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They were made of a patented translucent plastic called Durium coated on a heavy brown paper base. A new issue debuted weekly, sold at newsstands like a magazine.
Although inexpensive and commercially successful at first, they fell victim to the Great Depression and US production ended in Durium records continued to be made in the UK and as late as in Italy, where the name "Durium" survived into the LP era as a brand of vinyl records.
In , RCA Victor introduced vinyl plastic-based Victrolac as a material for unusual-format and special-purpose records. In , RCA began using Victrolac in a home recording system. By the end of the s vinyl's light weight, strength, and low surface noise had made it the preferred material for prerecorded radio programming and other critical applications. Later, Decca Records introduced vinyl Deccalite 78s, while other record companies used vinyl formulations trademarked as Metrolite, Merco Plastic, and Sav-o-flex, but these were mainly used to produce "unbreakable" children's records and special thin vinyl DJ pressings for shipment to radio stations.
In the s, the recording formats of the earliest toy discs were mainly By , the inch From onwards, inch records Victor, Brunswick and Columbia also issued inch popular medleys, usually spotlighting a Broadway show score. Other sizes also appeared. In , Victor offered a series of inch Fewer than fifty titles were issued and the series was dropped in due to poor sales. In , A short-lived British firm called Neophone marketed a series of single sided inch 50 cm records, offering complete performances of some operatic overtures and shorter pieces.
Pathe also issued inch The playing time of a phonograph record depends on the available groove length divided by the turntable speed. Total groove length in turn depends on how closely the grooves are spaced, in addition to the record diameter. At the beginning of the 20th century, the early discs played for two minutes, the same as cylinder records.
In January , Milt Gabler started recording for Commodore Records , and to allow for longer continuous performances, he recorded some inch discs. But at the second session, on April 30, the two inch recordings were longer: Vaudeville stars Gallagher and Shean recorded "Mr.
Shean", written by themselves or, allegedly, by Bryan Foy, as two sides of a inch 78 in for Victor. The limited duration of recordings persisted from their advent until the introduction of the LP record in In the 78 era, classical-music and spoken-word items generally were released on the longer inch 78s, about 4—5 minutes per side.
For example, on June 10, , four months after the February 12 premier of Rhapsody in Blue , George Gershwin recorded an abridged version of the seventeen-minute work with Paul Whiteman and His Orchestra. Generally the sleeves had a circular cut-out exposing the record label to view.
Records could be laid on a shelf horizontally or stood on an edge, but because of their fragility, breakage was common. German record company Odeon pioneered the album in when it released the Nutcracker Suite by Tchaikovsky on 4 double-sided discs in a specially designed package. The practice of issuing albums was not adopted by other record companies for many years. By about , [note 1] bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records the term "record album" was printed on some covers.
These albums came in both inch and inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. Most albums included three or four records, with two sides each, making six or eight tunes per album.
When the inch vinyl LP era began in , each disc could hold a similar number of tunes as a typical album of 78s, so they were still referred to as an "album", as they are today. This series came in heavy manilla envelopes and began with a jazz album AP-1 and was soon followed by other AP numbers up through about AP These vinyl Rhino 78's were softer and would be destroyed by old juke boxes and old record players, but play very well on newer capable turntables with modern lightweight tone arms and jewel needles.
In , RCA Victor launched the first commercially available vinyl long-playing record, marketed as program-transcription discs. RCA Victor's early introduction of a long-play disc was a commercial failure for several reasons including the lack of affordable, reliable consumer playback equipment and consumer wariness during the Great Depression. There was also a small batch of longer-playing records issued in the very early s: There were also a couple of longer-playing records issued on ARC for release on their Banner, Perfect, and Oriole labels and on the Crown label.
All of these were phased out in mid Vinyl's lower surface noise level than shellac was not forgotten, nor was its durability. In the late s, radio commercials and pre-recorded radio programs being sent to disc jockeys started being pressed in vinyl, so they would not break in the mail.
In the mids, special DJ copies of records started being made of vinyl also, for the same reason. Beginning in , Dr. Peter Goldmark and his staff at Columbia Records and at CBS Laboratories undertook efforts to address problems of recording and playing back narrow grooves and developing an inexpensive, reliable consumer playback system. It took about eight years of study, except when it was suspended because of World War II. Another size and format was that of radio transcription discs beginning in the s.
No home record player could accommodate such large records, and they were used mainly by radio stations. They were on average 15 minutes per side and contained several songs or radio program material. These records became less common in the United States when tape recorders began being used for radio transcriptions around In the UK, analog discs continued to be the preferred medium for the licence of BBC transcriptions to overseas broadcasters until the use of CDs became a practical alternative.
On a few early phonograph systems and radio transcription discs, as well as some entire albums, the direction of the groove is reversed, beginning near the center of the disc and leading to the outside.
The earliest rotation speeds varied considerably, but from most records were recorded at 74—82 revolutions per minute rpm. At least one attempt to lengthen playing time was made in the early s.
World Records produced records that played at a constant linear velocity , controlled by Noel Pemberton Billing 's patented add-on speed governor. This behavior is similar to the modern compact disc and the CLV version of its predecessor, the analog encoded Philips LaserDisc , but is reversed from inside to outside,. Earlier they were just called records , or when there was a need to distinguish them from cylinders , disc records. The older 78 rpm format continued to be mass-produced alongside the newer formats using new materials in decreasing numbers until around in the U.
Some of Elvis Presley 's early singles on Sun Records may have sold more copies on 78 than on In the mids all record companies agreed to a common frequency response standard called RIAA equalization. Prior to the establishment of the standard each company used its own preferred equalization, requiring discriminating listeners to use pre-amplifiers with selectable equalization curves.
Prestige Records released jazz records in this format in the late s; for example, two of their Miles Davis albums were paired together in this format. Each record held 40 minutes of music per side, recorded at grooves per inch. For a two-year period from to , record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". See also format war. By , million 45s had been sold. The large center hole on 45s allows for easier handling by jukebox mechanisms.
EPs were generally discontinued by the late s in the U. Eventually, they were replaced by the three—speed record player. From the mids through the s, in the U. The adapter could be a small solid circle that fit onto the bottom of the spindle meaning only one 45 could be played at a time or a larger adaptor that fit over the entire spindle, permitting a stack of 45s to be played.
RCA Victor 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a " spider ". In countries outside the U. During the vinyl era, various developments were made or introduced. Stereo finally lost its previous experimental status, and eventually became standard internationally. Quadraphonic sound effectively had to wait for digital formats before finding a permanent position in the market place.
The term "high fidelity" was coined in the s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. After a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available in , gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players.
Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. EMI cut the first stereo test discs using the system in see Bell Labs Stereo Experiments of although the system was not exploited commercially until much later.
In this system, each of two stereo channels is carried independently by a separate groove wall, each wall face moving at 45 degrees to the plane of the record surface hence the system's name in correspondence with the signal level of that channel.
By convention, the inner wall carries the left-hand channel and the outer wall carries the right-hand channel. While the stylus only moves horizontally when reproducing a monophonic disk recording, on stereo records the stylus moves vertically as well as horizontally. During playback, the movement of a single stylus tracking the groove is sensed independently, e. The combined stylus motion can be represented in terms of the vector sum and difference of the two stereo channels.
In the first commercial stereo two-channel records were issued first by Audio Fidelity followed by a translucent blue vinyl on Bel Canto Records , the first of which was a multi-colored-vinyl sampler featuring A Stereo Tour of Los Angeles narrated by Jack Wagner on one side, and a collection of tracks from various Bel Canto albums on the back.
However, it was not until the mid-to-late s that the sales of stereophonic LPs overtook those of their monophonic equivalents, and became the dominant record type. The development of quadraphonic records was announced in These recorded four separate sound signals.
This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels.
They proved commercially unsuccessful, but were an important precursor to later surround sound systems, as seen in SACD and home cinema today. This system encoded the front-rear difference information on an ultrasonic carrier. CD-4 was less successful than matrix formats. A further problem was that no cutting heads were available that could handle the high frequency information. This was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get wider frequency response in stereo with reduced distortion and greater headroom.
Under the direction of recording engineer C. Robert Fine, Mercury Records initiated a minimalist single microphone monaural recording technique in The first record, a Chicago Symphony Orchestra performance of Pictures at an Exhibition, conducted by Rafael Kubelik , was described as "being in the living presence of the orchestra" by The New York Times music critic. The series of records was then named Mercury Living Presence.
In , Mercury began three-channel stereo recordings, still based on the principle of the single microphone. The center single microphone was of paramount importance, with the two side mics adding depth and space. Record masters were cut directly from a three-track to two-track mixdown console, with all editing of the master tapes done on the original three-tracks.
The Mercury Living Presence recordings were remastered to CD in the s by the original producer, Wilma Cozart Fine, using the same method of three-to-two mix directly to the master recorder. Through the s, s, and s, various methods to improve the dynamic range of mass-produced records involved highly advanced disc cutting equipment.
RCA Victor introduced another system to reduce dynamic range and achieve a groove with less surface noise under the commercial name of Dynagroove.
Two main elements were combined: Sometimes this was called "diaphragming" the source material and not favoured by some music lovers for its unnatural side effects. Both elements were reflected in the brandname of Dynagroove, described elsewhere in more detail. It also used the earlier advanced method of forward-looking control on groove spacing with respect to volume of sound and position on the disk.
Lower recorded volume used closer spacing; higher recorded volume used wider spacing, especially with lower frequencies.
Also, the higher track density at lower volumes enabled disk recordings to end farther away from the disk center than usual, helping to reduce endtrack distortion even further. Also in the late s, " direct-to-disc " records were produced, aimed at an 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. A further late s development was the Disco Eye-Cued system used mainly on Motown inch singles released between and The introduction, drum-breaks, or choruses of a track were indicated by widely separated grooves, giving a visual cue to DJs mixing the records.
The appearance of these records is similar to an LP, but they only contain one track each side. The mids saw the introduction of dbx-encoded records, again for the audiophile niche market. ELPJ , a Japanese-based company, sells a laser turntable that uses a laser to read vinyl discs optically, without physical contact. The laser turntable eliminates record wear and the possibility of accidental scratches, which degrade the sound, but its expense limits use primarily to digital archiving of analog records, and the laser does not play back colored vinyl or picture discs.
Various other laser-based turntables were tried during the s, but while a laser reads the groove very accurately, since it does not touch the record, the dust that vinyl attracts due to static electric charge is not mechanically pushed out of the groove, worsening sound quality in casual use compared to conventional stylus playback. In some ways similar to the laser turntable is the IRENE scanning machine for disc records, which images with microphotography in two dimensions, invented by a team of physicists at Lawrence Berkeley Laboratories.
IRENE will retrieve the information from a laterally modulated monaural grooved sound source without touching the medium itself, but cannot read vertically modulated information. This excludes grooved recordings such as cylinders and some radio transcriptions that feature a hill-and-dale format of recording, and stereophonic or quadraphonic grooved recordings, which use a combination of the two as well as supersonic encoding for quadraphonic. In order to convert to a digital sound file, this is then played by a version of the same 'virtual stylus' program developed by the research team in real-time, converted to digital and, if desired, processed through sound-restoration programs.
As recording technology evolved, more specific terms for various types of phonograph records were used in order to describe some aspect of the record: Terms such as "long-play" LP and "extended-play" EP describe multi-track records that play much longer than the single-item-per-side records, which typically do not go much past four minutes per side. An LP can play for up to 30 minutes per side, though most played for about 22 minutes per side, bringing the total playing time of a typical LP recording to about forty-five minutes.
Many pre LPs, however, played for about 15 minutes per side. The usual diameters of the holes are 0. Sizes of records in the United States and the UK are generally measured in inches, e. LPs were inch records at first, but soon the inch size became by far the most common. Flexi discs were thin flexible records that were distributed with magazines and as promotional gifts from the s to the s. This format was soon dropped as it became clear that the RCA 45 was the single of choice and the Columbia inch LP would be the "album" of choice.
All colors were soon dropped in favor of black because of production problems. However, yellow and deep red were continued until about In the s, the government of Bhutan produced now-collectible postage stamps on playable vinyl mini-discs. The normal commercial disc is engraved with two sound-bearing concentric spiral grooves, one on each side, running from the outside edge towards the center. The last part of the spiral meets an earlier part to form a circle. The sound is encoded by fine variations in the edges of the groove that cause a stylus needle placed in it to vibrate at acoustic frequencies when the disc is rotated at the correct speed.
Generally, the outer and inner parts of the groove bear no intended sound exceptions include the Beatles ' Sgt. Increasingly from the early 20th century,  and almost exclusively since the s, both sides of the record have been used to carry the grooves.
Occasional records have been issued since then with a recording on only one side. The coloring material used to blacken the transparent PVC plastic mix is carbon black , which increases the strength of the disc and makes it opaque. Some records are pressed on colored vinyl or with paper pictures embedded in them "picture discs". During the s there was a trend for releasing singles on colored vinyl—sometimes with large inserts that could be used as posters.
This trend has been revived recently with 7-inch singles. Records made in other countries are standardized by different organizations, but are very similar in size. The stylus is lowered onto the lead-in, without damaging the recorded section of the groove. This space is clearly visible, making it easy to find a particular track. Towards the center, at the end of the groove, there is another wide-pitched section known as the lead-out.
At the very end of this section the groove joins itself to form a complete circle, called the lock groove ; when the stylus reaches this point, it circles repeatedly until lifted from the record.
On some recordings for example Sgt. Automatic turntables rely on the position or angular velocity of the arm, as it reaches the wider spacing in the groove, to trigger a mechanism that lifts the arm off the record. Precisely because of this mechanism, most automatic turntables are incapable of playing any audio in the lock groove, since they will lift the arm before it reaches that groove.
The catalog number and stamper ID is written or stamped in the space between the groove in the lead-out on the master disc, resulting in visible recessed writing on the final version of a record. Sometimes the cutting engineer might add handwritten comments or their signature, if they are particularly pleased with the quality of the cut. These are generally referred to as "run-out etchings". When auto-changing turntables were commonplace, records were typically pressed with a raised or ridged outer edge and a raised label area, allowing records to be stacked onto each other without the delicate grooves coming into contact, reducing the risk of damage.
Auto-changers included a mechanism to support a stack of several records above the turntable itself, dropping them one at a time onto the active turntable to be played in order. Many longer sound recordings, such as complete operas, were interleaved across several inch or inch discs for use with auto-changing mechanisms, so that the first disk of a three-disk recording would carry sides 1 and 6 of the program, while the second disk would carry sides 2 and 5, and the third, sides 3 and 4, allowing sides 1, 2, and 3 to be played automatically; then the whole stack reversed to play sides 4, 5, and 6.
The sound quality and durability of vinyl records is highly dependent on the quality of the vinyl. During the early s, as a cost-cutting move, much of the industry began reducing the thickness and quality of vinyl used in mass-market manufacturing.
Many collectors prefer to have heavyweight vinyl albums, which have been reported to have better sound than normal vinyl because of their higher tolerance against deformation caused by normal play. Manufacturing processes are identical regardless of weight. In fact, pressing lightweight records requires more care. This flaw causes a grinding or scratching sound at the non-fill point. Virgin vinyl means that the album is not from recycled plastic, and will 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 worn molds. Rather than having the proper mirror-like finish, the surface of the record will have a texture that looks like orange peel.
This introduces noise into the record, particularly in the lower frequency range. With direct metal mastering DMM , the master disc is cut on a copper-coated disc, which can also have a minor "orange peel" effect on the disc itself.
As this "orange peel" originates in the master rather than being introduced in the pressing stage, there is no ill effect as there is no physical distortion of the groove. Original master discs are created by lathe-cutting: The blank records for cutting used to be cooked up, as needed, by the cutting engineer, using what Robert K.
Morrison describes as a "metallic soap", containing lead litharge, ozokerite, barium sulfate, montan wax, stearin and paraffin, among other ingredients. Cut "wax" sound discs would be placed in a vacuum chamber and gold-sputtered to make them electrically conductive for use as mandrels in an electroforming bath, where pressing stamper parts were made.
Later, the French company Pyral invented a ready-made blank disc having a thin nitro-cellulose lacquer coating approximately 7 mils thickness on both sides that was applied to an aluminum substrate.
Lacquer cuts result in an immediately playable, or processable, master record. If vinyl pressings are wanted, the still-unplayed sound disc is used as a mandrel for electroforming nickel records that are used for manufacturing pressing stampers. The electroformed nickel records are mechanically separated from their respective mandrels. This is done with relative ease because no actual "plating" of the mandrel occurs in the type of electrodeposition known as electroforming, unlike with electroplating, in which the adhesion of the new phase of metal is chemical and relatively permanent.
The one-molecule-thick coating of silver that was sprayed onto the processed lacquer sound disc in order to make its surface electrically conductive reverse-plates onto the nickel record's face. This negative impression disc having ridges in place of grooves is known as a nickel master, "matrix" or "father". The "father" is then used as a mandrel to electroform a positive disc known as a "mother".
Many mothers can be grown on a single "father" before ridges deteriorate beyond effective use. The "mothers" are then used as mandrels for electroforming more negative discs known as "sons".
Each "mother" can be used to make many "sons" before deteriorating. The "sons" are then converted into "stampers" by center-punching a spindle hole which was lost from the lacquer sound disc during initial electroforming of the "father" , and by custom-forming the target pressing profile. This allows them to be placed in the dies of the target make and model record press and, by center-roughing, to facilitate the adhesion of the label, which gets stuck onto the vinyl pressing without any glue.
In this way, several million vinyl discs can be produced from a single lacquer sound disc. When only a few hundred discs are required, instead of electroforming a "son" for each side , the "father" is removed of its silver and converted into a stamper.
Production by this latter method, known as the "two-step process" as it does not entail creation of "sons" but does involve creation of "mothers", which are used for test playing and kept as "safeties" for electroforming future "sons" is limited to a few hundred vinyl pressings. The pressing count can increase if the stamper holds out and the quality of the vinyl is high. The "sons" made during a "three-step" electroforming make better stampers since they don't require silver removal which reduces some high fidelity because of etching erasing part of the smallest groove modulations and also because they have a stronger metal structure than "fathers".
Shellac 78s are fragile, and must be handled carefully. In the event of a 78 breaking, the pieces might remain loosely connected by the label and still be playable if the label holds them together, although there is a loud pop with each pass over the crack, and breaking of the stylus is likely. Breakage was very common in the shellac era. He wanted to cry but could not. Salinger 's novel The Catcher in the Rye occurs after the adolescent protagonist buys a record for his younger sister but drops it and "it broke into pieces I damn-near cried, it made me feel so terrible.
Another problem with shellac was that the size of the disks tended to be larger because it was limited to 80— groove walls per inch before the risk of groove collapse became too high, whereas vinyl could have up to groove walls per inch. By the time World War II began, major labels were experimenting with laminated records. As stated above, and in several record advertisements of the period, the materials that make for a quiet surface shellac are notoriously weak and fragile.
Conversely the materials that make for a strong disc cardboard and other fiber products are not those known for allowing a quiet noise-free surface. Vinyl records do not break easily, but the soft material is easily scratched. Vinyl readily acquires a static charge, attracting dust that is difficult to remove completely.
Dust and scratches cause audio clicks and pops. In extreme cases, they can cause the needle to skip over a series of grooves, or worse yet, cause the needle to skip backwards, creating a "locked groove" that repeats over and over.
This is the origin of the phrase "like a broken record" or "like a scratched record", which is often used to describe a person or thing that continually repeats itself. Vinyl records can be warped by heat , improper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover.
A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. Standard practice for LPs was to place the LP in a paper or plastic inner cover. This, if placed within the outer cardboard cover so that the opening was entirely within the outer cover, was said to reduce ingress of dust onto the record surface. Singles, with rare exceptions, had simple paper covers with no inner cover.
A further limitation of the gramophone record is that fidelity steadily declines as playback progresses; there is more vinyl per second available for fine reproduction of high frequencies at the large-diameter beginning of the groove than exist at the smaller-diameters close to the end of the side. Another problem arises because of the geometry of the tonearm.
Master recordings are cut on a recording lathe where a sapphire stylus moves radially across the blank, suspended on a straight track and driven by a lead screw. Most turntables use a pivoting tonearm, introducing side forces and pitch and azimuth errors, and thus distortion in the playback signal. Various mechanisms were devised in attempts to compensate, with varying degrees of success. See more at phonograph. There is controversy about the relative quality of CD sound and LP sound when the latter is heard under the very best conditions see Analog vs.
It is notable, however, that one technical advantage with vinyl compared to the optical CD is that if correctly handled and stored, the vinyl record will be playable for centuries, [ citation needed ] which is longer than some versions of the optical CD.
Even so, these early electronically recorded records used the exponential-horn phonograph see Orthophonic Victrola for reproduction. CD-4 LPs contain two sub-carriers, one in the left groove wall and one in the right groove wall. CD-4 sub-carriers could be played with any type stylus as long as the pickup cartridge had CD-4 frequency response. The recommended stylus for CD-4 as well as regular stereo records was a line contact or Shibata type. Equipment of modest quality is relatively unaffected by these issues, as the amplifier and speaker will not reproduce such low frequencies, but high-fidelity turntable assemblies need careful design to minimize audible rumble.
Tonearm skating forces and other perturbations are also picked up by the stylus. This is a form of frequency multiplexing as the control signal restoring force used to keep the stylus in the groove is carried by the same mechanism as the sound itself.
High fidelity sound equipment can reproduce tracking noise and rumble. During a quiet passage, woofer speaker cones can sometimes be seen to vibrate with the subsonic tracking of the stylus, at frequencies as low as just above 0. Another reason for very low frequency material can be a warped disk: For this reason, many stereo receivers contained a switchable subsonic filter. Some subsonic content is directly out of phase in each channel.
If played back on a mono subwoofer system, the noise will cancel, significantly reducing the amount of rumble that is reproduced. High frequency hiss is generated as the stylus rubs against the vinyl, and dirt and dust on the vinyl produces popping and ticking sounds. The latter can be reduced somewhat by cleaning the record prior to playback. Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae.
With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the record. At high frequencies, hiss, pops, and ticks are significant. These problems can be reduced by using equalization to an agreed standard. During recording the amplitude of low frequencies is reduced, thus reducing the groove width required, and the amplitude at high frequencies is increased. The playback equipment boosts bass and cuts treble so as to restore the tonal balance in the original signal; this also reduces the high frequency noise.
Thus more music will fit on the record, and noise is reduced. The current standard is called RIAA equalization. It was agreed upon in and implemented in the United States in ; it was not widely used in other countries until the s. Prior to that, especially from , some different formulae were used by the record manufacturers.
In Joseph P. Maxwell and Henry C. Harrison from Bell Telephone Laboratories disclosed that the recording pattern of the Western Electric "rubber line" magnetic disc cutter had a constant velocity characteristic. This meant that as frequency increased in the treble, recording amplitude decreased. Conversely, in the bass as frequency decreased, recording amplitude increased. Otherwise, bass modulation became excessive and overcutting took place into the next record groove.
When played back electrically with a magnetic pickup having a smooth response in the bass region, a complementary boost in amplitude at the bass turnover point was necessary.
Miller in reported that when complementary boost at the turnover point was used in radio broadcasts of records, the reproduction was more realistic and many of the musical instruments stood out in their true form. West in and later P. This meant that the electrical recording characteristics of Western Electric licensees such as Columbia Records and Victor Talking Machine Company in the era had a higher amplitude in the midrange region. Brilliance such as this compensated for dullness in many early magnetic pickups having drooping midrange and treble response.
Over the years a variety of record equalization practices emerged and there was no industry standard. Evidence from the early technical literature concerning electrical recording suggests that it wasn't until the — period that there were serious efforts to standardize recording characteristics within an industry. Heretofore, electrical recording technology from company to company was considered a proprietary art all the way back to the Western Electric licensed method used by Columbia and Victor.
Broadcasters were faced with having to adapt daily to the varied recording characteristics of many sources: The NAB, among other items, issued recording standards in for laterally and vertically cut records, principally transcriptions. When the record was played back using a complementary inverse curve, signal-to-noise ratio was improved and the programming sounded more lifelike.
The authors disclosed electrical network characteristics for the Columbia LP curve. This was the first such curve based on formulae. This was intended for use by hi-fi amplifier manufacturers. If records were engineered to sound good on hi-fi amplifiers using the AES curve, this would be a worthy goal towards standardization.
RCA Victor and Columbia were in a market war concerning which recorded format was going to win: Besides also being a battle of disc size and record speed, there was a technical difference in the recording characteristics. Ultimately, the New Orthophonic curve was disclosed in a publication by R. Moyer of RCA Victor in He traced RCA Victor characteristics back to the Western Electric "rubber line" recorder in up to the early s laying claim to long-held recording practices and reasons for major changes in the intervening years.
It eventually became the technical predecessor to the RIAA curve. Hence the RIAA curve did not truly become a global standard until the late s. Further, even after officially agreeing to implement the RIAA equalization curve, many recording labels continued to use their own proprietary equalization even well into the s. Overall sound fidelity of records produced acoustically using horns instead of microphones had a distant, hollow tone quality.
Some voices and instruments recorded better than others; Enrico Caruso , a famous tenor, was one popular recording artist of the acoustic era whose voice was well matched to the recording horn.
It has been asked, "Did Caruso make the phonograph, or did the phonograph make Caruso? Delicate sounds and fine overtones were mostly lost, because it took a lot of sound energy to vibrate the recording horn diaphragm and cutting mechanism. As full-time Real Estate Agents, we constantly come across clients that need renovation work done, before a sale or after the purchase of a property. And for almost a decade, we call Total Renovation before anyone else. Both for our clients and our own contracting needs as well.
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As this "orange peel" originates in the master rather than being introduced in the pressing stage, there is no ill effect as there is no physical distortion of the groove. If you want the best of both worlds, there are numerous educational video games for kids.