From the amp guru, and columnist for Vintage Guitar magazine, comes a future classic that features more than 60 easy-reading chapters de-mystifying the complex world of tube amplifiers. Over eight years in the making, it covers the basic knowledge and the practical steps to work on this type of amplifier, the preferred type of amp for millions of guitarists and technicians.
Improving on the previous design of the Pioneer A-Series speakers, the new 2011 Pioneer TS-A6874R prove to be a big step forward for the already award winning speakers. The most notable improvement on these new speakers is the enhanced power handling of the speakers. With an RMS power handling of 40 watts. The Pioneer TS-A6874R becomes a great solution for a factory replacement speaker. However, Pioneer increased the Max power handling to 350 watts, which is great for those that want to power these speakers with an aftermarket amplifier. Using Carbon graphite IMPP interlaced aramid fiber cone and an elastic polymer surround, the diaphragm response is smooth and results in natural, crisp sound. For those that want the latest in car audio loudspeaker technology, Pioneer is an excellent choice and a leader in the mobile loudspeaker industry. Improve your ride for 2011 with the Pioneer TS-A6874R. 6″ x 8″ A Series 3-Way Car Speakers Power Handling: Peak: 700 watts per pair / 350 watts each RMS: 80 watts per pair
Improving on the previous design of the Pioneer A-Series speakers, the new 2011 Pioneer TS-A1684R prove to be a big step forward for the already award winning speakers. The most notable improvement on these new speakers is the enhanced power handling of the speakers. With an RMS power handling of 50 watts. The Pioneer TS-A1684R becomes a great solution for a factory replacement speaker. However, Pioneer increased the Max power handling to 350 watts, which is great for those that want to power these speakers with an aftermarket amplifier. Using Carbon graphite IMPP interlaced aramid fiber cone and an elastic polymer surround, the diaphragm response is smooth and results in natural, crisp sound. For those that want the latest in car audio loudspeaker technology, Pioneer is an excellent choice and a leader in the mobile loudspeaker industry. Improve your ride for 2011 with the Pioneer TS-A1684R. 6-1/2″ 4-Way A-Series Coaxial Car Audio Speakers Power Handling Peak: 700 watts per pair / 350 watts each RMS: 100 wa
The BUGERA 212V-BK is not only the perfect complement for our BUGERA all-tube amp heads; it also matches virtually any other amp head. We proudly load this straight-front 2 x 12" cabinet with the same speakers that have impressed bar band warriors and seasoned pros alike ? and yes, we still make them ourselves in our very own factory. Height: 12 Width: 0 Weight: 50
BUGERA captures the stunning sound of the 1960s with the V55, a combo whose modern touches put a wide palette of vintage tones at your fingertips. With a proud pair of 6L6 power valves in the output stage, the V55 bathes your guitar in clean California sunshine.Its 2-channel preamp takes you everywhere from warm blues to garage-shattering crunch. A heavy-duty footswitch (included) lets you switch between channels remotely. Choose triode mode for an urgent, aggressive tonal edge, or pentode mode for clean and loud sound. A dose of built-in reverb provides the finishing touch. V55s Impedance switch (4, 8 and 16 ohms) makes it compatible with virtually any speaker cabinet. A custom-designed, handmade 12″ BUGERA speaker brings this amps vintage voice home in style.
Top products related to “Vintage Pioneer Amplifier” taken from Amazon.com:
Description:This simple, shaft-style headunit is perfect for listening to AM/FM and your favorite digital music via the SD card slot or USB drive. It easily replaces your classic car’s stereo with zero dashboard modification using shaft-style openings. Easily adjust the sound using volume, balance, and tone controls. Displays the current time. 2 channel output, 80 watts on each channel. Adjustable…
The phonograph was invented in the 18th century by Thomas Edison, but has remained nearly the same for over a hundred years. Now you can retain the look of a classic phonograph but have the technology of the 21st century! This vintage, authentically wood-crafted turntable is equipped with an AM/FM radio, CD player, cassette deck, aux in jack for your MP3 player, and even an iPod dock for a wealth …
Top-chandelier: Vintage to Modern lights, Glow
The old adage "Let There Be Light" was to complete a guiding principle and strengthening elements in good interior design. Adequate lighting in its many variations is crucial to feel a room and look to the right. Industrial Designers, for one to experiment to manipulate light to understand how to combine the relationship between space and objects to the form and function for targeted or ambient light. Floor lamps throw light on the ceiling to avoid glare, while Down Light Series cast distinctive light spots on a surface allows the eye to focus. New styles of LED lighting, green design, and so on, will be launched in every season to make the consumers with multiple options for any type of interior.
In narrowing of the field, these six picks – the present into the future: two edgy; you a hint of green culture, and three from VandM Dealers (hard choices), the vintage (early go to 1900) Modern (1960) offer from outstanding options, a demanding eye.
Series 28 (28.19) Design: Omer Arbel 2010 For Bocci Photo: Bocci
The standard 28-series in the collection Bocci clusters in hexagonal shapes, nestle into one another to create patterns than by the needs of the Interior dictated. The distorted spherical shape composed of a collection of inner forms of houses, a low voltage 20-watt halogen / xenon lamps or LED decency. The standard 28-design is suitable for compositions and infinite gradations of color that can be adjusted at Bocci's glass studio in Vancouver. Trailers begin at $ 490. The traders are listed@bocci.ca
Arteluce Blown Glass Pendants from VandM.com Review Dealer City Mid-20th Century 8 "H x 4" W x 4 "dia (20.3 cm H x 10.2 cm x 10.2cmW Dia)
Glass Orb followers are accent lights, a hint of color for decorative purposes and add a specific object. These rare colored Italian cased Orb Pendant from the 1960s are of a solid brass case and the cylinder will be upgraded to receive posted around the globe of clear crystal balls made with air. Separately for $ 1800 ea or $ 6500 for the set of four. (310) 652-8887.
Amplify Crystal Paper Lantern Designer: Yves Behar Swarovski Showcased at the Salone del Mobile 2010 Photo courtesy of Swarkovski
Here is a heads-up. Yves Behar of San Francisco-based industrial designer and founder of projectfuse revealed a surprising number of pendant lights made from recycled paper, that the effect of the shimmering chandeliers are recorded. His gem shaped Amplify to use lanterns to break a tiny crystal light from an LED lamp. Presented at the Milan Salone del Mobile last spring as part of the Swarovski Crystal Palace, a platform for experimentatation with innovation and technology. Each of the six flat packed in one box can show its form. How's that for progress. Expected production 2011th http://www.brand.swarkovski.com/ or http://projectfuse.com/
href = "http://vandm.com/Arts-Crafts-Antique-Hanging-Pendant-Light/3_266_product=37906.aspx"> Arts & Crafts Antique Hanging Pendant (1920) From VandM.com Dealer Vintage Lighting 61 "H x 35" Dia (155cm x H 88.9cm Dia)
Occasion the traditional craftsmanship of the simplicity of the Arts and Crafts period, this pendant its original detailing and bronze structure with a glass slag. One cluster of four 100-watt bulbs @ provide enough light. May have been in a Courthouse or Post Office has been suspended. $ 6800 (416) 789-1704.
PH Artichoke Design Poul Penningsen 1958 For Louis Poulsen Photo: YLighting
Self-inventor, architect, taught, was a pioneer in Poul Henningsen the introduction of lighting PH Snowball (still a top seller today), which made its debut in 1925. The PH Artichoke an expensive option that design in the U.S. In 2008 came on her 50th Birthday. As a masterpiece, this symbol is a 360-degree glare-free light, the one clear light. Created with 72 sheets in 12 lines that circular plate of the light source and redirect and reflect light to underlying sheets. Originally designed for the Langelinie Pavilion Restaurant in Copenhagen, where the PH pin depends yet made. Available in Cooper, stainless steel (brushed or painted), white (wet painted) and gold. The leaves are of stamped copper, laser cut stainless steel steel or punched. 18.9 "Dia x18.4" H. $ 7678 @ http://www.ylighting.com/ where detailed design specifications and materials.
Vintage Wrought Iron Ceiling Light From The Dealer VandM.com Malder Company France. about the beginning of the 20th Century 24.0 "H x 20.0" W (61cm H x 50.8cm W)
The sculptural design language reminiscent of the French Quarter's wrought iron balconies in New Orleans. Holds four lights @ 60 watts. The company specializes in custom lighting Malder, Plus offers a wide selection of lamps. $ 1,100. (415) 626-9492.
About the Author
Talis joined VandM.com in March of 2009 and is responsible for overseeing the company’s marketing, advertising and business development strategies. Before joining VandM.com, Talis led the account management department at The Creative Directors, Inc., a boutique advertising agency held by VandM’s parent company, EUE/Screen Gems ( http://www.euescreengems.com/ ). As Vice President, he managed new business as well as the company’s retail, financial and pharmaceutical accounts, including Office Depot, Silvercrest Asset Management, Wyeth and Schering-Plough. Prior to The Creative Directors, Talis was at the advertising agencies McCann Erickson New York and Campbell Mithun in Minneapolis, working on accounts such as Weight Watchers, Breyers, Klondike and several other Unilever brands. Talis started his career as a television producer, working on network news shows such as The Today Show, Dateline, CNN, and Good Morning America; reality shows such as Joe Millionaire and Big Brother; sporting events such as the NBA Playoffs and NHL All-Star Game; and documentaries such as Intervention on A&E. Talis received a BS in advertising from the University of Minnesota – Twin Cities. Inside info: Talis climbed Mt. Kilimanjaro, ran the NYC Marathon, and can eat fire.
My ”New” Jamo Studio 160 Speakers And Vintage Pioneer Amplifier
1 x 250 Watts RMS at 4 Ohms 1 x 500 Watts Max at 2 Ohms 1 x 1000 Watts Max at 1 Ohms 1 x 2000 Watts Max at 0.5 OhmsBass Boost Circuit Variable Phase Shift Control Variable Subsonic FilterVariable Low Pass Crossover Anti-Thump Turn-On Tri-Mode Configurable Soft Turn On/Off RCA Line Input and Output White Light Illuminated Crossover Control Power Protection LED Indicators Advanced Protection Circuitry Bass Boost Remote Control T.H.D: -0.50% S/N Ratio: +95dB Frequency Response: 15Hz- 150Hz Dimensions: 10.47”W x 2.46”H x 12.8”L Series: MAX Amplifier Class: Class D Dimensions: 2.56 X 10.16 X 12.87 Parts: 1 Year Labor: 1 Year
1 x 500 Watts RMS at 4 Ohms 1 x 1000 Watts Max at 2 Ohms 1 x 2000 Watts Max at 1 Ohms Bass Boost Circuit Variable Phase Shift Control Variable Subsonic FilterVariable Low Pass Crossover Anti-Thump Turn-On Tri-Mode Configurable Soft Turn On/Off RCA Line Input and Output White Light Illuminated Crossover Control Power Protection LED Indicators Advanced Protection Circuitry Bass Boost Remote Control T.H.D: -0.50% S/N Ratio: +95dB Frequency Response: 15Hz- 150Hz Dimensions: 10.47”W x 2.46”H x 12.8”L Series: MAX Amplifier Class: Class D Dimensions: 2.56 X 10.16 X 12.87 Parts: 1 Year Labor: 1 Year
Maximum Power Output 4 x 500WBridgeable RMS Power @ 4 Ohms: 2 x 1000W 4 Channel Bridgeable MOSFET AmplifierFrequency Response 20 Hz-50kHz (±3dB)Output Power @ 14.4v DC 50Hz2 Ohm StableMOSFET Power SupplyPWM ( Pulse-Width-Modulation ) SystemGlass Epoxy PCBSilver RCA InputsCustom Terminal Block for Speaker ConnectionThermal / Overload / Short Circuit ProtectionInput Impedance: 47K OhmsSoft Turn On/ OffAdvanced Protection CircuitryS/N Ratio: >90dBDimensions:10.24”W x 2.21”H x 14.58”L Series: Power Amplifier Class: Class AB Dimensions: 2.2 X 10.24 X 14.57 Parts: 1 Year Labor: 1 Year
20′ 8-gauge red power cable; petition high quality fuse holder; 3′ 8-gauge black ground cable16′ 18-gauge blue turn-on wire; 20′ high performance RCA (TRCA) interconnect; 30′ speaker wire6′ split loom tubing (20) 4″ wire ties (3) rubber grommets #10 ring terminal 5/16″ ring terminal; 1/4″ ring terminal…
The DEH-1300MP combines Pioneer’s legendary in-car audio technologies with the simplicity of modern design to provide a boost to your vehicle’s existing sound system. Built for those seeking exceptional performance at an unprecedented value, the DEH-1300MP provides access to all your favorite music through its multi-format CD player, universal connectivity to portable media players and enhanced AM…
Turn up your vehicle’s audio performance with the db651, a 6-1/2-inch coax speaker designed to drop into a variety of applications in no time at all. Advanced materials reduce component weight while offering rock solid reliability, advanced looks and ultra high performance. Borrowing technology from Polk Audio’s flagship SR Series, the db Series offers exceptional value for the price. …
This is a brand new MA Audio HK4000D class X digital mono block amplifier which retails for $1499.99 + tax. MA Audio’s Hard Kore Series amplifiers are globally known for their top of the line sound reproduction and exceptional accuracy allowing users to produce high-fidelity sound even under the most demanding of conditions. This infamous, Hard Kore Series amp offers an affordable way to produce t…
This is a brand new MA Audio HK2000D class X digital mono block 1 Ohm stable amplifier. MA Audio’s Hard Kore Series amplifiers are globally known for their top of the line sound reproduction and exceptional accuracy allowing users to produce high-fidelity sound even under the most demanding of conditions. This infamous, Hard Kore Series amp offers an affordable way to produce the output power nece…
This is an Audiobahn DUB2502 high performance 750 watt 2-channel car audio amplifier. This high performance MOSFET power 2-channel amp will deliver 750 watts MAX (375 watts x 2 channels) and 500 watts RMS (250 watts x 2 channels & 500 x 1 channel) of power to your car stereo system and is perfect for flexible integration into any after-market system. It is 2 ohm stable (4 ohm bridged) and features…
I have recently installed in front of Boss 2000 watt amp with my 3500 watt Pioneer subwoofer .. It works well, but the Problem is that the woofer work for 3 minutes, then the protection comes on and stays for 1 minute, and then goes away and it starts working, then to 3 minutes, the same happens … It keeps on happening again I tried to lower the Bass Boost, input level and etc, but still the same problem someone please help ME!
1) Disconnect AMP 2) lower Bass Boost 3 beat) with a sledge hammer 20 pounds, because the amplifier is garbage, should be avoided like the plague Boss Audio.
Explores all manufacturers and de-mystifys the inner workings of tube amps.All new material from the amp guru Gerald Weber. Tons of empirical data that de-mystify the inner workings of tube amps to help you get the most from your amps! You will learn how tube amps work, electronic concepts, how different types of tubes work, the anatomy of a gain stage, how to resurrect a dormant tube amp, how to do a cap job correctly, modifications to preserve your amp, how to voice an amp and tune the reverb, how to build an amp, recover a cabinet, re-grill a baffleboard, how to buy a vintage amp; and common wiring mistakes and idiosyncrasies found in vintage amps. And you get a couple of hundred pages of Questions and Answers sectioned off into Fender, Gibson, Marshall, Danelectro/Silvertone, Vox, Other American, Other British and Miscellaneous Topics. You will learn the six dreaded tone killers and how to avoid them, the top ten amp-tone tips, and how to fine-tune your entire amp setup. In short,
Heavyweight washed cotton canvas with leather bottom and accents. Large main compartment with inside zippered pouch. Padded sleeve with strap for laptop. Front flap with antique brass closure. Two front pockets. One side zippered pocket. shoulder strap. Size: 15 x 11 x 5 inches. Color: Brown Occasion: Casual Gender: Unisex Age: Adult
Description:This simple, shaft-style headunit is perfect for listening to AM/FM and your favorite digital music via the SD card slot or USB drive. It easily replaces your classic car’s stereo with zero dashboard modification using shaft-style openings. Easily adjust the sound using volume, balance, and tone controls. Displays the current time. 2 channel output, 80 watts on each channel. Adjustable…
The phonograph was invented in the 18th century by Thomas Edison, but has remained nearly the same for over a hundred years. Now you can retain the look of a classic phonograph but have the technology of the 21st century! This vintage, authentically wood-crafted turntable is equipped with an AM/FM radio, CD player, cassette deck, aux in jack for your MP3 player, and even an iPod dock for a wealth …
8″ Newly Developed Mica Reinforced Woofer. 8″ Enhanced H.O.P. Cone – Mid Woofer. 3 ” Enhanced H.O.P. Cone – Mid Driver. 1″ Nano Fine Balanced Dome Tweeter. Sound Reproduction to 50kHz (for High Resolution Audio). 200W Maximum Input Power….
Gramophone Record
Early history Edison cylinder phonograph ca 1899 A device using a vibrating pen to graphically represent sound Discs of paper, the idea of playing again without in any manner, was built by Edouard-Leon Scott de France in 1857. While the mechanism known as Phonautograph has been to show only on the optical properties of sound detected, it was recently that this representation could digitally analyzed and reconstructed as an acoustic recording. Especially in such an early phonoautogram, made in 1860 and now the oldest known audio recording, has been reproduced using computer technology. In 1877, developed Thomas Edison Phonautograph into a machine, the phonograph, which was capable of playing the recordings made. The recordings were made on aluminum foil, and were originally designed as a Voice recording medium may be used, typically for office dictation. The phonograph cylinder dominated the recorded sound market in the early 1880s. Lateral cut-records were invented by Emile Berliner in 1888 and were exclusively in toys until 1894, when Berliner began marketing records used in the Berliner Gramophone label. Berliner Records had poor sound quality, however, but the work of Eldridge R. Johnson, the fidelity improves to a point where they were as good as cylinders. Johnson's "and" Berlin's separate companies merged form the Victor Talking Machine Company, whose products would come to dominate the market and later for many years. In an attempt to head off to the disc advantage of the Edison Amberol cylinder introduced in 1909, minutes with a maximum length of 4 minutes (at 160 rpm) are in turn replaced by Blue Amberol Record was playing his celluloid, an early plastic that would be far less fragile than the earlier wax (in fact it had been the more or fewer had not indestructible for the plaster of Paris core). From November 1918 the patents for the manufacture of lateral-cut records has expired, open The field for countless companies to produce them, what records to overtake cylinders in popularity. Edison, production ceased in the year of cylinders 1929 (supposedly the day before the Wall Street Crash). Disc records would dominate the market until they were supplanted by the Compact Disc, 1980 from the early years. 78 rpm disc developments Hungarian Path record, min 90-100 U / Early speeds Early recordings were in a variety of speeds between 60-120 U / min produced, and a variety of sizes. At least one manufacturer, Philips produced plates, which won at a constant linear velocity. How these were played from the inside to the outside, the speed of the disk are reduced as reproduction progressed (as well as for the modern Compact Disc). As early as 1894, Emile Berliner Gramophone Company, sold the United States sided 7 "discs with an advertised standard speed of 70 rpm. A standard audio recording handbook describes speed controller, or "governor" as part of a wave of improvements introduced quickly after 1897. A picture of a hand-crank Victrola in 1898 shows a governor. He says that the spring drives replaced hand drives. It noted that: "The governor was an indicator that the speed when the machine was designed so that the records were established on reproduction, in exactly the same speed could be turned … In the literature is not known why 78 U / min chosen for the phonograph industry was, apparently, this occurs only at the speed created by one of the early machines and, for no other Basic use continued. " Record of the Emile Berliner Gramophone Company (later German Grammophon). Made in 1908 in Hannover, Germany In America In 1900, the two leading manufacturers of flat panels Columbia, 80 U / min used as his speed, and Victor, of which 76 were U / min. Since a company the records were played on the other machines, it is only logical that the ultimate standard-speed would be in the middle. Until 1925 the speed the standardized record with a nominal value of 78 rpm. However, differing standards between America and the rest of the world. The actual 78 rpm in America was 78.26 Rpm, the speed run from 3600 rpm synchronous motor (60 Hz) reduced by 46:1 gearing. While the rest of the world, 77.92 rpm was adopted, the speed a 3000 rpm synchronous motor driven by a 50 Hz and reduced by 38.5:1 gearing. For a more comprehensive in-depth look at 78's, cylinders and other historical media, please visit http://78rpmrecord.com Acoustic recording Early recordings were made completely acoustic, collected the sound of a horn and Pipe, a membrane that vibrated the cutting stylus. Sensitivity and frequency range were poor, and frequency response was very irregular, so that cylinder recordings immediately a recognizable sound. A singer had to practically his face in the recording horn brought. Cellos and basses were unrecordable completely. Standard violins were barely recordable, it was popular with straw violins recording studios. Contrary to popular belief, if properly set and prepared for, drums were used effectively and be one of the oldest jazz and military images. The loudest instruments were the furthest away from the horn collection. Lillian Hardin Armstrong, a member of King Oliver's Creole Jazz Band, recorded on the Gennett Records in 1923, recalled that in the first Oliver and his young second trumpet, Louis Armstrong, stood side by side and Oliver Horn could not be heard. "They put Louis about fifteen feet in the corner and looked very sad." "Electrical" recording German electrical recording of Carl Lindstrm AG During the 1920s, including engineers Orlando R. Marsh, as well as those at Western Electric developed technology to record sound with microphones, amplifying them to drive with vacuum tubes and with the amplified signal to an electromagnetic recording head. A wide frequency range could now recorded a marked increase in the volume of playback are only limited by the pitch of the grooves in the record time. Although the technology vacuum tubes and would today be described as follows using "electronic", it was the time to as "electric." A 1926 Wanamaker's ad in the New York Times offers records "by the latest Victor process of electrical recording. It was recognized as a breakthrough in a Times music critic, said: "… The time for serious musical criticism, reflected light of the achievements of the great music to take through the records. To say that the records are managed in exact and complete reproduction of all details of the symphonic and opera performances … would be extravagant. [But] the article of today is so far in advance of the old machines admittedly hardly qualify under the same name. Electrical recording and playback have combined to retain vitality and color in the preamble by Power of Attorney. " Peter Carl Goldmark (Hungarian: Goldmark PTER Kroly was) a Hungarian engineer, who during his time at Columbia Records, instrumental in the development the long-playing (LP) was 3313 rpm micro-groove vinyl records discs, the definition audio for home for two generations. Example of the Congolese 78 rpm records A 10-inch gramophone blank for self recording with 78 minutes rpm mark as a material "Decelith" with a special surface for hardening Electrical Recording preceded electrical home reproduction preceded (as much as digital recording, digital home reproduction), because the initial high cost of the electronics. In 1925, Victor Victor led the company's groundbreaking Orthophonic Victrola, an acoustic record, which was developed specifically to play electrically recorded discs, as part a line which is also electrically reproducing "Electrolas." The acoustic Orthophonics ranged in price from $ 95 to $ 300 (about U.S. $ 1,140 to $ 3,600 in 2007 dollars) depending on furniture, by comparison, the cheapest Electrola costs U.S. $ 650 (about U.S. $ 7,500 in 2007 dollars). The Orthophonic had an interior folded exponential horn, teaches a sophisticated design with impedance matching and transmission-line theory and designed to a relatively flat frequency response. His first public demonstration was the Front pages of newspapers in the New York Times reported that: "The audience broke into applause … John Philip Sousa [said]: 'Gentleman [sic] that a Band. This is the first time I ever heard talk about music with any soul, they are manufactured by a mechanical machine. "… The new instrument is a feat Mathematics and physics. It is not the result of countless experiments, but on paper in advance of the work is constructed in the laboratory …. The new machine has a range of 100-5000 frequencies [sic] or five and a half octaves …. The "phonograph tone" by the new recording and playback process is eliminated. " Gradually stepped electrical reproduction of the home. The movement was replaced by an electric motor, the "needle" and the diaphragm (the "sounding board") was with a "pickup" with either a steel or sapphire stylus replaced, and a converter to convert groove vibrations into electrical signals. The exponential was an amplifier and speakers. [Edit] 78 rpm materials Early records were made from various materials including hard rubber. In 1897 materials were used to largely by a rather brittle formula of 25% shellac, filler of a cotton compound similar to Manila paper, crushed replaced, and a small amount of a wax lubricant. The mass production of shellac records began in 1898 in Hannover, Germany, and lasted until the end of the 78 rpm format in the late 1950s Years. "Unbreakable" records, usually of celluloid on a cardboard base of 1904 were down, but she suffered from an extraordinarily high level of surface Noise. "Could be bent Unbreakable" records, broken or otherwise damaged, but not nearly as easily as shellac records. Vinyl was first as a 78 rpm material in 1939 trying to send as a cigarette commercial radio stations to fewer than vinyl was fragile in the email. On the plate is the speech made by the Lucky Strike show at the 1939 World's Fair NY. Decca introduced vinyl "Deccalite" 78s after the Second World War. During the war, produces U.S. forces, thousands of V-Discs for the soldiers to play overseas, as well as huge 16-inch War Department radio transcriptions, which were all made of vinyl. Victor made some vinyl 78s, but other labels would vinyl production to meet the special DJ copies of 78's, which were also often issued in vinyl, sent to radio stations will be limited, during the late 40s and early 50s. Finally, 78 new editions in vinyl since the 1990s for Juke Box collectors produced and Rhino Records. It should never be made to vinyl-78's playing on a phonograph, as it will destroy them. 78 rpm disc size In the 1890 Years, the early recording formats of discs usually seven inches (nominally 17.5 cm) in diameter. Until 1910, the 10-inch (25.4 cm) record by far the most popular Standard, held about three minutes of music or entertainment on a page. In 1903, 12-inch panels (30.5 cm were) commercially sold mostly classical music or opera selections, four-five minutes ago music per side. (Victor, Brunswick and Columbia were also 12 "medleys of popular, accent lighting usually a Broadway show score.) However, other sizes will be displayed. 8-inch-diameter discs with a 2-inch label was popular for about a decade in the UK, they can not fully be played on most modern turntable, as the tone arm does not reach far enough, without changes to the equipment. 78 rpm recording time The season of a record on the turntable speed and distance of the groove depended. At the beginning of the 20th Century, the early slices for two minutes, the same as the top cylinder Records obtained. The 12-inch disc, introduced by Victor in 1903 increased the playing time to three and a half minutes. Because keeping a 10-inch 78 rpm record was about three Minutes per side of the economy and the 10-inch size was the standard size for popular music, almost all popular recordings were approximately three minutes limited in length. For example, when King Oliver's Creole Jazz Band, including Louis Armstrong on his first recordings, 13 pages in Gennett Records show in Richmond, Indiana, in 1923, was one side of four sides were 2.09 and 2:522:59. From 1938, when Milt Gabler, the recording began on 17 January for his new label, Commodore Records, to allow more continuous performances, he took some 12 "records. Eddie Condon said:" Gabler recognized that a jam session needs space to develop. "The not the first two 12 "recordings use the extra length," Carnegie Drag "was 3:15;" Carnegie Jump ", 2:41. But on the second session, 30 April were the two 12 "-more shots," Embraceable You "was 04.05 clock," Serenade to a Shylock, "4:32. Another way was the limited duration to a range of both sides of a single record problem. Vaudeville stars Gallagher and Shean recorded "Mr. Gallagher and Mr. Shean" by Irving and Jack Kaufman, as the two sides posted a 10 "78 in 1922 for Cameo. An obvious workaround for longer recording was a group of records release. The first multi-record release was in 1903, at HMV in England made the first complete recording of the opera, Verdi's Ernani, over 40 individual discs. In 1940 published Commodore Eddie Condon and his band's recording of "A Good Man Is Hard To Find" in four parts, made out to both sides of two 12 "78s. This restriction insisted on the length of both popular music and jazz numbers from 1910 to invention of the LP, in 1948. In popular music, this time limit of about 3:30 to a 10 "78 rpm record meant that singers generally do not release pieces of the record. One exception is Frank Sinatra's recording of Rodgers and Hammerstein's "Soliloquy", on the Carousel of 28 Made in May 1946. Because it was 7:57, hold more than the two sides of a standard U-78 10 ", they published was Columbia's Masterwork label (the classical division) as two sides of a 12 record. "(see date). In the 78 era, classical music and spoken-word products in general, were released on the longer 12 "78, about 45 minutes per side. For example, on 10 June 1924, four months after the February 12 premiere of Rhapsody in Blue, recorded by George Gershwin with Paul Whiteman and his orchestra. It was released on both sides of the Victor 55 225 and runs 8:59. Look under the heading Record Albums These 78 rpm records were usually sold separately, in brown paper or cardboard sleeve, sometimes easily and sometimes printed with the manufacturer or the retailer the Name to show. Generally the sleeves had a circular cutout allowing the label to see. Records placed on a shelf could horizontally or upright on a Edge, but because of their fragility broke, many in the camps. German Odeon label is often said to have pioneered the "album" in 1909, when it released the "Nutcracker Suite" by Tchaikovsky on 4 double-sided discs in a specially-designed package. (It is not specified what size the Records.) However, the German Grammophon an album for his complete recording of the opera Carmen was produced last year. The practice of issuing albums does not seem well have taken from other record companies for many years, but HMV if an album cover with a pictorial, for the 1917 recording of the Mikado (Gilbert & Sullivan). With more than 1910 [Note 1] bound collections of empty sleeves with a cardboard or leather, like a photo album, were a "record" that customers can use to store their records (The term "record album" was printed on some covers). These albums come in both 10 "and 12 "sizes. The covers of these bound books were wider and higher than the records inside, so that the record placed upright on a shelf are like a book, suspending the fragile records before the shelf and to protect them. Starting in 1930 began issuing labels collections of 78 rpm Plates of an artist or a type of music in specially assembled albums, typically to cover with artwork on the cover and liner notes on the back or inside. On most albums, including three or four sentences, each with two sides, so that 6 or 8 songs per album. When the 12-inch vinyl LP era began in 1949, each record had often same or similar number of songs as a typical album of 78's, rise to the tradition of the term "album" has given as the LP. New sizes and materials A modern 12 "vinyl album played. Notice the pen in contact with the surface. Both record the micro-groove LP 33 rpm and the individual Records 45 U / min are made of vinyl plastic that is flexible and made unbreakable in normal use. However, the vinyl records to scratch or gouge, and much easier more susceptible to movement. In 1931, RCA Victor (from the Johnson and Berliner's Victor Talking Machine Company develops), the first commercially launched available vinyl LP, which sold as "Program Transcription" discs. These revolutionary discs were designed for playback at 33 rpm and pressed to a diameter of 30 cm flexible plastic disc with a duration of about ten minutes of playing time per side. In Roland Gelatt's book is "The Fabulous Phonograph, the author notes that RCA Victor's early introduction of a long disc playback, a commercial failure for several reasons including the absence was affordable, reliable Play equipment and consumer products consumer wariness during the Great Depression. Because of financial difficulties that the music industry in this period (RCA and their own revenue plagued parched), was recruited Victor's "long playing" records of quiet beginning of 1933. There was also a small group issued by "more" play records at a very early 1930's: Columbia introduced 10 "'more play' records (18000-D series) and a series of double-slot or longer cheap at 10 "records of their harmony, Clarion and Velvet Tone labels. All these were phased out in mid-1932nd However, the lower vinyl surface noise level than shellac was not forgotten, nor was its durability. In the late 30's, radio commercials and pre-recorded radio programs be sent to disc jockeys started stamped in vinyl, so they would not be broken in the mail. In the mid-1940s began a DJ copies of records that also made of vinyl, for the same reason. These were all 78 U / min during and after the Second World War, when shellac supplies were extremely limited has been some Entries in 78 rpm vinyl pressed instead of shellac, produced mainly the six-minute-12-inch (30 cm) 78 rpm records with V-Disc for distribution to U.S. troops during the Second World War. In the 40 years, were radio transcriptions, which were usually at 16-inch panels, but sometimes 12 inch, always made of vinyl, but cut at 33 revolutions per minute. Shorter Transcriptions were often at 78 rev / min cut. From 1939 on, Dr. Peter Goldmark and his staff at Columbia Records efforts to the problems of recording and Play of narrow grooves and developing an inexpensive, reliable consumer playback system to address. In 1948, the 12-inch (30 cm) Long Play (LP) 33 rpm micro-groove Record was approved by the Columbia Record Company in a New York press conference 21st Introduced in June 1948. In February 1949, RCA Victor released the first 45 min to 7 inch single in diameter, with a large hole in the middle room for an automatic mechanism to play on the changer, so that would be a stack of singles, a record drop at a time automatically after each game. Early 45 rpm records were either vinyl or polystyrene. They had a running time of eight minutes. On a small number of early Gramophone and radio systems transcription discs, as well as some entire albums, is the reverse direction of the groove, starting near the center of the disc and leading to the outside. A small number of records (such as Jeff Mills' Apollo EP or the Hidden In Plain Sight EP from Detroit's Underground Resistance) were multiple separate grooves made to play the tracks (usually differentiate as NSC-X2 '). Speeds Records Edison Diamond Disc "label, early 1920s Years. Edison Disc Records kept running at 80 revolutions per minute. The earliest speeds vary widely. Most records were made in 19001925 at 7482 rpm recorded per minute (rpm). Edison Disc Records consistently ran at 80 revolutions per minute. But a few unusual systems were used. The Dutch Philips Company introduced records whose rotational speed varied, so that the reproduction of "needle" was shown in a Constant Linear Velocity (CLV) in the groove. These records, unusually, played from the inside out. Both functions were to be found subsequently in the modern compact disc, which has also invented by Philips. The London Science Museum displays a Philips CLV record marked as "Speed D". In the year 1925 was 78.26 min as a standard because of the introduction of the electrically driven turntable Synchronous motor selected. This engine was running at 3600 rpm, so that would produce a 46:1 ratio 78.26 rpm. In parts of the world that used 50 Hz current is, the standard was 77.92 rpm (3000 rpm with a 38.5:1 ratio), also the speed associated with a strobe disc with 77 lines "would still ' in 50 Hz light (92 lines for 60 Hz). After the Second World War, these records were retroactive to 78 known to distinguish it from other newer disc record formats. Previously they were just as records, or if it is necessary to distinguish them from cylinders, disc records differ. Columbia and RCA competition extended to equipment. Some turntables included spindle size adapters, but other turntables required snap-in inserts like this adapt RCA greater than 45 rpm spindle size the smaller spindle size available on nearly all turntables. Shown is a popular design in use for many years. After the Second World War, two new competitors Formats came on the market and gradually replaced the standard "78 min": 33 rpm (often just as "33 rpm") and the 45 rpm (see above). The 33 rpm LP ("long play") format was developed by Columbia Records and marketed in 1948. RCA Victor developed the 45 rpm format and marketed it in 1949, as Response to Columbia. Both types of new disc used narrower grooves should, with smaller styliypically 0.001 inches (25 meters) wide, compared to 0.003 inches (76 m) for a 78o New records were being played are sometimes referred to as Micro Groove. In the mid-1950s all record companies agreed a common recording standard called RIAA equalization. Prior to the establishment of the standard each company used its own preferred standard, requiring sophisticated listeners to use preamplifiers with multiple selectable equalization curves. During stroboscopic speed controllers are used to set right, or a turntable speed to 45 rpm in the U.S., where the stroboscope disk with a lamp from a 60 Hz is illuminated running, most lightning somewhat inaccurate when it is supplying a 50 Hz. With a conventional single segment per pulse, the next achievable 45.112 + Rpm, a disc with 133 segments are needed. The difference amounts to the record sounds sharply by about 1 / 25 of a semitone (ie practically imperceptible). For the construction of a 50-Hz stroboscopic disk, the hospital is possible to exactly 45 U / min display, and 400 segments would be advancing to three segments on each light pulse. A number of shots were incubated at 16 rpm (typically a 7-inch disc, pressed visually identical to a single 45 rpm). Peter Goldmark, the man, the 33 rpm record designed and developed the motorway Hi-Fi will play 16 rpm record in Chrysler cars, but poor performance of the system and weak implementation by Chrysler and the Columbia led to the downfall of the 16 rpm records. Then min speed 16 rpm was used for radio transcription discs or narrated publications for the blind and visually impaired, and were never far commercially available, although it was common for new models of turntables at 16 rpm setting see produced as late as the 1970s. 1959 Seeburg 16 rpm record Seeburg Seeburg Corporation introduced the background music system in 1959 with a 16 rpm record with a 9-inch 2-inch hole in the middle. Each record instead of 40 minutes of music per page, recorded at 420 grooves per inch. The older 78 format continued alongside the newer formats mass produced until about 1960 in the U.S. and a few countries, like India (where some Beatles recordings were issued to 78), in the 1960s. For example, Columbia Records' recent reissue of Frank Sinatra songs on 78 rpm records was an album called "Young at Heart", first issued November 1954. Even in the 1970s, some children, the records of the 78 U / released min speed. min in the United Kingdom, the only 78 rpm was longer than in the United States and 45 U / took longer to become popular. The 78 was overtaken in popularity by the 45 rpm in the late 1950s, when young people increasingly wealthy, although some of the early singles by Elvis Presley sold more than 78 to 45 The last new 78 rpm singles in the UK in March 1960 have been released and the production ended 1961st The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended a competing vinyl format, the 7-inch (175 mm) 45 rpm disc. For a two-year period from 1948 to 1950, record companies and consumers faced uncertainty over these formats would ultimately in what was as the "war of Speeds prevail known. (See also format war.) In 1949, Capitol and Decca took the new LP format, and RCA gave in and gave his first LP in January 1950. But the 45 RPM was always popular, too, and Columbia issued its first 45s in February 1951. Until 1954 200 Millionen 45s had been sold. Finally, the 12-inch (300 mm) 33 rpm LP prevailed as the dominant format for music albums and 10 "LPs were no longer issued. The last Columbia Records reissue of Frank Sinatra on a 10" LP was an album called "Hall of Fame" was issued, CL 2600, 26 October 1956, contains six songs, each of Tony Bennett, Rosemary Clooney, Johnny Ray, Frank Sinatra, Doris Day and Frankie Laine. The 10 "LP, however, had a longer life in the United Kingdom, where the important early British rock and roll albums such as Lonnie Donegan's Showcase and Lonnie Donegan, Billy Fury's The Sound of Fury was released in that form. The 7-inch (175 mm) 45 rpm disc, or "single" was a significant Niche for shorter duration discs, usually contains an element of every page. The 45 rpm discs typically emulated the playing time of the old 78 rpm records, while the 12 "LP-slices up to half an hour per page. The amount of each LP's from various labels to label and possibly Performer Performer. Frank Sinatra's "A Swinging Affair", contained a mono-album, 15 songs, and ran 50 minutes. run more albums by other artists was able little as 30 or 35 minutes. After the introduction of stereo recordings, had personal bests, as likely was the early stereo groove wider than the mono-groove. A stroboscopic disc for 33 and 45 rpm (actually 44.77 rpm, as the correct number of segments on the 45 ring) at 50 Hz The 45 rpm records came in a variety as an Extended Play (EP), up to 1015 minutes of playing time at the expense of mitigating known reached (and possibly compressing) the sound to reduce the width required by the groove. EP discs were used in the rule to reissue LP albums on the smaller format for the people, only 45 U / min had players. LP albums could be purchased 1 EP at a time, with four items per EP, or in a box with 3 EPs or 12 Points. The large hole in the middle of 45s allows for easier handling by jukebox mechanisms. EPs were generally from the late 1950s, not as a continuing three and four-course record replaced the 45 individual players. One indication of the decline of the EP 45 rpm is that the last Columbia Records reissue of Frank Sinatra Songs was issued on 45 rpm Records EP called "Frank Sinatra" (Columbia B-2641) 7 December, 1959. However, the EP took much longer in Europe and was a popular format in the 1960s for recordings by artists such as Serge Gainsbourg and the Beatles. In the late 1940s and early 1950s, 45 rpm-speakers, that only players missing and were on a socket on the back of a radio is widely available. Finally, they were replaced by the threepeed turntable. From the mid-1950s by the 1960s in the U.S. the common home "record player" or "Stereo" (After the introduction of stereo recording) would usually have these Had features: a three-or four-speed player (78, 45, 33 and sometimes 16 min rpm), with CO, a tall stem, would keep more records stored and can automatically drop a new record at the beginning of the last, when she had finished playing, a combination cartridge with both 78 and microgroove styli and a path between the two Mirrors, and some kind of adapter for playing the 45s with their larger hole in the middle. The adapter is a small solid circle to be fit that, on the underside of the spindle (Meaning only a 45 could be played at a time) or a greater fit adapters to allow through the entire spindle, the 45s-stack play. RCA 45s were also in the smaller spindle of an LP player with a custom plastic insert snap-in as "Spider" known. These operations, the president of RCA David Sarnoff commissioned and invented by Thomas Hutchison, were distributed starting in the 1960s, sales in the tens of millions per year in the 45's heyday. In Countries outside the U.S., 45s often had the smaller album perforation (eg Australia and New Zealand), or else a pseudo-spider was "built-in" on the plate, the could be carried out punched if desired (ie, the United Kingdom, especially before the 1970s). Deliberately playing or recording records at a higher speed gave an antic quirkiness to voices; itself changing at a slower speed music and voice to an ominous, growling tone. Canadian Nash the Slash took advantage of this speed / tonal effect with his 1981 12-inch disc cutting, which developed four instrumental tracks that, in order at any speed (with the Game times are listed for 33 to play were presented 45 and 78 rpm playback). Sound Enhancements As the LP established itself as the dominant size for longer recording several developments have been made to improve the sound. High Fidelity The first was the attempt, high fidelity, or hi-fi, sound to develop. In the late `20s and early` 30s, as the vertical modulation higher fidelity was as a medium because of its immunity to the common collection lateral turntable rumble, caused by the rubber puck driving edge of the turntable rim, an earlier version of the Cook binaural system (as described below in Stereo) was experimented with and, but for high-fidelity, not stereo (at least not yet). This system uses vertical differentiation in the smaller space near the center of the disc goes for the bass part of the program, starting with half of the disk around the label to avoid inner-groove distortion, modulation, and lateral used for the treble part of the program in the wider area from the edge of the disc to move through the levels part of the program half way. This meant that the lateral Turntable rumble could be filtered out of the treble electronically through a crossover and the crackle and static of the heights was from the bass through the same process filtered be. [Edit] Since vertical pickups were more difficult to obtain, and took up more space than their counterparts side, now, experiments were conducted to both the bass and the heights of parts of a high-fidelity record program in its own grooves in a lateral fashion on the same side of the disc. With the help of a two-Channel Amplifier and Speaker system, with one channel driving the wide-range woofer and a canal ride combining wide-range midrange and tweeter, true wide-range high-fidelity would be achieved. The format was only experimental, but it was not long before this system was again adjusted for early stereo (see below). People with hearing were all sound quality now embedded in the new LPs began to separate turntables, amplifiers, speakers and subwoofer to buy to get the best possible sound. Stan Freberg satirized these fans on his radio show in 1956 with a sketch about a man who transforms his house into a loudspeaker. Flanders & Swann also funny made installation of the components necessary for high fidelity in their song of reproduction. (In 1931, Victor was experimenting with a high-fidelity microphone recording system and a number of records in the 22,900 issued and 24000 series were surprisingly "hi-fi". But the records too loud and "Blasty 'on most were reproducers at home, and after rising complaints from its dealers, Victor remained with this unit in New York and Camden Studios about its mid-1932 and sent them to her Chicago studio, where they continue to be used until about 1934.) Stereo Sound In 1957, the first commercial stereo two-channel recordings were on Transparent blue vinyl of Bel Canto, the first edition of which is a highly multi-collector vinyl sampler with "A Stereophonic Tour of Los Angeles" tells the story of Jack Wagner on the one side, and a collection of tracks from different albums Bel Canto on the back. [Edit] After 1958, more Stereo LP released by Audio Fidelity in the U.S. and Britain offered Pye, with the Westrex "45/45" single-spring system. While the needle is moving horizontally when playing back a monophonic disk recording, stereo records the stylus to move both vertically and horizontally. were, in fact, prior to the full development of the system 45 / 45 the first stereo cutting heads made by screwing a lateral section head and a vertical cut his head with a single stylus holder. Feeding the drive coil in accordance with graded material, a practice that would later lead the matrices used in quadraphonic reached, the groove 45/45. See also http://78rpmrecord.com/altformat.htm Rill with sound only on left channel One could imagine a system in which the left channel was recorded laterally, as on a monophonic recording, with the right Channel information with a "mountain and valley" vertical movement recorded, as systems have been proposed but not adopted, because of their incompatibility with the existing Phono pickup designs (see below). Before the experiments, the lateral and vertical sections of the groove were experimented described with a discrete twin-slot system. But before this lateral-vertical-slot system was experimented for stereo playback, its' components were for other purposes, namely, many radio stations music transcriptions accepted uses the vertical modulation part with his "higher fidelity and less susceptible to electronic rumble, and lateral portion of language, as the rumble could from filtered, and not on the program. Also from the mid-50's ", a sound engineer named Mintner tired of the incompatibility of the vertical part of the stereo recordings and their susceptibility to the injury, when played with a mono-vertical irregular cartridge and pen and came up with a way to have both sides and channels recorded in the same Groove. Because of the frequency limitations of the cutting heads of the period, the disc took on 16-2/3 rpm for playback at 33-1/3 be mastered RPM, a practice that would be later adapted and improved to create linked in the 70s, with 180 gram virgin vinyl super thick Half Speed Mastered audiophile LPs. Similar to lateral-vertical stereo played through a stereo system 45-45, left Mintner normal mono signal into the normal frequency range of 20Hz-20kHz, ensuring compatible with normal mono player of the period, and then the difference signal pulled up to a supersonic band of 20 kHz 45kHz 30kHz through modulation of a carrier signal on the disc engraving. A carrier detector and de-matrix circuit, similar to what used to be later for FM stereo multiplex felt the support shaft brushed it off, retrieved and then the signal is matrixed with the original mono signal in stereo to create. Unfortunately, the development of lightweight tone arms were still many years away, in the future, and so the high weight of the pickup weapons in the 50s caused the carrier wave on the disk are completely destroyed after only played a few times. But both the modulated carrier wave and matrix coding used herein later by two and as a CD-4 and multiply SQ / QS or in quadraphonic. [Edit] Another early experimental stereo- the left channel of the program on the left side engraved (top) side of the disc usually run in a clockwise format, and the right channels engraved on the right side (below) Side of the disc counter-clockwise fashion. That was easy, by the pen round front-to-back achieved in the head, and the introduction of a figure-8 flip in the lathe drive belts, which the recording be done outside-in, but in reverse order. To play the CD, was a pedal to the Twin Grammophon heads, each with separate facing the turntable and load the disc vertically as in a jukebox. Then the pedal was very carefully put back on his head, released on the disc for the game. As the pedals were spring loaded, most records were from the two major Grammophon heads into the disc, when the load was released pedal crash destroyed. The format died primarily because the brittleness of 78, as described above, and also because of the fact that some discs have been in an offset format for players with heads on opposite sides of the hub made, while others are for playing on machines with Grammophon and heads on the same page. Playing a disc for one would be on a player for the other half a turn difference in the program, similar to the test, a manual sequence on a record changer Made induce play where the two sides would be in the correct order. [Edit] Using a different technique of vintage Vitaphone recordings that sound films accompanied in the `20 is borrowed, before the advent of sound-on-film, arrows were on the master to the beginning of the inscription of the lead-in groove. Stampers could then either aligned with be differentiated from each other or FPR production, which was, incidentally, for the high maintenance for Stamper focus on the needs of long rest and exactly the same Vitaphone disc production equipment, which produced the originals performed. connected for a good visual of the early problems with Vitaphone, see the recording scene and the movie preview scene, Gene Kelly in MGM's Singin 'in the rain. Unlike most of phonograph discs, Vitaphone records on the needle moved from the interior of the disc to the outside, a practice half of the live recording engineers of this pre-tape days rented, recording odd pages would be a live performance conventional outside-in, and even sides of a program inside-out back and forth between Twin Disc recording lathes. When plated and pressed, they have been with a hybrid discs manufactured manual and automatic operator changer sequence called DJ-disc sequence, so that any time an operator would never have a disc has to swing on. This inline / staggered heads idea of Twin-sided stereo shellacque 78's later in the competition home stereo tape formats are used would be the early 50s, not to play once a machine capable of stereo recording made on the other. This time, however, a format line, triumphed. After laying dormant for over 40 years, this idea with a head on the front wheel and a a head on the back was in the 70 years of Sharp Electronics, and in a space-saving design hub for both sides of a vertically oriented LP in order to play, without moving the pen took from side to side (as in a two-laser disc player, where the pickup moves from the bottom up to the other side to play). Each side had its own cartridge and stylus, and the three-inch platter could be allowed in both directions for as much as 45 minutes of uninterrupted music spinning. The Cook-Twin-slot stereo system borrowed, but put those two slots on the same side of the disc, sweep the left channel at the beginning of the groove near the edge of the disc and the right Channel at the beginning of the proximity of a point halfway through the recording and the conclusion in the vicinity of the label. A Twin-lateral image was used for playback. tilted in the Westrex system, the lateral-vertical system described above is 45 degrees, so that each channel to drive the cutting head at a 45 degree angle to the vertical, as in parts both the lateral and vertical modulations, eliminating the need for a matrix encoding, if from a stereo source. During playback, the sampled combined signal is a left channel coil mounted diagonally opposite the inner side of the groove and a right channel coil mounted diagonally opposite the outer side of the groove. It Helpful to the combined stylus motion in terms of the vector sum and difference is to think of the two stereo channels. Effectively conveys all vertical movements of the stylus signal difference LR and horizontal movement of pin carries the L + R sum signal. The advantages of the 45/45 system are: greater compatibility with monophonic recording and playback systems. A monophonic cartridge will reproduce the same as the left and right channels instead of reproducing only one channel mix. (However, many would monophonic Styli damage a stereo groove, leading to the common recommendation to never Conversely, a mono cartridge on a stereo recording.), a stereo cartridge reproduces the lateral grooves of monophonic recording on both both channels, but as a channel. a balanced sound, because the two channels have equal fidelity (rather than if a higher-fidelity vertically recorded Channel and a lower-fidelity laterally recorded channel); Higher fidelity in general, because the "difference" signal is usually low power consumption and thus less affected by the internal distortion of the hill and valley recording. This system was invented by Alan Blumlein of EMI in 1931 and patented in the same year. EMI See you cut the first stereo test discs using the system in 1933, Bell Labs Stereo experiment of 1933. It was not used commercially until a quarter century later. Stereo sound provides a more natural listening experience where the spatial location of the source of the sound, at least in part, reproduced. Further improvements Under the direction of recording engineer C. Robert Fine Mercury Records initiated a minimalist single microphone mono recording technology in 1951. The first record, Kubelik / Chicago 's Performance of "Pictures at an Exhibition" to be "in the living presence of the orchestra" by The New York Times music critic, has been described. The series of Records was then named ercury Living Presence. In 1955, 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 lateral microphones additional depth and space. Record masters were directly from a three-track two-track mix, cut, with all Processing of the master tapes to the original three tracks done console. In 1961 Mercury enhanced this technique instead of three-microphone stereo recordings with 35 mm the magnetic layer of half inch tape for recording. The greater thickness and a width of 35mm magnetic film prevented tape layer print-through and pre-echo and gained extended frequency range and transient response. The Mercury Living Presence recordings were on CD in the 1990s by the remastered original producer, Wilma Cozart Fine, with the same method the 3-to-2 mix directly to the master recorder. The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was on the two stereo channels by electronic matrixing, where the additional channels were combined reach in the main signal. If the records were played, phase-detection circuits in the amplifiers were the signals into four separate channels to decode. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved to be commercially successful, but were an important precursor of the later "surround sound" systems, as in SACD and home cinema today. Another format, CD-4 (not to be confused with compact disc), encoded by the RCA, return on an ultrasonic carrier, which a special wideband cartridge to make it a safe place calibrated tonearm Capture / turntable combinations required. Normally, the high frequency information inscribed on these LPs wore after only a few games and CD-4 was less successful than the two matrixed formats. (Another problem was that no cutting heads are available, could the HF were around information. That was round by Performance at 'half speed was'. Later, the special half-speed cutting heads and equalization techniques were used to a wider Frequency in Stereo with reduced distortion and greater headroom to receive.) By the 1960s, 1970s and 1980s, various methods to improve the dynamic range of mass produced records involved highly sophisticated cutting machine. These techniques, markets, to name two, as the CBS DisComputer and Teldec Direct Metal Mastering, were used to reduce inner-groove distortion. RCA Victor introduced a system for increasing dynamic range and achieve a groove with less surface noise under Dynagroove the brand name. Two key elements were combined: another disk material with less surface noise in the groove and dynamic compression masking Background noise. Sometimes this was a "diaphragming" of the original material and not from some disadvantaged music lovers for his unnatural side effects. Both elements were reflected in the brand name of the Dynagroove in detail elsewhere. It also used the earlier advanced method of control is looking forward to the line spacing with respect Volume and position on the disk. Added were close to each other with lower volumes and farther away with loud passages, especially for the bass. Even length the higher density at lower volumes allows recordings to hard drive further away from the inner circle than usual end to contribute to further distortion endtrack . Reduce In the late 1970s, direct-to-disc "records were compiled an audiophile niche market. These fully the use of magnetic tapes favor of a "purist" transcription directly to bypass the master lacquer disc. Also during this period, "half-speed mastered" and "original master" records have been published, with expensive state-of-the-art technology. Another development in the late 1970s was the Disco Eye-cued system used primarily on Motown 12 "singles published between 1978 and 1980. The introduction, drum-breaks or choruses of a track were indicated by widely separated grooves, a visual indication of the DJs mix records. The occurrence of these records is similar to an LP, but they contain only one track per side. The early 1980s saw the introduction of "Dbx-encoded" records, again for the audiophile niche market. These were completely incompatible with standard record playback preamplifiers, relying increase to the dbx compander encoding / decoding scheme significantly dynamic range (dbx encoded disks with the dynamic range by a factor of recorded compressed Two were meant in dB: quiet sounds to win again at low and loud sounds were meant to hear, to be played back at high gain, via automatic gain Control the playback equipment, which reduces the effect of noise on the surface of quiet passages). A similar and very short lived scheme involved using the CBS-developed "CX" noise reduction encoding / decoding scheme. Laser Turntable Main article: Laser Turntable ELPJ, a Japanese-based companies, has a player that uses a laser instead of a pen vinyl reading develops. In theory the laser turntable eliminates the possibility of scratches and attendant Deterioration of the sound, but their cost limits recognize primarily to digital archiving of analog records and the laser is not colored vinyl or picture disc. Several other Laser turntables were tried during the 1990s, but while a laser reads the groove very accurately, because they do not touch the record, the dust that naturally attracts Vinyl Static electricity is not cleaned from the groove, deterioration in sound quality compared to conventional stylus playback occasional use. Locker with the laser turntable connected IRENE http://irene.lbl.gov/ invented by a team of physicists at the Lawrence Berkeley Laboratories, the information from all lateral-modulated monaural retrieve grooved Sound source without touching the media itself. However, it is only good for IRENE mono, lateral recordings. For vertically modulated grooves media such as radio and some bottles Transcriptions, the one hill and valley-format recording, or for stereo or quadraphonic grooved functional images, a combination of both, and supersonic coding to use for quadraphonic, this work would not. Enter the descendants of the confocal microscope cylinder IRENE Project http://www.flickr.com/photos/kqedquest/2711763438/ where a high resolution 3-D image of the surface to 200m. To convert a digital sound file, it will be played by a version of the same "virtual stylus" program by the research team in real-time digital converted and, if desired, further developed through sound restoration programs. However, before the final Play into the computer, convert digital audio files in real time, it is also possible, many inadequacies in the media of sound or in the video field, by removing use the same tools as major movie studios in restoring their films. The result is truly breathtaking. [Edit] Formats The protective cover of the One-Voyager Golden Record, with symbolic information about how it should be played. Types of records See also: Recording medium comparison See also http://78rpmrecord.com/altformat.htm As recording technology developed more specific terms for different species have been used by records, to describe one aspect of the record: either its proper speed (16 rpm (revolutions per minute), "33 rpm", "45 rpm" "Used 78 rpm") or the material (particularly "vinyl" to records of polyvinyl chloride, or the earlier "shellac records" point is usually the main ingredient in 78S). Other terms such as "Long Play" or LP, and "Extended Play" EP or describe multi-track recordings, the play much longer than the single-item-per-page data sets that do not usually much past 4 minutes per side. An LP can play around thirty minutes per side. The 7 "45 rpm format contains usually reach one piece per page, but a 7" EP was recording times of 10 to 15 minutes at a cost of mitigating and compacting the sound to reduce the width of the groove required. EP discs were typically used to make tracks not available on single tracks on LPs and albums in a smaller, less expensive format for only 45 U / min had players. The large hole in the center at 7 "45 rpm records allows for easier handling by jukebox mechanisms. The term" Album, "which originally used a" book "means, with liner notes, and held several 78 rpm records each in its own" side "or Sleeves no longer has any relation to the physical format: a single LP, or nowadays usually more of a CD. Quantities of records in America and Britain are usually measured in inches, usually with a double prime symbol, eg a 7-inch or 7 "record, which generally were 45 rpm records. LPs 10" on the first records but soon the 12 "size was by far the most common rule at 78 10 ', but also 12" and 7 "and even smallerhe so-called" Small wonder. " Most Popular Formats Diameter Revolutions per minute Duration 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 children's records in the 1960s and 1970s. Notes: Before the beginning of the 1950s, the LP 33 rpm was found most frequently in a 10-inch (25 cm) format. The 10-inch from the United States around 1950 stores disappeared, but remained a common Format in some markets until the mid-1960s. The 10-inch vinyl format was revived in the 1970s for marketing some popular recordings as collector's items, and these are now uncommon. The maximum time per page for an LP is only accessible with special playback styli, will cut engineers often dislike such cut grooves. Less common formats Main article: Unusual types of records Structure A standard wide-Hole 7 "vinyl record from 1978 on their respective sleeves. The normal commercial disc is engraved with two sound bearing concentric spiral Grooves, one on each side of the disc, which extends from the outer edge towards the center. The last part of the spiral corresponds to an earlier part to form a circle. The Sound is encoded by subtle variations in the edges of the groove cause a stylus (needle), they set to vibrate at acoustic frequencies when the disc is rotated with the correct speed. In general, the outer and inner parts of the groove to any particular sound (at least one exception is Split Enz's Mental Notes). Since the late 1910s, both sides of the plate was used to carry the grooves. Occasionally, records were in the 1920s with a recording on one side only issued. briefly in the eighties, Columbia Records released a series of one 45 rpm singles were as "loss leaders", the theory that it costs less for a single-sided, if not required to pay license fees for two artists. The majority of non78 rpm records pressed on black vinyl. The dye used to the transparent PVC plastic mix is carbon black to blacken. Carbon black increases the strength of the disc and makes it opaque. Polystyrene is often used for 7-inch plates. Recently (2008), reissue label Classic has its future releases would be announced all on clear vinyl, after engineers determined that the Carbon black itself has magnetic properties that adversely affect the correct reproduction of the cartridge. Some records are in colored vinyl, or with paper pictures embedded in them ("Picture Disc" button). Sure 45 rpm RCA or RCA Victor Red Seal "records red transparent vinyl for extra" Red Seal "effect used. In the 1980s there was a trend to release singles on colored vinyl sometimes with large inserts that could be used as a poster. This trend has recently been revived with 7-inch singles. The record standards for the United States following the directives of the Recording Industry Association of America (RIAA). The inch dimensions are nominal, not precise diameter. The actual dimension of a 12-inch plate is 302 mm (11.89 in), for a 10-inch it is 250 mm (9.84 in), and for a 7-inch 175 mm (6.89 in) is. Records made in other countries are standardized by different organizations, but they are very similar in size. The record diameter are typically 300 mm, 250 mm and 175 mm. It is an area of about 6 mm (0.25 in) wide at the outer edge of the disc, the so-called lead-in, where the groove is widely spaced and silent. This section allows the stylus to the start of the record groove to be dropped without damage to the recorded section of the groove. Between each track on the recorded section of an LP, there is usually a short gap of about 1 mm (0.04 in), where the groove is widely spaced. This space is clearly visible, making it easy to find a specific title. A macro photo of the inner grooves of a record. Saved Sound in the form of variations on the trail is clearly visible, such as dust on the plate. Magnified grooves. Dust can be discovered. Red lines mark a millimeter Against the label removed at the end of the groove, it announced another major roof section as the lead-out. At the very end of this section, shall enter into the groove to form a complete circle Which form the so-called lock groove when the stylus reaches this point, circles repeatedly until lifted from the plate. In some recordings (for example, Sgt. Peppers Lonely Hearts Club Band by the Beatles and "Atom Heart Mother by Pink Floyd), the sound continues on the lock groove, which repeat a strange effect abandoned. Automatic Turntables on the Position or angular velocity of the arm as she reached them further apart slots, a mechanism that lifts the arm and moves out of the way to trigger the recording. The catalog number and stamper ID written or stamped in the space between the groove in the lead-out on the master disc that is visible in the final installation in writing on the Version of a record. Sometimes the cutting engineer might add handwritten comments or their signature when they are particularly satisfied with the quality of Cut. These are generally referred to as "run-out engravings. When auto-changing turntables were commonplace, records were generally higher with a pressed (or ridged) outer edge and a raised label area. This would allow records to be stacked on each other, gripping each other without the delicate grooves coming into contact, reducing the risk damage. Auto changing turntables included a mechanism to which several records above the turntable itself Stack supported, they could be played one at a time on the active hub in order. Many longer sound recordings, such as complete operas, were several 10-inch or 12-inch discs for use with auto-changing mechanisms each other, so that the first hard drive would lead a three-disk recording sites 1 and 6 of Program, while the second hard drive would run pages 2 and 5, and the third is, pages 3 and 4, so that pages will be played 1, 2 and 3 automatically, then the whole play reverse pages 4, 5 stack, and 6 Vinyl quality The sound quality and durability of vinyl records is highly dependent on the Quality in the vinyl. During the early 1970s, as a cost-cutting move towards use of lightweight, flexible vinyl pressings, has much of the industry a technique for reducing the thickness and quality of vinyl used in mass-market production of RCA Victor marketed as "Dynaflex" (125 g) procedures as inferior by most record collectors. Most records come from a mix of seventy cents per pressed virgin vinyl and thirty percent recycled PVC. New "virgin" or "serious / Heavyweight (180 220 g) vinyl is commonly used for modern" audiophile "vinyl releases in all genres. Many collectors prefer 180 g vinyl albums have, and they were reported to have a better sound than normal vinyl. These albums tend to the deformation by normal play better than regular caused withstand 180 g Vinyl Vinyl is more expensive to produce, just because it uses more vinyl. Manufacturing processes are independent of weight. In fact, pressing slightly records requires more care. An exception is the inclination of 200 g of pressures being slightly more vulnerable to complete "non-fill", where the vinyl sponge does not sufficiently a deep groove in the press (or vocal percussion amplitude changes are the usual locations of these artifacts). This error indicates a grinding or scratching sound at the non-fill point. Since most records for up to thirty percent recycled vinyl, impurities can be accumulated in the plate, leading to a brand new album to audio artifacts are like clicks and pops. Virgin vinyl means that the album is not made of recycled plastic and is theoretically free of these contaminants. In practice, this depends of the manufacturer's quality control. The orange peel effect on vinyl records caused by molds taken. Rather than using the correct mirror-like finish, the surface the plate have what looks like an orange peel texture. This causes noise in the data, especially in the lower frequency range. It should be noted that with Direct Metal Mastering (DMM) of the master CD is on a copper-coated disc, which will also have a small "orange peel" effect on the disc itself cut. As this "orange peel" originating in the master rather than introduced in the pressing stage, there is no ill-effect, as there is no physical distortion of the groove. While all records pressed from metal discs as the "stamper", a technique such as lathe-cutting is used to cr known known … About the Author