Question: Which have stronger structures the father or son mold?

Answer: sons

Original master discs are created by lathe-cutting: a lathe is used to cut a modulated groove into a blank record. The blank records for cutting used to be cooked up, as needed, by the cutting engineer, using what Robert K. Morrison describes as a "metallic soap," containing lead litharge, ozokerite, barium sulfate, montan wax, stearin and paraffin, among other ingredients. Cut "wax" sound discs would be placed in a vacuum chamber and gold-sputtered to make them electrically conductive for use as mandrels in an electroforming bath, where pressing stamper parts were made. Later, the French company Pyral invented a ready-made blank disc having a thin nitro-cellulose lacquer coating (approximately 7 mils thickness on both sides) that was applied to an aluminum substrate. Lacquer cuts result in an immediately playable, or processable, master record. If vinyl pressings are wanted, the still-unplayed sound disc is used as a mandrel for electroforming nickel records that are used for manufacturing pressing stampers. The electroformed nickel records are mechanically separated from their respective mandrels. This is done with relative ease because no actual "plating" of the mandrel occurs in the type of electrodeposition known as electroforming, unlike with electroplating, in which the adhesion of the new phase of metal is chemical and relatively permanent. The one-molecule-thick coating of silver (that was sprayed onto the processed lacquer sound disc in order to make its surface electrically conductive) reverse-plates onto the nickel record's face. This negative impression disc (having ridges in place of grooves) is known as a nickel master, "matrix" or "father." The "father" is then used as a mandrel to electroform a positive disc known as a "mother". Many mothers can be grown on a single "father" before ridges deteriorate beyond effective use. <hl> The "mothers" are then used as mandrels for electroforming more negative discs known as " sons ". <hl> Each "mother" can be used to make many "sons" before deteriorating. The "sons" are then converted into "stampers" by center-punching a spindle hole (which was lost from the lacquer sound disc during initial electroforming of the "father"), and by custom-forming the target pressing profile. 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 side), the "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".

Original master discs are created by lathe-cutting: a lathe is used to cut a modulated groove into a blank record. The blank records for cutting used to be cooked up, as needed, by the cutting engineer, using what Robert K. Morrison describes as a "metallic soap," containing lead litharge, ozokerite, barium sulfate, montan wax, stearin and paraffin, among other ingredients. Cut "wax" sound discs would be placed in a vacuum chamber and gold-sputtered to make them electrically conductive for use as mandrels in an electroforming bath, where pressing stamper parts were made. Later, the French company Pyral invented a ready-made blank disc having a thin nitro-cellulose lacquer coating (approximately 7 mils thickness on both sides) that was applied to an aluminum substrate. Lacquer cuts result in an immediately playable, or processable, master record. If vinyl pressings are wanted, the still-unplayed sound disc is used as a mandrel for electroforming nickel records that are used for manufacturing pressing stampers. The electroformed nickel records are mechanically separated from their respective mandrels. This is done with relative ease because no actual "plating" of the mandrel occurs in the type of electrodeposition known as electroforming, unlike with electroplating, in which the adhesion of the new phase of metal is chemical and relatively permanent. The one-molecule-thick coating of silver (that was sprayed onto the processed lacquer sound disc in order to make its surface electrically conductive) reverse-plates onto the nickel record's face. This negative impression disc (having ridges in place of grooves) is known as a nickel master, "matrix" or "father." The "father" is then used as a mandrel to electroform a positive disc known as a "mother". Many mothers can be grown on a single "father" before ridges deteriorate beyond effective use. The "mothers" are then used as mandrels for electroforming more negative discs known as "<hl> sons <hl>". Each "mother" can be used to make many "sons" before deteriorating. The "sons" are then converted into "stampers" by center-punching a spindle hole (which was lost from the lacquer sound disc during initial electroforming of the "father"), and by custom-forming the target pressing profile. 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 side), the "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".

The "mothers" are then used as mandrels for electroforming more negative discs known as " <hl> sons <hl> ".


Question: What can increase the output of a stamper mold?

Original master discs are created by lathe-cutting: a lathe is used to cut a modulated groove into a blank record. The blank records for cutting used to be cooked up, as needed, by the cutting engineer, using what Robert K. Morrison describes as a "metallic soap," containing lead litharge, ozokerite, barium sulfate, montan wax, stearin and paraffin, among other ingredients. Cut "wax" sound discs would be placed in a vacuum chamber and gold-sputtered to make them electrically conductive for use as mandrels in an electroforming bath, where pressing stamper parts were made. Later, the French company Pyral invented a ready-made blank disc having a thin nitro-cellulose lacquer coating (approximately 7 mils thickness on both sides) that was applied to an aluminum substrate. Lacquer cuts result in an immediately playable, or processable, master record. If vinyl pressings are wanted, the still-unplayed sound disc is used as a mandrel for electroforming nickel records that are used for manufacturing pressing stampers. The electroformed nickel records are mechanically separated from their respective mandrels. This is done with relative ease because no actual "plating" of the mandrel occurs in the type of electrodeposition known as electroforming, unlike with electroplating, in which the adhesion of the new phase of metal is chemical and relatively permanent. The one-molecule-thick coating of silver (that was sprayed onto the processed lacquer sound disc in order to make its surface electrically conductive) reverse-plates onto the nickel record's face. This negative impression disc (having ridges in place of grooves) is known as a nickel master, "matrix" or "father." The "father" is then used as a mandrel to electroform a positive disc known as a "mother". Many mothers can be grown on a single "father" before ridges deteriorate beyond effective use. The "mothers" are then used as mandrels for electroforming more negative discs known as "sons". Each "mother" can be used to make many "sons" before deteriorating. The "sons" are then converted into "stampers" by center-punching a spindle hole (which was lost from the lacquer sound disc during initial electroforming of the "father"), and by custom-forming the target pressing profile. 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 side), the "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".

Answer: quality of the vinyl is high

Original master discs are created by lathe-cutting: a lathe is used to cut a modulated groove into a blank record. The blank records for cutting used to be cooked up, as needed, by the cutting engineer, using what Robert K. Morrison describes as a "metallic soap," containing lead litharge, ozokerite, barium sulfate, montan wax, stearin and paraffin, among other ingredients. Cut "wax" sound discs would be placed in a vacuum chamber and gold-sputtered to make them electrically conductive for use as mandrels in an electroforming bath, where pressing stamper parts were made. Later, the French company Pyral invented a ready-made blank disc having a thin nitro-cellulose lacquer coating (approximately 7 mils thickness on both sides) that was applied to an aluminum substrate. Lacquer cuts result in an immediately playable, or processable, master record. If vinyl pressings are wanted, the still-unplayed sound disc is used as a mandrel for electroforming nickel records that are used for manufacturing pressing stampers. The electroformed nickel records are mechanically separated from their respective mandrels. This is done with relative ease because no actual "plating" of the mandrel occurs in the type of electrodeposition known as electroforming, unlike with electroplating, in which the adhesion of the new phase of metal is chemical and relatively permanent. The one-molecule-thick coating of silver (that was sprayed onto the processed lacquer sound disc in order to make its surface electrically conductive) reverse-plates onto the nickel record's face. This negative impression disc (having ridges in place of grooves) is known as a nickel master, "matrix" or "father." The "father" is then used as a mandrel to electroform a positive disc known as a "mother". Many mothers can be grown on a single "father" before ridges deteriorate beyond effective use. The "mothers" are then used as mandrels for electroforming more negative discs known as "sons". Each "mother" can be used to make many "sons" before deteriorating. The "sons" are then converted into "stampers" by center-punching a spindle hole (which was lost from the lacquer sound disc during initial electroforming of the "father"), and by custom-forming the target pressing profile. 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 side), the "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. <hl> The pressing count can increase if the stamper holds out and the quality of the vinyl is high . <hl> 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".

Original master discs are created by lathe-cutting: a lathe is used to cut a modulated groove into a blank record. The blank records for cutting used to be cooked up, as needed, by the cutting engineer, using what Robert K. Morrison describes as a "metallic soap," containing lead litharge, ozokerite, barium sulfate, montan wax, stearin and paraffin, among other ingredients. Cut "wax" sound discs would be placed in a vacuum chamber and gold-sputtered to make them electrically conductive for use as mandrels in an electroforming bath, where pressing stamper parts were made. Later, the French company Pyral invented a ready-made blank disc having a thin nitro-cellulose lacquer coating (approximately 7 mils thickness on both sides) that was applied to an aluminum substrate. Lacquer cuts result in an immediately playable, or processable, master record. If vinyl pressings are wanted, the still-unplayed sound disc is used as a mandrel for electroforming nickel records that are used for manufacturing pressing stampers. The electroformed nickel records are mechanically separated from their respective mandrels. This is done with relative ease because no actual "plating" of the mandrel occurs in the type of electrodeposition known as electroforming, unlike with electroplating, in which the adhesion of the new phase of metal is chemical and relatively permanent. The one-molecule-thick coating of silver (that was sprayed onto the processed lacquer sound disc in order to make its surface electrically conductive) reverse-plates onto the nickel record's face. This negative impression disc (having ridges in place of grooves) is known as a nickel master, "matrix" or "father." The "father" is then used as a mandrel to electroform a positive disc known as a "mother". Many mothers can be grown on a single "father" before ridges deteriorate beyond effective use. The "mothers" are then used as mandrels for electroforming more negative discs known as "sons". Each "mother" can be used to make many "sons" before deteriorating. The "sons" are then converted into "stampers" by center-punching a spindle hole (which was lost from the lacquer sound disc during initial electroforming of the "father"), and by custom-forming the target pressing profile. 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 side), the "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 <hl> quality of the vinyl is high <hl>. 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".

The pressing count can increase if the stamper holds out and the <hl> quality of the vinyl is high <hl> .


Question: What was a known issue of using shellac to make records?

Breakage was very common in the shellac era. In the 1934 John O'Hara novel, Appointment in Samarra, the protagonist "broke one of his most favorites, Whiteman's Lady of the Evening ... He wanted to cry but could not." A poignant moment in J. D. Salinger's 1951 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." A sequence where a school teacher's collection of 78 rpm jazz records is smashed by a group of rebellious students is a key moment in the film Blackboard Jungle.

Answer: Breakage was very common

<hl> Breakage was very common in the shellac era. <hl> In the 1934 John O'Hara novel, Appointment in Samarra, the protagonist "broke one of his most favorites, Whiteman's Lady of the Evening ... He wanted to cry but could not." A poignant moment in J. D. Salinger's 1951 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." A sequence where a school teacher's collection of 78 rpm jazz records is smashed by a group of rebellious students is a key moment in the film Blackboard Jungle.

<hl> Breakage was very common <hl> in the shellac era. In the 1934 John O'Hara novel, Appointment in Samarra, the protagonist "broke one of his most favorites, Whiteman's Lady of the Evening ... He wanted to cry but could not." A poignant moment in J. D. Salinger's 1951 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." A sequence where a school teacher's collection of 78 rpm jazz records is smashed by a group of rebellious students is a key moment in the film Blackboard Jungle.


Question: In which novel does 'Whiteman's Lady of the Evening" record get broken?

Answer: John O'Hara novel, Appointment in Samarra

Breakage was very common in the shellac era. <hl> In the 1934 John O'Hara novel, Appointment in Samarra , the protagonist "broke one of his most favorites, Whiteman's Lady of the Evening ... <hl> He wanted to cry but could not." A poignant moment in J. D. Salinger's 1951 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." A sequence where a school teacher's collection of 78 rpm jazz records is smashed by a group of rebellious students is a key moment in the film Blackboard Jungle.

Breakage was very common in the shellac era. In the 1934 <hl> John O'Hara novel, Appointment in Samarra <hl>, the protagonist "broke one of his most favorites, Whiteman's Lady of the Evening ... He wanted to cry but could not." A poignant moment in J. D. Salinger's 1951 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." A sequence where a school teacher's collection of 78 rpm jazz records is smashed by a group of rebellious students is a key moment in the film Blackboard Jungle.

In the 1934 <hl> John O'Hara novel, Appointment in Samarra <hl> , the protagonist "broke one of his most favorites, Whiteman's Lady of the Evening ...


Question: In Blackboard Jungle what record breaking mention is made?

Answer: teacher's collection of 78 rpm jazz records is smashed

Breakage was very common in the shellac era. In the 1934 John O'Hara novel, Appointment in Samarra, the protagonist "broke one of his most favorites, Whiteman's Lady of the Evening ... He wanted to cry but could not." A poignant moment in J. D. Salinger's 1951 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." <hl> A sequence where a school teacher's collection of 78 rpm jazz records is smashed by a group of rebellious students is a key moment in the film Blackboard Jungle. <hl>

Breakage was very common in the shellac era. In the 1934 John O'Hara novel, Appointment in Samarra, the protagonist "broke one of his most favorites, Whiteman's Lady of the Evening ... He wanted to cry but could not." A poignant moment in J. D. Salinger's 1951 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." A sequence where a school <hl> teacher's collection of 78 rpm jazz records is smashed <hl> by a group of rebellious students is a key moment in the film Blackboard Jungle.


Question: What causes clicks and pops on vinyl records?

Vinyl records do not break easily, but the soft material is easily scratched. 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.

Answer: Dust and scratches

Vinyl records do not break easily, but the soft material is easily scratched. Vinyl readily acquires a static charge, attracting dust that is difficult to remove completely. <hl> Dust and scratches cause audio clicks and pops. <hl> 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 do not break easily, but the soft material is easily scratched. Vinyl readily acquires a static charge, attracting dust that is difficult to remove completely. <hl> Dust and scratches <hl> 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.


Question: What is the cause of lock grooves on vinyl records?

Answer: Dust and scratches

Vinyl records do not break easily, but the soft material is easily scratched. Vinyl readily acquires a static charge, attracting dust that is difficult to remove completely. <hl> Dust and scratches cause audio clicks and pops. <hl> 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 do not break easily, but the soft material is easily scratched. Vinyl readily acquires a static charge, attracting dust that is difficult to remove completely. <hl> Dust and scratches <hl> 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.


Question: Where does the saying "Like a broken record" originate?

Answer: locked groove

Vinyl records do not break easily, but the soft material is easily scratched. Vinyl readily acquires a static charge, attracting dust that is difficult to remove completely. Dust and scratches cause audio clicks and pops. <hl> 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. <hl> 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 do not break easily, but the soft material is easily scratched. 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 "<hl> locked groove <hl>" 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.

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 " <hl> locked groove <hl> " that repeats over and over.


Question: How easily do vinyl records break?

Answer: Vinyl records do not break easily

<hl> Vinyl records do not break easily , but the soft material is easily scratched. <hl> 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.

<hl> Vinyl records do not break easily <hl>, but the soft material is easily scratched. 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.

<hl> Vinyl records do not break easily <hl> , but the soft material is easily scratched.


Question: What is a common damage to vinyl records?

Answer: easily scratched.

<hl> Vinyl records do not break easily, but the soft material is easily scratched. Vinyl readily acquires a static charge, attracting dust that is difficult to remove completely. <hl> 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 do not break easily, but the soft material is <hl> easily scratched. <hl> 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.


Question: What causes warping in vinyl records?

Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing 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. "wow" (once-per-revolution pitch variation) could result from warp, or from a spindle hole that was not precisely centered. 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.

Answer: heat, improper storage, exposure to sunlight, or manufacturing defects

<hl> Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover. <hl> A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. "wow" (once-per-revolution pitch variation) could result from warp, or from a spindle hole that was not precisely centered. 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.

Vinyl records can be warped by <hl> heat, improper storage, exposure to sunlight, or manufacturing defects <hl> 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. "wow" (once-per-revolution pitch variation) could result from warp, or from a spindle hole that was not precisely centered. 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.


Question: What is a cause of once per revolution pitch variation?

Answer: warp, or from a spindle hole that was not precisely centered

Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing 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. <hl> "wow" (once-per-revolution pitch variation) could result from warp, or from a spindle hole that was not precisely centered . <hl> 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.

Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing 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. "wow" (once-per-revolution pitch variation) could result from <hl> warp, or from a spindle hole that was not precisely centered <hl>. 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.

"wow" (once-per-revolution pitch variation) could result from <hl> warp, or from a spindle hole that was not precisely centered <hl> .


Question: What method was used to protect a vinyl record?

Answer: place the LP in a paper or plastic inner cover

Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing 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. "wow" (once-per-revolution pitch variation) could result from warp, or from a spindle hole that was not precisely centered. <hl> Standard practice for LPs was to place the LP in a paper or plastic inner cover . <hl> 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.

Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing 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. "wow" (once-per-revolution pitch variation) could result from warp, or from a spindle hole that was not precisely centered. Standard practice for LPs was to <hl> place the LP in a paper or plastic inner cover <hl>. 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.

Standard practice for LPs was to <hl> place the LP in a paper or plastic inner cover <hl> .


Question: What were often found with a paper outter cover and no inner cover?

Answer: Singles

Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing 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. "wow" (once-per-revolution pitch variation) could result from warp, or from a spindle hole that was not precisely centered. 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. <hl> Singles , with rare exceptions, had simple paper covers with no inner cover. <hl>

Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing 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. "wow" (once-per-revolution pitch variation) could result from warp, or from a spindle hole that was not precisely centered. 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. <hl> Singles <hl>, with rare exceptions, had simple paper covers with no inner cover.

<hl> Singles <hl> , with rare exceptions, had simple paper covers with no inner cover.


Question: What happens if a vinyl comes with a bit of warp?

Answer: A small degree of warp was common,

Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover. <hl> A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. <hl> "wow" (once-per-revolution pitch variation) could result from warp, or from a spindle hole that was not precisely centered. 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.

Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover. <hl> A small degree of warp was common, <hl> and allowing for it was part of the art of turntable and tonearm design. "wow" (once-per-revolution pitch variation) could result from warp, or from a spindle hole that was not precisely centered. 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.


Question: When is distortion most common on a gramophone record?

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. At the start of a groove on an LP there are 510 mm of vinyl per second traveling past the stylus while the ending of the groove gives 200–210 mm of vinyl per second — less than half the linear resolution. Distortion towards the end of the side is likely to become more apparent as record wear increases.*

Answer: Distortion towards the end of the side

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. At the start of a groove on an LP there are 510 mm of vinyl per second traveling past the stylus while the ending of the groove gives 200–210 mm of vinyl per second — less than half the linear resolution. <hl> Distortion towards the end of the side is likely to become more apparent as record wear increases. <hl> *

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. At the start of a groove on an LP there are 510 mm of vinyl per second traveling past the stylus while the ending of the groove gives 200–210 mm of vinyl per second — less than half the linear resolution. <hl> Distortion towards the end of the side <hl> is likely to become more apparent as record wear increases.*


Question: What happens as a record wears?

Answer: Distortion

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. At the start of a groove on an LP there are 510 mm of vinyl per second traveling past the stylus while the ending of the groove gives 200–210 mm of vinyl per second — less than half the linear resolution. <hl> Distortion towards the end of the side is likely to become more apparent as record wear increases. <hl> *

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. At the start of a groove on an LP there are 510 mm of vinyl per second traveling past the stylus while the ending of the groove gives 200–210 mm of vinyl per second — less than half the linear resolution. <hl> Distortion <hl> towards the end of the side is likely to become more apparent as record wear increases.*


Question: What is a drawback of using gramophones?

Answer: fidelity steadily declines as playback progresses

<hl> 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. <hl> At the start of a groove on an LP there are 510 mm of vinyl per second traveling past the stylus while the ending of the groove gives 200–210 mm of vinyl per second — less than half the linear resolution. Distortion towards the end of the side is likely to become more apparent as record wear increases. *

A further limitation of the gramophone record is that <hl> fidelity steadily declines as playback progresses <hl>; 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. At the start of a groove on an LP there are 510 mm of vinyl per second traveling past the stylus while the ending of the groove gives 200–210 mm of vinyl per second — less than half the linear resolution. Distortion towards the end of the side is likely to become more apparent as record wear increases.*

A further limitation of the gramophone record is that <hl> fidelity steadily declines as playback progresses <hl> ; 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.


Question: How much vinyl can be found at the start of an LP?

Answer: 510 mm

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. <hl> At the start of a groove on an LP there are 510 mm of vinyl per second traveling past the stylus while the ending of the groove gives 200–210 mm of vinyl per second — less than half the linear resolution. <hl> Distortion towards the end of the side is likely to become more apparent as record wear increases. *

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. At the start of a groove on an LP there are <hl> 510 mm <hl> of vinyl per second traveling past the stylus while the ending of the groove gives 200–210 mm of vinyl per second — less than half the linear resolution. Distortion towards the end of the side is likely to become more apparent as record wear increases.*


Question: Where can you find only 200-210mm of vinyl?

Answer: ending of the groove

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. <hl> At the start of a groove on an LP there are 510 mm of vinyl per second traveling past the stylus while the ending of the groove gives 200–210 mm of vinyl per second — less than half the linear resolution. <hl> Distortion towards the end of the side is likely to become more apparent as record wear increases. *

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. At the start of a groove on an LP there are 510 mm of vinyl per second traveling past the stylus while the <hl> ending of the groove <hl> gives 200–210 mm of vinyl per second — less than half the linear resolution. Distortion towards the end of the side is likely to become more apparent as record wear increases.*


Question: What would be a cause of low frequency sounds when listening?

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. Subsonic frequencies below about 20 Hz in the audio signal are dominated by tracking effects, which is one form of unwanted rumble ("tracking noise") and merges with audible frequencies in the deep bass range up to about 100 Hz. 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 0.5 Hz (the frequency at which a 33 1⁄3 rpm record turns on the turntable; 5⁄9 Hz exactly on an ideal turntable). 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.

Answer: warped disk

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. Subsonic frequencies below about 20 Hz in the audio signal are dominated by tracking effects, which is one form of unwanted rumble ("tracking noise") and merges with audible frequencies in the deep bass range up to about 100 Hz. 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 0.5 Hz (the frequency at which a 33 1⁄3 rpm record turns on the turntable; 5⁄9 Hz exactly on an ideal turntable). <hl> 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. <hl> 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.

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. Subsonic frequencies below about 20 Hz in the audio signal are dominated by tracking effects, which is one form of unwanted rumble ("tracking noise") and merges with audible frequencies in the deep bass range up to about 100 Hz. 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 0.5 Hz (the frequency at which a 33 1⁄3 rpm record turns on the turntable; 5⁄9 Hz exactly on an ideal turntable). Another reason for very low frequency material can be a <hl> warped disk <hl>: 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.

Another reason for very low frequency material can be a <hl> warped disk <hl> : its undulations produce frequencies of only a few hertz and present day amplifiers have large power bandwidths.


Question: What is a feature many stereos contain to fight back against unwanted noises?

Answer: subsonic filter

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. Subsonic frequencies below about 20 Hz in the audio signal are dominated by tracking effects, which is one form of unwanted rumble ("tracking noise") and merges with audible frequencies in the deep bass range up to about 100 Hz. 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 0.5 Hz (the frequency at which a 33 1⁄3 rpm record turns on the turntable; 5⁄9 Hz exactly on an ideal turntable). 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. <hl> For this reason, many stereo receivers contained a switchable subsonic filter . <hl> 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.

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. Subsonic frequencies below about 20 Hz in the audio signal are dominated by tracking effects, which is one form of unwanted rumble ("tracking noise") and merges with audible frequencies in the deep bass range up to about 100 Hz. 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 0.5 Hz (the frequency at which a 33 1⁄3 rpm record turns on the turntable; 5⁄9 Hz exactly on an ideal turntable). 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 <hl> subsonic filter <hl>. 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.

For this reason, many stereo receivers contained a switchable <hl> subsonic filter <hl> .


Question: What is a sounds commonly heard when listening to a vinyl that is unintentional.

Answer: Tonearm skating

<hl> Tonearm skating forces and other perturbations are also picked up by the stylus. <hl> 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. Subsonic frequencies below about 20 Hz in the audio signal are dominated by tracking effects, which is one form of unwanted rumble ("tracking noise") and merges with audible frequencies in the deep bass range up to about 100 Hz. 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 0.5 Hz (the frequency at which a 33 1⁄3 rpm record turns on the turntable; 5⁄9 Hz exactly on an ideal turntable). 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.

<hl> Tonearm skating <hl> 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. Subsonic frequencies below about 20 Hz in the audio signal are dominated by tracking effects, which is one form of unwanted rumble ("tracking noise") and merges with audible frequencies in the deep bass range up to about 100 Hz. 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 0.5 Hz (the frequency at which a 33 1⁄3 rpm record turns on the turntable; 5⁄9 Hz exactly on an ideal turntable). 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.


Question: Which frequencies are you most likely to hear tonearm skating?

Answer: frequencies below about 20 Hz

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. <hl> Subsonic frequencies below about 20 Hz in the audio signal are dominated by tracking effects, which is one form of unwanted rumble ("tracking noise") and merges with audible frequencies in the deep bass range up to about 100 Hz. <hl> 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 0.5 Hz (the frequency at which a 33 1⁄3 rpm record turns on the turntable; 5⁄9 Hz exactly on an ideal turntable). 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.

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. Subsonic <hl> frequencies below about 20 Hz <hl> in the audio signal are dominated by tracking effects, which is one form of unwanted rumble ("tracking noise") and merges with audible frequencies in the deep bass range up to about 100 Hz. 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 0.5 Hz (the frequency at which a 33 1⁄3 rpm record turns on the turntable; 5⁄9 Hz exactly on an ideal turntable). 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.


Question: Are there any visual signs of tracking when listening to a record?

Answer: cones can sometimes be seen to vibrate with the subsonic tracking

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. Subsonic frequencies below about 20 Hz in the audio signal are dominated by tracking effects, which is one form of unwanted rumble ("tracking noise") and merges with audible frequencies in the deep bass range up to about 100 Hz. High fidelity sound equipment can reproduce tracking noise and rumble. <hl> 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 0.5 Hz (the frequency at which a 33 1⁄3 rpm record turns on the turntable; 5⁄9 Hz exactly on an ideal turntable). <hl> 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.

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. Subsonic frequencies below about 20 Hz in the audio signal are dominated by tracking effects, which is one form of unwanted rumble ("tracking noise") and merges with audible frequencies in the deep bass range up to about 100 Hz. High fidelity sound equipment can reproduce tracking noise and rumble. During a quiet passage, woofer speaker <hl> cones can sometimes be seen to vibrate with the subsonic tracking <hl> of the stylus, at frequencies as low as just above 0.5 Hz (the frequency at which a 33 1⁄3 rpm record turns on the turntable; 5⁄9 Hz exactly on an ideal turntable). 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.


Question: What is a limitation of low frequency recordings?

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.

Answer: limiting the playing time

Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. <hl> 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. <hl> 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.

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 <hl> limiting the playing time <hl> 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.


Question: What kinds of unwanted sounds are often heard at high frequencies?

Answer: hiss, pops, and ticks

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. <hl> At high frequencies, hiss, pops, and ticks are significant. <hl> 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.

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, <hl> hiss, pops, and ticks <hl> 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.


Question: What is done during recordings to help reduce unwanted sounds?

Answer: amplitude of low frequencies is reduced

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. <hl> During recording the amplitude of low frequencies is reduced , thus reducing the groove width required, and the amplitude at high frequencies is increased. <hl> 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.

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 <hl> amplitude of low frequencies is reduced <hl>, 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.

During recording the <hl> amplitude of low frequencies is reduced <hl> , thus reducing the groove width required, and the amplitude at high frequencies is increased.


Question: What is a benefit of using equalization devices?

Answer: problems can be reduced

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. <hl> These problems can be reduced by using equalization to an agreed standard. <hl> 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.

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 <hl> problems can be reduced <hl> 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.


Question: What is done to high frequency sounds to lessen sound issues?

Answer: amplitude at high frequencies is increased

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. <hl> During recording the amplitude of low frequencies is reduced, thus reducing the groove width required, and the amplitude at high frequencies is increased . <hl> 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.

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 <hl> amplitude at high frequencies is increased <hl>. 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.

During recording the amplitude of low frequencies is reduced, thus reducing the groove width required, and the <hl> amplitude at high frequencies is increased <hl> .


Question: Whom found that they can make musical instruments sound more natural with an amplifier boost at the turnover point?

In 1926 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. Therefore, it was necessary to attenuate the bass frequencies below about 250 Hz, the bass turnover point, in the amplified microphone signal fed to the recording head. 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. G. H. Miller in 1934 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.

Answer: G. H. Miller

In 1926 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. Therefore, it was necessary to attenuate the bass frequencies below about 250 Hz, the bass turnover point, in the amplified microphone signal fed to the recording head. 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. <hl> G. H. Miller in 1934 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. <hl>

In 1926 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. Therefore, it was necessary to attenuate the bass frequencies below about 250 Hz, the bass turnover point, in the amplified microphone signal fed to the recording head. 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. <hl> G. H. Miller <hl> in 1934 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.


Question: What is found when a complementary boost is used at the bass turnover point?

Answer: reproduction was more realistic

In 1926 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. Therefore, it was necessary to attenuate the bass frequencies below about 250 Hz, the bass turnover point, in the amplified microphone signal fed to the recording head. 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. <hl> G. H. Miller in 1934 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. <hl>

In 1926 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. Therefore, it was necessary to attenuate the bass frequencies below about 250 Hz, the bass turnover point, in the amplified microphone signal fed to the recording head. 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. G. H. Miller in 1934 reported that when complementary boost at the turnover point was used in radio broadcasts of records, the <hl> reproduction was more realistic <hl> and many of the musical instruments stood out in their true form.


Question: When frequency in the treble increases what happens to the recording amplitude?

Answer: recording amplitude decreased

In 1926 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. <hl> This meant that as frequency increased in the treble, recording amplitude decreased . <hl> Conversely, in the bass as frequency decreased, recording amplitude increased. Therefore, it was necessary to attenuate the bass frequencies below about 250 Hz, the bass turnover point, in the amplified microphone signal fed to the recording head. 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. G. H. Miller in 1934 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.

In 1926 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, <hl> recording amplitude decreased <hl>. Conversely, in the bass as frequency decreased, recording amplitude increased. Therefore, it was necessary to attenuate the bass frequencies below about 250 Hz, the bass turnover point, in the amplified microphone signal fed to the recording head. 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. G. H. Miller in 1934 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.

This meant that as frequency increased in the treble, <hl> recording amplitude decreased <hl> .


Question: What happens when frequency decreases in the bass?

Answer: recording amplitude increased

In 1926 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. <hl> Conversely, in the bass as frequency decreased, recording amplitude increased . <hl> Therefore, it was necessary to attenuate the bass frequencies below about 250 Hz, the bass turnover point, in the amplified microphone signal fed to the recording head. 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. G. H. Miller in 1934 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.

In 1926 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, <hl> recording amplitude increased <hl>. Therefore, it was necessary to attenuate the bass frequencies below about 250 Hz, the bass turnover point, in the amplified microphone signal fed to the recording head. 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. G. H. Miller in 1934 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.

Conversely, in the bass as frequency decreased, <hl> recording amplitude increased <hl> .


Question: Whom found Wente-style condenser microphones helpful?

West in 1930 and later P. G. A. H. Voigt (1940) showed that the early Wente-style condenser microphones contributed to a 4 to 6 dB midrange brilliance or pre-emphasis in the recording chain. This meant that the electrical recording characteristics of Western Electric licensees such as Columbia Records and Victor Talking Machine Company in the 1925 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. As a result, this practice was the empirical beginning of using pre-emphasis above 1,000 Hz in 78 rpm and 33 1⁄3 rpm records.

Answer: P. G. A. H. Voigt

<hl> West in 1930 and later P. G. A. H. Voigt (1940) showed that the early Wente-style condenser microphones contributed to a 4 to 6 dB midrange brilliance or pre-emphasis in the recording chain. <hl> This meant that the electrical recording characteristics of Western Electric licensees such as Columbia Records and Victor Talking Machine Company in the 1925 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. As a result, this practice was the empirical beginning of using pre-emphasis above 1,000 Hz in 78 rpm and 33 1⁄3 rpm records.

West in 1930 and later <hl> P. G. A. H. Voigt <hl> (1940) showed that the early Wente-style condenser microphones contributed to a 4 to 6 dB midrange brilliance or pre-emphasis in the recording chain. This meant that the electrical recording characteristics of Western Electric licensees such as Columbia Records and Victor Talking Machine Company in the 1925 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. As a result, this practice was the empirical beginning of using pre-emphasis above 1,000 Hz in 78 rpm and 33 1⁄3 rpm records.


Question: How were Wente-Style condenser microphones helpful?

Answer: pre-emphasis in the recording

<hl> West in 1930 and later P. G. A. H. Voigt (1940) showed that the early Wente-style condenser microphones contributed to a 4 to 6 dB midrange brilliance or pre-emphasis in the recording chain. <hl> This meant that the electrical recording characteristics of Western Electric licensees such as Columbia Records and Victor Talking Machine Company in the 1925 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. As a result, this practice was the empirical beginning of using pre-emphasis above 1,000 Hz in 78 rpm and 33 1⁄3 rpm records.

West in 1930 and later P. G. A. H. Voigt (1940) showed that the early Wente-style condenser microphones contributed to a 4 to 6 dB midrange brilliance or <hl> pre-emphasis in the recording <hl> chain. This meant that the electrical recording characteristics of Western Electric licensees such as Columbia Records and Victor Talking Machine Company in the 1925 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. As a result, this practice was the empirical beginning of using pre-emphasis above 1,000 Hz in 78 rpm and 33 1⁄3 rpm records.


Question: When was a pre-emphasis most useful?

Answer: above 1,000 Hz

West in 1930 and later P. G. A. H. Voigt (1940) showed that the early Wente-style condenser microphones contributed to a 4 to 6 dB midrange brilliance or pre-emphasis in the recording chain. This meant that the electrical recording characteristics of Western Electric licensees such as Columbia Records and Victor Talking Machine Company in the 1925 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. <hl> As a result, this practice was the empirical beginning of using pre-emphasis above 1,000 Hz in 78 rpm and 33 1⁄3 rpm records. <hl>

West in 1930 and later P. G. A. H. Voigt (1940) showed that the early Wente-style condenser microphones contributed to a 4 to 6 dB midrange brilliance or pre-emphasis in the recording chain. This meant that the electrical recording characteristics of Western Electric licensees such as Columbia Records and Victor Talking Machine Company in the 1925 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. As a result, this practice was the empirical beginning of using pre-emphasis <hl> above 1,000 Hz <hl> in 78 rpm and 33 1⁄3 rpm records.


Question: On which recording types were pre-emphasis used most in the 1920s?

Answer: 78 rpm and 33 1⁄3 rpm

West in 1930 and later P. G. A. H. Voigt (1940) showed that the early Wente-style condenser microphones contributed to a 4 to 6 dB midrange brilliance or pre-emphasis in the recording chain. This meant that the electrical recording characteristics of Western Electric licensees such as Columbia Records and Victor Talking Machine Company in the 1925 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. <hl> As a result, this practice was the empirical beginning of using pre-emphasis above 1,000 Hz in 78 rpm and 33 1⁄3 rpm records. <hl>

West in 1930 and later P. G. A. H. Voigt (1940) showed that the early Wente-style condenser microphones contributed to a 4 to 6 dB midrange brilliance or pre-emphasis in the recording chain. This meant that the electrical recording characteristics of Western Electric licensees such as Columbia Records and Victor Talking Machine Company in the 1925 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. As a result, this practice was the empirical beginning of using pre-emphasis above 1,000 Hz in <hl> 78 rpm and 33 1⁄3 rpm <hl> records.


Question: In which Era was this finding most significant?

Answer: 1925 era

West in 1930 and later P. G. A. H. Voigt (1940) showed that the early Wente-style condenser microphones contributed to a 4 to 6 dB midrange brilliance or pre-emphasis in the recording chain. <hl> This meant that the electrical recording characteristics of Western Electric licensees such as Columbia Records and Victor Talking Machine Company in the 1925 era had a higher amplitude in the midrange region. <hl> Brilliance such as this compensated for dullness in many early magnetic pickups having drooping midrange and treble response. As a result, this practice was the empirical beginning of using pre-emphasis above 1,000 Hz in 78 rpm and 33 1⁄3 rpm records.

West in 1930 and later P. G. A. H. Voigt (1940) showed that the early Wente-style condenser microphones contributed to a 4 to 6 dB midrange brilliance or pre-emphasis in the recording chain. This meant that the electrical recording characteristics of Western Electric licensees such as Columbia Records and Victor Talking Machine Company in the <hl> 1925 era <hl> 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. As a result, this practice was the empirical beginning of using pre-emphasis above 1,000 Hz in 78 rpm and 33 1⁄3 rpm records.


Question: What was the industry standard in Europe for record equalization?

Over the years a variety of record equalization practices emerged and there was no industry standard. For example, in Europe recordings for years required playback with a bass turnover setting of 250–300 Hz and a treble roll-off at 10,000 Hz ranging from 0 to −5 dB or more. In the US there were more varied practices and a tendency to use higher bass turnover frequencies such as 500 Hz as well as a greater treble rolloff like −8.5 dB and even more to record generally higher modulation levels on the record.

Answer: there was no industry standard

<hl> Over the years a variety of record equalization practices emerged and there was no industry standard . <hl> For example, in Europe recordings for years required playback with a bass turnover setting of 250–300 Hz and a treble roll-off at 10,000 Hz ranging from 0 to −5 dB or more. In the US there were more varied practices and a tendency to use higher bass turnover frequencies such as 500 Hz as well as a greater treble rolloff like −8.5 dB and even more to record generally higher modulation levels on the record.

Over the years a variety of record equalization practices emerged and <hl> there was no industry standard <hl>. For example, in Europe recordings for years required playback with a bass turnover setting of 250–300 Hz and a treble roll-off at 10,000 Hz ranging from 0 to −5 dB or more. In the US there were more varied practices and a tendency to use higher bass turnover frequencies such as 500 Hz as well as a greater treble rolloff like −8.5 dB and even more to record generally higher modulation levels on the record.

Over the years a variety of record equalization practices emerged and <hl> there was no industry standard <hl> .


Question: In which country was the treble roll off greater?

Answer: US

Over the years a variety of record equalization practices emerged and there was no industry standard. For example, in Europe recordings for years required playback with a bass turnover setting of 250–300 Hz and a treble roll-off at 10,000 Hz ranging from 0 to −5 dB or more. <hl> In the US there were more varied practices and a tendency to use higher bass turnover frequencies such as 500 Hz as well as a greater treble rolloff like −8.5 dB and even more to record generally higher modulation levels on the record. <hl>

Over the years a variety of record equalization practices emerged and there was no industry standard. For example, in Europe recordings for years required playback with a bass turnover setting of 250–300 Hz and a treble roll-off at 10,000 Hz ranging from 0 to −5 dB or more. In the <hl> US <hl> there were more varied practices and a tendency to use higher bass turnover frequencies such as 500 Hz as well as a greater treble rolloff like −8.5 dB and even more to record generally higher modulation levels on the record.


Question: Which country prefers a bass turnover setting of 250-300 Hz?

Answer: Europe

Over the years a variety of record equalization practices emerged and there was no industry standard. <hl> For example, in Europe recordings for years required playback with a bass turnover setting of 250–300 Hz and a treble roll-off at 10,000 Hz ranging from 0 to −5 dB or more. <hl> In the US there were more varied practices and a tendency to use higher bass turnover frequencies such as 500 Hz as well as a greater treble rolloff like −8.5 dB and even more to record generally higher modulation levels on the record.

Over the years a variety of record equalization practices emerged and there was no industry standard. For example, in <hl> Europe <hl> recordings for years required playback with a bass turnover setting of 250–300 Hz and a treble roll-off at 10,000 Hz ranging from 0 to −5 dB or more. In the US there were more varied practices and a tendency to use higher bass turnover frequencies such as 500 Hz as well as a greater treble rolloff like −8.5 dB and even more to record generally higher modulation levels on the record.


Question: What was the industry standard on equalization practices?

Answer: there was no industry standard

<hl> Over the years a variety of record equalization practices emerged and there was no industry standard . <hl> For example, in Europe recordings for years required playback with a bass turnover setting of 250–300 Hz and a treble roll-off at 10,000 Hz ranging from 0 to −5 dB or more. In the US there were more varied practices and a tendency to use higher bass turnover frequencies such as 500 Hz as well as a greater treble rolloff like −8.5 dB and even more to record generally higher modulation levels on the record.

Over the years a variety of record equalization practices emerged and <hl> there was no industry standard <hl>. For example, in Europe recordings for years required playback with a bass turnover setting of 250–300 Hz and a treble roll-off at 10,000 Hz ranging from 0 to −5 dB or more. In the US there were more varied practices and a tendency to use higher bass turnover frequencies such as 500 Hz as well as a greater treble rolloff like −8.5 dB and even more to record generally higher modulation levels on the record.

Over the years a variety of record equalization practices emerged and <hl> there was no industry standard <hl> .


Question: Which country used the most varied equalization practices?

Answer: US

Over the years a variety of record equalization practices emerged and there was no industry standard. For example, in Europe recordings for years required playback with a bass turnover setting of 250–300 Hz and a treble roll-off at 10,000 Hz ranging from 0 to −5 dB or more. <hl> In the US there were more varied practices and a tendency to use higher bass turnover frequencies such as 500 Hz as well as a greater treble rolloff like −8.5 dB and even more to record generally higher modulation levels on the record. <hl>

Over the years a variety of record equalization practices emerged and there was no industry standard. For example, in Europe recordings for years required playback with a bass turnover setting of 250–300 Hz and a treble roll-off at 10,000 Hz ranging from 0 to −5 dB or more. In the <hl> US <hl> there were more varied practices and a tendency to use higher bass turnover frequencies such as 500 Hz as well as a greater treble rolloff like −8.5 dB and even more to record generally higher modulation levels on the record.


Question: How far back did records show the art of sound recordings?

Evidence from the early technical literature concerning electrical recording suggests that it wasn't until the 1942–1949 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 1925 Western Electric licensed method used by Columbia and Victor. For example, what Brunswick-Balke-Collender (Brunswick Corporation) did was different from the practices of Victor.

Answer: 1925

Evidence from the early technical literature concerning electrical recording suggests that it wasn't until the 1942–1949 period that there were serious efforts to standardize recording characteristics within an industry. <hl> Heretofore, electrical recording technology from company to company was considered a proprietary art all the way back to the 1925 Western Electric licensed method used by Columbia and Victor. <hl> For example, what Brunswick-Balke-Collender (Brunswick Corporation) did was different from the practices of Victor.

Evidence from the early technical literature concerning electrical recording suggests that it wasn't until the 1942–1949 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 <hl> 1925 <hl> Western Electric licensed method used by Columbia and Victor. For example, what Brunswick-Balke-Collender (Brunswick Corporation) did was different from the practices of Victor.


Question: How was standardization prior to 1942?

Answer: considered a proprietary art

Evidence from the early technical literature concerning electrical recording suggests that it wasn't until the 1942–1949 period that there were serious efforts to standardize recording characteristics within an industry. <hl> Heretofore, electrical recording technology from company to company was considered a proprietary art all the way back to the 1925 Western Electric licensed method used by Columbia and Victor. <hl> For example, what Brunswick-Balke-Collender (Brunswick Corporation) did was different from the practices of Victor.

Evidence from the early technical literature concerning electrical recording suggests that it wasn't until the 1942–1949 period that there were serious efforts to standardize recording characteristics within an industry. Heretofore, electrical recording technology from company to company was <hl> considered a proprietary art <hl> all the way back to the 1925 Western Electric licensed method used by Columbia and Victor. For example, what Brunswick-Balke-Collender (Brunswick Corporation) did was different from the practices of Victor.