Slashdot Mirror

SonicSpike Link

- Many if not most of todays record companies started out selling technology not music.

- Records were produced to sell record players.

- Control of patent rights were more important than control of copyrights.

Predevelopment
1857 - Leon Scott de Martinville designs a device that records sound wave shapes phonoautograph
1863 - F B Fenby designs a system that uses paper tape to record and play back piano music player piano the 1st binary recording system.
1877 Edison invents the phonograph and records Mary Had A Little Lamb.
Edisons device used a tin foil covered cylinder. The stylus cut a hill and dale groove.

http://ultrasonicdesigns.com/audio/vinyl/1.JPG

http://ultrasonicdesigns.com/audio/vinyl/2.JPG

http://ultrasonicdesigns.com/audio/vinyl/3.JPG

1887 Emile Berliner, inventor of the microphone patents flat disc records
1888 Wax cylinders replace tinfoil.
1890 Dictating sales slow. Glass puts a machine in a saloon charges a nickel a play. First entertainment cylinders.
1894 First home cylinder players.
1897 Berliners flat 78 rpm records louder and easier to mass produce. Made of shellac.
1901 Berliner & Johnson form Victor Talking Machine Co.
1902 Johnson designs tone arm.
1906 Johnson introduces the Victrola hidden horn unit increasing the ASF.
1912 Cylinders decline.
1919 Work begins on developing an electrical recording chain.
1924 The electrical recording system introduced.
1925 Radio begins to cut into record sales.
1926 First home electrical player introduced
1929 Stock market crash and free radio kills record industry.
1931 RCA-Victor release 33 1/3 rpm long play record. Format fails.
1933 Record sales hit bottom
1934 First radio/phono combination.
1936 Juke boxes help industry recover
1946 Peter Goldmark & William Bachman of CBS begin the develop of microgroove & vinyl records.
1947 High fidelity magnet recording
1948 Columbia introduces the 12 inch, 33 1/3 vinyl record.
1949 RCA introduces the 7 inch, 45 rpm record.
1950 Sales of 78 rpms decline.
1952 RIAA formed.
1954 Compact Cassette introduced by Phillips
1958 First stereo records released.
1961 Stereo FM radio starts
1971 Quad SQ disc by Sony/CBS
1972 Quad discrete by by RCA
1977 Direct to disc revived.
1978 Record sale peak then decline.
1982 Tape sale top record sales.
1983 Compact Disc introduced. Record sales plummet.

It is interesting to note that a lot of our tape and magnetic storage technology came from the Germans after their fall in WW2. Those German engineers were damn good!

- Many if not most of todays record companies started out selling technology not music.

- Records were produced to sell record players.

- Control of patent rights were more important than control of copyrights.

Predevelopment
1857 - Leon Scott de Martinville designs a device that records sound wave shapes phonoautograph
1863 - F B Fenby designs a system that uses paper tape to record and play back piano music player piano the 1st binary recording system.
1877 Edison invents the phonograph and records Mary Had A Little Lamb.
Edisons device used a tin foil covered cylinder. The stylus cut a hill and dale groove.

http://ultrasonicdesigns.com/audio/vinyl/1.JPG

http://ultrasonicdesigns.com/audio/vinyl/2.JPG

http://ultrasonicdesigns.com/audio/vinyl/3.JPG

1887 Emile Berliner, inventor of the microphone patents flat disc records
1888 Wax cylinders replace tinfoil.
1890 Dictating sales slow. Glass puts a machine in a saloon charges a nickel a play. First entertainment cylinders.
1894 First home cylinder players.
1897 Berliners flat 78 rpm records louder and easier to mass produce. Made of shellac.
1901 Berliner & Johnson form Victor Talking Machine Co.
1902 Johnson designs tone arm.
1906 Johnson introduces the Victrola hidden horn unit increasing the ASF.
1912 Cylinders decline.
1919 Work begins on developing an electrical recording chain.
1924 The electrical recording system introduced.
1925 Radio begins to cut into record sales.
1926 First home electrical player introduced
1929 Stock market crash and free radio kills record industry.
1931 RCA-Victor release 33 1/3 rpm long play record. Format fails.
1933 Record sales hit bottom
1934 First radio/phono combination.
1936 Juke boxes help industry recover
1946 Peter Goldmark & William Bachman of CBS begin the develop of microgroove & vinyl records.
1947 High fidelity magnet recording
1948 Columbia introduces the 12 inch, 33 1/3 vinyl record.
1949 RCA introduces the 7 inch, 45 rpm record.
1950 Sales of 78 rpms decline.
1952 RIAA formed.
1954 Compact Cassette introduced by Phillips
1958 First stereo records released.
1961 Stereo FM radio starts
1971 Quad SQ disc by Sony/CBS
1972 Quad discrete by by RCA
1977 Direct to disc revived.
1978 Record sale peak then decline.
1982 Tape sale top record sales.
1983 Compact Disc introduced. Record sales plummet.

It is interesting to note that a lot of our tape and magnetic storage technology came from the Germans after their fall in WW2. Those German engineers were damn good!

- Many if not most of todays record companies started out selling technology not music.

- Records were produced to sell record players.

- Control of patent rights were more important than control of copyrights.

Predevelopment
1857 - Leon Scott de Martinville designs a device that records sound wave shapes phonoautograph
1863 - F B Fenby designs a system that uses paper tape to record and play back piano music player piano the 1st binary recording system.
1877 Edison invents the phonograph and records Mary Had A Little Lamb.
Edisons device used a tin foil covered cylinder. The stylus cut a hill and dale groove.

http://ultrasonicdesigns.com/audio/vinyl/1.JPG

http://ultrasonicdesigns.com/audio/vinyl/2.JPG

http://ultrasonicdesigns.com/audio/vinyl/3.JPG

1887 Emile Berliner, inventor of the microphone patents flat disc records
1888 Wax cylinders replace tinfoil.
1890 Dictating sales slow. Glass puts a machine in a saloon charges a nickel a play. First entertainment cylinders.
1894 First home cylinder players.
1897 Berliners flat 78 rpm records louder and easier to mass produce. Made of shellac.
1901 Berliner & Johnson form Victor Talking Machine Co.
1902 Johnson designs tone arm.
1906 Johnson introduces the Victrola hidden horn unit increasing the ASF.
1912 Cylinders decline.
1919 Work begins on developing an electrical recording chain.
1924 The electrical recording system introduced.
1925 Radio begins to cut into record sales.
1926 First home electrical player introduced
1929 Stock market crash and free radio kills record industry.
1931 RCA-Victor release 33 1/3 rpm long play record. Format fails.
1933 Record sales hit bottom
1934 First radio/phono combination.
1936 Juke boxes help industry recover
1946 Peter Goldmark & William Bachman of CBS begin the develop of microgroove & vinyl records.
1947 High fidelity magnet recording
1948 Columbia introduces the 12 inch, 33 1/3 vinyl record.
1949 RCA introduces the 7 inch, 45 rpm record.
1950 Sales of 78 rpms decline.
1952 RIAA formed.
1954 Compact Cassette introduced by Phillips
1958 First stereo records released.
1961 Stereo FM radio starts
1971 Quad SQ disc by Sony/CBS
1972 Quad discrete by by RCA
1977 Direct to disc revived.
1978 Record sale peak then decline.
1982 Tape sale top record sales.
1983 Compact Disc introduced. Record sales plummet.

It is interesting to note that a lot of our tape and magnetic storage technology came from the Germans after their fall in WW2. Those German engineers were damn good!

Here is some information about Vinyl:

Westrex 45/45 stereo system - Left channel modulates inner groove. - Right channel modulates outer groove. - A mono signal causes lateral only movement
- An out of phase mono signal causes vertical movement.

http://ultrasonicdesigns.com/audio/vinyl/4.JPG

There are 86 square inches of surface on which to cut.
- More Time = More Space
- More Level = More Space
- More Bass = More Space

Space is measured in lines per inch (lpi). This is called the pitch of the lathe.
- This is the number of grooves (lines) per inch of radius. - More Time requires higher lpi - More Level requires lower lpi - More Bass requires lower lower lpi

Pitch = (Run Time x 33.3 rpm)/Radius (3 inches)
- Max Pitch about 300 lpi - Minimum groove width is 1 mil. - Maximum groove width is 6 mils. - Average groove width is 2.5 mils. Gw = [(1000/lpi) + 1] / 2

An increase in lpi should be accompanies by a decrease in depth. An increase in depth should be accompanies by a decrease in lpi.

Pitch and depth (groove width) are controlled by a cutting computer. The pitch must be changed before the loud parts to prevent over cut. A one half revolution delay is required for the preview channel.

The variable pitch control receives right channel information from the preview system so that the pitch can be increased before loud signals that might cut into the previous groove. Left channel information comes from the program system. A difference signal from the preview system is also sometimes provided.

http://ultrasonicdesigns.com/audio/vinyl/5.JPG

The variable depth control receives the difference (left minus right) signal from the preview system.

http://ultrasonicdesigns.com/audio/vinyl/6.JPG

RIAA Curve
1953 RIAA instituted an EQ curve that narrowed the grooves and improved play time.
Boost high freq. 17 dB at 15 kHz and cut the low freq. 17 dB at 50 Hz.
- RIAA pre emphases is automatically added.
- Post emphases is done at the phono pre amp.

- Inner groove distortion causes high frequency loss (scanning loss).
- A compensation system was tried but mostly abandoned.
- Avoid putting bright (sibilant) cuts in this area.

- A low frequency crossover is almost always used to prevent lift out.
- The effect is to move low frequency signals into the center.
- The frequency below which this happens is variable.

- Cutting head is a moving coil device powered by Cutting Amps.
- Cutting stylus is a heated sapphire
- The cut produces a chip that is vacuumed up for safety.
- The Master Lacquer is an aluminum disc covered in lacquer cellulose nitrate.

The cutting console has four channels of everything 2 preview, 2 program. All controls are stepped for resetting purposes. A reference lacquer may be cut to test settings. A Master Lacquer may not be
played. An Eqed Master tape was made for other Mastering Labs.

http://ultrasonicdesigns.com/audio/vinyl/7.JPG
http://ultrasonicdesigns.com/audio/vinyl/8.JPG
http://ultrasonicdesigns.com/audio/vinyl/9.JPG
http://ultrasonicdesigns.com/audio/vinyl/010.JPG
http://ultrasonicdesigns.com/audio/vinyl/011.JPG

Here is some information about Vinyl:

Westrex 45/45 stereo system - Left channel modulates inner groove. - Right channel modulates outer groove. - A mono signal causes lateral only movement
- An out of phase mono signal causes vertical movement.

http://ultrasonicdesigns.com/audio/vinyl/4.JPG

There are 86 square inches of surface on which to cut.
- More Time = More Space
- More Level = More Space
- More Bass = More Space

Space is measured in lines per inch (lpi). This is called the pitch of the lathe.
- This is the number of grooves (lines) per inch of radius. - More Time requires higher lpi - More Level requires lower lpi - More Bass requires lower lower lpi

Pitch = (Run Time x 33.3 rpm)/Radius (3 inches)
- Max Pitch about 300 lpi - Minimum groove width is 1 mil. - Maximum groove width is 6 mils. - Average groove width is 2.5 mils. Gw = [(1000/lpi) + 1] / 2

An increase in lpi should be accompanies by a decrease in depth. An increase in depth should be accompanies by a decrease in lpi.

Pitch and depth (groove width) are controlled by a cutting computer. The pitch must be changed before the loud parts to prevent over cut. A one half revolution delay is required for the preview channel.

The variable pitch control receives right channel information from the preview system so that the pitch can be increased before loud signals that might cut into the previous groove. Left channel information comes from the program system. A difference signal from the preview system is also sometimes provided.

http://ultrasonicdesigns.com/audio/vinyl/5.JPG

The variable depth control receives the difference (left minus right) signal from the preview system.

http://ultrasonicdesigns.com/audio/vinyl/6.JPG

RIAA Curve
1953 RIAA instituted an EQ curve that narrowed the grooves and improved play time.
Boost high freq. 17 dB at 15 kHz and cut the low freq. 17 dB at 50 Hz.
- RIAA pre emphases is automatically added.
- Post emphases is done at the phono pre amp.

- Inner groove distortion causes high frequency loss (scanning loss).
- A compensation system was tried but mostly abandoned.
- Avoid putting bright (sibilant) cuts in this area.

- A low frequency crossover is almost always used to prevent lift out.
- The effect is to move low frequency signals into the center.
- The frequency below which this happens is variable.

- Cutting head is a moving coil device powered by Cutting Amps.
- Cutting stylus is a heated sapphire
- The cut produces a chip that is vacuumed up for safety.
- The Master Lacquer is an aluminum disc covered in lacquer cellulose nitrate.

The cutting console has four channels of everything 2 preview, 2 program. All controls are stepped for resetting purposes. A reference lacquer may be cut to test settings. A Master Lacquer may not be
played. An Eqed Master tape was made for other Mastering Labs.

http://ultrasonicdesigns.com/audio/vinyl/7.JPG
http://ultrasonicdesigns.com/audio/vinyl/8.JPG
http://ultrasonicdesigns.com/audio/vinyl/9.JPG
http://ultrasonicdesigns.com/audio/vinyl/010.JPG
http://ultrasonicdesigns.com/audio/vinyl/011.JPG

Here is some information about Vinyl:

Westrex 45/45 stereo system - Left channel modulates inner groove. - Right channel modulates outer groove. - A mono signal causes lateral only movement
- An out of phase mono signal causes vertical movement.

http://ultrasonicdesigns.com/audio/vinyl/4.JPG

There are 86 square inches of surface on which to cut.
- More Time = More Space
- More Level = More Space
- More Bass = More Space

Space is measured in lines per inch (lpi). This is called the pitch of the lathe.
- This is the number of grooves (lines) per inch of radius. - More Time requires higher lpi - More Level requires lower lpi - More Bass requires lower lower lpi

Pitch = (Run Time x 33.3 rpm)/Radius (3 inches)
- Max Pitch about 300 lpi - Minimum groove width is 1 mil. - Maximum groove width is 6 mils. - Average groove width is 2.5 mils. Gw = [(1000/lpi) + 1] / 2

An increase in lpi should be accompanies by a decrease in depth. An increase in depth should be accompanies by a decrease in lpi.

Pitch and depth (groove width) are controlled by a cutting computer. The pitch must be changed before the loud parts to prevent over cut. A one half revolution delay is required for the preview channel.

The variable pitch control receives right channel information from the preview system so that the pitch can be increased before loud signals that might cut into the previous groove. Left channel information comes from the program system. A difference signal from the preview system is also sometimes provided.

http://ultrasonicdesigns.com/audio/vinyl/5.JPG

The variable depth control receives the difference (left minus right) signal from the preview system.

http://ultrasonicdesigns.com/audio/vinyl/6.JPG

RIAA Curve
1953 RIAA instituted an EQ curve that narrowed the grooves and improved play time.
Boost high freq. 17 dB at 15 kHz and cut the low freq. 17 dB at 50 Hz.
- RIAA pre emphases is automatically added.
- Post emphases is done at the phono pre amp.

- Inner groove distortion causes high frequency loss (scanning loss).
- A compensation system was tried but mostly abandoned.
- Avoid putting bright (sibilant) cuts in this area.

- A low frequency crossover is almost always used to prevent lift out.
- The effect is to move low frequency signals into the center.
- The frequency below which this happens is variable.

- Cutting head is a moving coil device powered by Cutting Amps.
- Cutting stylus is a heated sapphire
- The cut produces a chip that is vacuumed up for safety.
- The Master Lacquer is an aluminum disc covered in lacquer cellulose nitrate.

The cutting console has four channels of everything 2 preview, 2 program. All controls are stepped for resetting purposes. A reference lacquer may be cut to test settings. A Master Lacquer may not be
played. An Eqed Master tape was made for other Mastering Labs.

http://ultrasonicdesigns.com/audio/vinyl/7.JPG
http://ultrasonicdesigns.com/audio/vinyl/8.JPG
http://ultrasonicdesigns.com/audio/vinyl/9.JPG
http://ultrasonicdesigns.com/audio/vinyl/010.JPG
http://ultrasonicdesigns.com/audio/vinyl/011.JPG

Here is some information about Vinyl:

Westrex 45/45 stereo system - Left channel modulates inner groove. - Right channel modulates outer groove. - A mono signal causes lateral only movement
- An out of phase mono signal causes vertical movement.

http://ultrasonicdesigns.com/audio/vinyl/4.JPG

There are 86 square inches of surface on which to cut.
- More Time = More Space
- More Level = More Space
- More Bass = More Space

Space is measured in lines per inch (lpi). This is called the pitch of the lathe.
- This is the number of grooves (lines) per inch of radius. - More Time requires higher lpi - More Level requires lower lpi - More Bass requires lower lower lpi

Pitch = (Run Time x 33.3 rpm)/Radius (3 inches)
- Max Pitch about 300 lpi - Minimum groove width is 1 mil. - Maximum groove width is 6 mils. - Average groove width is 2.5 mils. Gw = [(1000/lpi) + 1] / 2

An increase in lpi should be accompanies by a decrease in depth. An increase in depth should be accompanies by a decrease in lpi.

Pitch and depth (groove width) are controlled by a cutting computer. The pitch must be changed before the loud parts to prevent over cut. A one half revolution delay is required for the preview channel.

The variable pitch control receives right channel information from the preview system so that the pitch can be increased before loud signals that might cut into the previous groove. Left channel information comes from the program system. A difference signal from the preview system is also sometimes provided.

http://ultrasonicdesigns.com/audio/vinyl/5.JPG

The variable depth control receives the difference (left minus right) signal from the preview system.

http://ultrasonicdesigns.com/audio/vinyl/6.JPG

RIAA Curve
1953 RIAA instituted an EQ curve that narrowed the grooves and improved play time.
Boost high freq. 17 dB at 15 kHz and cut the low freq. 17 dB at 50 Hz.
- RIAA pre emphases is automatically added.
- Post emphases is done at the phono pre amp.

- Inner groove distortion causes high frequency loss (scanning loss).
- A compensation system was tried but mostly abandoned.
- Avoid putting bright (sibilant) cuts in this area.

- A low frequency crossover is almost always used to prevent lift out.
- The effect is to move low frequency signals into the center.
- The frequency below which this happens is variable.

- Cutting head is a moving coil device powered by Cutting Amps.
- Cutting stylus is a heated sapphire
- The cut produces a chip that is vacuumed up for safety.
- The Master Lacquer is an aluminum disc covered in lacquer cellulose nitrate.

The cutting console has four channels of everything 2 preview, 2 program. All controls are stepped for resetting purposes. A reference lacquer may be cut to test settings. A Master Lacquer may not be
played. An Eqed Master tape was made for other Mastering Labs.

http://ultrasonicdesigns.com/audio/vinyl/7.JPG
http://ultrasonicdesigns.com/audio/vinyl/8.JPG
http://ultrasonicdesigns.com/audio/vinyl/9.JPG
http://ultrasonicdesigns.com/audio/vinyl/010.JPG
http://ultrasonicdesigns.com/audio/vinyl/011.JPG

Here is some information about Vinyl:

Westrex 45/45 stereo system - Left channel modulates inner groove. - Right channel modulates outer groove. - A mono signal causes lateral only movement
- An out of phase mono signal causes vertical movement.

http://ultrasonicdesigns.com/audio/vinyl/4.JPG

There are 86 square inches of surface on which to cut.
- More Time = More Space
- More Level = More Space
- More Bass = More Space

Space is measured in lines per inch (lpi). This is called the pitch of the lathe.
- This is the number of grooves (lines) per inch of radius. - More Time requires higher lpi - More Level requires lower lpi - More Bass requires lower lower lpi

Pitch = (Run Time x 33.3 rpm)/Radius (3 inches)
- Max Pitch about 300 lpi - Minimum groove width is 1 mil. - Maximum groove width is 6 mils. - Average groove width is 2.5 mils. Gw = [(1000/lpi) + 1] / 2

An increase in lpi should be accompanies by a decrease in depth. An increase in depth should be accompanies by a decrease in lpi.

Pitch and depth (groove width) are controlled by a cutting computer. The pitch must be changed before the loud parts to prevent over cut. A one half revolution delay is required for the preview channel.

The variable pitch control receives right channel information from the preview system so that the pitch can be increased before loud signals that might cut into the previous groove. Left channel information comes from the program system. A difference signal from the preview system is also sometimes provided.

http://ultrasonicdesigns.com/audio/vinyl/5.JPG

The variable depth control receives the difference (left minus right) signal from the preview system.

http://ultrasonicdesigns.com/audio/vinyl/6.JPG

RIAA Curve
1953 RIAA instituted an EQ curve that narrowed the grooves and improved play time.
Boost high freq. 17 dB at 15 kHz and cut the low freq. 17 dB at 50 Hz.
- RIAA pre emphases is automatically added.
- Post emphases is done at the phono pre amp.

- Inner groove distortion causes high frequency loss (scanning loss).
- A compensation system was tried but mostly abandoned.
- Avoid putting bright (sibilant) cuts in this area.

- A low frequency crossover is almost always used to prevent lift out.
- The effect is to move low frequency signals into the center.
- The frequency below which this happens is variable.

- Cutting head is a moving coil device powered by Cutting Amps.
- Cutting stylus is a heated sapphire
- The cut produces a chip that is vacuumed up for safety.
- The Master Lacquer is an aluminum disc covered in lacquer cellulose nitrate.

The cutting console has four channels of everything 2 preview, 2 program. All controls are stepped for resetting purposes. A reference lacquer may be cut to test settings. A Master Lacquer may not be
played. An Eqed Master tape was made for other Mastering Labs.

http://ultrasonicdesigns.com/audio/vinyl/7.JPG
http://ultrasonicdesigns.com/audio/vinyl/8.JPG
http://ultrasonicdesigns.com/audio/vinyl/9.JPG
http://ultrasonicdesigns.com/audio/vinyl/010.JPG
http://ultrasonicdesigns.com/audio/vinyl/011.JPG

Here is some information about Vinyl:

Westrex 45/45 stereo system - Left channel modulates inner groove. - Right channel modulates outer groove. - A mono signal causes lateral only movement
- An out of phase mono signal causes vertical movement.

http://ultrasonicdesigns.com/audio/vinyl/4.JPG

There are 86 square inches of surface on which to cut.
- More Time = More Space
- More Level = More Space
- More Bass = More Space

Space is measured in lines per inch (lpi). This is called the pitch of the lathe.
- This is the number of grooves (lines) per inch of radius. - More Time requires higher lpi - More Level requires lower lpi - More Bass requires lower lower lpi

Pitch = (Run Time x 33.3 rpm)/Radius (3 inches)
- Max Pitch about 300 lpi - Minimum groove width is 1 mil. - Maximum groove width is 6 mils. - Average groove width is 2.5 mils. Gw = [(1000/lpi) + 1] / 2

An increase in lpi should be accompanies by a decrease in depth. An increase in depth should be accompanies by a decrease in lpi.

Pitch and depth (groove width) are controlled by a cutting computer. The pitch must be changed before the loud parts to prevent over cut. A one half revolution delay is required for the preview channel.

The variable pitch control receives right channel information from the preview system so that the pitch can be increased before loud signals that might cut into the previous groove. Left channel information comes from the program system. A difference signal from the preview system is also sometimes provided.

http://ultrasonicdesigns.com/audio/vinyl/5.JPG

The variable depth control receives the difference (left minus right) signal from the preview system.

http://ultrasonicdesigns.com/audio/vinyl/6.JPG

RIAA Curve
1953 RIAA instituted an EQ curve that narrowed the grooves and improved play time.
Boost high freq. 17 dB at 15 kHz and cut the low freq. 17 dB at 50 Hz.
- RIAA pre emphases is automatically added.
- Post emphases is done at the phono pre amp.

- Inner groove distortion causes high frequency loss (scanning loss).
- A compensation system was tried but mostly abandoned.
- Avoid putting bright (sibilant) cuts in this area.

- A low frequency crossover is almost always used to prevent lift out.
- The effect is to move low frequency signals into the center.
- The frequency below which this happens is variable.

- Cutting head is a moving coil device powered by Cutting Amps.
- Cutting stylus is a heated sapphire
- The cut produces a chip that is vacuumed up for safety.
- The Master Lacquer is an aluminum disc covered in lacquer cellulose nitrate.

The cutting console has four channels of everything 2 preview, 2 program. All controls are stepped for resetting purposes. A reference lacquer may be cut to test settings. A Master Lacquer may not be
played. An Eqed Master tape was made for other Mastering Labs.

http://ultrasonicdesigns.com/audio/vinyl/7.JPG
http://ultrasonicdesigns.com/audio/vinyl/8.JPG
http://ultrasonicdesigns.com/audio/vinyl/9.JPG
http://ultrasonicdesigns.com/audio/vinyl/010.JPG
http://ultrasonicdesigns.com/audio/vinyl/011.JPG

Here is some information about Vinyl:

Westrex 45/45 stereo system - Left channel modulates inner groove. - Right channel modulates outer groove. - A mono signal causes lateral only movement
- An out of phase mono signal causes vertical movement.

http://ultrasonicdesigns.com/audio/vinyl/4.JPG

There are 86 square inches of surface on which to cut.
- More Time = More Space
- More Level = More Space
- More Bass = More Space

Space is measured in lines per inch (lpi). This is called the pitch of the lathe.
- This is the number of grooves (lines) per inch of radius. - More Time requires higher lpi - More Level requires lower lpi - More Bass requires lower lower lpi

Pitch = (Run Time x 33.3 rpm)/Radius (3 inches)
- Max Pitch about 300 lpi - Minimum groove width is 1 mil. - Maximum groove width is 6 mils. - Average groove width is 2.5 mils. Gw = [(1000/lpi) + 1] / 2

An increase in lpi should be accompanies by a decrease in depth. An increase in depth should be accompanies by a decrease in lpi.

Pitch and depth (groove width) are controlled by a cutting computer. The pitch must be changed before the loud parts to prevent over cut. A one half revolution delay is required for the preview channel.

The variable pitch control receives right channel information from the preview system so that the pitch can be increased before loud signals that might cut into the previous groove. Left channel information comes from the program system. A difference signal from the preview system is also sometimes provided.

http://ultrasonicdesigns.com/audio/vinyl/5.JPG

The variable depth control receives the difference (left minus right) signal from the preview system.

http://ultrasonicdesigns.com/audio/vinyl/6.JPG

RIAA Curve
1953 RIAA instituted an EQ curve that narrowed the grooves and improved play time.
Boost high freq. 17 dB at 15 kHz and cut the low freq. 17 dB at 50 Hz.
- RIAA pre emphases is automatically added.
- Post emphases is done at the phono pre amp.

- Inner groove distortion causes high frequency loss (scanning loss).
- A compensation system was tried but mostly abandoned.
- Avoid putting bright (sibilant) cuts in this area.

- A low frequency crossover is almost always used to prevent lift out.
- The effect is to move low frequency signals into the center.
- The frequency below which this happens is variable.

- Cutting head is a moving coil device powered by Cutting Amps.
- Cutting stylus is a heated sapphire
- The cut produces a chip that is vacuumed up for safety.
- The Master Lacquer is an aluminum disc covered in lacquer cellulose nitrate.

The cutting console has four channels of everything 2 preview, 2 program. All controls are stepped for resetting purposes. A reference lacquer may be cut to test settings. A Master Lacquer may not be
played. An Eqed Master tape was made for other Mastering Labs.

http://ultrasonicdesigns.com/audio/vinyl/7.JPG
http://ultrasonicdesigns.com/audio/vinyl/8.JPG
http://ultrasonicdesigns.com/audio/vinyl/9.JPG
http://ultrasonicdesigns.com/audio/vinyl/010.JPG
http://ultrasonicdesigns.com/audio/vinyl/011.JPG

Here is some information about Vinyl:

Westrex 45/45 stereo system - Left channel modulates inner groove. - Right channel modulates outer groove. - A mono signal causes lateral only movement
- An out of phase mono signal causes vertical movement.

http://ultrasonicdesigns.com/audio/vinyl/4.JPG

There are 86 square inches of surface on which to cut.
- More Time = More Space
- More Level = More Space
- More Bass = More Space

Space is measured in lines per inch (lpi). This is called the pitch of the lathe.
- This is the number of grooves (lines) per inch of radius. - More Time requires higher lpi - More Level requires lower lpi - More Bass requires lower lower lpi

Pitch = (Run Time x 33.3 rpm)/Radius (3 inches)
- Max Pitch about 300 lpi - Minimum groove width is 1 mil. - Maximum groove width is 6 mils. - Average groove width is 2.5 mils. Gw = [(1000/lpi) + 1] / 2

An increase in lpi should be accompanies by a decrease in depth. An increase in depth should be accompanies by a decrease in lpi.

Pitch and depth (groove width) are controlled by a cutting computer. The pitch must be changed before the loud parts to prevent over cut. A one half revolution delay is required for the preview channel.

The variable pitch control receives right channel information from the preview system so that the pitch can be increased before loud signals that might cut into the previous groove. Left channel information comes from the program system. A difference signal from the preview system is also sometimes provided.

http://ultrasonicdesigns.com/audio/vinyl/5.JPG

The variable depth control receives the difference (left minus right) signal from the preview system.

http://ultrasonicdesigns.com/audio/vinyl/6.JPG

RIAA Curve
1953 RIAA instituted an EQ curve that narrowed the grooves and improved play time.
Boost high freq. 17 dB at 15 kHz and cut the low freq. 17 dB at 50 Hz.
- RIAA pre emphases is automatically added.
- Post emphases is done at the phono pre amp.

- Inner groove distortion causes high frequency loss (scanning loss).
- A compensation system was tried but mostly abandoned.
- Avoid putting bright (sibilant) cuts in this area.

- A low frequency crossover is almost always used to prevent lift out.
- The effect is to move low frequency signals into the center.
- The frequency below which this happens is variable.

- Cutting head is a moving coil device powered by Cutting Amps.
- Cutting stylus is a heated sapphire
- The cut produces a chip that is vacuumed up for safety.
- The Master Lacquer is an aluminum disc covered in lacquer cellulose nitrate.

The cutting console has four channels of everything 2 preview, 2 program. All controls are stepped for resetting purposes. A reference lacquer may be cut to test settings. A Master Lacquer may not be
played. An Eqed Master tape was made for other Mastering Labs.

http://ultrasonicdesigns.com/audio/vinyl/7.JPG
http://ultrasonicdesigns.com/audio/vinyl/8.JPG
http://ultrasonicdesigns.com/audio/vinyl/9.JPG
http://ultrasonicdesigns.com/audio/vinyl/010.JPG
http://ultrasonicdesigns.com/audio/vinyl/011.JPG

I am big into Christian music and work in the industry every once in a while.

Check out my website and zip me an e-mail:

http://www.ultrasonicdesigns.com/