Gramophone Record

first recordings on the disc have been minute in a variety of speeds 60-120 rpm, produces and a variety of sizes. At least one manufacturer, Philips produces CDs that have played at a constant linear velocity. When he play from the inside out, the speed of the file that the reduced reproduction progressed (as it does for the modern Compact Disc).
In 1894, Emile Berliner Gramophone Company was in the United States, the sale of one-sided 7 “discs with a standard rate of publicity min” about 70th
A standard audio recording handbook describes speed regulators or “governors” as part of a wave of improvements introduced soon after 1897. As a crank Victrola in 1898 shows a governor. He said that the spring drives replaced hand drives. It notes that:
“The Cruise Control was with an indicator that the speed when the machine is designed so that the files could be on reproduction, have been associated with the same velocity shows available. be .. The literature does not reveal why 78s selected for the recording industry, was apparently the only created at the speed of one of the first machines happened, and for no other reason, still in use. “
Record Emile Berliner Gramophone Company (later with Deutsche Grammophon). Made in 1908 in Hannover, Germany
In America in 1900 were the two leading manufacturers of flat documents Columbia, which has 80 U / min, such as speed, and Victor, the 76 U / min. Since the records of a corporation to another machine were read, it is logical that the standard speed is possible, in the middle.
In 1925 was the registration is now reduced to a value of 78s. However, the standard difference between America and the world. The size of the 78 America was 78, 26 rpm is the speed of 3600 rpm synchronous motor (operated by 60 Hz) reduced 46:1 gearbox. All over the world, 77.92 rpm was adopted as an engine speed of 3,000 rpm synchronously driven by a 50 Hz and reduced 38.5:1 gear.
For a fuller examination of the depth to 78, cylinders and other historic materials, s’ Please visit http://78rpmrecord.com

First Recording acoustic recordings were completely acoustic, is the sound collected by a horn and blew a diaphragm that vibrated the cutting stylus. The sensitivity and frequency range were poor, and the frequency response is very irregular, the quality of a cylinder recordings instantly recognizable sound shows. A singer had to practically put his face in the Horn of registration. Cellos and Basses were totally undetectable. Standard violins were barely recordable Stroh violins became so popular with recording studios.
Contrary to popular belief, if it is correctly positioned and ready-to, battery could be more effectively used and understood, including the first recordings of jazz and military music. The strongest instruments was the furthest from the Horn of collective management. Lillian Hardin Armstrong, a member of the band of “King” Oliver’s Creole Jazz that recorded Gennett Records in 1923, recalls that initially, was Oliver and his young second trumpet, Louis Armstrong, next to each other and the Horn of Olivier could not be heard . “It lasted about fifteen feet Louis in the corner and looked very sad.”
“Electric” recording folder
German electrical industry Carl GA Lindstrm
In the 1920s, engineers, including Orlando R. Marsh and those developed by Western Electric, the technology to capture sound with microphones, amplifying them to drive with vacuum tubes and with the amplified signal to an electromagnetic recording head. A wide range of frequencies could now be included with a limited surge playback volume by the height of the grooves in the record.
Although the technology used vacuum tubes and would nowadays as “electronic” to be described, if it is referred to as “electric.” Wanamaker announcement of 1926 provides in The New York Times records “by the latest Victor process of electrical recording.” It was said as a breakthrough in a recognized Times music critic:
“… The time has come for serious musical criticism come under consideration of the performance of great music reproduced by taking the accounting. The claim that the files completed successfully and accurate reproduction of all details of the symphony or opera performance … would be extravagant. [But] today’s article is so far ahead of the old machines hard to accept that the classification have the same name. Electrical recording and playback combined to the vitality and keep color in the preamble by proxy. “Peter Carl Goldmark
(Hungarian: Goldmark PTER Kroly) is a Hungarian engineer who long during his time at Columbia Records, was instrumental in the development of Play (LP) phonograph 3313 rpm vinyl phonograph, the home of two generations defined for audio.
Example 78 Congolese
A 10-inch gramophone blank for self recording with 78′s, the brand as a reference “Decelith” with a special surface for durcissementenregistrement
electrical appliances before reproduction (much as digital recording, before the playback digital home), because of the high cost of electronics. In 1925, Victor introduced the revolutionary Victor Victrola Orthophonic an acoustic phonograph, which was specifically designed to read discs electrically by a power line which include the reproductive Electrolite recorded. “Speech Acoustics were in the price of US-United 0 (on US40 to $ 00 in 2007), cabinets, by comparison, the lowest cost US0 Electrola (about US00 had for $ 2,007).
The Orthophonic folded inside a informed exponential horn, a sophisticated design of impedance matching and the theory of the transmission line and designed to a relatively flat frequency response. was his first public demonstration Front Page News in The New York Times, which said:
“The audience broke into applause John Philip Sousa … [said]: ‘Gentleman [sic], which is a group. This is the first time to produce music that I heard with a core to a mechanical Talking Machine. … The new instrument is a achievement in mathematics and physics. This is not a result of numerous attempts, but was on the paper before it was built has taken in the lab …. The new machine a range 100-5000 frequencies [sic] or five and a half octaves tone. … The “phonograph” is off the new recording and playback process. “
gradually entered the reproductive power of the house. The movement has been replaced by an electric motor, the needle and the diaphragm (the “Sounding Board”) of a “has been replaced Pickup ‘either with steel or sapphire stylus and a transducer to convert vibrations into an electrical signal path. The exponential horn has an amplifier and speakers. [Edit]

Materials Early 78s records were made of various materials such as hard rubber. In 1897, the former materials largely by a rather brittle formula of 25% shellac, a charge of a cotton compound similar to Manila paper, crushed and replaced by a small amount of lubricant wax.
The mass production of shellac records began in 1898 in Hannover, Germany, and lasted until the end of the 78 format in the late 1950s. “Unbreakable” records, usually of celluloid on a cardboard base were made from 1904, but she suffered from an unusually high level of surface noise. “Unbreakable” records could be bent, broken or damaged, but not as easy as shellac records. Vinyl was the first time as material 78 in 1939 as a radio commercial cigarettes by mail to stations that was less brittle vinyl in the mail trying. On the record, it is the talk of the exhibition at the fair of Lucky Strike, 1939 NY World. Decca introduced vinyl “Deccalite” 78 rounds after the Second World War. During the war, to the U.S. military produced thousands of V-Discs for the soldiers to play abroad, and huge 16-inch radio transcriptions War Department, which were all made of vinyl. Victor made some vinyl 78s, but other labels for the manufacture of vinyl copies of a DJ 78, which were also often issued vinyl limit should be sent to radio stations during the late 40′s and early 50′s. Finally, 78 editions have made since the 1990′s for collectors of vinyl jukeboxes from Rhino Records. Steps must be taken always read on a vinyl 78 rpm records, will destroy as he.
78 rpm disk size
rapidly in the 1890s, recording formats of discs were usually seven inches (nominally 17.5 cm) in diameter. In 1910, 10 inches (25.4 cm) record was by far the most popular standard, holding about three minutes of music or entertainment on the one side. From 1903, records 12 inches (30.5 cm were) also commercially sold, mostly to classical music or opera choice, with four five minutes ago music per side. (Victor, New Brunswick and British were also 12 “medleys of popular, usually with a score of Broadway shows.) Notes, however, other dimensions. 8 inches with a record company two inches in diameter, was popular for a decade in the UK, they can not be read in its entirety on the most modern hard drives, because the arm can not reach far enough, without changing the institution. “br /> 78 rpm recording time
The playing of a record on the turntable speed and distance Nut depended. In the early 20th Century played hard in the early two minutes, as well as early on cylinders. The record of 12 inches, made by Victor in 1903, increased playing time to three and a half minutes. min A 10-inch plate 78 U / might keep sound about three minutes each page and the size of 10 inches is the standard size for popular music, almost all popular recordings were limited to about three minutes.
For example, if the King Oliver Creole Jazz Band, including Louis Armstrong’s first recordings, have 13 pages in Gennett Records in Richmond, Indiana, in 1923, was one side of four sides were 2:522 02:09 ET: 59 .
In 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 told a jam session that the space for the needs of development. “The first two 12″ panels are not benefiting from the extra length, “Carnegie Drag” is 3.15; Carnegie Jump “, 2:41. But in the second session, April 30, two 12″ panels were: “Embraceable You “was 04.05 clock,” Serenade to a Shylock, 4:32.
Another way to circumvent the limitation time it was a choice on both sides of a single disk problem. Vaudeville stars Gallagher and Shean recorded “Mr. Gallagher and Mr. Shean,” written by Irving and Jack Kaufman, as two sides of a 10 “1922 78 Cameo.
A workaround has been released for clearer images, a group of records. The first version of the multi-record in 1903 at HMV in England, the first complete recording of an opera, Verdi’s Ernani, 40 individual discs. In 1940, Commodore released Eddie Condon and his band recording of “A Good Man is hard to find “four-part, made out to both sides of two 12″ 78s.
This limitation on the duration of the two popular music and jazz have remained from 1910 until the invention of the LP in 1948.
in popular music, this limitation of time of about 03.30 clock on a 10 “78 rpm record means that the singer is usually not caused by long exhibits. An exception is the inclusion of Frank Sinatra of Rodgers and Hammerstein’s “monologue” from Carousel, 28 of May, 1946th Because he ran 07.57 clock, more than two sides of a standard 78 rpm 10 “record was on Columbia Masterwork (traditional division) as two sides of a 12″ record release released. (see the date.)
78 At that time, classical music and elements of the spoken word in general than 12 “78 rpm, was 45 minutes per side. For example, 10 June 1924, four months after 12 February Prime Minister’s Rhapsody in Blue, George Gershwin, recorded with Paul Whiteman and his orchestra. It was published on both sides of the Victor 55 225 and runs 8:59. Look under the title

The 78 Record Albums are often individually in brown paper or cardboard sleeves sold, the show sometimes easy and sometimes printed on the manufacturer or the dealer’s name. In general, the sleeve has a circular cut allows labels to be seen. The records could be placed on a horizontal shelf or stand on an edge, but because of their fragility, many broke into the storage.
Most German Odeon Corporation often says pioneering album in 1909 he published the “Nutcracker” by Tchaikovsky on 4 double-sided discs in a specially crafted packet. (It does not specify how big are the files.) 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 long ago from other record companies have been established for many years, but HMV has an album of cover images for the recording of 1917 from The Mikado (Gilbert & Sullivan).
1910 [Note 1] bound collections of empty sleeves with a cardboard or leather, as were a photo album, as “records” that customers can use to store their documents ( Album-term “is printed on some covers). These albums come in both 10 “and 12″ sizes. Front pages of bound books are wider and higher than the folders inside, allowing the album to be placed, like a book, suspending the fragile records above the shelf on a vertical platform and protect it.
Beginning in the 1930s, record companies began to issue collection of 78 rpm records by one artist or one type of music in specially assembled albums, mostly to cover works of art on the cover and notes on the back or inside. Most of the albums, among them are three or four files, each two pages, 6 or 8 per album. began when the 12-inch vinyl LP era in 1949, was often the same plate number or even an album of songs like typical 78 who gave birth to the tradition of the album given “to the LP.
New sizes and materials
modern 12 vinyl albums “during playback. Note the pin contact with the surface.
The disc LP LP 33 rpm and 45 rpm recordings of vinyl plastic, made flexible and unbreakable in normal use is. However, records are easier to scratch or solar plexus, and forgiven much more.
In 1931, RCA Victor launched (the developed by the Johnson and Victor Talking Machine Company in Berlin) is the first vinyl on the market long reading record marketed as a transcript “Program” discs. These revolutionary discs were designed for playback at 33 RPM and pressed onto a disc of 30 cm diameter flexible plastic, with a duration of about ten minutes of playing time per side. In Roland Gelatt’s book The Fabulous Phonograph, the author notes that RCA Victor’s early introduction of a hard long game, a commercial failure for several reasons including lack of affordable housing, reliable consumer playback equipment and was lack of consumer confidence during the Great Depression. Because of financial difficulties that plagued the music industry at this time (and its own revenues dried RCA) Victor play “” cases were dropped quietly by the beginning of 1933.
It was also a small series of “play more” documents issued in the early 1930s: Columbia has filed 10 “most played” records (Series 18000-D), and a set of double-slot and play more 10 “records their harmony, Clarion & Velvet Tone labels cheap. All these steps were middle 1932nd
but fewer vinyl surface noise of shellac was not forgotten or durable. In the late 30′s to the radio, and radio programs recorded disc-jockeys began to be addressed stamped in vinyl, not to break through the post. In the middle of 1940 are individual copies of the documents to DJ Vinyl also for the same reason. These are all 78. During and after World War II when shellac supplies were extremely limited, 78s records were pressed in vinyl instead of shellac, especially six minutes of 12 inches (30 cm) 78 towers that produced by V-Disc for distribution to U.S. troops during the Second World War. In the years 40, have been radio- transcripts, the cut is usually 16-inch panels, but sometimes 12 inch, always made of vinyl, but up to 33 rpm. Shorter transcriptions were often at 78 rev / min cut.
Since 1939, Dr. Peter Goldmark and his Team Columbia Records efforts to the problems of recording and reading of the narrow grooves and developing an inexpensive, reliable representation of the consumer to solve has. In 1948, the 12-inch (30 cm) Long Play (LP) 33 rpm microgroove record was introduced supplied by the British Society at a press conference in New York June 21, 1948. In the February 1949 published RCA Victor’s first 45 laps, 7 inches in diameter, with a large hole in the middle, to the automatic reading mechanism the changer, then the single-stack would drop for a record time automatically after each game. Top 45 s produced from vinyl or polystyrene. she had a time of eight minutes.
In some systems of records and transcripts of the early radio, as well as whole albums, the direction of the groove, conversely, in starting near the center of the disc and leading to the outside. A small number of documents (such as Jeff Mills, or the Apollo hidden EP EP in Plain Sight Detroit Underground Resistance) were produced, with several separate grooves to differentiate the tracks (usually called ‘NSC-X2).