Vinyl record - Definition

Vinyl record - Definition

The vinyl record is a type of gramophone record, most popular from the 1950s to the 1990s, that was most commonly used for mass-produced recordings of music.



A vinyl gramophone or phonograph record consists of a disc of polyvinyl chloride plastic, engraved on both sides with a single concentric spiral groove in which a sapphire or diamond needle, stylus, is intended to run, from the outside edge towards the centre (though it should be noted that on a very small number of albums, like "Goodbye Blue and White" by Less Than Jake, a hidden track, or the entire side, will be played from the centre out).



While a 78 rpm record is brittle and relatively easily broken, both the LP 33⅓ rpm record and the 45 rpm single records are made from vinyl plastic which is flexible and unbreakable in normal use. 78s come in a variety of sizes, the most common being 10 inch (25 cm) and 12 inch (30 cm) diameter, and these were originally sold in either paper or card covers, generally with a circular cutout allowing the record label to be seen. The Long-Playing records (LPs) usually come in a paper sleeve within a colour printed card jacket which also provides a track listing. 45 rpm singles and EPs (Extended Play) are of 7 inch (18 cm) diameter, the earlier copies being sold in paper covers. Grooves on a 78 rpm are much coarser than the LP and 45.



Piringan Hitam (Dalam Bahasa Indonesia)

Oleh: Kassaf



Piringan hitam mulai ada sejak tahun 1948. Dalam hitungan rpm (rotation per minute), ada tiga ukuran piringan hitam yaitu:

· 78 rpm

· 45 rpm

· 33 1/3 rpm



· 78 rpm dan 45 rpm biasanya berdiameter 25 cm,

· 33 1/3 rpm biasanya berdiameter 30 cm dan biasa disebut Long Play (LP),

· Plat ukuran sedang berdiameter 25 cm dengan kecepatan 33 1/3 rpm masih termasuk LP, tapi biasanya hanya berisi 4 lagu di setiap sisi,

· Plat ukuran 18 cm dengan kecepatan 45 atau 33 1/3 yang memuat 1 lagu di tiap sisinya disebut Single Player

· Plat yang berisi 2 lagu di tiap sisinya disebut Extended Player.



78 rpm tidak diproduksi lagi sejak tahun 60an. Alat untuk memutar piringan hitam adalah phonograph. atau yang biasa disebut Turntable. Dengan menggunakan stylus yang berbentuk seperti jarum Stylus berfungsi untuk mencatat simpangan gelombang suara yang direkam di piringan hitam dan kemudian meneruskannya ke alat pengeras suara.



Dari segi fisik, piringan hitam tidak ergonomis. Akan tetapi kelebihannya adalah tidak mudah rusak dan kwalitas suara yang sangat baik. Jadi selama platnya tidak baret-baret, sebuah piringan hitam tidak akan bermasalah. Oleh karena itulah piringan hitam banyak disukai orang. Para musisi pada tahun 1950-1970an pun banyak yang merekam lagu-lagu mereka ke dalam piringan hitam. Namun biasanya mereka hanya merekam single saja kedalam piringan hitam yang berukuran 78 atau 45. Jadi kebanyakan hanya terdapat dua lagu, masing-masing satu lagu di side A dan side B. Hal itu dikarenakan pada masa itu biaya untuk merekam lagu terbilang mahal, lagipula seorang penyanyi atau sebuah grup musik biasanya hanya mempunyai satu atau dua lagu yang terkenal, maka dari itu mereka lebih memilih membuat single. Jadi kalaupun mereka membuat album, album hanya bisa direkam di piringan hitam berukuran 33 1/3, biasanya sisa lagu yang lain yang selain single hanya filler.



Di Indonesia, piringan hitam mulai digunakan sebagai alat perekam sekitar tahun 1957. Perusahaan rekaman yang berjaya saat itu dan memproduksi piringan hitam adalah Lokananta di Surakarta dan Irama di Menteng. Koes Bersaudara, Titiek Puspa, dan Lilies Suryani adalah yang merekam lagunya di perusahaan rekaman tersebut dalam format piringan hitam. Saat itu di Indonesia, piringan hitam termasuk mahal, ditambah lagi dengan alat pemutarnya. Tidak semua orang di Indonesia memiliki turntable dan Itulah yang menyebabkan piringan hitam kurang akrab dengan pendengar musik rekaman di Indonesia.



Piringan hitam mulai turun pamornya sejak adanya CD pada awal tahun 1980an. CD berhasil menggusur pasar piringan hitam karena fisiknya yang lebih kecil sehingga dapat dengan mudah dibawa, ditambah lagi suaranya yang jernih.

Can Vinyl Last Forever?

Tips On The Care Of Vinyl Records
by Robert Benson - August 28, 2009

Ahhh, the sweet sound of a vinyl record playing your favorite music. Some say that there is no better way to listen to their music. Yes, vinyl records have made a triumphant return to the music arena, with sales over the last few years on a steady increase.

However, opponents of the format may point to the delicate nature of vinyl, records do require due diligence and upkeep in order to keep them sounding their best. But if you maintain a vigilant ritual, vinyl records can last many decades, so the records that you own right now can conceivably be passed down through generations of music lovers. And the bonus for properly maintaining your records is enjoying a crisp, clear playback each time you spin your turntable.

Let’s explore some relatively easy ways to properly care and maintain vinyl records so they can be listened to and enjoyed and also to help preserve their resale value for years to come:


Never touch the grooves

When handling records, treat them with loving care, hold them with two hands around the outer edges of the record; never allowing your fingers to touch the grooves. A simple method to alleviate this potential problem area would be to invest in some disposable plastic gloves, like the ones used in food preparation. Then, one can easily manipulate the record playing process and take the fear out of handling records.


Know the enemies of vinyl

The environment in which your records are stored is very important to a long shelf life. If you want a long shelf life for your prized recordings, keep the records away from dirt, dust, smoke, fingerprints, and oils from human skin as well as faulty phonograph needles. Never stack your records on top of each other, albums should be stored vertically. Avoid storing them too tight as it can lead to ring wear on the cover or sleeve and cause unnecessary stress to the record's materials, surface and label, often resulting in warps and contact damage. Additionally, the records should be stored in a low humidity setting with a temperature between 60 and 70 degrees if possible. Obviously, it is imperative to keep your treasured vinyl away form heat sources such as sunlight, heater vents and even lighting. Avoid dusty environments and if possible store the records in a relatively airtight container such as a cabinet with doors or sealable boxes or bins.


Protecting your records and LP jackets
There are different opinions on this, but it is recommended by most to remove the original wrapping from the manufacturer, the dreaded shrink wrap, as this may shrink over time; eventually warping the jacket or possibly the record. A note of caution, however, some of the stickers or promotional information on this shrink wrap may actually make the album more valuable if left on; so use discretion when removing the shrink wrap. It is recommended to replace this wrapping with a high density polyethylene outer protective sleeve.

There are several vendors where one can buy these protective outer sleeves, but one that offers many different options for record collectors is a well-respected vendor www.bagsunlimited.com. Bags Unlimited has been in the collection protection business since 1975 and are the #1 choice of collectors for storage, display and shipping products for their collectibles. BagsUnlimited.com stocks record bags made out of polyethylene, polypropylene and polyester (Mylar). All three of these materials have passed the Photo Activity Test (P.A.T.) certifying that they are safe for long-term storage and protect them from dust, dirt, finger oils, and other airborne pollutants.

“We carry multiple types of poly sleeves, varying in thickness and record jacket sleeves that come with a re-sealable flap, depending on the collector's choice,” explained David Street of BagsUmlimited.com. “We also stock 2 mil and 4 mil sleeves that are manufactured of archival polyester (Mylar), an inert material of the highest clarity. Mylar is extremely clear, inert, 100% acid-free and considered to be the most archival of all protective sleeves. Polyester will not discolor, damage or adhere to items placed inside it. This material has passed the Photo Activity Test and Polyester is used worldwide in museums, libraries and archives. Our polyester material has been approved by the Library of Congress for archival storage.”

It is also very important to have clean, acid free inner sleeves to protect your records with paper sleeves being the most practical. Some recordings were issued with inner sleeves that have acidity issues, which over time, could damage the vinyl records that they hold. Additionally, some sleeves may be viewed as collectible, so it’s best to save them as part of the album package.

"We are the manufacturers of our paper sleeves and therefore have control over the sizes and materials used. Being the manufacturers also insures that the sizes are true, the holes are centered, and the seams are well-glued,” stressed Street. “Investing in quality sleeves for your records is one of the most important care tips for long lasting vinyl.”

Storing your records in boxes can also add to the preservation process in many ways according to Street:

“Bags Unlimited boxes are the Standard of the Industry. Storing your records in our boxes keeps them in an environment that will protect the corners, edges, and flat surfaces. It also keeps them away from ultraviolet light, dust and other airborne pollutants that can destroy or damage them,” Street stated. “Our boxes are super strong, properly sized and stackable. They come with 3" deep sturdy covers and die-cut handles that can be in the open position for carrying or closed position for storing.


Cleaning and maintaining vinyl records
The most important aspect of owning and playing vinyl records is to keep the records clean. Due to the chemical nature of vinyl, they attract dust and dirt. This is caused by vinyl's tendency to build up static electrical charges which attract small particles of dust which land in the grooves. These particles will cause "pops" and "clicks" as the record plays.

The cleaning of records should be performed before and after playing. This will ensure the best possible playback, and also prepares the record for "dust free" storage. It's highly recommended that a record collector have on hand some sort of carbon fiber brush (there are many varieties of brushes available). Carbon fibers are used to help disrupt static buildup while brushing relies on the vibration of the almost microscopic carbon fibers to clean the grooves and remove dust and dirt. It's recommended that the turntable be running while brushing rather than holding the record in your hands because this will result in a smoother, more consistent cleaning motion.

Some people get so intensely careful about cleaning their vinyl records, they often forget about keeping the needle clean. Since the needle is constantly tracking in the groove of the records, it attracts large amounts of dirt and dust particles and must be cleaned. When not properly maintained, the needle may not vibrate fully and may not rest in the bottom of the record groove; resulting in decreased sound quality and other audio problems. Needle maintenance supplies are easily obtained, for instance, the aforementioned BagsUnlimited.com sells an inexpensive "Stylus Care System" which includes a special cleaning fluid and a dense nylon brush to maintain a clean needle.

Obviously the turntable surface should be kept clean of dust and static. Most newer turntables come equipped with a rubber or antistatic felt surface. A great way to clean both the needle and the turntable area and also keep the carbon fiber brush clean is with condensed air in a can, which is available at any electronics retailer; just spray the area before and after playing your records for a continued dust free environment for your audio treasures. Taking this one step further, BagsUnlimited has in stock a unique antistatic solution, as Dave Street explains:

“We carry a portable antistatic, ionizing air gun to use with the condensed air dust remover and it will significantly boost the ability of canned air to remove dust from static-prone areas. This ionizing gun effectively neutralizes static charges in vinyl, plastics, glass, films, Mylar and other items that hold static charges by creating a flow of ions that neutralizes static charges and releases clinging dust. The gun easily snaps onto any type of nonflammable canned air,” explained Street.

There are many cleaning solutions that can be used to ‘wet’ wash a record and it really is a matter of personal preference as to which one to employ. In the old days, when record were made of shellac, they could be cleaned with a mild solution of regular soap and water (always use distilled water as tap water often contains too many contaminants) and this was the preferred way to maintain the old 78 rpm records. Never use the new cleaning solutions on 78’s because they are alcohol-based and can dissolve shellac recordings and will ruin these types of records.

Speaking with Dave Street again, they sell several kits of various sizes to help keep record clean.

“We recommend the 'Groovy Record Cleaning Kit' and each kit comes with micro bristled cleaning brush; cotton cleaning cloth, various sized bottles of GROOVY Cleaning Fluid which is Bags Unlimited's own Record Cleaning Fluid, and is specially formulated for its deep cleaning, antistatic, residue-free properties."

It's also recommend not storing the vinyl inside the record cover but instead slip the vinyl (protected by the inner sleeve) behind the cover with both protected by the outer sleeve, because storing the vinyl inside the cover may eventually create seam and/or spine splits. Over time the weight of the record could possibly cut through the binding.

The reward

This article was not written to exemplify how hard it is to maintain vinyl records; on the contrary, these are very simple tasks and often become mundane and second nature after time. But the reward is so great-the preservation of your prized collection and the coupdeville- the best possible sound reproduction that is humanly possible. With proper care and diligence, these historic audio treasures will last a lifetime or two, giving vinyl record owners many hours of listening bliss.

Can Vinyl Last Forever?

Tips On The Care Of Vinyl Records
by Robert Benson - August 28, 2009

Ahhh, the sweet sound of a vinyl record playing your favorite music. Some say that there is no better way to listen to their music. Yes, vinyl records have made a triumphant return to the music arena, with sales over the last few years on a steady increase.

However, opponents of the format may point to the delicate nature of vinyl, records do require due diligence and upkeep in order to keep them sounding their best. But if you maintain a vigilant ritual, vinyl records can last many decades, so the records that you own right now can conceivably be passed down through generations of music lovers. And the bonus for properly maintaining your records is enjoying a crisp, clear playback each time you spin your turntable.

Let’s explore some relatively easy ways to properly care and maintain vinyl records so they can be listened to and enjoyed and also to help preserve their resale value for years to come:


Never touch the grooves

When handling records, treat them with loving care, hold them with two hands around the outer edges of the record; never allowing your fingers to touch the grooves. A simple method to alleviate this potential problem area would be to invest in some disposable plastic gloves, like the ones used in food preparation. Then, one can easily manipulate the record playing process and take the fear out of handling records.


Know the enemies of vinyl

The environment in which your records are stored is very important to a long shelf life. If you want a long shelf life for your prized recordings, keep the records away from dirt, dust, smoke, fingerprints, and oils from human skin as well as faulty phonograph needles. Never stack your records on top of each other, albums should be stored vertically. Avoid storing them too tight as it can lead to ring wear on the cover or sleeve and cause unnecessary stress to the record's materials, surface and label, often resulting in warps and contact damage. Additionally, the records should be stored in a low humidity setting with a temperature between 60 and 70 degrees if possible. Obviously, it is imperative to keep your treasured vinyl away form heat sources such as sunlight, heater vents and even lighting. Avoid dusty environments and if possible store the records in a relatively airtight container such as a cabinet with doors or sealable boxes or bins.


Protecting your records and LP jackets
There are different opinions on this, but it is recommended by most to remove the original wrapping from the manufacturer, the dreaded shrink wrap, as this may shrink over time; eventually warping the jacket or possibly the record. A note of caution, however, some of the stickers or promotional information on this shrink wrap may actually make the album more valuable if left on; so use discretion when removing the shrink wrap. It is recommended to replace this wrapping with a high density polyethylene outer protective sleeve.

There are several vendors where one can buy these protective outer sleeves, but one that offers many different options for record collectors is a well-respected vendor www.bagsunlimited.com. Bags Unlimited has been in the collection protection business since 1975 and are the #1 choice of collectors for storage, display and shipping products for their collectibles. BagsUnlimited.com stocks record bags made out of polyethylene, polypropylene and polyester (Mylar). All three of these materials have passed the Photo Activity Test (P.A.T.) certifying that they are safe for long-term storage and protect them from dust, dirt, finger oils, and other airborne pollutants.

“We carry multiple types of poly sleeves, varying in thickness and record jacket sleeves that come with a re-sealable flap, depending on the collector's choice,” explained David Street of BagsUmlimited.com. “We also stock 2 mil and 4 mil sleeves that are manufactured of archival polyester (Mylar), an inert material of the highest clarity. Mylar is extremely clear, inert, 100% acid-free and considered to be the most archival of all protective sleeves. Polyester will not discolor, damage or adhere to items placed inside it. This material has passed the Photo Activity Test and Polyester is used worldwide in museums, libraries and archives. Our polyester material has been approved by the Library of Congress for archival storage.”

It is also very important to have clean, acid free inner sleeves to protect your records with paper sleeves being the most practical. Some recordings were issued with inner sleeves that have acidity issues, which over time, could damage the vinyl records that they hold. Additionally, some sleeves may be viewed as collectible, so it’s best to save them as part of the album package.

"We are the manufacturers of our paper sleeves and therefore have control over the sizes and materials used. Being the manufacturers also insures that the sizes are true, the holes are centered, and the seams are well-glued,” stressed Street. “Investing in quality sleeves for your records is one of the most important care tips for long lasting vinyl.”

Storing your records in boxes can also add to the preservation process in many ways according to Street:

“Bags Unlimited boxes are the Standard of the Industry. Storing your records in our boxes keeps them in an environment that will protect the corners, edges, and flat surfaces. It also keeps them away from ultraviolet light, dust and other airborne pollutants that can destroy or damage them,” Street stated. “Our boxes are super strong, properly sized and stackable. They come with 3" deep sturdy covers and die-cut handles that can be in the open position for carrying or closed position for storing.


Cleaning and maintaining vinyl records
The most important aspect of owning and playing vinyl records is to keep the records clean. Due to the chemical nature of vinyl, they attract dust and dirt. This is caused by vinyl's tendency to build up static electrical charges which attract small particles of dust which land in the grooves. These particles will cause "pops" and "clicks" as the record plays.

The cleaning of records should be performed before and after playing. This will ensure the best possible playback, and also prepares the record for "dust free" storage. It's highly recommended that a record collector have on hand some sort of carbon fiber brush (there are many varieties of brushes available). Carbon fibers are used to help disrupt static buildup while brushing relies on the vibration of the almost microscopic carbon fibers to clean the grooves and remove dust and dirt. It's recommended that the turntable be running while brushing rather than holding the record in your hands because this will result in a smoother, more consistent cleaning motion.

Some people get so intensely careful about cleaning their vinyl records, they often forget about keeping the needle clean. Since the needle is constantly tracking in the groove of the records, it attracts large amounts of dirt and dust particles and must be cleaned. When not properly maintained, the needle may not vibrate fully and may not rest in the bottom of the record groove; resulting in decreased sound quality and other audio problems. Needle maintenance supplies are easily obtained, for instance, the aforementioned BagsUnlimited.com sells an inexpensive "Stylus Care System" which includes a special cleaning fluid and a dense nylon brush to maintain a clean needle.

Obviously the turntable surface should be kept clean of dust and static. Most newer turntables come equipped with a rubber or antistatic felt surface. A great way to clean both the needle and the turntable area and also keep the carbon fiber brush clean is with condensed air in a can, which is available at any electronics retailer; just spray the area before and after playing your records for a continued dust free environment for your audio treasures. Taking this one step further, BagsUnlimited has in stock a unique antistatic solution, as Dave Street explains:

“We carry a portable antistatic, ionizing air gun to use with the condensed air dust remover and it will significantly boost the ability of canned air to remove dust from static-prone areas. This ionizing gun effectively neutralizes static charges in vinyl, plastics, glass, films, Mylar and other items that hold static charges by creating a flow of ions that neutralizes static charges and releases clinging dust. The gun easily snaps onto any type of nonflammable canned air,” explained Street.

There are many cleaning solutions that can be used to ‘wet’ wash a record and it really is a matter of personal preference as to which one to employ. In the old days, when record were made of shellac, they could be cleaned with a mild solution of regular soap and water (always use distilled water as tap water often contains too many contaminants) and this was the preferred way to maintain the old 78 rpm records. Never use the new cleaning solutions on 78’s because they are alcohol-based and can dissolve shellac recordings and will ruin these types of records.

Speaking with Dave Street again, they sell several kits of various sizes to help keep record clean.

“We recommend the 'Groovy Record Cleaning Kit' and each kit comes with micro bristled cleaning brush; cotton cleaning cloth, various sized bottles of GROOVY Cleaning Fluid which is Bags Unlimited's own Record Cleaning Fluid, and is specially formulated for its deep cleaning, antistatic, residue-free properties."

It's also recommend not storing the vinyl inside the record cover but instead slip the vinyl (protected by the inner sleeve) behind the cover with both protected by the outer sleeve, because storing the vinyl inside the cover may eventually create seam and/or spine splits. Over time the weight of the record could possibly cut through the binding.

The reward

This article was not written to exemplify how hard it is to maintain vinyl records; on the contrary, these are very simple tasks and often become mundane and second nature after time. But the reward is so great-the preservation of your prized collection and the coupdeville- the best possible sound reproduction that is humanly possible. With proper care and diligence, these historic audio treasures will last a lifetime or two, giving vinyl record owners many hours of listening bliss.

Collecting Vinyl Records Always In Style

Vinyl Record Collecting Alive and Well

By Robert Benson

According to a recent report from eBay, the online auction giant, they sell more than three million vinyl records each year. It is also reported that eBay users buy and sell six vinyl records every minute (or an average of one every ten seconds). It seems the vinyl record, just a few years ago an afterthought as an audio format, is alive and well. So what is all the fuss about?

First and foremost, if you ask any record collector, it is the sound quality they love the most about vinyl. The music isn’t compressed into ones and zeros or “binary sound.” Then of course, there is the element of “collectibility,” people may buy vinyl as an investment, in hope that, over time, the records will appreciate in value.

Furthermore, people collect vinyl because they may want a piece of their past, so nostalgia is also an important element for the record collector. People are also drawn to actually owning a physical product and may enjoy the ritual that is involved in listening to the records. And a new generation has discovered the special allure that vinyl records have, the limited editions, colored vinyl, picture discs, “audiophile” records (a 180-220 gram), the album cover artwork and the sound have all lured youngsters in the hobby of collecting vinyl records.

But, there are more reasons people collect vinyl. Besides the aforementioned elements, it is also big business. The old vinyl records on the auction sites, as well as the hundreds of other vinyl related web sites, are not selling their collectible vinyl for rummage sale prices. In fact, at any given moment, there may be more than six thousand collectible Beatles’ albums for sale on eBay. Some have sold for thousands of dollars and it is reported that the album that is bought and sold the most in vinyl format is the Beatles’ “White Album.” But it is not only the Beatles that sell well and are highly collectible. Artists such as the Rolling Stones, Bob Dylan, James Brown, Madonna, Pink Floyd, Led Zeppelin, Elvis Presley and even newer artists like Nirvana, Radiohead and many more are all highly sought after. There is also a keen interest in “Northern Soul,” Motown records, old blues recordings as well as jazz, punk and indie vinyl records.

Furthermore, recording artists themselves are reported to own vast and eclectic record collections. Just as creating music is their passion, finding rare and collectible vinyl is sometimes just as important. It is reported that John Lennon was an avid collector of all the Beatles’ bootlegs he could find. Peter Buck, of the rock band R.E.M. is an avid collector as well and there is a long list of musicians who get the same thrill as all collectors get when they find a specific vinyl record at an estate sale that may have eluded them for years.

However, it is not just the garage sales, rummage sales, estate sales, record conventions that carry collectible vinyl. The online community has responded as well, and besides the auction sites, there are literally hundreds of web sites that sell vinyl exclusively, in any musical genre that a person may have an interest in.

People also collect vinyl for the album cover art or the 45-rpm record sleeve and some may be more valuable than the vinyl record that they hold. There are many businesses that frame these marvelous pieces of art and audio history for display and preservation.

So just as there has been a resurgence in the sale and visibility of vinyl records, along with this is an increase in the hobby of vinyl record collecting and album cover art. This hobby is as old as the format itself, and a wonderful hobby that will continue to thrill its participants for decades to come.

In my experience, I have found a 'goldmine' when looking for rare vinyl, musicstack.com has anything a record collector could be looking for; whether you are a beginner or an established collector. Stop by for a visit and see what I mean!

Santai - Rhoma Irama & Rita Sugiarto

My Coolest Gigs

1. Hullabaloo

Record Format

http://www.history-of-rock.com/

1.78s: (c. 1900 - 1960)
The first disc format was the 10-inch 78 rpm record, pictured above in the center, invented around 1900. The first record player was invented around 1870 by Thomas Edison, but this used cylindrical records about the size of an empty toilet paper tube. The flat 78s were much easier to store. The grooves on these records were much larger than later LPs and 45s (about 4 times as big) and the needles were larger too. 78s were recorded and played back "acoustically", without any electric amplifiers or microphones, until about 1925. 78s were obsolete by about 1960. Since the grooves are so spaced out and the records spin so fast, a standard 10-inch 78 can't hold more than about 3 minutes of music per side. They are typically made of a shellac compound (as in furniture finish!), and have the consistency of a china plate, so they are very thick and heavy and break easily.

33s / "LPs": (c. 1948 - 1990)
The 33, a.k.a. the "LP" (Long Playing record) or "album", pictured above at left, was invented in 1948. These LPs were popular until around 1990 when CDs were popular enough to take over. An LP could hold up to a total of 60 minutes of music, but most didn't have more than 40 minutes. They are made of vinyl plastic rather than shellac, so they are more flexible and don't tend to break like 78s. The grooves are 4 times smaller, so they were originally called "Microgrooves" (MG), and early LPs have this written on the label.

Interestingly enough, there are enough people still willing to buy "classic" albums, particularly jazz and blues, that some of the labels in those styles, like Blue Note records, Original Jazz Classics (a.k.a. Prestige, Riverside, Contemporary, New Jazz, etc) and Delmark Records are once again pressing and selling LPs for about $9 - 13 through mail order. LPs of some newer releases are available, in very limited quantities.

45s: (c. 1949 - 1990)
The 45, pictured above at right, was the alternative to the LP when you wanted to record a single pop song rather than a full album. The 45 had the same smaller-sized groove as the LP, and the center hole was larger. 45s became popular in jukeboxes, which had previously used 78s, because 45s took up less space and you could fit more songs in the box. Suddenly jukes went from offering 24 or 40 songs on 78s to having 100 to 200 songs on 45s. 45s are also made of vinyl rather than shellac, and can hold up to about 5 minutes of music on each side. 45s are still being made in limited quantities for jukebox operators who have not upgraded to newer CD jukeboxes, so you can still get some of the latest releases on 45.

Does anyone know why 78 revolutions per minute was chosen as the standard rotation
speed of old-fashioned gramophone records, rather than a round number such as 75 or 80 rpm? And are there convincing explanations for the choice of speeds for later EPs and LPs of 33 1/3 rpm and 45 rpm?

It was Emil Berliner, the inventor of the gramophone, who determined roughly how fast old disc records should spin. He avoided Edison's need for a stylus made from precious jewels by using points which could be made from steel sewing needles and pins. The size of the stylus effectively determined the size of the grooves in a record and the recordable frequency range limited by this groove size determined a speed between 70 and 90 rpm.

Standardization did not begin until 1912, when the British Gramophone Company conducted listening tests on their back catalogue. They settled on the average (or possibly the median) of these tests, which turned out to be 78 rpm. Other companies adopted this, but the process was not complete until the early 1930s. Even after this date Òrogue rpmÓ records still appeared. After standardization problems still occurred. Because of electrical mains frequencies differences on opposite sides of the Atlantic, stroboscopic speed testers and synchronous motors meant a nominal speed of 77.922 rpm in countries that used 50 hertz and 78.261 in countries that used 60 hertz. These were later fixed in national (but not international) standards.

Records of 33 1/3 rpm were developed in conjunction with films. A 12-inch 78 with Berliner-type grooves could hold between 4 and 5 minutes per side. The first practical sound films produced in the US in the late 1920s had their sound on separate disc records and it was more important for the sound to be continuous. A reel of film might run for 11 minutes, so a rotational speed of about 32 rpm was required to make the sound match the picture. History doesn't tell us why precisely 33 1/3 was chosen, but in retrospect it was a very good choice because stroboscopic speed testers can be made for this speed which will work on both sides of the Atlantic.

It seems CBS engineers (who developed the first LPs in 1948), simply experimented with one of the old machines hanging around in their workshop. They then developed new groove dimensions which gave an acceptable signal-to-noise ratio with the new plastic material "vinyl".

The 45 rpm speed was the only one to be decided by a precise optimization procedure (by RCA Victor in 1948). Calculus was used to show that the optimum use of a disc record of constant rotational speed occurs when the innermost recorded diameter is half the outermost recorded diameter. That's why a 7-inch single has a label 3 1/2 inches in diameter. Given the CBS vinyl groove dimensions and certain assumptions about the bandwidth and tolerable distortion, a speed of 45 rpm comes out of the formula.

PETER COPELAND
British Library National Sound Archive
London



From 1894 to around 1930 there were many different record speeds ranging from 65 to 90 rpm, each case being a compromise between playing time and the need for a clean cut in the original wax. The Victor company used 76 rpm for many years for its recordings but instructed buyers to reproduce at 78Ñthe recordÕs durability was improved that way. The standard of 78 rpm arrived by default, although the actual speed depended on the electrical mains frequency. Constant linear speed, or varying the rpm, was commercialized but did not prove to be a success (until the arrival of the CD).

The speed of 33 1/3 was introduced in 1927 after theoretical analysis of the compromise between signal-to-noise ratio and playing time (3 minutes per radial inch) by J. P. Maxfield of Bell Laboratories for sound films produced on the Vitaphone system. And it was a professional de facto standard before it became commercialized by CBS in 1948. It has
been suggested that 78 minus 33 equals 45 was the reason for the emergence of 45 rpm records but, in fact, Maxfield's analysis still applies: the 45 "single" was RCAÕs equivalent to a 10-inch, 78 rpm record, only smaller.

GEORGE BROCK-NANNESTAD
Copenhagen
Denmark



Emil Berliner's first disc gramophones were wound by hand at somewhere between 60 and 100 rpm. The 7-inch discs lasted a minute or so and had low sound quality. Berliner and his assistant Fred Gaisberg realized that unless the speed was governed, the gramophone would never be more than a novelty. Gaisberg visited a young mechanic who was making clockwork machinery in hoping to use it for sewing machines. This machinery was never successful in sewing machines, but was ideal for gramophones, and it rotated at 78 rpm. The mechanic, Eldridge Johnson, became a millionaire. Columbia made all its discs to run at 80 and HMV had its pioneer recordings produced between 68 and 92 rpm with the key of the piece marked on the label. You then tuned it on your own piano, using the gramophone's governor. These speeds all gradually settled into the standard of 78.

When talking pictures first arrived in the late 1920s, the sound was recorded separated on discs and had to be synchronized by the projectionist at each showing. Every cinema projection room had a pair of projectors, each taking 1000-feet reels of film, whose running time was about 10 minutes. The projectionist switched projectors after each reel. Ideally, this meant that the sound should last 10 minutes as well, as it would be impossible to synchronize a sound changeover in mid-reel. At the time, however, a 12 inch 78 rpm record lasted for only about 4 minutes, so the Vitagraph company simply slowed down the 78 until it lasted 10 minutes and recorded all their masters on that, starting each disc in the middle, as it was easier to drop a needle there than the outer edge. This new speed was 33 1/3 rpm, adopted for other records in the late 1940s when Columbia introduced its first vinyl, long-play discs with microgrooves, giving a play time of about 30 minutes on each side.

However, the long-play disc wasn't particularly suitable to popular music, as the public wanted its records as singles with good sound quality even at high volumes. RCA Victor came up with a 7-inch vinyl disc with microgrooves, rotating at 45 rpm, a speed chosen specifically to make the most of the music, unlike 78s or 33 1/3s. And does no one remember the 16s?

ROGER WORSLEY
Haverfordwest
Pembrokeshire

My 78's

Jan August (Born Jan Auggustoff, 24 September 1904, New York City - Died 9 January 1976, New York City) worked as a pianist and xylophonist with Paul Whiteman and Ferde Grofe, then as a solo club pianist in the mid-1940s. His biggest hit was his version of "Misirlou," recorded for Mercury in 1947, but he had success with "Malaguena," "Oye Negra," and others that blended classical piano stylings with a Latin beat. He later recorded with Jerry Murad and the Harmonicats and Richard Hayman.

Gisele MacKenzie, Born Gisele Lafleche in Winnipeg, Canada, Gisele MacKenzie was known for her pop/rock hits "Hard to Get" and "Pepper-Hot Baby." She was a regular vocalist on Your Hit Parade from 1953-57. Her musical and acting career took her from recording studios, to radio stations, to television and to the stage.

Gisele Lafleche learned to play the violin and piano as she was growing up in Winnipeg. Along with her singing ability, learning to play instruments made her more marketable. When she married, she adopted her husband's last name, making her Gisele MacKenzie. She received her first professional job playing in the Bob Shuttleworth Band; Shuttleworth later became MacKenzie's manager. Her musical career took off in the late 1940s when she got her own radio show on the Canadian Broadcast Channel. It was not until 1955 that she recorded "Hard to Get" and "Pepper-Hot Baby," both minor hits. Her first four albums -- Gisele MacKenzie, Mam'selle Gisele, Christmas With Gisele and Gisele -- were released on the Vik label, a division of RCA Records. Hard to Get: The Best of Gisele MacKenzie is an anthology devoted to the songs she recorded while at RCA. Also on the RCA label is a series of children's albums she produced for the Cricket Playhour.

In 1957, Gisele MacKenzie began her own television program on NBC, which lasted only one season. Her television career had started in 1950 when she made an appearance on The Jack Benny Program, shortly after appearing as a regular vocalist on Your Hit Parade. It was not until 1963 that she reappeared on ABC's The Sid Caesar Show. singing a song each week and sometimes playing Sid Caesar's fourth wife.

In the early '60s, MacKenzie released three albums -- Gisele MacKenzie At the Empire Room of the Waldorf Astoria, Gisele MacKenzie Sings Lullaby and Goodnight, and Losers' Lullabies -- and later toured the United States. She sang in nightclubs and performed the lead vocals in such musicals as The King and I, South Pacific, Hello Dolly and The Unsinkable Molly Brown.

Gisele MacKenzie made a television "comeback" in the 1980s when she made guest appearances on MacGyver and Murder She Wrote. She never lost her interest in singing while pursuing an acting career and in 1996 wrote an anthem to the city of Los Angeles called "My City, L.A.," which proved quite popular in the city. MacKenzie was diagnosed with cancer a few years later and finally succumbed early in September of 2003. ~ Kim Summers, All Music Guide

78 rpm collection

Jan August (Born Jan Auggustoff, 24 September 1904, New York City - Died 9 January 1976, New York City) worked as a pianist and xylophonist with Paul Whiteman and Ferde Grofe, then as a solo club pianist in the mid-1940s. His biggest hit was his version of "Misirlou," recorded for Mercury in 1947, but he had success with "Malaguena," "Oye Negra," and others that blended classical piano stylings with a Latin beat. He later recorded with Jerry Murad and the Harmonicats and Richard Hayman.

Gisele MacKenzie, Born Gisele Lafleche in Winnipeg, Canada, Gisele MacKenzie was known for her pop/rock hits "Hard to Get" and "Pepper-Hot Baby." She was a regular vocalist on Your Hit Parade from 1953-57. Her musical and acting career took her from recording studios, to radio stations, to television and to the stage.

Gisele Lafleche learned to play the violin and piano as she was growing up in Winnipeg. Along with her singing ability, learning to play instruments made her more marketable. When she married, she adopted her husband's last name, making her Gisele MacKenzie. She received her first professional job playing in the Bob Shuttleworth Band; Shuttleworth later became MacKenzie's manager. Her musical career took off in the late 1940s when she got her own radio show on the Canadian Broadcast Channel. It was not until 1955 that she recorded "Hard to Get" and "Pepper-Hot Baby," both minor hits. Her first four albums -- Gisele MacKenzie, Mam'selle Gisele, Christmas With Gisele and Gisele -- were released on the Vik label, a division of RCA Records. Hard to Get: The Best of Gisele MacKenzie is an anthology devoted to the songs she recorded while at RCA. Also on the RCA label is a series of children's albums she produced for the Cricket Playhour.

In 1957, Gisele MacKenzie began her own television program on NBC, which lasted only one season. Her television career had started in 1950 when she made an appearance on The Jack Benny Program, shortly after appearing as a regular vocalist on Your Hit Parade. It was not until 1963 that she reappeared on ABC's The Sid Caesar Show. singing a song each week and sometimes playing Sid Caesar's fourth wife.

In the early '60s, MacKenzie released three albums -- Gisele MacKenzie At the Empire Room of the Waldorf Astoria, Gisele MacKenzie Sings Lullaby and Goodnight, and Losers' Lullabies -- and later toured the United States. She sang in nightclubs and performed the lead vocals in such musicals as The King and I, South Pacific, Hello Dolly and The Unsinkable Molly Brown.

Gisele MacKenzie made a television "comeback" in the 1980s when she made guest appearances on MacGyver and Murder She Wrote. She never lost her interest in singing while pursuing an acting career and in 1996 wrote an anthem to the city of Los Angeles called "My City, L.A.," which proved quite popular in the city. MacKenzie was diagnosed with cancer a few years later and finally succumbed early in September of 2003. ~ Kim Summers, All Music Guide

Some Of My Rare Old Indonesian Collection

The Vinyl Factory

The Vinyl Factory from thevinylfactory on Vimeo.

Teu Boga Duit (Kassaf Mashup)

Ini hanyalah refleksi dari realita yang saya tangkap di lingkungan terdekat saya, problem yang tak kunjung habis, yang juga mewakili kondisi beberapa kawan dekat di sekitar rumah, bahkan mungkin bisa menimpa kita juga.

Didasari oleh niat membuat mash up yang berbasis kerakyatan, saya mencoba menggabungkan keempat "icon" yang memang sangat inspiring saya sejak dulu. Empat figur yang menyuarakan benturan hidup sehari hari dan problem arus bawah kehidupan, yang menyuarakan pesan yang kurang lebih sama, dalam "bahasa"nya masing masing.