Amps, Guitars and Gear

Gramophone record

Children and Youth
Ca Edison cylinder phonograph. 1899
A device that uses a vibrating pen to graphically represent the sound on 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 a phonautograph, was intended only to describe the visual characteristics of sound, realized recently that this representation can be analyzed and digitally reconstructed as a sound recording. Just as a phonoautogram early in 1860 and now made the first known audio recording, is reproduced with computer technology.
In 1877, Thomas Edison developed the phonautograph in a machine, the phonograph, he could replay the recordings. The recordings were made of paper aluminum, and were intended to be used as a voice recording medium, typically for office dictation.
This phonograph cylinder dominated the market sound recordings from the 1880s. Lateral cut disc records were invented by Emile Berliner in 1888 and were used exclusively in toys until 1894, When Berlin began marketing disc records under the Berliner Gramophone label. Berliner records had poor sound quality, however, but the work R. Eldridge Johnson improved fidelity to a point where they were as good as the cylinders. Johnson and Berliner separate companies merged to form the Victor Talking Machine Company, whose products would come to dominate the market for many years later.
In an attempt to tackle the hard edge, Edison Amberol cylinder introduced in 1909, with a maximum of four minutes (160 rpm) to be replaced in turn by the Registry as Blue Amberol playing surface is made of celluloid, an early plastic which was much less fragile than the wax before (in fact, would have been more or less indestructible if it were not for the plaster of Paris core). In November 1918, the patent for the manufacture of recordings of lateral blade expired, opening the field for countless companies that produce them, causing disc records to overcome to the cylinders in popularity. Edison bottle production ceased in 1929 (it is said the day before the collapse of Wall Street). Disc records would dominate the market until they were supplanted by the Compact Disc, from the 1980s.
78 rpm disc developments
Trail log Hungarian, 90 100 rpm
The first speed
Early disc recordings were produced in a variety of speeds ranging from 60 to 120 rpm, and a variety of sizes. At least one manufacturer, Philips, produced records that played at a constant linear velocity. As it was played from the inside out, the disc rotation speed reduces Advanced playback (as is also true of the modern Compact Disc).
Already in 1894, Emile Berliner Gramophone Company United States was selling one-sided 7 " discs with a standard speed publicity "around 70 rpm."
A manual audio recording standard describes speed regulators or "governors" as part of a wave of improvement introduced rapidly after 1897. A picture of a crank Victrola 1898 shows a governor. It is said that the spring units replaced units of the hand. It is noted that:
"The speed governor was given a flag that indicates the speed when the machine was running for records, on reproduction, could be rotated to exactly the same speed … The literature does not reveal why he chose 78 rpm phonograph industry, apparently this just happened to be the speed created by one of the first machines and, for the simple reason continued to be used. "
Register Emile Berliner Gramophone Company (later, Deutsche Grammophon). 1908 Made in Hannover, Germany
In America in 1900, the two leading manufacturers of planes Columbia Records, using 80 rpm and its speed, and Victor, who was 76 rpm. As the records of a company to reproduce on other machines, it is logical that the standard speed would possible in the middle.
In 1925, the disk speed was standardized to a nominal value of 78 rpm. However, the standard was to differ between the U.S. and around the world. The actual speed of 78 in America was 78.26 rpm, being the speed of 3600 rpm synchronous motor (by 60 Hz) a 46:1 reduction gear. Throughout the rest of the world 77.92 rpm was adopted is the speed of a 3000 rpm synchronous motor fed by a source of 50 Hz and reduced by 38.5:1 gearing.
For a more detailed insight into to 78, cylinders and other historical resources, please visit http://78rpmrecord.com
Acoustic recording
Early recordings were made entirely acoustic the sound being 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, giving a cylinder recordings instantly recognizable tonal quality. A singer practically had to put his face in the recording horn. Cellos and basses were completely not be recorded. Standard violins were little, so Stroh violins became popular with recording studios.
Contrary to popular belief, If properly sealed and prepared for, drums could be used effectively and be heard in even the earliest jazz records and military band. The strongest instruments was farther from the collecting horn. Lillian Hardin Armstrong, a member of the band King Oliver's Creole Jazz recorded in the Gennett Records in 1923, recalled at first and second trumpet Oliver Young, Louis Armstrong, was side by side and Oliver horn was not heard. "They put Louis about five in the corner looking all sad. "
"Electrical" recording
German record the electrical activity of the AG Carl Lindstrm
During the decade 1920, engineers and Orlando R. Marsh, as well as Western Electric, the technology developed for capturing sound with microphones, amplification valves vacuum, and the use of the amplified signal to drive an electromagnetic recording head. A wide range of frequencies can now be registered with a large increase in volume reproduction limited only by the passage of the slots in the register.
Although the technology used vacuum tubes and today would be described as "electronic" at the time referred to as "electric." An announcement Wanamaker 1926 The New York Times offers records "for the last recording process Victor electricity. "as progress was recognized in a Times music critic said:
"… The time has come for serious musical criticism to take account of performances of great music played through the records. Claiming that the record of success in accurate and complete reproduction of all details interpretations symphony or opera … It would be extravagant. [But] today's article is much more advanced than the old machines that barely allowed classification with the same name. electrical recording and playback have combined to sustain the vitality and color in recitals by proxy. "
Peter Carl Goldmark (in Hungarian Kroly Pter Goldmark) was a Hungarian engineer who, during his time with Columbia Records, was instrumental in the development of long-term (LP) 3313 rpm microgroove discs vinyl phonograph defined home audio for two generations.
Example Congolese 78 rpm records
The 10-inch gramophone blank for recording self with 78 rpm, the material marked as "Decelith" with a special surface for hardening
preceded electrical recording playback appliances (as well as digital recording playback preceded digital home), because of the high initial cost of electronics. In 1925, the company introduced Orthophonic the revolutionary Victor Victor Victrola, a sound player that was specifically designed to play electrically recorded discs as part of a line which also includes electrically play "Electrola". The acoustics in the price ranged Orthophonics U.S. $ 95 to $ 300 (U.S. $ U.S. 1140 to $ 3,600 in 2007 dollars), depending on the cabinets, in comparison, the cheapest cost U.S. Electrola $ 650 (U.S. $ in 7500 2007 dollars).
The interior Orthophonic had folded exponential horn, a sophisticated design reported impedance matching and the theory of transmission line, and developed to provide a relatively flat frequency response. His first public demonstration was front-page news in New York Times, which reported that:
"The audience broke into applause … John Philip Sousa [said]:" Mr. [sic], which is a band. This is the first time I listened to music with soul for any produced by a typewriter to speak. "… The new instrument is a feat of mathematics and physics. It is the result of countless experiments, but was drawn on paper before being constructed in the laboratory …. The new machine has a range of frequencies between 100 and 5,000 [sic] or five octaves and a half …. The "Phonograph tone" is eliminated by the new recording and playback process. "
Gradually, the power play entered the house. The string engine was replaced by an electric motor, the needle and the diaphragm (the "sounding board") was replaced by a 'pickup' using a steel or sapphire stylus and a transducer to convert the vibrations into an electrical signal slot. The exponential horn became an amplifier and a speaker. [Citation needed]
78 rpm materials
The first disc recordings were made of various materials including hard rubber. From 1897 onwards, earlier materials were replaced largely by a rather brittle formula of 25% shellac, one filled with a compound similar to manila paper cotton, slate powder, and a small amount of a wax lubricant.
The mass production of vinyl discs began in 1898 in Hannover, Germany, and continued until the end of the format 78 rpm at the end of 1950. "Unbreakable" records, usually of celluloid on a cardboard base, were made from 1904 onwards, but he suffered from an exceptionally high background noise. "Unbreakable" records could be bent, broken or damaged, but not as easily as lacquer discs. Vinyl was first tried material of 78 rpm in 1939 as a commercial mailed to radio stations cigarettes, such as vinyl was less fragile in the mail. On the disc, referred to exhibit some of the 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 produced thousands of V-Discs for the soldiers to play overseas, as well as the giant 16-inch radio transcriptions War Department all of which were vinyl. Victor made some 78 rpm vinyl, but other labels that limit the production of vinyl 78's special DJ copies, which is also published commonly vinyl records to be sent to radio stations during the late 40's and early 50's. Finally, 78 editions have been produced on vinyl from the 1990s to the juke box collectors, by Rhino Records. Care should be never play vinyl 78 rpm in a jukebox, as it will destroy them.
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) The registration was by far the most popular standard, with about three minutes of music or entertainment on one side. From 1903 onwards, records of 12 inches (30.5 cm) were also commercially sold, mostly to classical music or opera selections, with four to five minutes of music on each side. (Victor, Brunswick and Columbia also issued 12 "popular medleys, usually emphasizing one Broadway show score.) Without But 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 arm can not reach far enough in the team unchanged.
78 rpm recording time
The playing time of a phonograph record depended on the rotational speed and the distance between rows. In the early 20th century, records the beginning of play for two minutes as early cylinder recordings. The 12-inch disc, introduced by Victor in 1903, increased playing time to three and a half minutes. Because a 10-inch 78 rpm record might contain about three minutes of sound per side and a size of 10 inches was the standard size for popular music, most popular recordings were limited to about three minutes.
For example, when the King Oliver Creole Jazz Band, including Louis Armstrong's earliest recordings, recorded 13 sides in the Gennett Records in Richmond, Indiana, in 1923, was one of the sides and four sides 2:09 2:522:59.
In 1938, Milt Gabler, when he began recording on 17 January for their new label, Commodore Records, to allow more continuous performances, recorded some 12 "records. Eddie Condon said:" He realized that Gabler a jam session needs room for development. "The first two 12" recordings are not taking advantage of the extra length, "Carnegie Drag" was 3:15; Carnegie Jump ", 2:41. But in the second session, on April 30, two 12 "recordings were longer:" Embraceable You " 4:05, "Serenade to a" Shylock, 4:32.
Another way around the limitation of time was to issue a selection of both sides of a single record. Vaudeville Gallagher and Shean stars, recorded "Mr. Gallagher and Mr. Shean" written by Irving and Jack Kaufman, as two sides of a 10 "1922 78 Cameo.
A obvious solution for extended recording was to publish a series of records. The first release of several records was in 1903, when HMV in England recorded the first complete opera, Verdi's Ernani, 40 single-sided discs. In 1940, Commodore released Eddie Condon and his band recording "A good man is hard to find "in four parts, delivered on both sides of two 12" 78s.
This limitation of the duration of both 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 record means that singers do not usually released long pieces of history. An exception is the recording of Rodgers and Hammerstein Frank Sinatra Soliloquy "from Carousel, performed 28 May 1946. Because he ran 7:57, as the two sides of a standard 78 rpm 10 "record, which was released the masterpiece of the Columbia label (the division classical) as two sides of a 12 "record. (see date).
In the age of 78 years, classical music and elements of the spoken word in general were already released the 12 "78s, about 45 minutes per side. For example, the June 10, 1924, four months after the February 12 premiere of Rhapsody in Blue, George Gershwin who recorded with Paul Whiteman and his orchestra. It was released on two sides of Victor 55 225 and runs 8:59. Look under the title
Burn discs
These discs 78 revolutions per minute were sold separately usually in brown paper or cardboard sleeves that were sometimes simple and sometimes printed to show the producer or the name of retailer. Generally the sleeves had a circular cutout allowing the label to be seen. The records could be placed on a horizontal shelf or stand standing on one edge, but due to their fragility, many broke into storage.
German Odeon label often said to have pioneered Album "in 1909 when it released the" Nutcracker "by Tchaikovsky on 4 double-sided discs in a specially crafted packet. (Not specified what size of the registers.) However, Deutsche Grammophon has released an album for his complete recording of the opera Carmen in the previous year. The practice of publishing albums do not appear to have been widely adopted by other record companies for many years, however, always an album with HMV illustrated cover, for 1917 recording of The Mikado (Gilbert & Sullivan).
By about 1910 [note 1] collections consolidated empty sleeve with a cardboard or leather, similar to a photo album, were sold as "record albums" that customers could use to store their records (The term "album record "was printed on some covers). These albums came in two 10-inch and 12". The covers of these bound books were wider and more higher than the records inside, allowing the record album that is placed in an upright platform, like a book, suspending the fragile records above the platform and its protection.
From the 1930s, record companies began issuing collections of 78 rpm discs by an artist performer or a type of music especially hard disks, usually with artwork on the cover and notes on the back or inside cover. More albums on 3 or 4 discs, with two parts each, with 6 or 8 songs per album. When the 12-inch vinyl LP era began in 1949, were often single record the same or similar number of songs as an album typical of 78 which gave rise to the tradition of the term "album" given to the LP.
New sizes and materials
A modern 12 "vinyl being played. Note the stylus contact with the surface.
Both the microgroove LP 33 rpm and registration of 45 rpm single records are made of vinyl plastic that is flexible and unbreakable in normal use. However, vinyl records are easier to scratch or boot, and more prone to warping.
In 1931, RCA Victor (which evolved from Johnson and Berliner Victor Talking Machine Company) launched the first vinyl commercially available long-playing record, marketed as transcription "Program" records. These revolutionary discs were designed for reproduction at 33 rpm and pressed on a disc of 30 cm diameter flexible plastic, with a duration of ten minutes playing time per side. In the book of Roland gelato from The Phonograph Great, the author notes that the early introduction of the RCA Victor disc long play was a commercial failure for several reasons such as lack of affordable, reliable equipment reproduction of consumers and consumer wariness during the Great Depression. Due to financial difficulties that affected the recording industry during that period (and own revenues dry RCA), "playing a lot of Victor" records were quietly suspended in early 1933.
There were also a small batch of "play and" the records issued in the early 1930s: Columbia introduced 10 "and playing records (18000-D series) and a series of two or more slots play 10 "records in its harmony, tone Clarion and Velvet cheaper labels. All these were eliminated in mid-1932.
However, low vinyl surface noise of shellac was not forgotten, nor its durability. In the late '30s, radio commercials and programs pre-recorded radio being sent to the disc jockeys started being stamped in vinyl, so do not be broken in the mail. In the mid-1940s, special DJ copies records began to be made of vinyl also, for the same reason. These were all 78 rpm. During and after World War II when shellac supplies were very limited, some 78 rpm records were pressed in vinyl instead of shellac, particularly the six-minute 12-inch (30 cm) 78 rpm discs produced V-Disc for distribution to U.S. troops World War II. In the 40s, radio transcriptions, which were usually 16-inch logs, 12 inches but sometimes, it always vinyl, but reduced to 33 rpm. short transcripts were often cut to 78 rpm.
Since 1939, Dr. Peter Goldmark and his staff in the files of Colombia has undertaken efforts to address problems of recording and playback of narrow rows and development of an affordable, reliable playback consumers. In 1948, 12-inch (30 cm) Long Play (LP) 33 rpm microgroove record album was introduced by the Columbia Record Company in a press conference New York on June 21, 1948. In February 1949, RCA Victor released the first 45 rpm singles, 7 inches in diameter, with a large center hole to accommodate Autoplay mechanism in the shifter, so a lot of singles would drop one record at a time automatically after each game. The first 45 rpm discs were made of vinyl or foam. They had a playing time of eight minutes.
In a small number of systems and radio phonograph records early transcription as well as some entire albums, the direction of the groove is reversed, beginning near the center of the disc and gives out. A small number records (eg Jeff Mills Apollo EP or the Hidden In Plainsight Detroit EP Underground Resistance) were prepared with multiple separate grooves to differentiate the tracks (Usually called 'NSC-X2').
Speeds
Records Edison Diamond Disc "label, early 1920. Edison Records releases are always running at 80 rpm.
The first multi-speed rotation, a lot. Most of the entries made on 19001925 were recorded in 7482 revolutions per minute (rpm). Edison Records Disco constantly running at 80 rpm.
However, an unusual number of deployed systems. The Dutch Philips company introduced records whose rotational speed varied so that the reproduction of "needle" ran at a constant linear velocity (CLV) in the slot. These records, also unusually, played from the inside outwards. Both features were later to be found in modern compact disc, which in turn was also invented by Philips. The Science Museum London record shows Philips CLV marked "D Speed."
In 1925, 78.26 rpm was chosen as the standard since the introduction of the electric motor synchronous turntable motor. This engine ran at 3600 rpm, so a 46:1 gear ratio would produce 78.26 rpm. In some parts of the world that uses 50 Hz current, the standard was 77.92 min (3000 rpm with a ratio 38.5:1), which was also the speed at which a flash disk with 77 lines "stand still" in 50 Hz light (92 lines of 60 Hz). After the Second World War these records were known retrospectively to 78 rpm, to distinguish them from other disc formats latest album. Previously they were called simply records, or when necessary to distinguish them from cylinders, disc records.
Columbia and RCA applied competence teams. Some dishes included spindle size adapters, but other dishes necessary complement "in the prospectus as this one to adapt RCA's larger 45 rpm spindle for the size of the minor axis is found in almost every dish. It shows 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" 33 rpm (often just referred to as revolutions 33 min), and 45 rpm (see above). The 33 rpm LP ("LP") format was developed by Columbia Records and marketed in 1948. RCA Victor developed the 45 rpm format and marketed in 1949 in response to Columbia. Both types of new disc used narrower grooves, intended to be played with small styliypically 0.001 inches (25 m) wide, compared to 0.003 inches (76 m) for a 78th of the new records were sometimes called Microgroove. A mid 1950 all record companies agreed to a common standard called RIAA equalization record. Before the establishment of the standard each company used its own preferred standard, requiring listeners discriminatory use of pre-amplifiers with multiple selectable equalization curves.
While Strobe speed checkers can be used to fine tune the dish at 45 rpm speed in the U.S. where the disk is illuminated by a strobe lamp performance a supply of 60 Hz, most flashes are a bit vague where there is a source of 50 Hz using a conventional single segment per pulse, the nearest you can get is 45 112 rpm +, which requires a disk with 133 segments. The difference amounts to sharp sound record fifth twenty of a semitone (ie, almost imperceptible). To construct a 50 Hz strobe disc that appears stopped exactly at 45 rpm is possible, and would require progress on three segments 400 segments in each pulse of light.
A series of recordings were pressed at 16 rpm (usually a 7-inch disc, visually identical to one of 45 rpm). Peter Goldmark, the man who developed the 33 rpm record, developed high-fidelity Highway 16 rpm record to be played in Chrysler cars, but the poor performance of the system and poor enforcement by Chrysler and Columbia led to the disappearance of 16-rpm records. Subsequently, on 16 rpm speed was used for radio transcription discs or narrated publications for blind and visually impaired, and were never widely available in the market, although it was common to see new models of turntable with a speed of 16 rpm setting produced as late as the 1970s.
1959 Seeburg 16 rpm record
Seeburg Seeburg Corporation introduced the background music system in 1959, with a 9-inch 16 rpm disc with central hole 2 inches. Each record held 40 minutes of music per side, recorded at 420 grooves per inch.
The older 78 format continued mass-produced with the new formats until around 1960 in the U.S., and in a few countries such as India (where some Beatles recordings were released on 78), in the 1960s. For example, reissue last Columbia Records' Frank Sinatra 78 rpm records was an album called "Young at Heart" published November 1, 1954. As late as the 1970s, some children's records were released on 78 rpm speed. In the United Kingdom, lasted only 78 rpm while in the United States and 45 rpm took more time to become popular. The 78 rpm was overtaken in popularity by 45 rpm at the end of 1950, in adolescence became increasingly wealthy, although some early singles by Elvis Presley sold more copies in 78 in 45 years. The latest of 78 rpm singles 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 RCA Victor of what was intended to be a vinyl format of competition, 7-inch (175 mm) 45 rpm disc. During a period of two years from 1948 to 1950, record companies and consumers faced uncertainty over which of these formats will ultimately prevail in what was known as the "War of speeds. "(See also the format war.) Capitol Decca in 1949 and 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, and Columbia issued its 45s for the first time in February 1951. In 1954, 200 million were 45 years been sold.
Eventually the 12-inch (300 mm) 33 rpm LP prevailed as the predominant format for musical albums and 10 "LP is no longer issued. The last Columbia Records reissue of songs from Frank Sinatra 10 "LP 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 life long in the United Kingdom, where important in early British rock and roll albums as Lonnie Donegan's Showcase Lonnie Donegan and Billy Fury The Sound of Fury were placed released in this way. The 7-inch (175 mm) or 45 rpm record "single" established a significant niche in the record shorter duration, usually containing a point on each side. 45 rpm discs typically emulated the playing time of old 78 rpm discs, while the 12 "LP discs provided up to half an hour of time by side. The amount of LP ranged from music label to label and, possibly, from performer to performer. "Frank Sinatra A Rolling Affair" a monaural album contained 15 songs and 50 minutes of running. Other albums by other artists, could run only 30 or 35 minutes. After the introduction stereo recording, record time dropped because, presumably, the early stereo groove was larger Mono slot.
A stroboscopic disc 33 and 45 rpm (revolutions per minute 44.77 reality as it has the 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 of play at the expense of attenuating (and possibly of compression) the sound to reduce the required width in the groove. EP disc is generally used for the reissue of LPs in the smaller format for those players had only 45 rpm. PL Albums can be purchased 1 EP at a time, with four items per EP, or in a box set with 3 EPs or 12 items. The large center hole in 45 years allows more management easy by jukebox mechanisms. EPs are usually suspended at the end of 1950 as three-and four-speed record player replaces 45 individual players. A hint of decadence PD 45 rpm is that the latest reissue of Columbia Records, Frank Sinatra 45 rpm EP records, called "Frank Sinatra" (Columbia B-2641) was published 07 December 1959. However, the PE lasted much longer in Europe and was a popular format in the 1960s for the recordings of artists like Serge Gainsbourg and the Beatles.
In the late 1940s and early 1950s, 45 rpm-only players who lacked the speakers and plugged into an outlet on the back of a radio were widely available. Over time, they were replaced by the player threepeed.
Since the mid-1950s to the 1960s in the U.S. the common home "record player" or "STEREO" (After the introduction of stereo recording) normally would have the following characteristics: a three-or four-speed player (78, 45, 33, and sometimes rpm 16), changing table, tall spindle that contain multiple records and automatically drop a new record at the top of the former when he had finished playing, a cartridge combined with the 78 and microgroove styluses and a way to turn between the two, and some kind of adapter to play With 45 years the large center hole. 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 assembly shaft, allowing a pile of 45 years to be played.
RCA 45s also adapted to the minor axis of an LP player with a plastic snap-on information known as "spiders." These attachments, commissioned by RCA President David Sarnoff and invented by Thomas Hutchison, were common from the 1960s, selling tens of millions per year over the heyday of 45 years. In countries outside the U.S., often 45 years had smaller holes-album (eg, Australia and New Zealand), or else a pseudo-spider was "integrated" Registry, which could be punched out if desired (ie, the United Kingdom, especially before the 1970s).
Deliberately playing or recording records to a higher level gave a rarity antic speed to voices than to a slower speed changed music and voice to an ominous tone, growling. Canadian Musician Nash bar also took advantage of this speed / tonal effect with his 1981 album Decomposition of 12-inches, which included four instrumental tracks that were designed to play at any speed (with the times from the list to play 33, 45 and 78 rpm playback).
Sound enhancements
As the LP was imposed as the size dominant for longer recordings, several were made to improve the sound.
High fidelity
The first was the attempt to develop Hi-Fi or Hi-Fi sound.
In the late 20's and early 30's, as the vertical modulation is considered the most high fidelity because of its "immunity to collect lateral common turntable, caused by the rubber disc drive from the edge of the rim player, an earlier version of binaural Cook (described later in stereo) experimented with as well, but for high fidelity, no stereo (at least not yet).
This system uses vertical modulation smaller space near the center of the disc under the program, from half the record label will prevent distortion of the center of the slot, and using the modulation of the acute side of the program in the larger space from the edge of the disc to the middle of the treble portion of the program. This meant turntable that the sides could be filtered electronically treble by a crossover and the crackle and static of the acute bass can be filtered by the same process. [Citation needed]
Since vertical trucks were harder to find and take more space than their side, experiments soon up to record the bass and treble portions of a program of high fidelity in their own separate rows in a lateral fashion on the same side of the disc. Using a two-amplifier channel and speaker system with a conduction channel wide-range woofer, and a conducting channel of the combination of wide-range midrange and tweeter, true wide range of high fidelity is achieved. The format was only experimental, but it was not long before this system adapts again in early stereo (See below).
People who were interested in listening to the sound quality now included in the LP began to buy new separate turntables, amplifiers, speakers and woofers to get the best possible sound.
Stan Freberg satirized these fans on his radio program in 1956 with a play about a man who turned all home in a speaker.
Flanders and Swann also scoffed at the installation of the components necessary for high fidelity reproduction in the song.
(In 1931, Victor experimented with a system of recording high-fidelity microphone and issued a number of records in the 22 900 24 000 and the series were surprisingly "" Hi-fi. However, the records were too strong and 'blasty' on most home players, and after receiving complaints from distributors, Victor stopped using this equipment in their studios in New York and Camden in the mid-1932 and sent it to his Chicago studio, where he continued to use until about 1934.)
Stereo sound
In 1957, the first commercial two-channel stereo records were published in translucent blue vinyl by Bel Canto, the first of them is a colorful showcase highly collectible vinyl with `A stereo Tour of 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]
Then in 1958, more Stereo LP releases were provided by audio fidelity in the U.S. and Pye in Britain, using the Westrex "45/45" single-slot system.
While the stylus moves horizontally when playing a monophonic disk recording, stereo records the stylus moves vertically and horizontally. In fact, before the full development of the 45/45 system, first stereo cutting heads are made by bolting together a side section of the head and a vertical cut share a common pencil holder. The power coils driving with the material, suitably phased, a practice that would later rise to the matrices used in quadraphony, won the slot 45/45.
See also http://78rpmrecord.com/altformat.htm
rill with sound only in left channel
One could imagine a system in which there was the left channel laterally, as in a monophonic recording, with the right channel information recorded with a "hill-and-dale" vertical motion, systems such proposed but not adopted because of its incompatibility with current phone designs collection (see below). Before these experiments, portions lateral and vertical slot experimented with a dual-slot discrete system described below.
However, before this system of a lateral-vertical groove only experimented with playing music, its "components were approved for other uses, namely many musical transcriptions of radio station the used portion of the vertical modulation with "greater loyalty and are less susceptible to rumble, and side portion for speech, as the noise could be electronically filtered and not affect the program.
Also in the mid-50's, a sound engineer by the name of Mintner tired of the incompatibility of the vertical part of the records Stereo and susceptibility of damage to play with a vertically-mono cartridge noncompliant 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 at the time, the disc must be mastered at 16-2/3 RPM for reproduction at 33-1/3 RPM, a practice that would later be adapted and improved in the 70s, along with 180 grams of virgin vinyl to create super thick half speed mastered audiophile discs.
Similar to lateral-vertical stereo plays through a stereo system from 1945 to 1945, left Mintner normal mono signal in the frequency range 20Hz-20KHz standard, ensuring compatibility with mono normal players of the era, and then moved the signal difference to a band of supersonic-45KHz 20KHz by modulating a carrier signal on the disc 30KHz. A carrier detector and the circuit matrix, similar to what would later be used for FM Multiplex Stereo felt the carrier wave, stripped it of, and then recovered the signal matrix with the original mono signal to create music.
Unfortunately, the weapons development Light truck was still many years in the future, so the weight of the arms collection in the 50s caused the carrier wave in the record to be completely destroyed after only a few plays. But both the modulated carrier wave and matrix coding systems used in this document later be multiplied by two and used as CD-4 and SQ / QS, respectively, in quadraphonic. [Citation needed]
Another early experimental music recorded by the left channel of the program left (top) side of the disc running in a conventional manner in a format clockwise and the right channel recorded on the right (bottom) side of the disc in a way to the left. This was achieved simply by moving the stylus back and forth around the recording head and the introduction of a figure-8 tug on the leash transmission wheel, causing the recording to continue being done from outside to inside, but in reverse.
To play the disc, one pedal was depressed to separate twin gramophone heads facing each other across the turntable and load the disc vertically, like a jukebox. Then the pedal is released back carefully to establish their heads over the disc to play. As the pedals were spring, most records were destroyed by the gramophone two large heads hit the disk when loading the pedal was released.
The format died mainly due to the fragility of the 78 described above, and also due to the fact that some records were produced in a form of displacement of the players head to opposite sides of the turntable, while others were produced for playing phonograph machines with heads on the same side. Playing a disc made for a player in an event for the other half leads to different revolution in the program, similar to trying to play an album in the series manual changer where the sides would be out of sequence. [Citation needed]
Using another technique borrowed from vintage recordings accompanying Vitaphone sound films in the 20's, before the advent of sound-on-film, arrows were enrolled in expertise that indicates the beginning of the initiative "in the slot. Stampers could be aligned with each other or staggered production by respondents, which, incidentally, because of the care needed for demanding alignment stamper is held in the same long-dormant plants and production of Vitaphone discs produced accurate the originals.
For a good visual problems associated with early Vitaphone, see the scene of recording and movie scene to see the sight of Gene Kelly at MGM Singing in the rain. Unlike most records, the needle in the Vitaphone records moved from inside the disc outward, a practice that would be half-live recording engineers provided by the days of tape recording of a live odd sides conventional performance from the outside in, and even parts of a program inside out and back double disc recording lathes. When planted and pressed, these discs were produced with a hybrid of manual operator and the automatic sequence sequence called DJ-disc changer so that at any time an operator would not have to flip a disc over to continue.
This line / Staggered heads shellacque idea duplex stereo 78 later used to competing tape formats home stereo recording of the early years 50, once again, a machine being able to play stereo recordings made by the other. This time, however a format, online, won.
After laying dormant for over 40 years, this idea of having a head at the front of a disk and a head in the back was collected in the years 70 Sharp Electronics and used in a swivel design that saves space for the two sides of a vertically oriented LP in a sequence without moving the pen of a back and forth (as in a laser disc player in the truck duplex travels from bottom to top to play the other side). Each side had its' own cartridges and needle, and three-inch plate can rotate in any direction which allows up to 45 minutes of music without interruption.
The cook stereo dual-slot of this system loan, but put the two slots on the same side of the disc, recorded by the left channel of the groove starting near the edge of the disc and the right channel from a point near halfway through the recording and holding close to the label. A lateral double-truck is used for playback.
In the Westrex system, the lateral-vertical system described above is tilted 45 degrees, which allows each channel to drive the blade at an angle of 45 degrees to the vertical, sharing equitably in the lateral and vertical modulations and eliminating the need for an array to encode a stereo source.
During playback the combined signal is detected by a left channel coil mounted diagonally opposite the inside of the slot, and a right channel coil mounted diagonally opposite to the outside of the slot.
It It is useful to think of the combined stylus motion in terms of the vector sum and difference of the two stereo channels. In fact, all vertical stylus movement transmitting the difference signal RL horizontal movement takes the pencil L + R summed signal.
The advantages of the 45/45 system are:
greater compatibility with monophonic recording and playback systems. A monophonic cartridge will play an equal mix of left and right channels instead of reproducing a single channel. (However stilettos mono stereo lots of damage a groove, so the common recommendation not to use a mono cartridge on a recording of music.) By contrast, a stereo cartridge reproduces the lateral grooves of monophonic recording equally through both channels, rather than a channel.
a sound balanced, since the two channels have equal fidelity (rather than providing greater fidelity vertically recorded channel and a lower fidelity laterally recorded channel);
higher fidelity in general, because the "difference" signal is usually low power and therefore less affected by the intrinsic distortion of the recording hill-and-dale.
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 Bell Labs 1933 Stereo view 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 the source of a sound 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 recording technique in 1951. The first record, Kubelik / Chicago 's performance of "Pictures an Exhibition "was described as" being in the living presence of the orchestra "by the music critic of New York Times. The number of records was then ercury called Living Presence. In 1955, Mercury began three-channel stereo recordings, still based on the principle of single microphone. The center (single) the microphone is very important, with the two side mics adding depth and space. Record masters were cut directly from a three-way two-way mixing console, with all editions of the master tapes done on the original three tracks. In 1961, Mercury enhanced this technique with three stereo recordings microphone with 35 mm magnetic film instead of half-inch tape for the recording. The greater thickness and width of 35 mm magnetic film layer prevented ribbon and pre-through-echo and gained extended frequency range and transient response. The Mercury Living Presence recordings were remastered on CD in the decade 1990 by the original producer, Wilma Cozart Fine, using the same method of 3-to-2 mix directly to the recorder teacher.
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 additional channels combined into the main signal. If the records were played, phase-detection circuits in amplifiers were able to decode the signals into four separate 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 to be confused with the album compact), by RCA, encoded rear channel information on an ultrasonic carrier, which requires a special cartridge to capture broadband in the arm collection carefully calibrated turntable combinations. Typically, the high frequency information inscribed on these discs are dissipated after only a few playings, 4-CD and was even less successful than the two matrix formats. (Another problem was that it was available cutting heads that can handle the information in HF. That was the mock cut to 'safe mode'. Later, special heads Medium cutting speed and stabilization techniques were used to get an answer wider frequency in stereo with less distortion and more headroom.)
Through the 1960s, 1970s and 1980s, various methods improve the dynamic range of mass produced records involved the highly advanced disc cutting equipment. These techniques, marketing, to name just two, such as CBS and Teldec Direct Metal Mastering DisComputer were used to reduce distortion of the center of the slot. RCA Victor introduced another system to trigger the dynamic range and achieve a groove with less surface noise under the trade name Dynagroove. Two main elements were combined: another disk material with less surface noise in the groove and dynamic compression to mask the background noise. Sometimes this is called "diaphragming" the source material and is not favored by some enthusiasts music by unnatural side effects. Both elements are reflected in the brand name Dynagroove, described elsewhere in more detail. He also used the method Previous advanced vision control to calculate the distance to the sound volume and position on the disk. Subjects were close to each other with lower volumes and farther away with loud passages, especially for bass. Track density also increased at lower volume disk recordings allowed to stop further away from the circle intimate than normal, helping to reduce distortion endtrack further.
Also in the late 1970s, "direct-to-disc" records were produced, aimed at a niche audiophile. These completely bypassed the use of tapes in favor of a "purist" transcription directly to the lacquer disc teacher. Also during this period, "half-speed mastered" and "original master records" were released, using expensive state most advanced technology. At the end of 1970 more development was the Disco-Eye system with keys used primarily in Motown 12 "singles released between 1978 and 1980. The introduction, drum-breaks or choruses of a track is indicated by widely separated grooves, giving a visual clue to DJs mixing the records. The appearance of these records is similar to an LP, but that only contain one track each side.
The 1980s saw the introduction of "dbx-coded" records, again for the audiophile niche market. These were totally incompatible with standard record playback preamplifiers, relying on the dbx Compander 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: sounds soft were intended to be played at low gain and loud sounds were meant to be played on high gain through the AGC in the playback equipment, which reduced the effect of background noise in quiet passages.) A similar pattern very short lived and involved using the CBS-developed "CX" noise reduction encoding / decoding scheme.
Rotary Laser
Main article: turntable laser
ELPJ, Japanese based company, has developed a player that uses a laser instead of a stylus to read vinyl discs. In theory, the laser removes the plate possibility of scratches and degradation of the operator of the sound, but its spending limits preferentially in the digital archive record analog and laser Vinyl does not recognize color or photo album. Various other laser-based dishes were tried during the 1990s, but while a laser reads the groove very accurately, because it does not touch the disk, the dust that vinyl naturally attracts due to static charge is not cleaned from the groove, the sound quality deterioration in the casual use compared with reproduction conventional pen.
Loosely connected to the rotating laser is http://irene.lbl.gov/ IRENE invented by a team of physicists at the Lawrence Berkeley Lab to retrieve information from any laterally modulated groove mono sound source, without touching the media itself.
Without But IRENE only good for the monkey lateral recordings. For media such as modulated vertically corrugated cylinders and some radio transcripts have a format of the hill-and-dale recording, or for stereophonic or quadraphonic recording slots using a combination of both, as well as encryption supersonic for quadraphonic, this would not work.
Enter the progeny IRENE confocal microscope http://www.flickr.com/photos/kqedquest/2711763438/ Cylinder Project that capture a high resolution 3-D image of the surface to 200m. To convert to a digital sound file, this is played for a version of the same "Virtual pen" developed by the research team in real time, digitized and, if desired, processed through restitution programs sound.
However, before the final play on the computer to convert digital audio files in real time, it is also possible to eliminate many of the imperfections of sound in the media while still in the domain of video, by using the same tools that major film studios in the restoration of his films. The result is truly spectacular. [Citation needed]
Formats
The protective cover of the once Voyager Golden Record, which contains information symbolic of how to play.
Types of records
See also: Recording medium comparison
See Also http://78rpmrecord.com/altformat.htm
As recording technology evolved, the more specific terms for different types of phonograph records were used to describe any aspect of registration: or proper rotation speed (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 "vinyl discs" generally ingredient Main 78 rpm). Other terms such as "Long Play" or LP and "Extended Play" EP or describe the records in several stages to play much longer the records of a single element-by-side, which often go much beyond 4 minutes per side. An LP can play about thirty minutes on each side. The 7 "45 rpm format usually contains one element for each side, but a 7 "EP recording times could achieve 10 to 15 minutes at the expense of attenuating the sound compression to reduce the required width of the slot. EP disc is usually used to make tracks not available on album tracks including singles record in a smaller format, less costly for those who had only 45 rpm players. The large center hole 7 "45 rpm allows easier handling by jukebox mechanisms. The term" album, originally used in the sense of a "book" with notes, holding several 78 rpm discs each on its own "page" or sleeve, and has no relation to the physical format: a single LP, or more typically today 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 powerful symbol of marriage, for example, a 7-inch or 7 "record that usually 45 rpm discs. LPs were 10 "records at first, but soon the 12" size became by far the most common in discs 78 in general, being 10, but 12 "and 7" and even smallerhe called "little question."
Common formats
Diameter
Rpm
Running Time
12 inches (30 cm)
33 rpm
45 min long play (LP)
45 rpm
12-inch single, 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, and Extended Play (EP)
33 rpm
Often used for records of children in the 1960s and 1970s.
Notes:
Before the decade 1950, 33 rpm LP was more frequent in a 10-inch (25 cm) format.
The 10-inch format disappeared from U.S. stores by 1950, but still a common
format in some markets until the mid-1960s. The 10-inch vinyl format was resurrected in the 1970s
for marketing of some popular recordings and collection, and these are occasionally seen today.
The maximum time for each side for a LP is achievable only with special playback styli,
So cutting engineers often do not like to cut these slots.
Less common formats
Main article: Unusual types of gramophone records
Structure
A big hole standard 7 "vinyl, 1978 on the respective sleeve.
The normal commercial disc is engraved with two concentric grooves taking into spiral sound, one on each side of the disc, running from the outer edge toward the center. The last part of the spiral is a first part to form a circle. The sound is encoded by changes either in the edges of the groove causing a stylus (needle) placed in it to vibrate at acoustic frequencies when the disk spins at the speed correct. In general, external and internal parts of the bear without sound groove provided (at least one exception is Mental Notes Split Enz).
Since the late 1910s, both sides of the case have been used to carry the grooves. Sometimes the records were published in the 1920s with a recording on one side. In the eighty Columbia Records issued a series of short 45-rpm singles on one side only "loss leaders", the theory that they could charge less for a one side when not required to pay artist royalties for two.
Most are non78 rpm records on black vinyl. The coloring matter used to dye black on the transparent PVC plastic mix of 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 future releases on vinyl would be all clear after technicians determined that the black carbon in their magnetic properties has been adversely affecting accurate reproduction of the cartridge.
Some records are on color vinyl or paper impregnated with photos with them ("albums" table). True 45 rpm RCA or RCA Victor "Red Seal" records used red translucent vinyl for extra "Seal Red "effect. During the 1980s there was a trend for the release of singles on colored vinyl sometimes with large inserts that could be used as posters. This trend has been revived recently with 7-inch singles.
Vinyl record standards of the United States follow the guidelines of the Recording Association Industry of America (RIAA). The dimensions in inches are nominal, not precise diameters. The actual size of a record 12 inches is 302 mm (11.89 in.) for a 10-inch is 250 mm (9.84 in), and a 7-inches, which is 175 mm (6.89 in).
Records from other countries are standardized by different organizations, but are very similar in size. Log diameters are typically 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 the lead-in to the groove is widely spaced and silent. 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 song in the recorded section of an LP, there is usually a pause of approximately 1 mm (0.04 in) in the groove is widely spaced. This space is clearly visible, making it easy to find a particular track.
A macro photo of the inner grooves of a disk vinyl. sound stored as variations in the tracks is clearly visible, as is the dust on the disc.
Magnified slots. Dust can be spotted. Red lines mark 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 is joined to form Full circle, called the lock slot, when the stylus reaches this point, got up several times until the circles of the record. In some recordings (Eg Lonely Sgt. Pepper's Hearts Club Band by The Beatles and Atom Heart Mother by Pink Floyd), the sound is in the lock slot, which produces a strange effect repeat. jukebox based on the position or angular velocity of the arm, as it reaches these more widely spaced rows, to activate a mechanism that lifts the arm and move it to one side of the disc.
The catalog number and stamper ID is written or stamped in the space between the groove in the lead-out in the main disk, which is writing visible hole in the final version of a record. Sometimes the cutting engineer might add handwritten comments or their signature, if they are particularly satisfied with the quality of the cut. These are generally referred to as "run-out engravings."
When automatic switching was common dishes, records were typically pressed with a high (or ridged) outer edge and a raised label area. This would allow records to be stacked one above the other, grabbing each other without the delicate grooves coming into contact, thus reducing the risk of damage. changing jukebox includes a mechanism for supporting a stack of several records above the platform rotating, placing them one at a time active in the dish to be played in order. Many recordings of sound and as complete operas, were interleaved across multiple disks 10 inches or 12 inches for use with automatic mechanisms, so that the first disc of a recording of three albums would Parts 1 and 6, while the second disc would Parts 2 and 5 and the third, Parts 3 and 4, allowing sides 1, 2 and 3 that plays automatically, then spent the whole stack sides to play four, five and six.
Quality Vinyl
The sound quality and durability of vinyl records is highly dependent on the quality of vinyl. During the early 1970s, as a cost-cutting move towards use of lightweight pressings, flexible vinyl, much of the industry has adopted a technique to reduce the thickness and quality vinyl used in mass-market manufacturing, marketed by RCA Victor as the "Dynaflex" (125 g) process, considered inferior by collectors of the brand. Most of the vinyl records are pressed from a mixture of virgin vinyl seventy percent and thirty percent recycled vinyl.
New "virgin" or "heavy / heavy weight" (180 to 220 g) vinyl is commonly used for modern "audiophile vinyl releases" in all genres. Many collectors prefer vinyl 180 g, and have been reported to have a better sound than normal vinyl. These albums tend to resist deformation caused by the normal 180 g better than regular vinyl chloride is more expensive to produce because it uses more than just vinyl. The manufacturing processes are identical, regardless of weight. In fact, pressing the light requires more care records. One exception is the propensity of 200 g pressed are slightly more likely to "no fill" where vinyl cookie does not sufficiently fill a deep groove for pressing (percussion and vocal amplitude changes are the usual places of these devices). This shows a defect or scratch grinding sound by the lack of fill point.
Since most vinyl records contain up to thirty percent recycled vinyl impurities can be accumulated in the file, causing a new album audio artifacts like clicks and pops. Virgin vinyl means that the album is not plastic recycling, and theoretically be devoid 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. Rather than having the proper finish to mirror the disk surface will have what looks like an orange peel texture. This introduces noise in the record, particularly in the lower frequency range. Note that with direct metal domain (DMM), the master disk is cut into a copper disk coated thus can also have a minor "orange peel" effect on the disk itself. As this "orange peel" originates in the master instead of being introduced at the stage of pressing, there is no ill effect because there is no physical distortion of the slot.
While all the vinyl records are pressed from metal discs known as "seals", a technique known as lathe cut used to cr …
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