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In 1912, the Gramophone Company set 78 rpm as their recording standard, based on the average of recordings they had been releasing at the time, and started selling players whose governors had a nominal speed of 78 rpm. [23] By 1925, 78 rpm was becoming standardized across the industry.
The most common rotational speeds for gramophone records are 33 + 1 ⁄ 3 revolutions per minute (rpm), 45 rpm, and 78 rpm. Established as the only common rotational speed prior to the 1940s, the 78 became increasingly less common throughout the 1950s and into more modern decades as the 33 and the 45 became established as the new standards for ...
Larger size Victor blanks were introduced late in 1931, when RCA-Victor introduced the Radiola-Electrola RE-57. These machines were capable of recording at 33 1 ⁄ 3 rpm as well as 78 rpm. One could select to record something from the radio or one could record using the hand-held microphone.
As a result, this practice was the empirical beginning of using pre-emphasis above 1,000 Hz in 78 and 33 1 ⁄ 3 rpm records, some 29 years before the RIAA curve. Over the years, a variety of record equalization practices emerged, with no industry standard.
On a conventional gramophone or phonograph, the limited playing time of 78 rpm gramophone records (averaging a little over four minutes per 12-inch side, and a little over three per 10-inch side) meant that listeners had to get up to change records at regular intervals. The Automatic Orthophonic allowed the listener to load a stack of several ...
The double-sided (nominally 78 rpm) shellac disc was the standard consumer music format from the early 1910s to the late 1950s. In various permutations, the audio disc format became the primary medium for consumer sound recordings until the end of the 20th century.
The records were lateral needle-cut of the usual kind, starting at the outer edge, and playing at speeds at or near 78 rpm. Fonotipia's output was issued in various record sizes. The original series of one thousand titles (numbered 39000-39999) was issued in the 27 cm or ten and three-quarter inch format.
In the days of 78 rpm records, before recording tape was commonly used (up to approx. 1950), audio recordings were cut directly to disc. The recording studio would assign a number to the song to be recorded, which would become the main part of the matrix number, and several takes would be made, with the take number inscribed in the matrix area.
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