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ca. 1899 and his early phonographThe phonograph, or gramophone, was the most common device for playing Sound recording and reproduction sound from the 1870s through the 1980s.

Terminology Usage of these terms is not uniform across the English language-speaking world (see below). In more modern usage, this device is often called a turntable, record player, or record changer.

The famous phonograph was the first device for sound recording. The term phonograph ("sound writer") is derived from the Greek language words φωνή (meaning "sound" or "voice" and transliterated as phone) and γραφή (meaning "writing" and transliterated as graphe). Similar related terms gramophone and graphophone have similar root meanings. The coinage, particularly the use of the -graph root, may have been influenced by the then-existing words phonographic and phonography, which referred to a system of phonetic shorthand; in 1852 The New York Times carried an advertisement for "Professor Webster's phonographic class", and in 1859 the New York State Teachers' Association tabled a motion to "employ a phonographic recorder" to record its meetings.

F. B. Fenby was the original author of the word phonograph. An inventor in Worcester, Massachusetts, he was granted a patent in 1863 for an unsuccessful device called the "Electro-Magnetic Phonograph".Oliver Read, From Tin Foil to Stereo: Evolution of the Phonograph (1959) 2nd edition 1976: coauthor Walter Welch, Indianapolis: Howard W. Sams & Co., ISBN 0672212064 His concept detailed a system that would record a sequence of keyboard strokes onto paper tape. Although no model or workable device was ever made, it is often seen as a link to the concept of punched paper for player piano rolls (1880s), as well as Herman Hollerith's punch card tabulator (used in the 1890 census), a distant precursor of the modern computer.

Arguably, any device used to record sound or reproduce recorded sound could be called a type of "phonograph", but in common practice it has come to mean historic technologies of sound recording.

In the late 19th and early 20th century, the alternative term talking machine was sometimes used.

United Kingdom In British English, gramophone came to refer to any sound reproducing machine using disc records, as disc records were popularized in the UK by the Gramophone Company. The term phonograph is usually restricted to devices playing cylinder records. The term gramophone would generally be taken to refer to a wind-up machine, and from the 1960s onwards the more common term would be record player or turntable as part of a system that also played cassettes and included radio. Such a system would be called a hi-fi or stereo (most systems being stereophonic by the mid-1960s).Gramophone took its name from the Greek words "" (grami, line) and "" (phoni, voice). Like other, similar devices the marketers of which wanted to express the notion of "sound" in the devices' names, they also used the same part of the Greek word (e.g., telephone, microphone etc.).

United States In American English, phonograph was the most common generic term for any early sound reproducing machine, until the second half of the 20th century, when it became archaic and record player became the universal term for disc record machines. In contemporary American usage phonograph most usually refers to disc record machines or turntables, the most common type of analogue recording from the 1910s on.

Gramophone was a U.S. brand name, and as such in the same category as Victor Talking Machine Company, Zonophone, Graphophone and Graphonola referring to specific brands of sound reproducing machines. (Similarly, in German, das Grammophon (literally "the Gramophone") was the most common generic term for any sound reproducer using grooved records, hence the brand name Deutsche Grammophon.) Emile Berliner's Gramophone was considered a type of phonograph. The brand name Gramophone was not used in the USA after 1901, and the word fell out of use there, though it has survived in its nickname form, Grammy, as the title of the Grammy Awards.

Australia In Australian English, record player was the generic term; turntable was a more technical term; gramophone was restricted to the old mechanical (i.e., wind-up) players; and phonograph was used as in British English.

History The phonautograph .The earliest known invention of a phonographic recording device was the phonautograph, invented by Frenchman Leon Scott and patented on March 25 1857. It could transcribe sound to a visible medium, but had no means to play back the sound after it was recorded. The device consisted of a horn or barrel that focused sound waves onto a membrane to which a hog's bristle was attached, causing the bristle to move and enabling it to inscribe the sound onto a visual medium. Initially, the phonautograph made recordings onto a lamp-blackened glass plate. A later version (see image) used a medium of lamp-blackened paper on a drum or cylinder (geometry). Another version would draw a line representing the sound wave on a roll of paper. The phonautograph was a laboratory curiosity for the study of acoustics. It was used to determine the frequency of a given musical pitch and to study sound and speech; it was not widely understood until after the development of the phonograph that the waveform recorded by the phonautograph was a record of the sound wave that needed only a playback mechanism to reproduce the sound.

Phonograph theory Charles Cros, a French scientist, produced a theory (April 18 1877) concerning a phonograph, but he did not manufacture a working model. His theory was submitted to the French Academy of Sciences, and was read to the public in December 1877, by which time Edison had produced a working model. Cros and Edison apparently discovered their theories independently.

The first phonograph , 1880Thomas Alva Edison announced his invention of the first phonograph, a device for recording and replaying sound, on November 21 1877 and he demonstrated the device for the first time on November 29 (it was patented on February 19 1878 as US Patent 200,521). Edison's early phonographs recorded onto a Tin#Applications sheet phonograph cylinder using an up-down ("hill-and-dale") motion of the stylus. The tinfoil sheet was wrapped around a grooved cylinder, and the sound was recorded as indentations into the foil. Edison's early patents show that he also considered the idea that sound could be recorded as a spiral onto a Gramophone record, but Edison concentrated his efforts on cylinder (geometry)s, since the groove on the outside of a rotating cylinder provides a constant velocity to the stylus in the groove, which Edison considered more "scientifically correct". Edison's patent specified that the audio recording was embossed, and it was not until 1886 that vertically modulated engraved recordings using wax coated cylinders were patented by Chichester Bell and Charles Sumner Tainter. They named their version the Graphophone. Emile Berliner patented his Gramophone in 1887. The Gramophone involved a system of recording using a lateral (back and forth) movement of the stylus as it traced a spiral onto a zinc disc coated with a compound of beeswax in a solution of benzine. The zinc disc was immersed in a bath of chromic acid; this etched the groove into the disc where the stylus had removed the coating, after which the recording could be played.

In May 1889, the first "phonograph parlor" opened in San Francisco. Customers would sit at a desk where they could speak through a tube, and order a selection for one nickel. Through a separate tube connected to a cylinder phonograph in the room below, the selection would then be played. By the mid-1890s, most American cities had at least one phonograph parlor.

By 1890, record manufacturers had begun using a rudimentary duplication process to mass-produce their product. While the live performers recorded the master phonograph, up to ten tubes led to blank cylinders in other phonographs. Until this development, each record had to be custom-made. Before long, a more advanced pantograph-based process made it possible to simultaneously produce 150 copies of each record. However, as demand for certain records grew, popular artists still needed to re-record and re-re-record their songs. Reportedly, the medium's first major African-American star George Washington Johnson was obliged to perform his “The Laughing Coon” (or "Laughing Song") literally thousands of times in a studio during his recording career. Sometimes he would sing "The Laughing Coon" more than fifty times in a day, at twenty cents per rendition. (The average price of a single cylinder in the mid-1890s was about fifty cents.)

Oldest surviving recordings Frank Lambert (inventor)'s lead cylinder recording for an experimental talking clock is often identified as the oldest surviving playable sound recording, "Experimental Talking Clock" recording at Tinfoil.com, URL accessed August 14 2006 although the evidence advanced for its early date is controversial. Aaron Cramer, Tim Fabrizio, and George Paul, "A Dialogue on 'The Oldest Playable Recording,'" ARSC Journal 33:1 (Spring 2002), 77-84; Patrick Feaster and Stephan Puille, "Dialogue on 'The Oldest Playable Recording' (continued), ARSC Journal 33:2 (Fall 2002), 237-242. The phonograph cylinders made on June 29 1888 of Handel's choral music at The Crystal Palace in London are the oldest known surviving musical recordings. "Very Early Recorded Sound" U.S. National Park Service, URL accessed August 14 2006

Disc versus cylinder as a recording medium Disc recording is inherently neither better nor worse than cylinder recording in potential audio fidelity.

Recordings made on a cylinder remain at a constant linear velocity for the entirety of the recording, while those made on a disc have a higher linear velocity at the outer portion of the groove compared to the inner portion.

Edison's patented recording method recorded with vertical modulations in a groove. Berliner utilized a laterally modulated groove.

Though Edison's recording technology was better than Berliner's, there were commercial advantages to a disc system:



Berliner successfully argued that his technology was different enough from Edison's that he did not need to pay royalties on it, which reduced his business expenses.

Through experimentation, in 1892 Berliner began commercial production of his disc records, and "gramophones" or "talking-machines". His "gramophone record" was the first disc record to be offered to the public. They were five inches (12.7 centimeter) in diameter and recorded on one side only. Seven-inch (17.5 cm) records followed in 1895. By 1901, ten-inch (25.0 cm) records were marketed by the Victor Talking Machine Company, and Berliner had sold his interests. By 1908, a majority of the public demanded double-sided disc recordings, and cylinders fell into disfavor. Edison felt the commercial pressure for disc records, and by 1912, though reluctant at first, his movement to disc records was in full swing.

From the mid-1890s until the early 1920s both phonograph cylinder and disc recordings and machines to play them on were widely mass-marketed and sold. The disc system gradually became more popular due to its cheaper price and better marketing by disc record companies. Edison ceased cylinder manufacture in the fall of 1929, and the history of disc and cylinder rivalry was concluded.

The dominance of the gramophone record . Photographer: Fredrik Tersmeden.Berliner's lateral disc record was the ancestor of the 78 rpm, 45 rpm, 33⅓ rpm, and all other analogue disc records popular for use in sound recording through the 20th century. See gramophone record.

Christmas 1925 brought improved radio technology and radio sales, bringing many phonograph dealers to financial ruin. With efforts at improved audio fidelity, the big record companies succeeded in keeping business booming through the end of the decade, but the record sales plummeted during the Great Depression, with many companies merging or going out of business.

Booms in record sales returned after World War II as standards changed from 78s to vinyl long play records, which could contain an entire symphony and 45s which usually contained one hit popularized on the radio, plus another song on the back or A-side and B-side. An "Extended Play" version of the 45 was also available, designated Gramophone record, which provided capacity for longer selections, or two regular-length songs per side.

By the 1960s, inexpensive portable record players and record changers which played stacks of records in wooden console cabinets were popular, usually with heavy and crude tone arms. Even drug stores stocked 45 rpm records at their front counters. Rock music played on 45s became the soundtrack to the 1960s as people bought the same songs that were played free of charge on the radio. Some record players were even tried in automobiles, but were quickly displaced by 8 track and cassette tapes.

High fidelity made great advances during the 1970s, as turntables became very precise instruments with belt or direct drive, jewel-balanced tonearms, some with electronically controlled linear tracking and magnetic cartridges. Some cartridges had frequency response above 30 kHz for use with CD-4 quadraphonic 4 channel sound. A high fidelity component system which cost under $1000 could do a very good job of reproducing very accurate frequency response across the human audible spectrum from 20 Hz to 20,000 Hz with a $200 turntable which would typically have less than .05% Wow (recording) and flutter and very low rumble (low frequency noise). A well maintained record would have very little surface noise, though it was difficult to keep records completely free from scratches, which produced popping noises. Another characteristic failure mode was groove lock, causing a section of music to repeat, separated by a popping noise. This was so common that a saying was coined: repetition, referring to someone who is being annoyingly repetitious.

A novelty variation on the standard format was the use of multiple concentric spirals with different recordings. Thus when the record was played multiple times, different recordings would play seemingly at random.

Records themselves became an art form because of the large surface onto which graphics and books could be printed, and records could be molded into unusual shapes, colors, or with images (picture discs). The turntable remained a common element of home audio systems well after the introduction of other media such as audio tape and even the early years of the compact disc as a lower priced music format. However, even as the cost of producing CDs fell below that of records, CDs would remain a higher priced music format than cassettes or records. Thus, records were not uncommon in home audio systems into the early 1990s.

By the turn of the 21st century, the turntable had become a niche product, as the price of CD players, which reproduce music free from pops and scratches, fell far lower than high fidelity tape players or turntables. Nevertheless, there is some increase in interest as many big-box media stores stock turntables, as do professional DJ equipment stores. On the other hand, all but the most expensive stereo receivers now omit the phono input. The list price of first-run CDs remains above $15, while used records are very inexpensive, and some are rare and sought after. Some combination systems include turntables with a CD and radio in retro-styled cabinets, of much higher quality than the inexpensive record players common in the 1960s. Records also continue to be manufactured and sold today, albeit in very small quantities when compared to the disc phonograph's heyday.

Turntable technology Turntable construction Inexpensive record players typically used a flanged steel stamping for the turntable structure. A rubber disc would be secured to the top of the stamping to provide traction for the record, as well as a small amount of vibration isolation. The spindle bearing usually consisted of a bronze plain bearing. The flange on the stamping provided a convenient place to drive the turntable by means of an idler wheel (see below). While light and cheap to manufacture, these mechanisms had low inertia, making motor speed instabilities more pronounced.

For the serious listener, turntables made from heavy aluminium castings were offered. Their large, balanced mass helped to minimize vibration at the stylus, and to maintain constant speed without wow or flutter. Like the stamped steel turntables, they, were topped with rubber. Due to the increased mass, they usually employed ball bearings or rolling-element bearing in the spindle to reduce friction and noise. While some used idler wheel drive, most were intended for belt or direct drive. The high mass and inertia of such turntables helped keep the speed constant, even if the motor exhibited cogging effects.

Turntable drive systems Many platters have a continuous series of stroboscope markings machined or printed around their edge to provide optical pulses to these speed-control systems. Viewing these markings in artificial light at mains frequency produces a stroboscopic effect, which can be used by the operator to verify rotational speed.

Idler-wheel drive system Earlier designs used a rubberized idler-wheel drive system. However, wear and decomposition of the wheel, as well as the direct mechanical coupling to a vibrating motor, introduced low-frequency noise ("Rumble measurement") and speed variations ("wow (recording) and flutter") into the sound. These systems generally used a electric motor#Single-phase AC synchronous motors which ran at a speed synchronized to the frequency of the alternating current power supply. Portable record players typically used an inexpensive electric motor#Single-phase AC induction motors. At the end of the motor shaft there was a stepped driving capstan; to obtain different speeds, the rubber idler wheel was moved to contact different steps of this capstan. The idler was pinched against the bottom or inside edge of the platter to drive it.

Until the 1980s, the idler-wheel drive was the most common on turntables, except for higher-end audiophile models. However, even some higher-end turntables, such as the Garrard Engineering and Manufacturing Company "Zero" series and Dual (brand) turntables, used idler-wheel drive.

Belt drive system In a belt (mechanical) drive turntable the electric motor is located under and to the side of the platter (turntable) and is connected to the platter by an elastomeric belt. Belt drives brought improved motor and platter isolation compared to idler-wheel designs. Motor noise heard as low-frequency rumble was much reduced.

The design of the belt drive turntable allows for a less expensive motor than the direct-drive turntable to be used. Also, the elastomeric belt absorbs motor vibrations which would otherwise be picked up by the stylus.

Direct drive system Direct-drive turntables drive the platter directly without utilizing intermediate wheels, belts, or gears as part of a drive train. The platter functions as a motor armature. This requires good engineering, with advanced electronics for acceleration and speed control. Matsushita's Technics division introduced the first commercially successful direct drive platter, model SP10, in 1969 and it was replaced by the Technics SL-1200 turntable, in 1972. Its updated model, SL-1200MK2, released in 1978, had a stronger motor, a convenient pitch control slider for beatmatching and a stylus illuminator, which made it the long standing favourite among disc jockeys (see "Turntablism").

Pickup systems

Historically, most high-fidelity component systems (preamplifiers or receivers) that accepted input from a phonograph turntable had separate inputs for both ceramic and magnetic cartridges (typically labeled "CER" and "MAG"). One piece systems often had no additional phono inputs at all, regardless of type.

Most systems today, if they accept input from a turntable at all, are configured for use only with magnetic cartridges, with high end systems often having both MM and MC settings

Piezoelectric (crystal/ceramic) cartridges Early electronic phonographs used a piezoelectricity crystal for pickup, where the mechanical movement of the stylus in the groove generates a proportional electrical voltage by creating stress within a crystal (typically Potassium sodium tartrate). Crystal pickups are relatively robust, and produce a substantial signal level which requires only a modest amount of further amplification. The output is not very linear however, introducing unwanted distortion. It is difficult to make a crystal pickup suitable for quality stereophonic sound reproduction, as the stiff coupling between the crystal and the long styli used prevent close tracking of the needle to the groove modulations. This tends to increase wear on the record, and introduces more distortion.

The next development was the ceramic cartridge, a piezoelectric device that used newer, and better, materials. These were more sensitive, and offered greater compliance, that is, lack of resistance to movement and so increased ability to follow the undulations of the groove without gross distorting or jumping out of the groove. Higher compliance meant lower tracking forces and reduced wear to both the disc and stylus. It also allowed ceramic stereo cartridges to be made.

During the 1950s to 1970s, ceramic cartridge became common in low quality phonographs, but better high-fidelity (or "hi-fi") systems used magnetic cartridges, and the availability of low cost magnetic cartridges from the 1970s onwards made ceramic cartridges obsolete for essentially all purposes.

Magnetic cartridges There are two common designs for magnetic cartridges, moving magnet (MM) and moving coil (MC) (originally called dynamic). Both operate on the same physics principle of electromagnetic induction. The moving magnet type was by far the most common and more robust of the two, though audiophiles often claim that the moving coil system yields higher fidelity sound.

In either type, the stylus itself, usually of diamond, is mounted on a tiny metal strut called a cantilever, which is suspended using a collar of highly compliant plastic. This gives the stylus the freedom to move in any direction. On the other end of the cantilever is mounted a tiny permanent magnet (moving magnet type) or a set of tiny wound coils (moving coil type). The magnet is close to a set of fixed pick-up coils, or the moving coils are held within a magnetic field generated by fixed permanent magnets. In either case, the movement of the stylus as it tracks the grooves of a record causes a fluctuating magnetic field which causes a small electrical current to be induced in the coils. This current closely follows the sound waveform cut into the record, and may be transmitted by wires to an electronic amplifier where it is processed and amplified in order to drive a loudspeaker. Depending upon the amplifier design, a phono-preamp may be necessary.

In most moving magnet designs, the stylus itself is detachable from the rest of the cartridge so it can easily be replaced. There are two primary types of cartridge mounts. The older type is attached using small screws to a headshell which then plugs into the tonearm, while the other is a standardized "P-mount" cartridge that plugs directly into the tonearm. Some mass market turntables use a proprietary integrated cartridge which is not upgradable.

An alternative design is the moving iron variation on moving magnet used by Grado, Stanton Magnetics, and the Moving Micro Cross of Bang & Olufsen.

Optical readout A few systems have been announced (and some even appeared) which read the groove optically (contactless, thereby removing the otherwise unavoidable record wear). Besides the rather obvious idea of Laser turntable, at least one attempt has been made with a system where a flatbed scanner was used to provide a digital image of one complete side of a record. A computer would then interpret this image and reproduce the recording. The initial results however lacked satisfactory fidelity Digital Needle - A Virtual Gramophone URL accessed March 31 2007.

Styli using shellac 78 rpm records, 1940sIn the sound recording industry, a stylus is a phonograph needle used to play back sound on gramophone records, as well as to record the sound indentations on the master record.

It is a crucial part of the phonograph, as it is the one part of the system that actually contacts the recorded disc and transfers its vibrations to the rest of the system. It is the part which also suffers the greatest wear. There are two desired qualities in a stylus: first, that it faithfully follows the contours of the recorded groove and transfers the vibration to the system, and second, that it does not damage the recorded disc.

Several technologies were used to record the sounds, beginning with Phonograph cylinder. The harder the material used, the harder the stylus had to be. The latter stylus for vinyl records were made out of Sapphire or diamond.

Equalization Early "mechanical" gramophones used the stylus to vibrate a diaphragm radiating through a Horn (acoustic). Several serious problems resulted from this



The introduction of electronic amplification allowed these issues to be addressed. Records are made with boosted high frequencies and/or reduced low frequencies. This reduces the effect of background noise, including clicks or pops, and also conserves the amount of physical space needed for each groove, by reducing the size of the low-frequency undulations.

During playback, the high frequencies must be rescaled to their original, flat frequency response—known as "equalization"—as well as being amplified. A phono input of an amplifier incorporates such equalization as well as amplification to suit the very low level output from a modern cartridge. Most hi-fi amplifiers made between the 1950s and the 1990s and virtually all DJ mixers are so equipped.

The widespread adoption of digital music formats, such as CD or satellite radio, has displaced phonograph records and resulted in phono inputs being omitted in most modern amplifiers. Some newer turntables include built-in preamplifiers to produce line-level outputs. Inexpensive and moderate performance discrete phono preamplifiers with RIAA equalization are available, while high-end audiophile units costing thousands of dollars continue to be available in very small numbers.

Since the late 1950s, almost all phono input stages have used the RIAA equalization standard. Before settling on that standard, there were many different equalizations in use, including EMI, HMV, Columbia, Decca FFRR, NAB, Ortho, BBC transcription, etc. Recordings made using these other equalization schemes will typically sound odd if they are played through a RIAA-equalized preamplifier. High-performance (so-called "multicurve disc") preamps, which include multiple, selectable equalizations, are no longer commonly available. However, some vintage preamps, such as the LEAK varislope series, are still obtainable and can be refurbished. Newer preamplifiers like the Esoteric Sound Re-Equalizer or the K-A-B MK2 Vintage Signal Processor are also available. Powell, James R., Jr. and Randall G. Stehle. Playback Equalizer Settings for 78 rpm Recordings. Third Edition. 1993, 2002, 2007, Gramophone Adventures, Portage MI. ISBN 0963492136 These kinds of adjustable phono equalizers are used by consumers wishing to play vintage record collections (often the only available recordings of musicians of the time) with the equalization used to make them.

Arm systems The tone arm (or tonearm) holds the pickup cartridge over the groove, the stylus tracking the groove with the desired force to give the optimal compromise between good tracking and minimizing wear of the stylus and record groove. At its simplest, a tone arm is a pivoted lever, free to move in two axes (vertical and horizontal) with a counterbalance to maintain tracking pressure.

However, the requirements of high-fidelity reproduction place more demands upon the arm design:



These demands are contradictory and impossible to realize (massless arms and zero-friction bearings do not exist in the real world), and consequently all tone arm designs are engineering compromises. Solutions vary, but all modern tonearms are at least relatively lightweight and stiff constructions with precision, very low friction pivot bearings in both vertical and horizontal axes.



Basic arm design has changed relatively little. S-type tonearms can be found on even the early 1925 Victor Orthophonic phonograph. Though early electrical pickup tonearms were light, their full weight rested on the record. Through to the crystal pickup, this was required to create sufficient tracking force to follow the grooves adequately with relatively stiff styli. Record wear was high. With better technologies (magnetic cartridge), far-smaller tracking forces became possible, and the balanced arm came into use. Most use a counterweight to offset the weight of the arm. Often, a calibrated dial on the weight provides quick adjustment of stylus force. Stylus forces of 10 to 20 Newton (1 to 2 gram-force, frequently mis-labelled by manufacturers as simply "grams") are typical for modern high-fidelity turntables, while forces of up to 50 mN (5 "grams-force") are common for DJ use.

Tonearms are prone to two types of tracking errors that affect the sound. As the tonearm tracks the groove, the stylus drags tangent to the disc surface and resistance by the arm creates a horizontal skating force towards the center of the disc. Modern arms provide an anti-skating mechanism, using springs, hanging weights, or magnets to offset this force, making the net horizontal force near zero. The second error occurs as the arm sweeps in an arc across the disc, causing the angle between the cartridge head and groove to change slightly. A change in angle, albeit small, will have a detrimental effect (especially in stereo) by creating different forces on the two groove walls. Making the arm longer to reduce this angle is a partial solution, but less than ideal, because longer arms weigh more, and because even a long arm won't be long enough since only an infinitely long arm would reduce this error to zero. Some arms (such as the Garrard "Zero" series) have been manufactured with a parallelogram arrangement which pivots the cartridge head on the arm to maintain a constant angle.

If the arm is not pivoted, but instead travels horizontally along a radius of the disc, there is no skating force and no cartridge angle error. Such arms are driven along a linear track using an electronic servomechanism, or a precise mechanical adjustment (the Rabco arm) to position it properly. Rabco developed the first zero tracking error tonearm, followed by Bang & Olufsen with its Beogram 4000 model in 1972. Early Edison phonographs had used similarly horizontal spring-powered drives to carry the stylus across the record at a pre-determined rate. In practice, the linear tracking system is not widely used today due to its complexity and related expense. However, some of the most sophisticated and expensive systems still employ this technique. It is nearly ideal, as the stylus replicates the motion of the recording lathe when the master recording was cut.

== The phonograph in the 21st century ==

Turntables continue to be manufactured and sold into the 21st century, although in small numbers. While there are many audiophiles who still prefer vinyl records over digital music sources (primarily compact disc) for their perceived fidelity, they represent an enthusiastic minority of listeners. The quality of the available record players, tonearms, and cartridges has continued to improve, despite a diminishing market. Thus, the turntable remains the preferred sound source in some high end audio systems.



Updated versions of the 1970s era Technics SL-1200 have remained an industry standard for DJs to the present day. Turntables and vinyl records remain popular in mixing (mostly dance-oriented) forms of electronic music, where they allow great latitude for physical manipulation of the music by the DJ.

In hip hop music, the turntable is used as a musical instrument. Manipulation of a record as part of the music rather than for normal playback or mixing, is called turntablism. The basis of turntablism and its best known technique is scratching, pioneered by Grand Wizard Theodore. It was not until Herbie Hancock's "Rockit" in 1983 that the turntablism movement was recognized in popular music outside of a hip hop context. See list of turntablists for more influential turntablist artists.

The laser turntable, which uses a laser as the pickup instead of a stylus in physical contact with the disk, was conceived of in the late 1980s, although early prototypes were not of usable audio quality. Practical laser turntables are now being manufactured by ELPJ. They are favoured by record libraries and some audiophiles since they eliminate physical wear completely.

Experimentation is in progress in retrieving the audio from old records by scanning the disc and analysing the scanned image, rather than using any sort of turntable, by Ofer Springer at the Hebrew University of Jerusalem.

Notable turntables include, inter alia the Linn Sondek LP12, the Sota Cosmos, Roksan Audio Xerxes, the Immedia RPM-2, the VPI TNT, Michell Orbe SE and the SME Models 20 and 30.



Although largely replaced since the introduction of the compact disc in 1982, record albums still sell in small numbers and are available through numerous sources. Many audiophiles believe that all-analogue recordings made using a traditional tape recorder, simple microphone arrays and few overdubs have a more natural sound than digital recordings.

Direct vs belt drive Although most high-quality turntables use a rubber belt to drive the rotating platter from an electric motor, the Rockport Sirius, for example, uses a linear induction motor with no physical connection to the platter. The direct-drive turntable, for example, the abovementioned Technics SL-1200, became popular in the late 1970s.

Many turntables, such as the Rega Research Planar series, use a fixed plinth with the motor and bearing attached to the same flat surface, usually constructed of wood, metal or acrylic, others use a "suspended sub-chassis" design, where the platform allows the stylus to track accurately relative to the surface of the record whilst being protected from external vibrations. The platter, sub-chassis, armboard and tonearm mechanically form a closed loop, and sit on top of dampers.

The evaluation of the "best" turntable design is very subjective and often based more on listening experience. Technical measurement is fraught with difficulties: first there is the difficulty of measuring small parameters, secondly there is disagreement about relevant parameters to measure.

Audiophile grade turntables start at a few hundred dollars and range upwards of $100,000, depending on the complexity and quality of design and manufacture. The common view would be that there are diminishing returns with an increase in price - a turntable costing $1,000 would not sound significantly better than a turntable costing $500; nevertheless, there exists a large choice of expensive turntables although the popularity of the vinyl replay medium has been surpassed for some time.

See also

References

External links



Phonograph - Wikipedia, the free encyclopedia
The phonograph, or gramophone, was the most common device for playing recorded sound from the 1870s through the 1980s.

Phonograph cylinder - Wikipedia, the free encyclopedia
The earliest method of recording and reproducing sound was on phonograph cylinders. Commonly known simply as "records" in their era of greatest popularity (c. 1888–1915), these ...

Definition: phonograph from Online Medical Dictionary
The Online Medical Dictionary is a searchable dictionary of definitions from medicine, science and technology.

phonograph - Hutchinson encyclopedia article about phonograph
Hutchinson encyclopedia article about phonograph. phonograph. Information about phonograph in the Hutchinson encyclopedia. phonograph records, phonograph record, phonograph ...

Collectible phonograph records from the Vulcan Cylinder Record Company
Phonograph cylinder records, hand-made in a robust modern resin for safe delivery in the mail.

phonograph definition of phonograph in the Free Online Encyclopedia.
Encyclopedia article about phonograph. Information about phonograph in the Columbia Encyclopedia, Computer Desktop Encyclopedia, computing dictionary. phonograph records ...

Bill Clark's Phonograph Cylinder Page
Information on Phonograph Cylinder records. ... Phonograph Cylinders. This page gives some brief details about phonograph cylinders.

Victorian London - Science and Technology - Phonograph
If you enjoy www.victorianlondon.org why not ... Victorian London - Science and Technology - Phonograph. ASSEMBLY ROOMS SALISBURY FOR TWO DAYS ONLY

Edison Film and Sound: The History of the Edison Cylinder Phonograph
The phonograph was developed as a result of Thomas Edison's work on two other inventions, the telegraph and the telephone. In 1877, Edison was working on a machine that would ...

Phonograph
We welcome sites dealing with early phonographs, gramophones, 78s, cylinder records and recorded sound in general -- information, pictures, dealers, auctions, sound files!





 
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