Label: Submission Records Ltd. - SUBL 01 Format: 2x, Vinyl LP, Compilation Country: UK Genre: Electronic, Hip Hop Style: Breakbeat, Acid House, Hip-House, Deep House, House
American Love Call. At around 14 minutes per side for inch and 23 minutes per side for inch, LPs provided a satisfactory time to enjoy a recording before needing to change or turn over a disc. The failure of the new product left RCA Victor with a low opinion of the prospects for any sort of long-playing record, influencing product development decisions during the coming decade. What they miss is the inside knowledge of the Japanese underground scene and language domain. DJ turntables. Rest of the World. Tramp Germany.
Despite these efforts, the 45 succeeded only in replacing the 78 as the format for singles. This series was labeled AP-1 through about AP, pressed on grainless red vinyl. Today AP-1 through AP-5 are very scarce. By very tightly packing the fine groove, a playing time of 17 minutes per side was achieved.
Reel-to-reel magnetic tape recorders posed a new challenge to the LP in the s, but the higher cost of pre-recorded tapes was one of several factors that confined tape to a niche market.
Cartridge and cassette tapes were more convenient and less expensive than reel-to-reel tapes, and they became popular for use in automobiles beginning in the mids. However, the LP was not seriously challenged as the primary medium for listening to recorded music at home until the s, when the audio quality of the cassette was greatly improved by better tape formulations and noise-reduction systems. By , cassettes were outselling LPs in the US.
The Compact Disc CD was introduced in It offered a recording that was, theoretically, completely noiseless and not audibly degraded by repeated playing or slight scuffs and scratches. At first, the much higher prices of CDs and CD players limited their target market to affluent early adopters and audiophiles.
But prices came down, and by CDs outsold LPs. The CD became the top-selling format, over cassettes, in Along with phonograph records in other formats, some of which were made of other materials, LPs are now widely referred to simply as " vinyl ".
Since the late s there has been a renewed interest in vinyl . When initially introduced, inch LPs played for a maximum of 45 minutes, divided over two sides, with inch versions carrying a maximum of 35 minutes again over two sides. Soundtracks could no longer fit onto the mere 5 minutes per side that 78s offered.
They were not an immediate success, however, as they were released during the height of the Great Depression, and seemed frivolous to the many impoverished of the time. Owing to marketing attitudes at the time, the inch format was reserved solely for higher-priced classical recordings and Broadway shows. Popular music appeared only on inch records.
Executives believed classical music fans would be eager to hear a Beethoven symphony or a Mozart concerto without having to flip over multiple, four-minute-per-side 78s, and that pop music fans, who were used to listening to one song at a time, would find the shorter time of the inch LP sufficient.
Their beliefs were wrong. Ten-inch records reappeared as Mini-LPs in the late s and early s in the United States and Australia as a marketing alternative. In , Columbia Records introduced "extended-play" LPs that played for as long as 52 minutes, or 26 minutes per side. The minute playing time remained rare, however, because of mastering limitations, and most LPs continued to be issued with a to minute playing time. A small number of albums exceeded the minute limit. But these records had to be cut with much narrower spacing between the grooves, which allowed for a smaller dynamic range on the records, and meant that playing the record with a worn needle could damage the record.
It also resulted in a much quieter sound. Spoken word and comedy albums require a smaller dynamic range compared to musical records. Therefore, they can be cut with narrower spaces between the grooves.
At around 14 minutes per side for inch and 23 minutes per side for inch, LPs provided a satisfactory time to enjoy a recording before needing to change or turn over a disc. Turntables called record changers could play records stacked vertically on a spindle.
This arrangement encouraged the production of multiple-record sets in automatic sequence. Then the stack was flipped over. Larger boxed sets used appropriate automatic sequencing 1—8, 2—7, 3—6, 4—5 to allow continuous playback, but this created difficulties when searching for an individual track. Vinyl records are vulnerable to dust, heat warping, scuffs, and scratches.
Dust in the groove is usually heard as noise and may be ground into the vinyl by the passing stylus, causing lasting damage. A warp can cause a regular "wow" or fluctuation of musical pitch, and if substantial it can make a record physically unplayable.
A scuff will be heard as a swishing sound. A scratch will create an audible tick or pop once each revolution when the stylus encounters it. A deep scratch can throw the stylus out of the groove; if it jumps to a place farther inward, part of the recording is skipped; if it jumps outward to a part of the groove it just finished playing, it can get stuck in an infinite loop , playing the same bit over and over until someone stops it.
This last type of mishap, which in the era of brittle shellac records was more commonly caused by a crack, spawned the simile "like a broken record" to refer to annoying and seemingly endless repetition. Records used in radio stations can suffer cue burn , which results from disc jockeys placing the needle at the beginning of a track, turning the record back and forth to find the exact start of the music, then backing up about a quarter turn, so that when it is released the music will start immediately after the fraction of a second needed for the disc to come up to full speed.
When this is done repeatedly, the affected part of the groove is heavily worn and a hissing sound will be noticeable at the start of the track.
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