Here is a fun topic, we all worry and talk about what to clean our records with, there has been many great suggestions and products mentioned, but I have talked to a couple record "collectors" and "sellers" and I have been shocked by what they tell they use, their "secret" method one guys uses hand sanitizer and another swears by Toothpaste to clean his 45's! he said make sure it's Colgate. Been a fan from the very start when I had to order the first album on CD from the US. I purchased the vinyl version. I've never owned a Hotel Lights album on vinyl and never seen one in any shops in the U.K so I was immediately happy to receive it. The vinyl is 5/5(3). View credits, reviews, tracks and shop for the Vinyl release of What You Can't See Won't Hurt You on Discogs.4/5(1).
Scott christiansen December 12, at pm. Andrew Massey October 27, at pm. KRT April 26, at am. Well said. The Beatles influence cannot be measured. Gary August 21, at am. Dan November 15, at am. I agree…the white album? A plain white cover with the band name… SOOO artistic! And how many other bands numbered their albums before the white album?
Are you a friend of Donald Trump or did you come by your ignorance honestly. B MAC September 24, at pm. GH July 11, at pm.
Dave October 27, at pm. Rick November 9, at pm. Alan Hopwood October 27, at pm. Bluesman Ron October 28, at am. Jake November 1, at pm. Bill October 28, at am. Pedro October 28, at am. Pablo April 18, at pm. Donald October 28, at am. Paul October 28, at am. Tony October 28, at am. Yogi October 28, at am. Stef October 28, at am.
Markku Kemppainen October 28, at am. Well, the list is almost purely anglo-american. Paul H October 28, at am. Yanick December 10, at pm. Henk O. October 28, at am. Jayell October 30, at pm. Jim October 28, at am. Vodalus October 28, at pm. Fab November 17, at pm. Cool list. A bit arty probably but nice choice. Alexander October 28, at pm. Ian October 28, at pm. Kevin October 28, at pm. Russ October 28, at pm. Glynn Jones October 28, at pm.
Dan October 28, LP, at pm. Jay October 29, at am. Don October 29, at pm. Michael O'Reilly February 15, at pm. Spot on re Tulls Stand Up-well at least the version with the pop up. Paul E October 29, at am. What no Alice Cooper? Lucy October 29, at am. Ryno October 29, at am. Carly Simon… seriously? Rodrigo January 9, at am. Sandra Ford October 29, at am.
Darryl October 29, at am. Jacobus October 29, at pm. Bob October 29, at pm. Kevin October 29, at pm. Gilson October 29, at pm. Jack October 29, at pm. CHAS October 30, at pm. Jack August 13, at pm. Ken Baumgardner Sr. November 20, at am. Paul Weekes December 12, at pm. Seemann October 30, at pm. Jim Todd October 30, at pm. Diesel October 31, at am. Dire Straits — Brothers in Arms? Seriously why was this omitted? Janne October 31, at pm. David October 31, at pm.
Seriously no Rodney Matthews in there. But the talking heads black cover is in there. Chris Squires October 31, at pm. Kevin October 31, at pm. PhiloBike October 31, at pm. Gina October 31, at pm. That came to mind immediately. Steve Giovanetti October 31, at pm. Felicity October 31, at pm. Steve Adey October 31, at pm. Darren October 31, at pm. Kevin Kunreuther November 1, at am. Dan Smith November 1, at pm. Ken Goodey November 2, at am. Mark November 5, at pm.
Jan van Amsterdam November 6, at pm. Where is the magnificant album of Blind Faith. Deric November 7, at am. Lou Buc November 7, at am. TwoWaaka November 7, at pm. David November 7, at pm. Where is Mahogany Rush. Maxoom, 10 CC. Deceptive Bends and Kansas Left Overture to name a few. Jim November 7, at pm. ROD November 8, at am. Wolfpat December 13, at pm. That was my first thought too.
Bill from the 60s July 16, at pm. You suppose she was naked. You were there when the photo was taken? Joe April 27, at pm. Joe Giersher April 28, at pm. FAR better than many of those original covers. Angelo November 8, at am. Bolero November 8, at pm. Gary Hambley November 8, at pm. Dafyn November 8, at pm. Hugh Jaynus November 8, at pm. Don Killaby November 8, at pm. Margaret November 8, at pm. Brian November 8, at pm. Robert November 8, at pm. Paul November 8, at pm.
C J November 9, at am. Come on no one has even said Goats Head Soup! Bill November 9, at am. Jim Bergeson November 9, at am. Bolero November 9, at pm. I still like that first Grateful Dead album cover too! Randall M. Kozitka January 31, at pm. Dennidlky November 9, at am. Brian November 9, at am. What about some of the Moody Blues albums? The artwork is fabulous!! Richard November 9, at pm. Archie April 7, at pm. Nazareth: Hair of The Dog — well done! One of the best covers ever!
Brent Speicher April 21, at pm. Mike November 9, at pm. William November 10, at am. Patrik December 4, at pm. James December 10, at am. Dave Ginner December 10, at pm. Joe Skotnicki December 10, at pm. Jeff December 10, at pm. Jude collie December 10, at pm. Konstantin December 11, at pm. JD April 26, at am. Or how about Unknown Pleasures by Joy Division?
Ken Clem December 11, at pm. Phil Grabar December 11, at pm. Who is the nitwit in the middle? C J December 12, at am. GES December 12, at am. David Seelig December 12, at am. Michael Ige December 12, at am. I would toss the Asia cover for any of the Yes albums. Dave December 12, at pm. Arnaldo December 12, at pm.
Kent December 12, at pm. Tim C December 12, at pm. What about including some Budgie album covers. Bandolier belongs on this list. Spreckles December 13, at am. Steve December 13, at am. Jerry Wood December 13, at am. The covers are great but I prefer the ones with the best music.
Arti December 18, at pm. No Peter Saville or Vaughan Oliver works? Severn Savage December 19, at pm. Patrick lopez December 23, at pm. Adam Jennings January 25, at pm. Joe Cogan February 11, at pm. Rob Spencer January 7, at pm. Joe Fiedler April 3, at am. Axel April 3, at pm. Grateful Dead — Blues for Allah? Gravy Train — A Ballad of a peaceful Man?
J April 3, at pm. Keith April 6, at am. Wallstein April 6, at am. Tommy Blikeng April 7, at pm. Eric Hall April 7, at pm. Michael Bounds April 25, at pm. Alan April 8, at pm. How can Steppenwolf 7 not be in the list?
Donald April 12, at am. Darren Winter April 25, at pm. Rootman April 25, at pm. Hans-Werner Terhechte April 25, at pm. William Bernardi April 25, at pm. Ugwamp April 26, at am. Andrew Nichols April 26, at am. Where are any of those incredible Yes covers like Yessongs? Roger Dean was a genius. Dave Marin April 26, at pm. Stuart Ezrin April 26, at pm. Cover done by Norman Rockwell. Kenny Anderson April 28, at pm. Chaim Caran November 20, at pm.
Glenn Speake April 28, at pm. Nazareth,,any of them but especially No Mean City! Nick June 28, at pm. Kelly July 16, at pm. IMO best of all time. Rolfie July 16, at pm. Harley July 16, at pm. Nancy July 17, at am. Pierrock July 17, at am. Ian July 19, at pm. Cris August 11, at pm. Daryl August 11, at pm. Greg MacDonald August 11, at pm. Blown Pig,pigs head,headphones,sunglasses,a smoke,hilarious. Angus Whitehead August 12, at am. Gary August 12, at am.
Joel August 12, at pm. Mike August 12, at pm. Rudy Baegher August 12, at pm. Sonia Bailey August 12, at pm. Charles Ressler August 12, at pm. Jim Parnell August 13, at am. Agustin Az August 13, at pm. Everything is subjective but… whipped cream, santana 1 and Blind Faith are iconic. Einar Madsen August 14, at am. Lordsea August 14, at pm.
My Top Check Out.! Miker August 22, at am. John August 26, at pm. August Hayes October 5, at am. I was hoping to see the Jackson 5 Skywriter LP. LGL October 10, at pm. Michael October 11, at am. Sledge Hammer October 11, at am.
Alain October 11, at pm. Goldielocks October 12, at am. Groundhogs October 15, at pm. Deep Purple in Rock.
Zeppelin III. Tubular Bells to name but three. Russell Cox November 4, at pm. Chuck November 5, at am. Markus November 7, at am. Captain November 7, at pm. Roland Morris November 8, at pm.
Savoy Brown,Outside Looking in. My opinion the Best Cover art ever. John Miller November 9, at am. Mike Ellis November 9, at pm. Mooney November 10, at pm. CJ November 10, at pm.
Rick Davis November 11, at am. Chris Miller November 11, at am. Paul DiMaggio November 13, at am. Terry Mulcahy November 13, at am. Someone November 16, at am. LES December 3, at pm.
Neil December 21, at am. Richard January 7, at pm. Tim January 8, at am. Iimu January 8, at pm. What the heck are the Beatles covers doing in this list? Are they so great? No they are not. Duncaniw January 8, at pm. Erland Eikestad January 20, at am.
Why never name the covers artists? Are not they important? Jaeden Hunter February 3, at pm. Captain February 4, at pm. Fred Purple February 11, at am. Sean Nickens February 16, at pm. Alan Smith May 18, at am. Rick Frost May 20, at pm. AROL July 24, at pm. Scott November 22, at am. Batesy February 7, at pm. I forgot to mention, Def Leppard, High and dry, this ought to be on this list.
Jackce February 14, at pm. Brian Martin March 1, at pm. Jerry W Newman March 2, at pm. This allows them to be placed in the dies of the target make and model record press and, by center-roughing, to facilitate the adhesion of the label, which gets stuck onto the vinyl pressing without any glue. In this way, several million vinyl discs can be produced from a single lacquer sound disc.
When only a few hundred discs are required, instead of electroforming a "son" for each sidethe "father" is removed of its silver and converted into a stamper. Production by this latter method, known as the "two-step process" as it does not entail creation of "sons" but does involve creation of "mothers", which are used for test playing and kept as "safeties" for electroforming future "sons" is limited to a few hundred vinyl pressings.
The pressing count can increase if the stamper holds out and the quality of the vinyl is high. The "sons" made during a "three-step" electroforming make better stampers since they don't require silver removal which reduces some high fidelity because of etching erasing part of the smallest groove modulations and also because they have a stronger metal structure than "fathers".
Shellac 78s are fragile, and must be handled carefully. In the event of a 78 breaking, the pieces might remain loosely connected by the label and still be playable if the label holds them together, although there is a loud pop with each pass over the crack, and breaking of the stylus is likely.
Breakage was very common in the shellac era. He wanted to cry but could not. Salinger 's novel The Catcher in the Rye occurs after the adolescent protagonist buys a record for his younger sister but drops it and "it broke into pieces I damn-near cried, it made me feel so terrible.
Another problem with shellac was that the size of the disks tended to be larger because it was limited to 80— groove walls per inch before the risk of groove collapse became too high, whereas vinyl could have up to groove walls per inch.
By the time World War II began, major labels were experimenting with laminated records. As stated above, and in several record advertisements of the period, the materials that make for a quiet surface shellac are notoriously weak and fragile. Conversely the materials that make for a strong disc cardboard and other fiber products are not those known for allowing a quiet noise-free surface.
Although vinyl records are strong and don't break easily, they scratch due to its soft material sometimes resulting in ruining the record. Vinyl readily acquires a static charge, attracting dust that is difficult to remove completely. Dust and scratches cause audio clicks and pops. In extreme cases, they can cause the needle to skip over a series of grooves, or worse yet, cause the needle to skip backwards, creating a "locked groove" that repeats over and over. This is the origin of the phrase " like a broken record " or "like a scratched record", which is often used to describe a person or thing that continually repeats itself.
Locked grooves are not uncommon and were even heard occasionally in radio broadcasts. Vinyl records can be warped by heatimproper storage, exposure to sunlight, or Never Seen - The Ewings - It Hurts (Vinyl defects such as excessively tight plastic shrinkwrap on the album cover. A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design.
Standard practice for LPs was to place the LP in a paper or plastic inner cover. This, if placed within the outer cardboard cover so that the opening was entirely within the outer cover, was said to reduce ingress of dust onto the record surface. Singles, with rare exceptions, had simple paper covers with no inner cover.
A further limitation of the gramophone record is that fidelity steadily declines as playback progresses; there is more vinyl per second available for fine reproduction of high frequencies at the large-diameter beginning of the groove than exist at the smaller-diameters close to the end of the side. Another problem arises because of the geometry of the tonearm. Master recordings are cut on a recording lathe where a sapphire stylus moves radially across the blank, suspended on a straight track and driven by a lead screw.
Most turntables use a pivoting tonearm, introducing side forces and pitch and azimuth errors, and thus distortion in the playback signal.
Various mechanisms were devised in attempts to compensate, with varying degrees of success. See more at phonograph. There is controversy about the relative quality of CD sound and LP sound when the latter is heard under the very best conditions see Analog vs.
It is notable, however, that one technical advantage with vinyl compared to the optical CD is that if correctly handled and stored, the vinyl record will be playable for decades and possibly centuries,  which is longer than some versions of the optical CD. Guidelines for proper vinyl storage include not stacking records on top of each other, avoiding heat or direct sunlight and placing them in a temperature controlled area which will help prevent vinyl records from warping and scratching.
Collectors store their records in a variety of boxes, cubes, shelves and racks. Even so, these early electronically recorded records used the exponential-horn phonograph see Orthophonic Victrola for reproduction. CD-4 LPs contain two sub-carriers, one in the left groove wall and one in the right groove wall.
CD-4 sub-carriers could be played with any type stylus as long as the pickup cartridge had CD-4 frequency response. The recommended stylus for CD-4 as well as regular stereo records was a line contact or Shibata type. Equipment of modest quality is relatively unaffected by these issues, as the amplifier and speaker will not reproduce such low frequencies, but high-fidelity turntable assemblies need careful design to minimize audible rumble.
Tonearm skating forces and other perturbations are also picked up by the stylus. This is a form of frequency multiplexing as the control signal restoring force used to keep the stylus in the groove is carried by the same mechanism as the sound itself. High fidelity sound equipment can reproduce tracking noise and rumble. During a quiet passage, woofer speaker cones can sometimes be seen to vibrate with the subsonic tracking of the stylus, at frequencies as low as just above 0.
Another reason for very low frequency material can be a warped disk: its undulations produce frequencies of only a few hertz and present day amplifiers have large power bandwidths. For this reason, many stereo receivers contained a switchable subsonic filter. Some subsonic content is directly out of phase in each channel. If played back on a mono subwoofer system, the noise will cancel, significantly reducing the amount of rumble that is reproduced. High frequency hiss is generated as the stylus rubs against the vinyl, and dirt and dust on the vinyl produces popping and ticking sounds.
The latter can be reduced somewhat by cleaning the record prior to playback. Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae.
With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the record. At high frequencies, hiss, pops, and ticks are significant. These problems can be reduced by using equalization to an agreed standard. During recording the amplitude of low frequencies is reduced, thus reducing the groove width required, and the amplitude at high frequencies is increased.
The playback equipment boosts bass and cuts treble so as to restore the tonal balance in the original signal; this also reduces the high frequency noise. Thus more music will fit on the record, and noise is reduced. The current standard is called RIAA equalization. It was agreed upon in and implemented in the United States in ; it was not widely used in other countries until the s.
Prior to that, especially fromsome different formulae were used by the record manufacturers. In Joseph P. Maxwell and Henry C. Harrison from Bell Telephone Laboratories disclosed that the recording pattern of the Western Electric "rubber line" magnetic disc cutter had a constant velocity characteristic. This meant that as frequency increased in the treble, recording amplitude decreased. Conversely, in the bass as frequency decreased, recording amplitude increased.
Otherwise, bass modulation became excessive and overcutting took place into the next record groove. When played back electrically with a magnetic pickup having a smooth response in the bass region, a complementary boost in amplitude at the bass turnover point was necessary.
Miller in reported that when complementary boost at the turnover point was used in radio broadcasts of records, the reproduction was more realistic and many of the musical instruments stood out in their true form. West in and later P. This meant that the electrical recording characteristics of Western Electric licensees such as Columbia Records and Victor Talking Machine Company in the era had a higher amplitude in the midrange region.
Brilliance such as this compensated for dullness in many early magnetic pickups having drooping midrange and treble response. Over the years a variety of record equalization practices emerged and there was no industry standard. Evidence from the early technical literature concerning electrical recording suggests that it wasn't until the — period that there were serious efforts to standardize recording characteristics within an industry. Heretofore, electrical recording technology from company to company was considered a proprietary art all the way back to the Western Electric licensed method used by Columbia and Victor.
Broadcasters were faced with having to adapt daily to the varied recording characteristics of many sources: various makers of "home recordings" readily available to the public, European recordings, lateral-cut transcriptions, and vertical-cut transcriptions. The NAB, among other items, issued recording standards in for laterally and vertically cut records, principally transcriptions.
When the record was played back using a complementary inverse curve, signal-to-noise ratio was improved and the programming sounded more lifelike. The authors disclosed electrical network characteristics for the Columbia LP curve. This was the first such curve based on formulae. This was intended for use by hi-fi amplifier manufacturers. If records were engineered to sound good on hi-fi amplifiers using the AES curve, this would be a worthy goal towards standardization.
Besides also being a battle of disc size and record speed, there was a technical difference in the recording characteristics. Ultimately, the New Orthophonic curve was disclosed in a publication by R. Moyer of RCA Victor in He traced RCA Victor characteristics back to the Western Electric "rubber line" recorder in up to the early s laying claim to long-held recording practices and reasons for major changes in the intervening years.
It eventually became the technical predecessor to the RIAA curve. Hence the RIAA curve did not truly become a global standard until the late s.
Further, even after officially agreeing to implement the RIAA equalization curve, many recording labels continued to use their own proprietary equalization even well into the s. Overall sound fidelity of records produced acoustically using horns instead of microphones had a distant, hollow tone quality.
Some voices and instruments recorded better than others; Enrico Carusoa famous tenor, was one popular recording artist of the acoustic era whose voice was well matched to the recording horn. It has been asked, "Did Caruso make the phonograph, or did the phonograph make Caruso?
Delicate sounds and fine overtones were mostly lost, because it took a lot of sound energy to vibrate the recording horn diaphragm and cutting mechanism. There were acoustic limitations due to mechanical resonances in both the recording and playback system. Some pictures of acoustic recording sessions show horns wrapped with tape to help mute these resonances. Even an acoustic recording played back electrically on modern equipment sounds like it was recorded through a horn, notwithstanding a reduction in distortion because of the modern playback.
Toward the end of the acoustic era, there were many fine examples of recordings made with horns. Electric recording which developed during the time that early radio was becoming popular benefited from the microphones and amplifiers used in radio studios.
The early electric recordings were reminiscent tonally of acoustic recordings, except there was more recorded Never Seen - The Ewings - It Hurts (Vinyl and treble as well as delicate sounds and overtones cut on the records.
This was in spite of some carbon microphones used, which had resonances that colored the recorded tone.
The double button carbon microphone with stretched diaphragm was a marked improvement. Alternatively, the Wente style condenser microphone used with the Western Electric licensed recording method had a brilliant midrange and was prone to overloading from sibilants in speech, but generally it gave more accurate reproduction than carbon microphones. It was not unusual for electric recordings to be played back on acoustic phonographs.
The Victor Orthophonic phonograph was a prime example where such playback was expected. In the Orthophonic, which benefited from telephone research, the mechanical pickup head was redesigned with lower resonance than the traditional mica type. Also, a folded horn with an exponential taper was constructed inside the cabinet to provide better impedance matching to the air. As a result, playback of an Orthophonic record sounded like it was coming from a radio.
Eventually, when it was more common for electric recordings to be played back electrically in the s and s, the overall tone was much like listening to a radio of the era. Magnetic pickups became more common and were better designed as time went on, making it possible to improve the damping of spurious resonances. Crystal pickups were also introduced as lower cost alternatives.
The dynamic or moving coil microphone was introduced around and the velocity or ribbon LP in Both of these high quality microphones became widespread in motion picture, radio, recording, and public address applications. Over time, fidelity, dynamic and noise levels improved to the point that it was harder to tell the difference between a live performance in the studio and the recorded version.
This was especially true after the invention of the variable reluctance magnetic pickup cartridge by General Electric in the s when high quality cuts were played on well-designed audio systems. There were important quality advances in recordings specifically made for radio broadcast. The intent of the new Western Electric system was to improve the overall quality of disc recording and playback. The newly invented Western Electric moving coil or dynamic microphone was part of the Wide Range System.
It had a flatter audio response than the old style Wente condenser type and didn't require electronics installed in the microphone housing. Signals fed to the cutting head were pre-emphasized in the treble region to help override noise in playback.
Groove cuts in the vertical plane were employed rather than the usual lateral cuts. The chief advantage claimed was more grooves per inch that could be crowded together, resulting in longer playback time. Additionally, the problem of inner groove distortion, which plagued lateral cuts, could be avoided with the vertical cut system.
Wax masters were made by flowing heated wax over a hot metal disc thus avoiding the microscopic irregularities of cast blocks of wax and the necessity of planing and polishing. Vinyl pressings were made with stampers from master cuts that were electroplated in vacuo by means of gold sputtering. Amplifiers and cutters both using negative feedback were employed thereby improving the range of frequencies cut and lowering distortion levels.
Radio transcription producers such as World Broadcasting System and Associated Music Publishers AMP were the dominant licensees of the Western Electric wide range system and towards the end of the s were responsible for two-thirds of the total radio transcription business.
Developmentally, much of the technology of the long playing record, successfully released by Columbia incame from wide range radio transcription practices. Goldmark, Rene' Snepvangers and William S. Bachman in made it possible for a great variety of record companies to get into the business of making long playing records.
Radio listeners heard recordings broadcast and this in turn generated more record sales. The industry flourished. Technology used in making recordings also developed and prospered. There were ten major evolutionary steps that improved LP production and quality during a period of approximately forty years. At the time of the introduction of the compact disc CD inthe stereo LP pressed in vinyl was at the high point of its development.
Still, it continued to suffer from a variety of limitations:. Audiophiles have differed over the relative merits of the LP versus the CD since the digital disc was introduced. Modern anti-aliasing filters and oversampling systems used in digital recordings have eliminated perceived problems observed with very early CD players. There is a theory that vinyl records can audibly represent higher frequencies than compact discs, though most of this is noise and not relevant to human hearing.
Due to the distance required between grooves, it is not possible for an LP to reproduce as low frequencies as a CD. High frequency sensitivity decreases as a person ages, a process called presbycusis. For the first several decades of disc record manufacturing, sound was recorded directly on to the "master disc" at the recording studio. From about on earlier for some large record companies, later for some small ones it became usual to have the performance first recorded on audio tapewhich could then be processed or edited, and then dubbed on to the master disc.
A record cutter would engrave the grooves into the master disc. Early versions of these master discs were soft waxand later a harder lacquer was used. The mastering process was originally something of an art as the operator had to manually allow for the changes in sound which affected how wide the space for the groove needed to be on each rotation. As the playing of gramophone records causes gradual degradation of the recording, they are best preserved by transferring them onto other media and playing the records as rarely as possible.
They need to be stored on edge, and do best under environmental conditions that most humans would find comfortable. Where old disc recordings are considered to be of artistic or historic interest, from before the era of tape or where no tape master exists, archivists play back the disc on suitable equipment and record the result, typically onto a digital format, which can be copied and manipulated to remove analog flaws without any further damage to the source recording.
For example, Nimbus Records uses a specially built horn record player  to transfer 78s. Anyone can do this using a standard record player with a suitable pickup, a phono-preamp pre-amplifier and a typical personal computer. However, for accurate transfer, professional archivists carefully choose the correct stylus shape and diameter, tracking weight, equalisation curve and other playback parameters and use high-quality analogue-to-digital converters.
As an alternative to playback with a stylus, a recording can be read optically, processed with software that calculates the velocity that the stylus would be moving in the mapped grooves and converted to a digital recording format.
This does no further damage to the disc and generally produces a better sound than normal playback. This technique also has the potential to allow for reconstruction of broken or otherwise damaged discs. Groove recordings, first designed in the final quarter of the 19th century, held a predominant position for nearly a century—withstanding competition from reel-to-reel tapethe 8-track cartridgeand the compact cassette. Inthe compact disc surpassed the gramophone record in unit sales.
Vinyl records experienced a sudden decline in popularity between and when the major label distributors restricted their return policies, which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles. First the distributors began charging retailers more for new product if they returned unsold vinyl, and then they stopped providing any credit at all for returns.
Retailers, fearing they would be stuck with anything they ordered, only ordered proven, popular titles that they knew would sell, and devoted more shelf space to CDs and cassettes. Record companies also deleted many vinyl titles from production and distribution, further undermining the availability of the format and leading to the closure of pressing plants. This rapid decline in the availability of records accelerated the format's decline in popularity, and is seen by some as a deliberate ploy to make consumers switch to CDs, which unlike today, were more profitable for the record companies.
In spite of their flaws, such as the lack of portability, records still have LP supporters. Vinyl records continue to be manufactured and sold today,  especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophilescollectorsand DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over.
See Record collecting. Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl. In the United States, annual vinyl sales increased by Many electronic dance music and hip hop releases today are still preferred on vinyl; however, digital copies are still widely available. This is because for disc jockeys "DJs"vinyl has an advantage over the CD: direct manipulation of the medium.
DJ techniques such as slip-cueingbeatmatchingand scratching originated on turntables. With CDs or compact audio cassettes one normally has only indirect manipulation options, e. With a record one can place the stylus a few grooves farther in or out, accelerate or decelerate the turntable, or even reverse its direction, provided the stylus, record playerand record itself are built to withstand it.
Figures released in the United States in early showed that sales of vinyl albums nearly doubled inwith 1. Sales have continued to rise into the s, with around 2. In artist Jack White sold 40, copies of his second solo release, Lazarettoon vinyl.
The sales of the record beat the largest sales in one week on vinyl since The sales record was previously held by Pearl Jam 's Vitalogywhich sold 34, copies in one week in Inthe sale of vinyl records was the only physical music medium with increasing sales with relation to the previous year. Sales of other mediums including individual digital tracks, digital albums and compact discs have fallen, the last having the greatest drop-in-sales rate.
Pepper's Lonely Hearts Club Band. InCBS released the CX format, downward compatible for higher dynamic range and noise reduction. VinylVideo was a 45 RPM format to store a low resolution black and white video on record.
From Wikipedia, the free encyclopedia. For the magazine, see Phonograph Record magazine. Disc-shaped vinyl analog sound storage medium. Play media. See also: LP record. Further information: High fidelity. Main article: Laser turntable. See also: Recording medium comparison. Main article: Unusual types of gramophone records. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources.
Unsourced material may be challenged and removed. For other uses, see Broken Record disambiguation. Further information: Analog recording vs. Further information: Production of phonograph records. See also: Vinyl revival. This section needs to be updated. Please update this article to reflect recent events or newly available information. April Archived from the original on Wired UK. Information Week. The New York Times. The talking phonograph. Scientific American, 14 December, Retrieved Time Inc: 87— Music Educators JournalVol.
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Archived from the original on 14 March Rolling Stone. The Sydney Morning Herald. Archived from the original on January 27, Archived from the original PDF on Archived from the original on January 9, The trend to buy vinyl records continues. Since has the global sales increased from approximately 3. Despite this, is it still a small part of the total record sale. In Sweden was The artists who sell most ar usually older artists and records. Other popular artists are Beatles, Led Zeppelin and Adele" a screenshot of the teletext page exist and can be uploaded, if allowed at Commons and if requested.
Music Year-End Report". Archived from the original on 3 June And UK - hypebot". Archived from the original on 22 June Fadeyev, V. Lawrence, Harold; "Mercury Living Presence". Compact disc liner notes. International standard IEC Analogue audio disk records and reproducing equipment. Third edition, International Electrotechnical Commission Broadcast Transcription Discs. Third Edition.
The Oxford Companion to Music. Ninth edition, Oxford University Press, Ashgate, Carson, A. Burt, and H. Physical audio recording formats. Music box cylinder or disc 9th century Mechanical cuckoo early 17th century Punched card Music roll Phonautogram
Jun 07, · View credits, reviews, tracks and shop for the Vinyl release of Hard Rain on Discogs. Label: Columbia - PC • Format: Vinyl LP, Album • Country: US • Genre: Rock, Blues, Folk, World, & Country • Style: Folk Rock, Rock & Roll, Harmonica Blues, AOR/5(). There are many famous album covers, but we’ve put together what we believe are the greatest album covers. Find out which ones have made the cut. For me this is the best Cohen album or at least equal to Songs From A Room. Every song is amazing, nothing is out of place, it all flows together perfectly. One of maybe 5 albums in my collection I never .
3. A vinyl album normally has a surface that's barely cupped. Using a sanding block will cause the outside and inside lands to be sanded more than the center lands. In my experiment, the center lands of my test record remained un-sanded even though I over-sanded the entire disc (one side) to see how much damage over sanding could do.
The only flaw I can discern in this album is that it's so guitar heavy that Delp's voice doesn't come through like it should. In later recordings like RTZ, his voice is better showcased. Sit back, relax, and drift away. This is a great album that never gets old/5(1). 3. A vinyl album normally has a surface that's barely cupped. Using a sanding block will cause the outside and inside lands to be sanded more than the center lands. In my experiment, the center lands of my test record remained un-sanded even though I over-sanded the entire disc (one side) to see how much damage over sanding could do.
Feb 24, · The album, which features the song “Lafayette Blues” on side A, and “Sugar Never Tasted So Good” on side B. eBay / Photo by Jon Super/Redferns The copies were made for a Detroit record release show for the band in , as the fledgling band was on the incline, destined for stardom.
Feb 24, · The album, which features the song “Lafayette Blues” on side A, and “Sugar Never Tasted So Good” on side B. eBay / Photo by Jon Super/Redferns The copies were made for a Detroit record release show for the band in , as the fledgling band was on the incline, destined for stardom. And in regards to the live stuff on this set, there are many more (and better) shows that were recorded that have never (officially) seen the light of day. There was even an entire live album recorded in while Zal was still in the band that was supposedly "lost", with only one song from those recordings surfacing - an acoustic cover of.
And in regards to the live stuff on this set, there are many more (and better) shows that were recorded that have never (officially) seen the light of day. There was even an entire live album recorded in while Zal was still in the band that was supposedly "lost", with only one song from those recordings surfacing - an acoustic cover of.
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