LP record
The LP (from "long playing"[1] or "long play") is an analog sound storage medium, a phonograph record format characterized by: a speed of 33+1⁄3 rpm; a 12- or 10-inch (30- or 25-cm) diameter; use of the "microgroove" groove specification; and a vinyl (a copolymer of vinyl chloride acetate) composition disk. Introduced by Columbia Records in 1948, it was soon adopted as a new standard by the entire US record industry. Apart from a few relatively minor refinements and the important later addition of stereophonic sound in 1957,[2] it remained the standard format for record albums, during a period in popular music known as the album era.[3] Beginning in the late 1970s, LP sales began to decline due to the increasing popularity of cassette tapes and compact discs (CDs). By 1988, the latter format began to outsell LPs.[4]
This article is about vinyl records. For music albums in general, see Album.Media type
Audio playback
Analog groove modulation
Originally 23 minutes per side, later increased by several minutes, much longer possible with very low signal level
Microgroove stylus (maximum tip radius 0.001 in or 25 μm)
12 in (30 cm), 10 in (25 cm), 90–240 g (3.2–8.5 oz)
Audio storage
1948
Beginning in the late 2000s, the LP has experienced a resurgence in popularity.[5] 2020 was the first year since the 20th century when vinyl outsold CDs in the US, making up 62% of all physical music revenue.[6]
Format advantages[edit]
At the time the LP was introduced, nearly all phonograph records for home use were made of an abrasive (and therefore noisy) shellac compound, employed a much larger groove, and played at approximately 78 revolutions per minute (rpm), limiting the playing time of a 12-inch diameter record to less than five minutes per side. The new product was a 12- or 10-inch (30 or 25 cm) fine-grooved disc made of PVC ("vinyl") and played with a smaller-tipped "microgroove" stylus at a speed of 33+1⁄3 rpm. Each side of a 12-inch LP could play for about 22 minutes.[7]
Competing formats[edit]
Reel-to-reel magnetic tape recorders posed a new challenge to the LP in the 1950s, but the higher cost of pre-recorded tapes was one of several factors that confined tape to a niche market. Cartridge and cassette tapes were more convenient and less expensive than reel-to-reel tapes, and they became popular for use in automobiles beginning in the mid-1960s. The LP was not seriously challenged as the primary medium for listening to recorded music at home until the 1970s, however, when the audio quality of the cassette was greatly improved by better tape formulations and noise-reduction systems. By 1983, cassettes were outselling LPs in the US.[30]
The Compact Disc (CD) was introduced in 1982. It offered a recording that was, theoretically, almost noiseless and not audibly degraded by repeated playing or slight scuffs and scratches. At first, the much higher prices of CDs and CD players limited their target market to affluent early adopters and audiophiles; but prices came down, and by 1988 CDs outsold LPs. The CD became the top-selling format, over cassettes, in 1992.[30]
Along with phonograph records in other formats, some of which were made of other materials, LPs are now widely referred to simply as "vinyl". Since the late 1990s there has been a vinyl revival.[31] Demand has increased in niche markets, particularly among audiophiles, DJs, and fans of indie music, but most music sales as of 2018 came from online downloads and online streaming because of their availability, convenience, and price.[28]
Playing time[edit]
With the advent of sound film or "talkies", the need for greater storage space made 33+1⁄3 rpm records more appealing. Soundtracks – played on records synchronized to movie projectors in theatres – could not fit onto the mere five minutes per side that 78s offered. When initially introduced, 12-inch LPs played for a maximum of about 23 minutes per side, 10-inch records for around 15. They were not an immediate success, however, as they were released during the height of the Great Depression, and seemed frivolous to the many impoverished of the time. It was not until "microgroove" was developed by Columbia Records in 1948 that Long Players (LPs) reached their maximum playtime, which has continued to modern times.[32]
Economics and tastes initially determined which kind of music was available on each format. Recording company executives believed upscale classical music fans would be eager to hear a Beethoven symphony or a Mozart concerto without having to flip over multiple, four-minute-per-side 78s, and that pop music fans, who were used to listening to one song at a time, would find the shorter time of the 10-inch LP sufficient. As a result, the 12-inch format was reserved solely for higher-priced classical recordings and Broadway shows. Popular music continued to appear only on 10-inch records. However, by the mid-1950s, the 10-inch LP, like its similarly sized 78 rpm cousin, lost the format war and was discontinued.[33]
Groove[edit]
The close spacing of the spiral groove that allowed more playing time on a 33+1⁄3 rpm microgroove LP also allowed a faint pre-echo of upcoming loud sounds. The cutting stylus unavoidably transferred some of the subsequent groove's signal to the previous groove. It was discernible by some listeners throughout certain recordings, and a quiet passage followed by a loud sound would allow anyone to hear a faint pre-echo of the loud sound 1.8 seconds ahead of time.[34]
The following are some significant advances in the format:
The composition of vinyl used to press records (a blend of polyvinyl chloride and polyvinyl acetate) has varied considerably over the years. Virgin vinyl is preferred, but during the 1970s energy crisis, it became commonplace to use recycled vinyl. Sound quality suffered, with increased ticks, pops, and other surface noises.[36]
In 2018, an Austrian startup, Rebeat Innovation GmBH, received US$4.8 million in funding to develop high definition vinyl records that purport to contain longer play times, louder volumes and higher fidelity than conventional vinyl LPs.[37] Rebeat Innovation, headed by CEO Günter Loibl, has called the format 'HD Vinyl'.[38] The HD process works by converting audio to a digital 3D topography map that is then inscribed onto the vinyl stamper via lasers, resulting in less loss of information. Many critics have expressed skepticism regarding the cost and quality of HD records.[39]
In May 2019, at the Making Vinyl conference in Berlin, Loibl unveiled the software "Perfect Groove" for creating 3D topographic audio data files.[40] The software provides a map for laser-engraving for HD Vinyl stampers. The audio engineering software was created with mastering engineers Scott Hull and Darcy Proper, a four-time Grammy winner. The demonstration offered the first simulations of what HD Vinyl records are likely to sound like, ahead of actual HD vinyl physical record production. Loibl discussed the software "Perfect Groove" at a presentation titled "Vinyl 4.0 The next generation of making records" before offering demonstrations to attendees.[41]