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We may receive commission if your application for credit is successful. Back to home page Return to top. Back to home page. Shellac is more brittle than vinyl, so these older recordings are more fragile. Dust in the grooves can also compromise audio quality, producing more crackles and pops when they come into contact with the needle. Not all turntables play all sizes, especially the 78s, so you can go for an all-in-one record player like this one.
But for on-the-go enjoyment and preserving your rare audio recordings, you should at least consider backing up your vinyl to digital before the physicals are too damaged to play. Digitizing your music can bring these hits into the modern age, and the digital files will retain some of that classic fuzz since the records still need to be played through a turntable.
Then connect your digital turntable or converter to a computer or even a mobile device to store and edit your music before you transfer to CD or USB flash drive. Once you transfer records to digital, you can store your sounds as either compressed MP3 recordings that save space or larger WAV files that hold more audio information but take up more disk space.
The relationship between recording time and file size depends on the quality of the digital file. It was discernible by some listeners throughout certain recordings but a quiet passage followed by a loud sound would allow anyone to hear a faint pre-echo of the loud sound occurring 1. Pre- and post-echo can be avoided by the use of direct metal mastering. The first LP records introduced used fixed pitch grooves just like their 78 predecessors.
The use of magnetic tape for the production of the master recordings allowed the introduction of variable pitch grooves. The magnetic tape reproducer used to transfer the recording to the master disc was equipped with an auxiliary playback head positioned ahead of the main head by a distance equal to one revolution of the disc. The sole purpose of this head was to monitor the amplitude of the recording.
If the sound level from both the auxiliary and main magnetic heads was loud, the cutting head on the disc recording lathe was driven at its normal speed.
However, if the sound level from both magnetic heads was quieter, then the disc cutting head could be driven at a lower speed reducing the groove pitch with no danger of the adjacent grooves colliding with each other.
The playing time of the disc was therefore increased by an amount dependent on the duration of quieter passages. The record manufacturers had also realised that by reducing the amplitude of the lower frequencies recorded in the groove, it was possible to decrease the spacing between the grooves and further increase the playing time.
These low frequencies were then restored to their original level on playback. Furthermore, if the amplitude of the high frequencies was artificially boosted on recording the disc and then subsequently reduced to their original level on playback, the noise introduced by the disc would be reduced by a similar amount.
This gave rise to an equalization frequency response applied during record coupled with an inverse of the response applied on playback. Each disc manufacturer applied their own version of an equalization curve mostly because each manufacturer's equalization curve was protected by interlocking patents.
Low-end reproduction equipment applied a compromise playback equalization that reproduced most discs reasonably well. However, amplifiers for audiophile equipment were equipped with an equalization selector with a position for most, if not all, disc manufacturers. The net effect of equalization is to allow longer playing time and lower background noise while maintaining full fidelity of music or other content.
Consequently, both low-quality and audiophile reproducers alike could replay any recording with the correct equalization. There are two versions of the reproduction RIAA equalization curve.
The first, is simply the inverse of the recording curve designed for cheaper equipment using crystal or ceramic reproduction cartridges. The second curve is intended for equipment fitted with magnetic reproduction cartridges where the output voltage is dependent on the frequency of the recorded signal the voltage output is directly proportional to the frequency of the recorded signal; that is: the voltage doubles as the recorded frequency doubles.
The audio quality of LPs has increased greatly since their inception. While early LP recordings were monophonic , stereophony had been demonstrated in and Alan Blumlein had patented Stereophonic sound in Unsuccessful attempts were made to create stereophonic records starting in the s, including Emory Cook 's "binaural" LPs using two precisely spaced tracks on the record one track for each channel which had to be played with two monaural pick-ups on a tuning-fork-shaped tonearm.
The modern system ultimately released by Audio Fidelity Records in November uses two modulation angles, equal and opposite 45 degrees from vertical and so perpendicular to each other.
It can also be thought of as using traditional horizontal modulation for the sum of left and right channels mono , making it essentially compatible with simple mono recordings, and vertical-plane modulation for the difference of the two channels. The composition of vinyl used to press records a blend of polyvinyl chloride and polyvinyl acetate has varied considerably over the years.
Virgin vinyl is preferred, but during the s energy crisis , it became commonplace to use recycled vinyl. Sound quality suffered, with increased ticks, pops, and other surface noises. Records in different novelty shapes have also been produced. Many critics have expressed skepticism regarding the cost and quality of HD records. The audio engineering software was created with mastering engineers Scott Hull and Darcy Proper, a four-time Grammy winner.
The demonstration offered the first simulations of what HD Vinyl records are likely to sound like, ahead of actual HD vinyl physical record production. Loibl discussed the Perfect Groove software at a presentation titled "Vinyl 4. Disc jockeys or DJs in clubs still frequently use vinyl records, as cueing tracks from cassette tapes is too slow and CDs did not allow creative playback options until The skill came in subtly matching beats or instruments from one song to the next, providing a consistent dance tempo.
DJs also made occasional announcements and chatted on the side with patrons while songs were playing to take requests, similar to what radio disc jockeys have been doing since the s. From Wikipedia, the free encyclopedia. This article is about vinyl records. For music albums in general, see Album.
For other uses, see Long Play disambiguation. For the album by the Faces, see Long Player album. Analog sound storage medium. This section has multiple issues. Please help improve it or discuss these issues on the talk page. Learn how and when to remove these template messages.
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Standard Vinyl. Retrieved December 18, The Vitaphone Project. Retrieved Retrieved August 12, The New York Times. September 18, Retrieved November 25, New York: Saturday Review Press, Scott, a Developer of the LP, Dies at 92". Retrieved October 8, Howard H. Scott, who was part of the team at Columbia Records that introduced the long-playing vinyl record in before going on to produce albums with the New York Philharmonic, Glenn Gould, Isaac Stern and many other giants of classical music, died on Sept.
He was New York: Thunder's Mouth Press; p.
Archived from the original Forum Discussion on The magnetic tape reproducer used to transfer the recording to the master disc was equipped with an auxiliary playback head positioned ahead of the main head by a Various - Slam - The Soundtrack (Vinyl equal to one revolution of the disc. This gave rise to an equalization frequency response applied during record coupled with an inverse of the response applied on playback. The second curve is intended for equipment fitted with magnetic reproduction cartridges where the output voltage is dependent on the frequency of the recorded signal the voltage output is directly proportional to the frequency of the recorded signal; that is: LP) voltage doubles as the recorded frequency doubles. Unsourced material may be challenged and removed. Archived from the original on December 10, Learn how and when to remove these template messages. Get in touch with us today for more info! The record manufacturers had also realised that by reducing the amplitude of the lower frequencies recorded in the groove, Various - Slam - The Soundtrack (Vinyl, it was possible to decrease the spacing between the grooves and further increase the playing time.
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