This is Hacker Public Radio episode 3,767 for Tuesday, the 10th of January 2023.
Today's show is entitled, LP Article from Wikipedia.
It is hosted by Archer 72 and is about 43 minutes long, it carries an explicit flag.
The summary is, LP Article from Wikipedia about the long-playing vinyl record and its history.
Hello, this is Archer 72, welcome to Hacker Public Radio.
In this episode, I'm reading from the Wikipedia article on the LP or the long-playing record.
The LP from long-playing or long-play is an analog sound storage medium, a phonograph record format characterized by a speed of 33 and a third RPM, a 12 or 10 inch,
30 or 25 centimeter diameter.
It uses the use of the micro-groove specification and a vinyl, a copolymer of vinyl chloride acetate composition disk introduced by Columbia in 1948.
It was soon adopted as a new standard by the entire record industry.
Apart from a few relative leave-minor refinements and then port and later addition of a stereophonic sound,
it remained the standard format for record albums during the period of popular music known as the album era,
until its gradual replacement from the 1980s to the early 2000s, first by concerts then by compact disks,
and finally by digital music distribution.
Beginning in the late 2000s, the LP has experienced a resurgence in popularity.
The next section has format advantages.
At the time the LP was introduced, nearly all phonograph records for home use were made of an abrasive shellac compound,
which resulted in noisy playback.
They had much larger grooves and played it approximately 78 RPM,
limiting the play time of a 12 inch diameter record to less than 5 minutes per side.
The new product was a 12 or 10, 30 or 25 centimeter fine group disk made of PVC vinyl,
and played with a smaller tipped micro groove stylus at a speed of 33 and a third RPM.
Each side of a 12 inch LP can play for about 22 minutes.
Only the micro groove standard was new as both vinyl and 33 and a third RPM speed had been used for special purposes for many years.
As well as in one unsuccessful earlier attempt by RCA Victor to introduce a long playing record for home use.
Although the LP was suited to classical music because of its extended continuous playing time,
it also allowed a collection of 10 or more pop music recordings to be put on a single disk.
Previously such collections, as well as longer classical music,
broken up into several parts had been sold as sets of 78 RPM records.
In a specifically imprinted record album consisting of individual records sleeves bound together in a book form,
the use of the word album persisted for the one disk LP equivalent.
The next section is history, see also phonograph record.
The sub-hitting is soundtrack disks.
The prototype of the LP was the soundtrack disk used for the vital phone motion picture sound system,
developed by Western Electric and introduced in 1926 for soundtrack purposes.
The less than 5 minutes of playing time of each side of a conventional 12-inch 78 RPM disk was not acceptable.
The sound had to play continuously for at least 11 minutes,
long enough to accompany a full 1,000 foot 300 meter real of 35 millimeter film projected at 24 frames per second.
The disk diameter was increased to 16 inches, 40 centimeters,
and the speed was reduced to 33 and a third revolutions per minute.
Unlike their microgrouped LP descendants, they were made with the same large standard group used by 78s.
Unlike conventional records, the group started at the inside of the recorded area near the label and proceeded outward toward the edge.
Like 78s, early soundtrack disks were pressed into an abrasive shellac compound,
and played with a single use steel needle held in a massive electromagnetic pickup,
with the tracking force of 2 ons force 0.55 newtons.
A needle was used each time the film and the disk were played. By mid-1931,
all motion picture studios were recording on optical soundtracks,
but sets of soundtracks, disks mastered by dubbing from optical tracks and scaled down to 12 inches to cut costs,
were made as late as 1936 for distribution to theaters still equipped with disk only sound projector.
The next heading under history is radio transcription disks.
From 1928 onwards, syndicated radio programming was distributed on 78 RPM disks.
The desired ability of longer continuous playing time soon led to the adoption of the whiteophone soundtrack disk format,
beginning in about 1930, 16 inch, 33 and a third RPM disks.
Playing about 15 minutes per side were used for most of these electrical transcriptions.
Longer programs, which required several disk sites,
pioneered the system of recording odd numbered sites, inside out and even numbered sites,
outside in so that the sound quality would match from the end of one side to the start of the next.
Although a pair of turntables was used to avoid any pauses for disk flipping,
the sites had to be pressed and arranged so that no disk being played had to be turned over
to play the next side in the sequence.
For example, a three-disset designed for manual sequencing would have the sides label 1, 2, 3, 4, and 5, 6,
and the listener would manually flip each disk as the side ended for an automatic record-changer turntable.
The sequencing would be 1 and 6, 2 and 5, and 3 and 4.
With the listener flipping over the stack of disks once the third side ended,
with the broadcast sequence, the ordering would be 1 and 4, 2 and 5, and 3 and 6,
so that the studio engineer could play a side 1 on one turntable,
set directly into a side 2 on the second turntable, then queue up side 3 on the first turntable.
Some transcriptions were recorded with a vertically modulated,
and also known as a vertical cut recording.
This was found to allow deeper base because turntable rumble was later modulated in early radio station turntables,
and also an extension of the high frequency response.
Initially transcription disks were pressed only in Shalak,
but by 1932 pressings in RC Victor's final base, Victoria, were appearing.
Other plastics were sometimes used.
By the late 1930s, vinyl was standard for nearly all kinds of press disks,
except ordinary commercial 78s, which continued to be made of Shalak.
Beginning in the mid 1930s, one off 16 inch, 33 and a third RPM lacquer disks.
Were used by radio networks to archive recordings of their broadcasts,
and by local stations to delay the broadcast of network programming,
or to pre-record their own productions.
In late 1940s, magnetic tape recorders were adopted by the networks.
To pre-core shows or repeat them after airing in different time zones,
but 16 inch final pressings continued to be used,
and to the early 1960s for non-network distribution of pre-recorded programming.
Use of the LP Markov standard began in late 1950s and in the 1960s.
The size of the disk was reduced to 12 inches,
becoming physically indistinguishable from ordinary LPs.
Unless the quantity required was very small, press disks,
or more economical, medium for distributing high-quality audio, then tape,
and CD mastering was in the early years of that technology very expensive,
so use of the LP format transcription disks continued into the 1990s.
The King Biscuit flower hour is a late example,
as our Westwood ones, the Beetle years, and Dr. Demento programs,
which were sent to stations on the LP at least through 1992.
Next heading, RCA Victor.
RCA Victor introduced an early version of a long-playing record for home use in September 1931.
These program transcription disks, as Victor called them,
played at 33 and a third RPM and used a somewhat finer and more closely spaced,
groove than typical 78s. They were to be played with a special chromium orange,
chrompleted steel needle.
The 10-inch disks mostly used for popular and light classical music,
or normally pressed in shellac, but the 12-inch disks mostly used for serious classical music were pressed.
In Victor's new vinyl-based Victor-Lack compound, which provided a much quieter playing surface,
these records could hold up to 15 minutes per side.
Both ovens fifth symphony performed by the Philadelphia Orchestra under Leopold Stakowski,
was the first 12-inch recording issued,
Compton, Pack and Sham, reviewing the event in the New York Times wrote,
what we were not prepared for was the quality of reproduction, and comparably fuller.
However, many of subsequent issues were not new recordings,
but simply doves made from existing 78 RPM records sets.
The doves were audibly inferior to the original 78s.
Two speed turntables with a 33-ord RPM speed were included only at expensive high-end machines,
which sold in very small numbers,
and most people had little money to spend on groceries,
let alone the phonograph record,
and the depths of the Great Depression.
Record sales in the US had dropped from a high of 105.6 million records sold
in 1921 to 5.5 million in 1933,
because of the competition from radio and effects of the depression.
Few of any new program transcriptions were recorded after 1933,
and two speed turntables soon disappeared from RCA victors, phonographs,
except for a few recordings of background music, for funeral parlors,
the last of the issue titles had been purged from the victor record,
cataloged by the end of the decade.
The failure of the new product left RCA victor with a low opinion of the prospects
for any sort of long-playing record,
influencing product development decisions during the coming decade.
The next heading is Columbia.
CBS Laboratories had research scientists, Peter Goldmark,
led Columbia's team to develop a phonograph record
that could hold at least 20 minutes per side.
Although Goldmark was the chief scientist who selected the team,
he delegated most of the experimental work to William S. Bachman,
whom Goldmark had lured from general electric and Howard H. Scott.
Research began in 1939 with suspended during World War II,
and then resumed in 1945.
Columbia records unveiled the LP at a press conference
in the Waldorf, a story on June 18, 1948.
In two formats, ten inches, 25 centimeters in diameter,
matching that of the 78 RPM single and 12 inches or 30 centimeters in diameter.
The initial release of 101 recordings were 58 12-inch classical LP's
M-4000 to 457 M-4071, 12-10-inch classics,
M-L 2001 to 2012, 12-12-inch light classic,
M-L4058 to 4067, M-L4069, M-L4070,
M-L-8-10-inch light classic, M-L2013 to M-L2019,
and 11-10-inch popular numbers, C-L621 to 6011.
According to Columbia's initial LP catalog,
published in Billboard on 371948,
all classical LP's were organized in alphabetical order of composers,
so this list is opened by M-L402,
with box concerto and diviner for two violins
and orchestra by Adolf Bush and Francis Magnus.
With the Bush Chamber players,
concerto number two,
an E major by Adolf Bush.
With the Bush Chamber players, Columbia had planned for the album,
M-L401 to be the LP opening,
the initial list of 101 LP's.
However, box A minor violin concerto by T-Board Vargo,
foreseen foresight A could not be released on LP
because of some contractual reasons, probably.
So without Bach, with Mendelssohn, M-L401 landed in ethical list
under M, like Mendelssohn.
The next setting is public reception.
When the LP was introduced in 1948,
the 78 was the conventional format for phonograph records.
By 1952, 78 still accounted for slightly more than half of the unit sold in the United States.
And just under half of the dollar sales,
the 45 oriented toward the single song accounted for just over 30% of unit sales
and just over 25% of dollar sales.
The LP represented not quite 17% of unit sales
and just over 26% of dollar sales.
Ten years after their introduction,
the share of unit sales for LP's in the US was almost 25%.
And of dollar sales 58%.
Most of the remainder was taken up by the 45.
78 accounted for only 2% of unit sales and 1% of dollar sales.
The popularity of the LP ushered in the album air of English,
language popular music beginning in the late 1950s.
As performers took advantage of the longer playing time to create
coherent themes of or concept albums.
The rise of the LP as a form as an artistic entity,
as they used to say,
has complicated how we perceive and remember what was once the most
of the arts.
Robert Chris Gow wrote,
in Chris Gow's records guide rock albums of the 70s in 1981.
The album may prove a 70s totem refer configurations.
We're making a comeback by decades and
but for the 70s,
it will remain the basic musical unit.
And that's okay with me.
I found over the years that the long playing record
with its 20 minute sides and 4 to 6 composition
and performances per side suits my habits of concentration
perfectly.
Although their popularity of LP's began to decline in the late 1970s
with the advent of compact cassettes and later compact discs,
the LP survives as a format to present day.
Vinyl LP records enjoyed resurgence in the early 2010s,
vinyl sales in the UK reached 2.8 million in 2012.
US vinyl sales in 2017 reached 15.6 million
and 27 million for 2020.
The next heading is competing formats.
The LP was soon confronted by the 45,
a 7 inch,
180 millimeter diameter,
fine-grewed vinyl record playing at 45 RPM,
introduced by our CA Victor in 1949
to compete with the LP,
boxed album sets of 45s
were issued along with EP extended play 45s,
which squeezed two or even three selections
on to each side,
despite intense marketing efforts by our CA Victor,
45 ultimately succeeded only
and replacing the 78 as the preferred format for singles.
The last for off for the 78 RPM record
in the US was the microgrew of 78 series,
pressed for the audio file label,
Ewing non-sock fill was constant in the early 1950s.
This series was labeled AP-1 through AP-40,
pressed on grainless red vinyl.
Today, AP-1 through AP-5 are very scarce
by tightly packing the fine-grew,
playing time of 17 minutes per side was achieved.
Within a couple of years,
audio files switched to 33 and a third.
Real to real,
magnetic tape recorders posed a new challenge to the LP
in the 1950s,
but the higher cost of pre-recorded tapes
was one of the several factors that confined
tape to a niche market.
Cartridge and cassette tapes were more convenient
and less expensive than real to real tapes.
And then became popular for use
and automobiles beginning in the mid 1960s.
The LP was not seriously challenged
as a primary medium for listening
to recorded music at home until the 1970s.
However, when the audio quality of the cassette
was greatly improved by better
tape formulations and noise reduction systems.
By 1983,
cassettes were out selling LP's in the US.
The compact disc CD was introduced in 1982.
It offered a recording
that was theoretically completely noiseless
and not audibly degraded by repeated
playing or slight scuffs and scratches.
At first,
much higher price of CDs and CD players
limited their target to effluent
early adopters and audio files,
but prices came down
and by 1988 CDs outsolded LP's.
The CD became the top selling format
over cassettes in 1992.
Along with phonograph records
and other formats,
some of which were made
of other materials,
LP's are now widely referred
to simply as vinyl.
Since the late 1990s
there has been a vinyl revival.
The man has increased
in niche markets,
particularly among audio files,
DJs and fans of indie music.
But most music sales
as of 2018 came from online downloads
at online streaming
because of their availability,
convenience and price.
The next heading is playing time.
With the advent of sound film
or talkies,
the need for greater storage space
made 33 and a third RPM
records more appealing.
Soundtracks played on records
synchronized to movie
projectors and theaters.
Cannot fit onto the mirror
five minutes per side
that 78's offered.
When initially introduced
12 inch LP's
played for maximum
of about 23 minutes per side,
10 inch records for around 15.
They were not an immediate success
however
as they were released
during the height of the Great Depression
and seemed
frivolous
to many
impoverished of the time.
It wasn't until
micro groove
was developed
by Columbia Records in 1948
that long players,
LPs
reached their maximum playtime
which continued
to modern times.
Economics
and taste
initially
determined
which kind of music was available
on each format.
Recording
company executives
believed
upscale classical music fans
would
be eager to hear
a Beethoven Symphony
or Mozart
Concerto
without having to flip over
multiple
four-minute
precise 78's
and that pop music fans
who are used to listening
to one song at a time
would find
the shorter time
of the 10 inch LP's
sufficient.
As a result,
the 12 inch format
was reserved solely
for high price
classical recordings
and Broadway shows.
Popular music continued
to appear
only on 10 inch records.
Their beliefs were wrong
by the mid 1950's
the 10 inch LP
like its similarly
sized 78
RPM cousin
lost the format
war
and was discontinued.
10 inch records
briefly
reappeared as many LPs
in late 1970's
in the early 1980's
in the United States
and Australia
as a marketing alternative.
The next heading
is exceptions.
In 1952,
Columbia Records
introduced extended
play LPs
that played
for as long as 52 minutes
or 26 minutes per side.
These were used mainly
for the original cast albums
a Broadway musical
such as Kiss Me Kate
and My Fair Lady
or to fit
an entire play
such as the 1950 production
of Don Juan and Hell
on
to two LPs.
52 minute playing time
remained rare
however
because of mastering
limitations
and most LPs
continued to be issued
with
a 30 to 45 minute playing time.
A small number
of albums exceeded
the 52 minute limit.
These records
had to be cut
with much narrower
spacing
between the grooves
which allowed
for a smaller dynamic range
on the records
and meant
that playing the record
with a war needle
could damage the record.
It also resulted
in a much quieter
sound
with increased service
noise.
The list of
long playing
vinyl records
include
the 90 minute
1976 LP
90 minutes
with our
third
feedler
and the
Boston
Pops
made
bed radio
shack
Genesis
Duke
with each side
exceeding
27 minutes
Bob Dylan's
1976 album
desire
with the
side
to
lasting
almost
30 minutes
for the
first
1987 album
hyster
with each
side exceeding
30 minutes
Iron
Maiden's
1984 release
Parslave
and it's
follow-up
some more
in time
both
required
the special
manufacturing
as
as each
surpass
the 52 minute
maximum
Todd
Rungren's
1975
initiation
totaling
67 minutes
32
seconds
over two
sides.
Paul's
boutique
boys
and Andrey Previns
Previns
Play's
Gershwin
with the
London
Symphony
Orchestra
whose
sides
each
exceeded
30 minutes
side
two
of
Pink
Floyd's
Adam
Heart
Mother
and
both
sides
of
the
division
Bell
and
wings
greatest
all
exceeded
28 minutes
finally
several recordings
of
Beethoven's
ninth
symphony
reissued
on single
discs
these
contained about 35 minutes
on each
side
with the third
movement split
into two parts.
Spoken
Ward
and comedy
albums
required
a smaller dynamic
range compared
to musical records.
Therefore
they
could
be cut
with narrow spaces
between the
grooves.
The
comic strip
released by
springtime
records in
1981
has a
side
lasting
38 minutes
four seconds
and a
side
be
lasting
31 minutes
eight
seconds
for a
total
of 69
minutes
and 12 seconds.
The
next
heading
is
changers.
Turn
tables
called
automatic
record
changers
could
play
records
stacked
vertically
on a
spindle.
This
arrangement
encouraged
the
production
of multiple
records
sets in
automatic
sequence.
A
two
records
set
at
a
side
one
and
side
four
on
record
and
side
two
and
side
three
on
the other.
So
the
first two
sides
could play
in a
changer
without
the
listeners
intervention.
An alternative
type
record changer
pushed the
play disk
off the
turn table
onto a
hopper
instead of having
two
disks
drop
on
top of
each other.
Then the
stack
was flipped
over.
Larger
box
sets
used
appropriate
automatic
sequencing.
One
to
eight
two
to
seven
three
to
six
four to five
to
allow
continuous playback.
but
this
created
difficulties
when searching
for an
individual track.
Next
heading
manages
vinyl records
are vulnerable
to dust
heat
warping
scuffs
and scratches.
Dust
and the
groove
is usually heard
as noise
and may be
ground
into the vinyl
by the passing
stylus
causing
lasting damage.
A
warp
can cause
a regular
wow
or fluctuation
of
musical pitch
and
substantial
it
can
make a record
physically
unplayable.
A
scuff
can be heard
as a
swishing sound.
A
scratch
will
create
an audible tick
or pop
once each
revolution
when the
stylus encounters it.
A
deep scratch
can
throw the
stylus
out of the
groove.
If
it
jumps
to a
place
farther
inward,
part of
the
recording is
skipped.
If
it jumps
outward
to a
part
of the
groove,
it
just
finished
playing,
it
can
get stuck
in
an infinite
loop
playing
the
same
bit
over
and
until someone
stops it.
This
last
type of
mishab
which
in the
era of
brittle
shalak
records.
was more
commonly
caused by a crack
spawned
the
similarly
like a broken
record
to refer
to annoying
and
seemingly
endless repetition.
Records
used in
radio stations
can suffer
cuburn
which
results
from
disk
jockeys
placing the needle
at
the
beginning of
a
track
turning
the
record
back
and
forth
to
find
the
exact
start
of
the
music
then
backing up
and
about a
quarter
turn.
so
that
when it
is
released the
musical
start immediately
after
the
fraction of a
second needed
for the disk
to come to full speed.
When this is
done repeatedly,
the affected part of the
groove is heavily
worn
and a
hissing sound
will be
noticeable at the
start of the track.
The
process of
playing a
vinyl
record
with a
stylus
is
my
its
very
nature
to
some
degree
a
destructive
process.
Where
to
either
the
stylus
or
the
vinyl
results
in
diminished
sound quality.
Record
where
can be
reduced significantly
by the use of
a high quality
correctly
adjusted
turntable and tone arm.
A high compliance
magnetic cartridge
with a high
and stylus in
good condition
and careful
record handling
with
non-abrace of
removal of dust
before
playing
and other
cleaning
if necessary.
Where
from playback
is eliminated
by use of
an optical record
player
as
no needle
comes in contact
with the record.
The next
heading
is
groove.
The average LP
has about
1500 feet
or
60 meters
0.28 miles
a groove
on each side.
The average
tangential
needle
speed
relative to the
disc
surface
is approximately
one
mile
per hour
or
1.6
kilometers per hour
which is
0.45
meters per second.
It
travels
fastest
on the outside edge
unlike audio
cities
which change
their speed
of rotation
to provide
constant linear velocity
contrast cities
play from the
inner radius
outward
reverse of
phonograph records
then
closely spaced
spiral grooves
that allowed
or increased
playing time
on a
33
and a
third
RPM
micro
groove
LP
led
to
a
frioca
warning
of upcoming
loud sounds.
The cutting
stylus
unavoidably
transferred
some
of the subsequent
groove walls
and pull signal
into the previous groove wall.
It
was discernible by
some listeners
throughout certain
recordings,
but a quiet passage
followed by a
loud sound
would allow anyone
to hear
a faint
pre echo
of the loud sound
occurring
1.8
second
ahead of time.
This
problem
could also appear
as post echo
with a
ghost
of the sound
arriving
1.8
seconds
after
its main impulse.
Pre-imposed echo
can be avoided
by the use of
direct metal mastering.
The first LP
records introduced
used
fine
pitch
grooves
just
like
their
78 predecessors.
The use of
magnetic tape
for the production
of the master
recordings
allowed the
introduction
of
variable pitch grooves.
The
magnetic tape
reproducer
used
to transfer the
recording
to the master
disc.
It
was equipped
with a
auxiliary
playback
head
positioned
ahead of
the main
head
by a distance
equal
to one
revolution
of the disc.
The sole purpose
of this head
was
to monitor the
amplitude of the recording.
If the sound
level from both
the auxiliary
and magnetic
heads was
loud,
the cutting head
on the
disc
recording
lathe
was
driven
at its normal
speed.
If the sound
level
from both
magnetic
heads
was
quieter
however
than
the
disc
cutting head
could
be driven
at a lower
speed
reducing the
groove pitch
with no
danger
of the
adjacent
grooves
sliding
with each other.
The
playing time of
the disc
was
therefore
increased by
amount
dependent
on the
duration of
quieter
passage.
The
record
manufacturers
had also
realized
that by
reducing the
amplitude
of the
lower
frequencies
recorded
in the
groove.
It
was
possible
to
degrees
the
spacing
between
the
grooves
and
further
increase
the
playing time.
These
low frequencies
were then
restored to their
original level on
playback.
Furthermore,
if the
frequencies
was artificially boosted
on recording
the disc,
then subsequently
reduced
to their
original level
on playback,
the noise
introduced by the
disc would be
reduced by
similar amount.
This
gave rise
to an
equalization
frequency
response,
applied
during
record,
coupled
with
an
inverse
of
the
response
applied
on
playback,
each
disk
manufacturer
applied its own
version of an equalization curve.
Mostly
each
manufacturers.
Equalization
curve
was protected
by interlocking
patent.
Low-end
reproduction
equipment
applied
a compromised
playback
equalization
that
reproduced
most
disks
reasonably
well.
My
contrast
amplifiers
for audio
file
equipment
or
equipped
with an equalization
selector
with a position
for
most
if not
all
disc manufacturers.
The
net effect
of equalization
is
to allow
longer
time and lower background noise,
while maintaining
full fidelity
of music
or other content.
In
1954,
the
recording industry
of
America
RIA
introduced
a standard
equalization
curve
to be used
by all
record
manufacturer.
Consequently,
both
low quality
and audio
file reproducers
alike
could
replay
any
recording
with
correct
equalization.
There
are
versions of the reproduction
RIA
equalization
curve.
The
first curve
is the
inverse
of the
recording curve
designed for
cheaper
equipment
using
crystal
or ceramic
reproduction
cartridges.
The second
curve is
intended for
equipment
fitted
with
magnetic
reproduction
cartridges
where
the output
voltage
is dependent
on the
frequency
of the
recorded signal.
The
voltage output
is
directly
proportional
to the
frequency of
the recorded signal.
That
is the
voltage
doubles
as a
recorded
frequency
doubles.
The
next
section
is
fidelity
and
formats.
The
auto
quality
of
LPs
has
increased
greatly
since
their
nineteen
forty
inception.
While
early
LP
recordings
were
monophonic
stereophony
has
been
demonstrated
in
1881
and
Alan
Bloomline
had
patented
stereophonic
sounded
nineteen
thirty
one successful
attempts
were made to create
stereophonic
records
starting
in the
nineteen
twenties
including
emery
cooks
nineteen
fifty
two
binoral
LPs
using
two
precisely
space
tracks
on
the
record
one track
for each
channel
that
had to be
played
with two
monoral
pickups
on
a
tuning
fork
shaped
tone arm
the
modern system
ultimately
released
by
audio
fidelity
records
in November 1957
uses
two
modulation
angles
equal
an opposite
forty-five
degrees
from vertical
and so
perpendicular to each
other
it can also
be thought of
as using
traditional
horizontal
modulation
whether some
of left and right channels
mono
making it
essentially
compatible
with simple
mono recordings
and
vertical plane
modulation
for the
difference of the two channels
the following are some
significant
advances in the format
helium
cooled
cutting heads
that could withstand
higher
levels of
high frequencies
numen
sx
six
eight
previously
the cutting
engineer
had to
reduce the
hf content
of the
signal
sent to the
record
cutting head
otherwise the
delicate
coils could
burn out
elliptical
stylus
marketed by several
manufacturers
at the end of the
1960s
cartridges
that operated
at lower tracking
forces
2.0
grams
per 20
millenutons
beginning from the
mid-1960s
half-speed
and one-third
speed record
cutting
which extends the
usable
bandwidth
of the record
longer
lasting
anti-static
record
compounds
EG
RCA
Dynaflex
Q540
more advanced
stylus
tip shapes
shibada
bandahol
microline,
etc
direct metal mastering
noise reduction
cx encoding
dbx encoding
starting from 1973
in the 1970s
quadrophonic sound
or channel records
became available
in both discrete
and matrix formats
these
did not achieve
the popularity
of stereo records
due to the expense
of consumer playback equipment
competing
and incompatible
quad recording standards
in a lack of quality and quad remix releases
quad never escaped
the reputation of being a gimmick
and the various
mutually incompatible
discrete surround
solutions
required
an ultrasonic carrier signal
those technically
difficult
to capture
and suffered
degradation
with playing
with the
advent
of db audio
and super audio CD
multi-channel
recording
this once favored
and championed by artists
like Leopold Stakowski
and Glenn Gould
have made it
modest comeback
in addition
new surround recordings
have been made
for these formats
and luring audio
in the later 1970s
engineers
Jerry Block
and Burgess McNeil
devised a preview system
of mastering vinyl
that allowed
about 10 to 20%
more music predisc
while not sacrificing
dynamic range
the preview tape head was positioned
far enough before the program
tape head
to allow the disk computer
enough time to measure the peaks
in low frequency
and thereby expand the feed
appropriately for the greater
excursions
of groove for modulations they produce
the computer system was unveiled
at the 1980 AES convention
alongside the zoomed disk computer
made by John W. bitner
and the Newman VMS 80 lathe
which had its own
advanced disk computer
the composition of vinyl
used to press records
a blend of polyvinyl chloride
and polyvinyl acetate
has varied considerably
over the years
Virgin vinyl is preferred
but during the 1970s energy crisis
it became commonplace
to use recycled vinyl
sound quality suffered
with increased ticks, pops
and other surface noises
other experiments
included reducing the thickness of LPs
leading to warping
and increased susceptibility to damage
using a biscuit of
130 grams of vinyl
had been the standard
compare these
to the original Columbia 12 inch LPs
ML 401
besides the standard
lack vinyl
specialty records
are also pressed
on different colors
of PVCA
or picture disks
with a card picture sandwich
between two clear sides
records in different novelty
shapes
have also been produced
in 2018
an Austrian startup
rebeat innovation
GMBH
received
4.8 million in funding
to develop high-definition vinyl records
that report to contain
longer playing times
louder volumes
and higher fidelity
than conventional vinyl LPs
rebeat innovation
headed by CEO
Gunterloable
has called the format HD vinyl
the HD process works
by converting audio
to a digital 3D
topography map
that is then inscribed
to the vinyl
stamper violators
resulting in less
loss of information
many critics have expressed
skepticism
regarding the cost
and quality of HD records
in May 2019
at the making
vinyl conference in Berlin
loable
unveiled the perfect groove
software for creating 3D
topographic audio data files
this is a critical step
in the production of HD vinyl
stampers
as they provide the map
for subsequent
laser engraving
the audio engineering software
was created
with mastering engineers
Scott Hall
and Darcy Proper
four-time Grammy winner
the demonstration offered
the first simulations
of what HD vinyl records
are likely to sound like
ahead of
actual HD vinyl
physical record production
loable discuss the perfect groove soft
or
at a presentation titled
vinyl 4.0
the next generation
of making records
before offering demonstrations
to attend the final
section is used
by this jockeys
disc jockeys
or DJs
in clubs
still frequently used
vinyl records
as cueing tracks
from cassette tapes
is too slow
and CDs
did not allow creative
until the advent
of the CDJ1000
turned table in 2001
the term DJ
which had
always meant a person
who played various pieces
of music
on the radio
originally
78
then
45
then tape cartridges
and reels
now cuts from CDs
or tracks on a computer
a play on the horse racing
term jockey
has also come
to encompass all kinds of skills
in scratching
record playback
manipulation
and mixing dance music
rapping over
the music
or even playing musical instruments
but the original dance club
non-radio definition
was simply somebody
who played records
alternating between two turn tables
the skill came in
subtly matching beats
or instruments
from one song
to the next
providing a consistent dance tempo
DJs also made occasional announcements
and chatted on the side
with patrons while songs were playing
to take requests
similar to what radio
disc jockeys have been doing since the 1940s
if you have gotten this far
thank you for listening
to my reading of
Wikipedia article
on the LP record
hosted by Hacker Public Radio
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