelity vertically recorded channel and a low fidelity laterally recorded channel);
high fidelity in general, because the difference "signal is usually low power and therefore less affected by the intrinsic distortion of the recording of hills and valleys.
This system was invented by Alan Blumlein of EMI in 1931 and patented the same year. EMI cut the first stereo test discs using the system in 1933 see Bell Labs experiments stereo 1933. He has not used commercially until a quarter century later.
Stereo sound provides a more natural listening experience where the spatial location of the source of a sound is, at least in part, reproduced.
Other improvements
Under the direction of the engineer C. Robert Fine, Mercury Records initiated a minimalist single microphone monaural recording technique in 1951. The first record, Kubelik / Chicago performance of "Pictures at an Exhibition" was described as "the living presence of the orchestra" by music critic New York Times. The series of documents was then appointed ercury Living Presence. In 1955, Mercury began the three-channel stereo recordings, still based on the principle of single microphone. The center (single) microphone was of paramount importance, with the two side mics adding depth and space. masters records were cut directly from a three-way mixing console with two lanes, with all editing soundtracks performed on the three original tracks. In 1961, Mercury enhanced this technique with three-microphone stereo recordings in using 35mm film rather than magnetic strips half an inch to the record. The greater thickness and width of 35mm magnetic film Band prevented priming through and pre-echo and gained extended frequency range and transient response. The Mercury Living Presence recordings have been remastered on CD in the 1990s by the original producer Wilma Cozart Fine, using the same method of 3-to-2 mix directly to master recorder.
The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was performed on the two stereo channels by electronic matrixing, where the additional channels were combined in the main signal. When records were played, phase-detection circuits in amplifiers have been able to decode the signals from four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They have proved business failures, but were an important precursor to later "surround sound" systems, as shown in SACD and home cinema today. A different format, CD-4 (not be confused with compact disc), CAR, encoded rear channel information from one carrier to Ultrasound, which required a special cartridge broadband to capture the arm carefully calibrated pickup / platinum combinations. Generally, high frequency information included on these discs were after only a few frolics, and CD-4 was even less successful than the two matrixed formats. (Another problem was that no cutting heads are available that can process information HF. This has been circumvented by the cup "half-speed. Later, the special half-speed cutting heads and equalization techniques have been used to obtain a broader response to frequencies in stereo with a low distortion and a larger margin.)
In the 1960s, 1970s and 1980s, various methods to improve the dynamic range of mass produced records involved highly advanced disc cutting equipment. These techniques, the market, to name two, as DisComputer CBS and Teldec Direct Metal Mastering, have been used to reduce the distortion center of the throat. RCA Victor introduced another system to boost the range dynamics and achieve a groove with less surface noise under the trade name Dynagroove. Two main elements were combined: another material disc with less surface noise in the groove and dynamic compression to mask the noise. Sometimes it was called "diaphragming" the source material not favored by some music fans for his unnatural side effects. Both elements were reflected in the brand name Dynagroove, described in detail elsewhere. He also used the method previously advanced outlook on the distance control means in relation to volume sound and position on the disk. Hits were close to each other with lower volumes and further with loud passages, especially for bass. As most track density at lower volumes helped to end recording disk farther from the inner circle than usual, helping reduce distortion endtrack further.
Also in the late 1970s, "direct-to-disc" records were produced to audiophile niche market. These completely bypassed the use of magnetic tape in favor of a "purist" transcription directly to the master lacquer disc. Also during this period, "half-speed mastered" and "original master" records were released, using expensive state of the art technology. In the late 1970s was the development of more Eye-Disco LPC used mainly on Motown 12-inch singles released between 1978 and 1980. The introduction, drum-breaks or choruses of a track have been given by widely separated grooves, giving a visual indication of DJs mixing records. The appearance of these documents is similar to an LP, but they contain track on each side.
The early 1980s saw the introduction of "DBX-encoded" records, again for the niche market audiophile. They were completely incompatible with standard record playback preamplifiers, relying on the compandor dbx encoding / decoding plan to significantly increase the dynamic range (dbx encoded disks were recorded with the dynamic range compressed by a factor of two in dB: Small noises were meant to be read in low gain and loud sounds were meant to be played at high gain, the automatic control gain in the reading device, which reduces the effect of surface noise on quiet passages). A similar system was very short lived and was to use the CBS-developed "CX noise reduction" encoding / decoding scheme.
Laser Platinum
Main article: Platinum laser
ELPJ, a Japanese based company, has developed a drive that uses a laser instead of a stylus to read vinyl discs. Theoretically the laser turntable eliminates the possibility of scratches and degradation of the agent of his, but its expense limits use primarily archiving analog and digital documents the laser does not recognize the colors of vinyl or a disk image. Various other laser turntables were tried during the 1990s, but a laser reads the groove very accurately, because it does not touch the record, the dust that vinyl naturally attracts due static charge is not cleaned from the throat, worsening the quality of its occasional use as compared to conventional stylus playback.
Vaguely laser is related to the hub http://irene.lbl.gov/ IRENE invented by a team of physicists at the Lawrence Berkeley Laboratories to retrieve information any single lateral groove modulated sound source without touching the media itself.
However, IRENE is only good for mono recordings side. For vertically modulated media such as cylinders fluted and some transcripts of radio have a format of the hills and valleys of the registration or stereophonic or quadraphonic recordings grooved using a combination of both, and encoding for quadraphonic supersonic, it will not work not.
Enter the progeny IRENE, the confocal microscope cylinder http://www.flickr.com/photos/kqedquest/2711763438/ project that captures a high resolution image 3-D surface, until 200M. To convert a digital sound, this is then played a version of the same "virtual stylus" developed by the research team in real time, converted to digital and, if desired, processed through programs and audio restoration.
However, before the final reading of the computer to convert digital audio files in real time, it is also possible to eliminate many imperfections in the audio media while continuing in the field of video, by using the same tools that major film studios in the restoration of their films. The result is truly exceptional. [Citation needed]
Formats
The protective cover off of the Voyager Golden Record containing symbolic information on how it should be played.
Document Types
See also: Comparison recording medium
See also http://78rpmrecord.com/altformat.htm
As recording technology evolved, more specific terms for different types records were used to describe certain aspects of registration: or correct its speed (16 revolutions (rpm) "33" towers ", 45" rpm, 78 rpm) or the material used (particularly "vinyl" to refer to Documents polyvinyl chloride, or the first "shellac records" generally the main ingredient in 78s). Other terms such as "Long Play "or LP and" Extended Play "EP or describe the documents multi-tracks to play much longer than the records of a single object-by-side who do not usually have much in the last 4 minutes per side. An LP may play for thirty minutes on each side. The 7 "45 rpm format normally contains an element of each side, but a 7 "EP could reach recording times of 10-15 minutes at the expense mitigation of noise and compression to reduce the width required by the groove. EP discs were generally used for available tracks and not just including tracks on vinyl albums in a small less expensive for players who had only 45 rpm. The large hole in the center, 7 "45 rpm facilitates handling by jukebox mechanisms. The term "album", first used to designate a "book" with notes, holding several 78s each in its own "page" or the sleeve, has no relation with the physical format: one LP recording, or more generally nowadays a compact disc.
Document size in America and the UK are generally measured in inches, usually represented by a double prime symbol, for example, a 7-inch or 7 "record that are generally 45s. LPS are 10" records at first, but soon 12 "size has become by far the most frequent with 78 towers generally 10" but 12 "and 7" and even called smallerhe " little wonders.
Common formats
Diameter
Rpm
Duration Time
12 inch (30cm)
33 laps
45 min long play (LP)
45s
Twelve-inch single, Maxi Single, and Extended Play (EP)
10 inch (25 cm)
33 laps
Long (LP)
78s
3 minutes
7 "(17.5 cm)
45s
Singles and Extended Play (EP)
33 laps
Often used for children in the 1960s and 1970s.
Notes:
Before the early 1950s, the 33 rpm LP was the most often in a 10-inch (25 cm) format.
The format of 10 inches has disappeared from U.S. stores around 1950, but remains a common
format in some markets until the mid-1960s. The format of vinyl 10 inches has been resurrected the 1970s
for the marketing of some popular recordings as collectibles, and are sometimes visible today.
Duration maximum on each side for a LP is feasible with styluses special
to cutting engineers often dislike cutting grooves such.
Less common formats
Main article: Unusual types of discs
Structure
A standard large hole vinyl 7 "from 1978 on his sleeve respectively.
The normal commercial disc is engraved with two sound bearing concentric spiral grooves, one on each side of the disc, running from the outer edge toward the center. The last part of the spiral meets an anterior part of a circle. The sound is encoded by fine variations in the edges of the throat that cause a stylus (needle) placed in it to vibrate at acoustic frequencies when the disk is rotated at the correct speed. In general the outer and inner groove of the bear not his goal (unless an exception is Split Enz Mental Notes).
Since the late 1910s, the two parts of the file were used to carry the grooves. Sometimes the records were issued in the 1920s with a recording on one side. In the eighties Columbia Records issued a series of brief one-sided 45 rpm singles as "loss leaders", the theory being they could pay less for a one way street when it is not required to pay royalties to artists for two.
The majority of documents are non78 rpm pressed on black vinyl. The pigment used to darken the mixture of PVC plastic is carbon black. Carbon black increases the resistance of the disc and makes it opaque. Polystyrene is often used for the 7-inch. Recently (2008), Classic reissue label has announced their versions future would be all on clear vinyl after technicians determined that the carbon black itself has magnetic properties that interfere with a correct reading cartridge.
Some records are pressed on colored vinyl or with paper pictures embedded in them (hard "image"). Some 45s RCA or RCA Victor Red Seal "records used red translucent vinyl for extra" Red Seal "effect. During the 1980s there was a tendency to release singles on colored vinyl with sometimes large inserts that could be used as posters. This trend has been revived recently with 7-inch singles.
Vinyl record standards for the U.S. to follow the guidelines of the recording Industry Association of America (RIAA). Dimensions inches are nominal, not precise diameters. The actual size of a record of 12 inches is 302 mm (11.89 in) for a 10-inch it is 250 mm (9.84 in) and for a 7-inch it is 175 mm (6.89 in).
Records made in other countries are standardized by different organizations, but are very similar size. The disk diameters are typically 300 mm, 250 mm and 175 mm.
There is an area of approximately 6 mm (0.25 inch) wide on the outside edge of disk, called the lead-in where the groove is widely spaced and silent. This section allows the stylus to be dropped at the beginning of record groove, without damaging the recorded section of the throat.
Between each track on the LP section of a record, there is usually a short interval of about 1 mm (0.04 in) where the groove is widely spaced. This space is clearly visible, which makes it easy to find a particular track.
A macro shot of a deeper grooves vinyl. sound stored as variations in the tracks is clearly visible as the dust on the record.
Larger grooves. Dust can be found. Red lines mark a millimeter
Towards the center of the label at the end of the gorge, there is another large section of slope known as the lead-out name. At the end of this section, the throat is attached to form a complete circle, called the lock groove, when the pen reaches this point, it will run several After lifting up the registration. On some recordings (eg Sgt. Pepper's Lonely Hearts Club Band The Beatles and Atom Heart Mother by Pink Floyd), the sound continues on the groove lock, which gives a strange effect repetition. Automatic turntables rely on the position or angular velocity arm, as happens to these grooves farther apart to trigger a mechanism that raises the arm and he moves out of the way of registration.
The catalog number and stamp identification is written or stamped in the space between the lead-out groove on the master disc, the visible wrote back on the final version of a file. Sometimes the cutting engineer can add handwritten comments or their signature, if they are particularly satisfied with the quality of the cut. They are usually called "etchings run-out.
When auto-changing turntables were commonplace, records were generally supported with a raised (or ribbed) outer edge and a raised area of the label. This would records to be stacked on each other, hugging each other without the delicate grooves coming into contact, thus reducing the risk of damage. turntables Auto evolution includes a support mechanism for a stack of several records above the plateau itself, dropping them one at a time on the active platinum to play in order. Many more recordings, such as complete operas, were interleaved across several disks of 10 inches or 12 inches use with mechanisms of self-evolution, so that the first disc of a recording of three albums would Sides 1 and 6 of the program, while the second disc would sides 2 and 5, and the third, sides 3 and 4, allowing sides 1, 2 and 3 to be read automatically, and Reverse the whole stack to play sides 4, 5 and 6.
Quality vinyl
The sound quality and durability of vinyl records is very dependent on the quality of vinyl. During the early 1970s, as a movement to reduce costs in the use of materials Lightweight, flexible vinyl pressed, much of the industry adopted a technique of reducing the thickness and quality used vinyl in the mass market manufacturing, marketed by RCA Victor as the "Dynaflex" (125 g) process, considered inferior by collectors most record. Most vinyl records are pressed from a blend of seventy percent virgin vinyl and thirty percent recycled vinyl.
New "virgin" or "heavy / heavy" (180 220 g) vinyl is commonly used for modern "audiophile" vinyl releases all kinds. Many collectors prefer vinyl albums of 180 g and they were reported to have better sound quality than the normal record. These albums tend to resist deformation caused by normal play better than that of vinyl chloride 180 g is more expensive to produce because it uses more than vinyl. The manufacturing processes are the same regardless of weight. In fact, the record pressing light requires more care. An exception is the propensity of 200 g dry cleaners are slightly more inclined to "non-fill", where the biscuit vinyl does not sufficiently fill a deep gorge during pressing (percussion and voice amplitude changes are the traditional locations of these objects). This fault exhibits grinding or scraping the non-filling point.
Since most vinyl records contain up to thirty percent recycled vinyl, impurities can be accumulated in the account, which causes a new album to have audio artifacts like clicks and pops. virgin vinyl means that the album is not from recycled plastic, and theoretically be free of these impurities. In practice, this depends on the quality control of the manufacturer.
The orange peel effect on vinyl records caused by mold wear. Rather than have the correct finish like a mirror, the surface of the recording will take what looks like a skin texture orange. This introduces noise in the record, especially in the lower frequency range. It should be noted that the direct metal mastering (DMM) of master disk is cut on a copper disk covered with what may also have an orange peel "minor" effect on the disc itself. As this orange peel "originates in the master instead of being introduced in the pressing stage, there is no ill effect that there no physical distortion of the throat.
Although all LPs are pressed from metal discs known as "buffer", a technique known as the tower section is used to cr ... About the Author

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