Never touch the record's playing surface with your bare hands or fingers as your body oil will transfer onto the record attracting even more dust thereby affecting sound quality. Always hold a record by its outer edges only.
If you accidentally touch a record, it is best to immediately clean it with a liquid record cleaner before putting it back in its sleeve. Keep your filthy paws off the playing surface of a record.
Your T-shirt or towel is not a record cleaner Can I give my records a quick whisk with a towel? Resist the temptation to wipe your vinyl record with your shirt or dry cloth no matter how soft it may feel. This will scratch and scuff the record and only move the dirt around. For dry cleaning or light touch up, use an anti-static record brush as it actually discharges static and lifts dirt without damaging the vinyl record.
View step-by-step directions on how to clean records. If it's not specifically labelled for use on vinyl records then please do NOT use it. Never use WD40, lubricants, or solvents of any kind on your records.
Never place or pick up a vinyl record as the turntable platter is spinning. Sitting on the orange shag carpet, gazing at the album jacket. No color of any kind can match it. Colored variants to me have always seemed like cheap alternatives issued only as cash-grabs.
I manufacture vinyl for a living. The notable exception is glow-in-the-dark plastic, which is dreadful stuff. Where you will naturally find playback issues is on discs pressed with multiple colours, either in segments or as splatters, especially mixtures of opaque and transparent plastic. It took 5 fives minutes to realise it was looping! My only bugbear is the near transparent vinyl with multiple tracks on either side.
Back in the days of DJing it could be a bit of a nightmare trying to quickly cue up the track you wanted because the cue point ie start of the track would show on both sides and mistakes could be made when you thought you had cued it up only to find out it was halfway through the desired track because you were literally looking at the track on the other side of the vinyl. In a dimly lit room, it made for some funnily frustrating times. I am not an audiophile and never have been in all my 46 years of listening to vinyl except classical music which is better on cd!
Imo your speaker system, turntable set up and needle!! When I play them out on a big system nobody ever came to me and complained. We can be fussy or go on with it and make it better for those sensitive audiophile ears who have a great system set up at home. There is more surface noise to colored vinyl as opposed to black vinyl. I own multiple copies of split, tri-colored and quad-colored vinyl and if you listen to those LPs with head phones on you can tell the difference in surface noise.
Especially if one of the sections is black. Also I find it irritating that when some artists release an LP there can be up to 10 different variations of the release! Annoying AF! I always buy the black version for my play copy and leave the other variation just to look at occasionally. I have found though that there are some really good quality colored vinyl out there and it seems to be the gram and above that sound the best.
Also picture discs have improved a lot since the glory days when picture discs were all the rage. I experiencing a lot more warping, rough edges, particles in the grooves and kinked inserts and inner sleeves.
Sure there was warping back then too but usually on popular releases that would sell a lot of units and they packed and shipped them quickly before they completely cooled from the pressing process.
Frampton Comes Alive comes to mind. Love all the comments on this informative article. For those that say record companies always punched out label centers before melting down old vinyl to make new vinyl pressing ….. Not sure if anyone out there knows something about this, but i have recently found that colored vinyl and other variants arrive warped FAR more often than black wax.
Not blaming the record companies, just the colored vinyls… any thoughts? The labels were punched out before the vinyl was ground up and melted down. Sometimes a bit of label would get in with the vinyl if the label were originally off-center, for example , but that was pretty rare. Vinyl is the ultimate historical musical artifact. Everything about the vinyl should feel like it represents what the music is about.
Not going to lie.. I will sacrifice slighty better sound quality for an artifact that has history ingrained in it ie. The sound difference between black vinyl and colored vinyl is really not that discernible. Sometimes you would see pieces of the old labels in the vinyl. They could cause clicks, pops, skips, etc.
The purer the vinyl virgin yes even black , the more light would show through. Colored vinyl is nice. Almost exclusively classical music targeting people who wanted high quality sound. Pressing and mastering are much more significant than the color of the vinyl. I have nothing against colored vinyl as long as these two jobs are done well. When buying a second hand record, colored vinyls are a minefield.
You cannot reflect light and see the possible defects as well as black vinyl. The worst in this case are the clear vinyls. Even the sleeves were better quality. Likewise, the ear-rattling sounds of dubstep weren't really meant for your turntable. Vinyl can struggle with highs and lows: High-pitched frequencies drum cymbals, hi-hats and sibilance think "s" sounds can cause the ugly crackle of distortion, while deep bass panned between the left and right channels can knock around the needle.
Otherwise, "that's a hard path for a needle to trace. The beginning of an album side sounds better than the end: As the album's circumference shrinks toward the middle, the needle speed changes and it can't follow every millimeter of the groove. If the song that closes side A or B is a complicated one — say, one with a busy harmonica solo — it may well sound less than hi-fi.
That's why those double-LPs are worth the extra flipping. Surface noise: "The warm sound of the vinyl, that's a form of noise that you get from dealing with the lacquer material and having it go through this manufacturing process," Gonsalves said. The vinyl format can generate other issues: crackles and pops, records that skip and the whine of a needle against the LP, all problems that the CD advertised itself on solving decades ago.
The intent of the new Western Electric system was to improve the overall quality of disc recording and playback. The newly invented Western Electric moving coil or dynamic microphone was part of the Wide Range System.
It had a flatter audio response than the old style Wente condenser type and didn't require electronics installed in the microphone housing.
Signals fed to the cutting head were pre-emphasized in the treble region to help override noise in playback. Groove cuts in the vertical plane were employed rather than the usual lateral cuts. The chief advantage claimed was more grooves per inch that could be crowded together, resulting in longer playback time.
Additionally, the problem of inner groove distortion, which plagued lateral cuts, could be avoided with the vertical cut system. Wax masters were made by flowing heated wax over a hot metal disc thus avoiding the microscopic irregularities of cast blocks of wax and the necessity of planing and polishing.
Vinyl pressings were made with stampers from master cuts that were electroplated in vacuo by means of gold sputtering. Amplifiers and cutters both using negative feedback were employed thereby improving the range of frequencies cut and lowering distortion levels. Radio transcription producers such as World Broadcasting System and Associated Music Publishers AMP were the dominant licensees of the Western Electric wide range system and towards the end of the s were responsible for two-thirds of the total radio transcription business.
Developmentally, much of the technology of the long playing record, successfully released by Columbia in , came from wide range radio transcription practices. Goldmark, Rene' Snepvangers and William S. Bachman in made it possible for a great variety of record companies to get into the business of making long playing records. Radio listeners heard recordings broadcast and this in turn generated more record sales.
The industry flourished. Technology used in making recordings also developed and prospered. There were ten major evolutionary steps that improved LP production and quality during a period of approximately forty years.
At the time of the introduction of the compact disc CD in , the stereo LP pressed in vinyl was at the high point of its development. Still, it continued to suffer from a variety of limitations:. Audiophiles have differed over the relative merits of the LP versus the CD since the digital disc was introduced. Modern anti-aliasing filters and oversampling systems used in digital recordings have eliminated perceived problems observed with very early CD players.
There is a theory that vinyl records can audibly represent higher frequencies than compact discs, though most of this is noise and not relevant to human hearing. Due to the distance required between grooves, it is not possible for an LP to reproduce as low frequencies as a CD. High frequency sensitivity decreases as a person ages, a process called presbycusis. For the first several decades of disc record manufacturing, sound was recorded directly on to the "master disc" at the recording studio.
From about on earlier for some large record companies, later for some small ones it became usual to have the performance first recorded on audio tape , which could then be processed or edited, and then dubbed on to the master disc. A record cutter would engrave the grooves into the master disc. Early versions of these master discs were soft wax , and later a harder lacquer was used.
The mastering process was originally something of an art as the operator had to manually allow for the changes in sound which affected how wide the space for the groove needed to be on each rotation. As the playing of gramophone records causes gradual degradation of the recording, they are best preserved by transferring them onto other media and playing the records as rarely as possible.
They need to be stored on edge, and do best under environmental conditions that most humans would find comfortable. Where old disc recordings are considered to be of artistic or historic interest, from before the era of tape or where no tape master exists, archivists play back the disc on suitable equipment and record the result, typically onto a digital format, which can be copied and manipulated to remove analog flaws without any further damage to the source recording.
For example, Nimbus Records uses a specially built horn record player  to transfer 78s. Anyone can do this using a standard record player with a suitable pickup, a phono-preamp pre-amplifier and a typical personal computer.
However, for accurate transfer, professional archivists carefully choose the correct stylus shape and diameter, tracking weight, equalisation curve and other playback parameters and use high-quality analogue-to-digital converters. As an alternative to playback with a stylus, a recording can be read optically, processed with software that calculates the velocity that the stylus would be moving in the mapped grooves and converted to a digital recording format.
This does no further damage to the disc and generally produces a better sound than normal playback. This technique also has the potential to allow for reconstruction of broken or otherwise damaged discs. Groove recordings, first designed in the final quarter of the 19th century, held a predominant position for nearly a century—withstanding competition from reel-to-reel tape , the 8-track cartridge , and the compact cassette.
The widespread popularity of Sony's Walkman was a factor that contributed to the vinyl's lessening usage in the s. Vinyl records experienced a sudden decline in popularity between and ,  when the major label distributors restricted their return policies, which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles.
First the distributors began charging retailers more for new product if they returned unsold vinyl, and then they stopped providing any credit at all for returns. Retailers, fearing they would be stuck with anything they ordered, only ordered proven, popular titles that they knew would sell, and devoted more shelf space to CDs and cassettes.
Record companies also deleted many vinyl titles from production and distribution, further undermining the availability of the format and leading to the closure of pressing plants. This rapid decline in the availability of records accelerated the format's decline in popularity, and is seen by some as a deliberate ploy to make consumers switch to CDs, which unlike today, were more profitable for the record companies. In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters.
Vinyl records continue to be manufactured and sold today,  especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles , collectors , and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over.
See Record collecting. Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.
In the United States, annual vinyl sales increased by Many electronic dance music and hip hop releases today are still preferred on vinyl; however, digital copies are still widely available. This is because for disc jockeys "DJs" , vinyl has an advantage over the CD: direct manipulation of the medium.
DJ techniques such as slip-cueing , beatmatching , and scratching originated on turntables. With CDs or compact audio cassettes one normally has only indirect manipulation options, e. With a record one can place the stylus a few grooves farther in or out, accelerate or decelerate the turntable, or even reverse its direction, provided the stylus, record player , and record itself are built to withstand it.
Figures released in the United States in early showed that sales of vinyl albums nearly doubled in , with 1. Sales have continued to rise into the s, with around 2. In artist Jack White sold 40, copies of his second solo release, Lazaretto , on vinyl. The sales of the record beat the largest sales in one week on vinyl since The sales record was previously held by Pearl Jam 's Vitalogy , which sold 34, copies in one week in In , the sale of vinyl records was the only physical music medium with increasing sales with relation to the previous year.
Sales of other mediums including individual digital tracks, digital albums and compact discs have fallen, the last having the greatest drop-in-sales rate.
Pepper's Lonely Hearts Club Band. In , CBS released the CX format, downward compatible for higher dynamic range and noise reduction. VinylVideo was a 45 RPM format to store a low resolution black and white video on record. From Wikipedia, the free encyclopedia. Redirected from Vinyl record. For the magazine, see Phonograph Record magazine. Disc-shaped vinyl analog sound storage medium.
Play media. See also: LP record. Further information: High fidelity. Main article: Laser turntable. See also: Recording medium comparison. Main article: Unusual types of gramophone records. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. For other uses, see Broken Record disambiguation. Further information: Analog recording vs. Further information: Production of phonograph records.
See also: Vinyl revival. This section needs to be updated. Please update this article to reflect recent events or newly available information. April Archived from the original on Wired UK. Information Week. The New York Times. The talking phonograph. Scientific American, 14 December, Retrieved Time Inc: 87— Music Educators Journal , Vol. The Recording and Reproduction of Sound revised and enlarged 2nd ed.
Indianapolis: Howard W. London: British Library. Archived PDF from the original on 22 December Retrieved 16 December The New York Times , February 23, , p.
Archived at the Wayback Machine Front page. Cambridge University Press. University Press of Florida. Archived from the original on July 11, Retrieved July 11, Archived from the original on March 29, Retrieved September 27, Peyton's Big Damn Band". Archived from the original on 5 November Retrieved 4 October Oxford University Press.
Walker Spalding, Lincolnshire: The Authors. London: The British Library. Popular Science. Bonnier Corporation. New York: Billboard Publishing Co. Sound recording: the life story of a technology. Greenwood technographies. JHU Press. Audio signal processing and coding.
Hi-fi magazines, especially then, were notorious for their number-crunching. Reviews of gear would include graphs that showed the frequency range of the sounds produced, measurements of things like channel separation how much the information from the two stereo channels could be kept isolated from each other , signal-to-noise ratio, and dynamic range the difference between the softest and loudest sounds the source was capable of reproducing.
And every possible measurement of the sounds-- which are, after all, vibrations in the air that are quantifiable-- suggested that CDs were superior to LPs. There were still some holdouts, especially among those who had spent thousands of dollars on turntables, but the consensus was that CDs had gone a long way toward "solving" sound.
Of course, when you listen in on casual discussions of sound in , you often hear that "LPs are back" because they "sound better. But since these low-quality files were thrust upon people in the name of convenience and file size, certain associations regarding digital audio as a whole began to develop among a subset of record connoisseurs. For some, "mp3s are cheap and bad" turned into "digital audio is cheap and bad compared to LPs. One of the often overlooked facts about LP reproduction is that some people prefer it because it introduces distortion.
The "warmth" that many people associate with LPs can generally be described as a bass sound that is less accurate.Apr 18, · Example 3: Alex North – A Space Odyssey Soundtrack A fine example of unbridled financial hysteria is in the case of the recent Mondo repress of the soundtrack by Alex ineareminusra.planbagerolnorevinnolisuvelrext.co black vinyl median price is $20, and while it costs this much to buy new, this is a reasonable price to pay.. However, you then have the “randomly inserted” colored vinyl version with a median price of Missing: Portamento.