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Columbia Records introduces long-playing discs - June 21st, 1948

Columbia Records introduces long-playing discs - June 21st, 1948

Released Friday, 21st June 2024
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Columbia Records introduces long-playing discs - June 21st, 1948

Columbia Records introduces long-playing discs - June 21st, 1948

Columbia Records introduces long-playing discs - June 21st, 1948

Columbia Records introduces long-playing discs - June 21st, 1948

Friday, 21st June 2024
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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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