Episode Transcript
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subject. to availability. Hello
2:30
and welcome to This Day in History Class, a show that spins the greatest
2:32
hits of
2:44
history one day at a time. I'm
2:47
Gabe Lusier and in this episode,
2:49
we're looking at a game-changing moment
2:52
in the history of music technology,
2:54
the introduction of the first LP, and
2:56
the birth of the album, as we
2:59
know. The
3:05
day was June 21, 1948. Columbia
3:09
Records released the first long-playing
3:11
vinyl record, or LP for
3:14
short. Company
3:16
President Edward Wallerstein announced the new
3:18
format during a press conference at
3:21
the Waldorf Astoria Hotel in New
3:23
York City. He also
3:25
demonstrated the breakthrough technology by
3:27
playing the first long-playing disc
3:29
ever produced, a recording
3:32
of the New York Philharmonic
3:34
under the baton of Bruno
3:36
Walter performing Mendelssohn's violin concerto
3:38
in E minor. Take
3:40
a listen. As
4:00
the name suggests, the LP allowed
4:02
for longer recordings to be played
4:05
on turntables. The previous
4:07
standard record had rotated at 78 RPMs,
4:10
or revolutions per minute, and could
4:12
only hold three or four minutes
4:14
of music on each side. But
4:17
LPs were a different story. Because
4:20
they had a narrower groove, which
4:22
Columbia dubbed a micro groove, and
4:25
because they played at a slower speed, 33 and a
4:27
third RPMs, each
4:30
side of the record could now hold
4:32
around 20 minutes. This
4:35
meant that longer works, such as
4:37
classical pieces or extended jazz compositions,
4:39
could now be heard in their
4:41
entirety without having to flip over
4:43
the record. It
4:45
also enabled contemporary musicians to package
4:47
a dozen or so of their
4:49
shorter songs onto a single disc.
4:53
The LP addressed other limitations of
4:55
78 RPM discs
4:57
as well, including durability and
5:00
sound quality. This
5:02
was done by changing the material
5:04
from which records were made, ditching
5:06
the heavy, brittle shellac of 78s
5:09
in favor of lighter, sturdier vinyl.
5:12
The switch to vinyl also improved
5:14
the listening experience compared to shellac
5:16
records, which had always been plagued
5:18
by a high level of surface
5:20
noise, such as crackles, pops, and
5:22
needle hiss. It
5:24
wasn't the vinyl itself that reduced the
5:26
noise, but the long, spiral groove that
5:28
was able to be cut into the
5:30
more flexible material. As
5:33
the Columbia Records catalog proudly
5:35
touted, quote, Each LP record
5:37
consists of scores of microscopically
5:40
fine grooves, precisely controlled channels,
5:42
capable of capturing the most
5:45
subtle nuances or the most
5:47
magnificent for T-SME. Many
5:50
of the features that contributed to the LP's
5:52
success had already been developed as far back
5:54
as the 1920s, both
5:57
Columbia and its primary competitor.
5:59
RCA Victor, had experimented with
6:01
vinyl material, 33 1⁄3 RPMs,
6:03
and microgroove. But
6:07
those early efforts were always derailed,
6:10
first by technical limitations, then by
6:12
the Great Depression, and finally by
6:14
the Second World War. It
6:17
wasn't until the summer of 1947 that
6:21
a Hungarian-American engineer named Peter Goldmark
6:23
was finally able to put all
6:26
the components together, the material,
6:28
the speed, and the microgroove.
6:31
He didn't do it alone, though. His team
6:33
at Columbia had spent the better part
6:35
of a decade solving all the previous
6:38
problems, like grooves that were too wide
6:40
and playback times that were too short.
6:43
It's no exaggeration to say
6:45
that their efforts changed the
6:47
music industry forever. When
6:49
Columbia launched the first LPs in 1948,
6:52
the term album referred to a
6:54
group of record sleeves that were
6:57
bound together, like a physical
6:59
photo album, but for music. Sometimes
7:01
an album would collect the various singles of
7:04
a given artist, each of which had to
7:06
be recorded on its own 78 RPM disc.
7:10
In other cases, an album would
7:12
collect a longer musical work, such
7:14
as Beethoven's Fifth Symphony, which had
7:16
to be spread out over five
7:18
or six discs. Once
7:21
LPs caught on, though, the meaning
7:23
of the term album shifted. An
7:26
album became a collection of recordings
7:28
issued on a single record, an
7:30
entirely new unit by which music
7:32
could be conceived, packaged, and listened
7:34
to. This new
7:36
take on the album was a win for
7:39
everyone. It allowed record companies
7:41
to charge more money for discs with
7:43
more content. It spared listeners
7:45
the hassle of having to change records
7:47
every few minutes, and it
7:49
enabled artists to branch out from
7:52
short radio-friendly singles. That
7:54
last part in particular was crucial
7:56
to the development of modern music.
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