MUSIC 4 COLLECTORS LPS- 45- CDS
LP MUSICA LP LISTA ACTUALIZADA PARA VENTA
LP MUSICA LP LISTA ACTUALIZADA PARA VENTA *PRECIOS DE ESTA LISTA ACTUALIZADA CORRESPONDE AL PRECIO DE VENTA.*
*QUE TE LA PONGA-GARIBALDI - COLECCIONISTAS*
*PALOMA SAN BASILIO GRANDES EXITOS - COLECCIONISTAS*
*PIMPINELA CBS BUEN ESTADO COLECCIONISTAS .
*ITALIA 90 RCN- ROMA COLECCIONISTAS
*COLCAFE VOLUMEN 21. BUEN ESTADO - COLECCIONISTAS*
*BAILABLES DE ANTOLOGIA-ORQUESTRA BILLOS CARACAS BOYS- SURAMERICANA .
} *LOS TOREROS MUERTOS POR BIAFRA-COLECCIONISTAS
*MADONA YOU CAN DANCE SIRE RECORD 1982- PRECIO COL...
*QUE TE LA PONGA-GARIBALDI - COLECCIONISTAS*
*PALOMA SAN BASILIO GRANDES EXITOS - COLECCIONISTAS*
*PIMPINELA CBS BUEN ESTADO COLECCIONISTAS .
*ITALIA 90 RCN- ROMA COLECCIONISTAS
*COLCAFE VOLUMEN 21. BUEN ESTADO - COLECCIONISTAS*
*BAILABLES DE ANTOLOGIA-ORQUESTRA BILLOS CARACAS BOYS- SURAMERICANA .
} *LOS TOREROS MUERTOS POR BIAFRA-COLECCIONISTAS
*MADONA YOU CAN DANCE SIRE RECORD 1982- PRECIO COL...
Vinilo 45rpm Stve Wonder-i Just Called To Say I Love You -19
VINILO 45 RPM STEVE WONDER -1984 SIDE 1 I JUST CALLED TO SAY I LOVE YOU SIDE 2 I JUST CALLED TO SAY I LOVE YOU MOTOWN-GEMA USA 1984 BUEN ESTADO
Vinilo 45rpm Billy Joel Cbs 1989 Usa
VINILO 45 RPM BILLY JOEL SIDE 1 WE DIDINT START THE FIRE SIDE 2 HOUSE OF BLUE LIGHT VINILO CBS 1989 USA
Vinilo 45rpm -paul Simon Wb Records 1986 Usa
VINILO 45RPM PAUL SIMON YOU CAN CALL ME AL GUMBOOTS WARNER RECORDS 1986 USA BUEN ESTADO
Vinilo 45rpm-lambada Koma Cbs
VINILO 45RPM LAMBADA CBS 1989 KAOMA SIDE A LAMBADA BUEN ESTADO SIDEB LAMABADA
Vinilo 45rpm-roxette-listen To Your Heart-emi 1988
VINILO 45RPM ROXETTE PARLOPHONE -GEMA US-EMI SIDE A LISTEN TO YOUR HEART SIDE B I COULD NEVER GIVE YOU UP BUEN ESTADO
Vinilo 45rpm-nik Hershaw- Mca Records 1984-the Riddle
VINILO 45RPM NIK HERSHAW SIDE ONE THE RIDDLE SIDE TWO PROGRESS MCA RECORDS USA 1984 BUEN ESTADO
Vinilo 45rpm Phil Collins-atlantic Recors 1989 Usa-
VINILO 45RPM PHIL COLLINS A-ANOTHER DAY IN PARADISE B-HEAT ON THE STREET ATNTIC RECORDS 1989 USA PREC
Vinilo 45rpm-phil Collins- We 1990
VINILO 45RPM PHIL COLLINS A-I WISH IT WOULD RAIN DOWN B-HOMLESS-ANATOHER DAY IN PARADISE WEA 1989
Vinilo 45rpm-black Box 1989- Alemania
VINILO 45 RPM BLACK BOX A-RIDE ON TIME MADE IN GERMANY 1989 XYX RECORDS BUEN ESTADO
Vinilo 45rpm-usa For Africa-grace- 1984 Made In Germany
VINILO 45RPM USA FOR AFRICA UNITED SUPPORT ARTIST FOR AFRICA QUINCY JONES- GRACE 1984 USA FOR AFRICA-WE ARE THE WORLD CBS A 6112 1989 MADE IN GERMANY
Vinilo 45rpm Prince-batdance Usa 1989
VINILO 45RPM PRINCE 200 BALLONS BATDANCE WB RECORDS 1989 USA BUEN ESTADO
https://youtu.be/lcCYhDu4_ZY?list=RDlcCYhDu4_ZYVinilo 45rpm-bangles-cbs 1989
VINILO 45RPM BANGLES 1- ETERNAL FLAME 2-WHAT I MEANT TO SAY CBS 1989 USA
Vinilo 45rpm-pump Up The Jam-jam And Edit Mix Bcm Alem
VINO 45RPM BCM RECORDS PUMP UP THE JAM THECHNOTRONIC FEATURING FELLY PRINTED IN GERMANY
Vinilo 45rpm -sir Alton John 1989-hecho En Alemania
.
VINILO 45RPM COLECCIONISTAS ELTON JOHN SACRIFICE-STEREO ROCKT RECORD 1989 LOVE IS A CANNIBAL 1989 MADE IN GERMANY MUY BUEN ESTADO
Vinilo 45rpm-milli Vanilli-carrere Record 1989
VINILO 45RPM MILLI VANILLI CARRERE 1989 GIRL IM GONNA MISS YOU CABT YOU FEEL MY LOVE BUEN ESTADO
Vinilo 45rpm-lisa Stansfield-all Arounf The World-ari
VINOLO 45RPM LISA STANSFIELD ARISTA 1989 ALL AROUND THE WORLD WAKE UP BABY BUEN ESTADO
Vinilo 45rpm-bryan Adams-am Records 1984 Usa
VINILO 45RPM BRYAN ADAMS RUN TO YOU IM READY AM RECORDS 1983 BUEN ESTADO
Vinilo 45rpm -reo Speedwagon- Epic 1987
VINILO 45RPM REO SPEEDWAGON IN MY DREAMS OVER THE EDGE 1987 MADE IN USA BUEN ESTADO
Vinilo 45rpm- Ice Mc-easy Zyx Records Alemania 1989
VINI8LO 45RPM ICE MC EASY EASY ZYX RECORDS MADE IN GERMANY BUEN ESTADO Garantía: VINILO 45 RPM -CUBIERTA -USADO-BUEN ESTADO-
Vinilo 45rpm-erasure -you Surround Me-londres 1989
VINILO 45RPM ERASURE YOU SURROUND ME 1989 91 STEP M-GEMA 1989 BUEN ESTADO Garantía: VINILO 45 RPM -CUBIERTA -USADO-BUEN ESTADO-
Vinilol 45rpm-tracy Chapman-crossroads-electra-alemania 1989
VINILO 45RPM TRACY CHAPMAN BORN TO FIGHT CROSSROADS ELEKTRA WEA 1989 ALEMANIA BUEN ESTADO
Vinilo 45rpm-paula Abdul- Virgin 1988-alemania
VINILO 45RPM PAULA ABDUL SINE ONE -STRAIGHT UP SODE TWO- COLD HEART VIRGIN 1988 PRINTED EN ALEMANIA BUEN ESTADO
LP DE TU BOCA-WOMAN DEL CALLAO- JUAN LUIS GUERRA
LP KAREN LA FOTO CORRESPONDEL AL LP DISCOS VICTORIA 1991 668004A DE TU BOCA-Juan Luis Guerra LADO B WOMAN DEL CLLAO Jun luis Guerra Buen estado Caraturla y
Lp Vinilo Hermanos Cantare,cantaras-varios Autores-cbs
LP HERMANOS CANTARE,CANTARAS I WILL SING, YOU WILL SING VARIOS AUTORES CDBS 20 ANOS 4421290 BUEN ESTADO LA FOTO CORRESPONDE AL LP
LP HERMANOS
CANTARE,CANTARAS
I WILL SING, YOU WILL SING
VARIOS AUTORES
CDBS 20 ANOS 4421290
BUEN ESTADO
MUSICA DE COLECCION EN-TIENDA DE ANTIGUEDADES ONLINE.
*MUSICA DE COLECCION EN* *TIENDA DE ANTIGUEDADES ONLINE.* * Un almacén en Internet de Antigüedades es muy similar a tener un almacén dentro de un Centro Comercial o en un lugar de la ciudad. La unica diferencia es la de tener toda las personas que quieran comprar como clientes potenciales. Este sistema es altamente recomendado, ya que facilita el modo de compra desde su casa y con seguridad.* *Teniendo tus artículos en una tienda online, estas asegurando que el comprador es un cliente potencial. Esto quiere decir que el comprador esta allí buscando Antigüedades y Coleccionables,...
QUE TE LA PONGA-GARIBALDI PRECIO - COLECCIONISTAS
*LP VINILO* *QYE TE LA PONGO* *SONO-RODVEN* *61 1132* *BUEN ESTADO CARATULA Y LP* *LADO 1* *QUE TE L PONGO* *BANANA* *HOT MIX:* *OBERTURA}CACHITA* *ELCUNBACHERO* *MAMA INES* *PALO BONITO* *CONGA* *LA PACHANGA* *EL NEGRO AFRICANO* *LA MUCURA* *MAMBO NO. 8* *QUE RICOP MAMBO* *LADO 2* *CHA CHA MIX* *OBERTURA* *RICO VACILON* *ME LO DIJO ADELA* *CORAZON DE MELON* *CUENTAME* *CACHITO* *EL BODEGUERO* *ESO ES EL AMOR* *CAMAMERA DE MI AMOR* *TROPI MIX* *OBERTURA* *SE VAEL CAIMAN* *EL LADRON* *LUNITA BARRANQUILLERA* *SON TUS PERFUMES* *PEDRO NVAJA* *BAIO DE ANA* *LA CANALLA* *MARIA CRISTINA ME ..
PALOMA SAN BASILIO GRANDES EXITOS PRECIO COLECCIONISTAS
*LP CODISCOS* *PALOMA SAN BASILIO* *GRANDES EXITOS * *INCLUYE NO LLORES POR MI ARGENTINA* *LADO A* *JUNTOS* *LA HIEDRA* *LIBRE* *CONTIGO* *DONDE VAS* *LADO B* *SECRETOS* *AHORA* *EL COLOR DEL MAR* *BESO A BESO.. DULCEMENTE* *LP Y CARATULA BUEN ESTADO* *LA FOTO CORRESPONDE AL LP* *
PIMPINELA CBS BUEN ESTADO COLECCIONISTAS
*LP VINILO* *PIMPINELA* *CBS STEREO * *LP Y CRATURAL BUEN ESTADO* *LADO A* *OLVIDAME Y PEGA LA VUELTA* *AQUELLA CARICIA DE OTONO* *BOFETADA* *YO QUE VIVI AMANDO* *VIVIR SIN TI NO PUEDO* *SIN TENERTE CERCA* *LADO B* *PORQUE NO PUEDO SER FELIZ* *DIMELO DELANTE DE ELLA* *CUANDO NOS LLAMEN ABUELOS* *EN EL UMBRAL DE MI PUERTA* *POXA* *AUNQUE NOSEA CONMIGO* *
ITALIA 90 RCN- ROMA COLECCIONISTAS -VENDIDO
*LP VINILO* *BUEN ESTADO LP Y CARATULA* *RCN LA RDIO DE COLOMBIA* *NOTICIAS,DEPORTES Y MUCHA MUSICA* *ITALIA 90* *PRECIO DE COLECCION
COLCAFE VOLUMEN 21. BUEN ESTADO- COLECCIONISTAS*
LP VINILO* *BUEN ESTADO LP Y CARATULA* *COLCAFE VOLUMN 21* *LADO A* *A QUIEN QUIERO NO ME QUIERE* *HOJAS DE CALENDARIO* *RONDANDO TU ESQUINA* *INFORTUNIO* *SI HOY FUERA AYER* *CON TODA EL ALMA* *LDO B* *TRES PALABRAS* *TU DUDA Y LA MIA* *DOS ALMAS* *NEGRITA CHAVELONA* *BUSCO TU 
RECUERDO* *OFENSA* *
BAILABLES DE ANTOLOGIA-ORQUESTRA BILLOS CARACAS BOYS- SURAMERICANA
*LP VINILO*
*BAILABLES DE ANTOLOGIA* *MEDIO SIGLO DE MUSICA BAILABLE COLOMBIANA* *SURAMERICANA* *ORQUESTA BILLOS CARACAS BOYS* *LADO A* *TRES PERLAS* *BOQUITA SALA* *MI CALI BELLA* *LAS PILANDERAS* *PLAYA BRISA Y MAR* *CARMEN DE BOLIVAR* *LADO B* *FIESTA EN CORRALEJA* *PALMIRA SENORIAL* *MACONDO* *NAVIDAD NEGRA* *PAISAJE* *ROBERTO RUIZ* *LP Y CARATURAL EN BUEN ESTADO*
*BAILABLES DE ANTOLOGIA* *MEDIO SIGLO DE MUSICA BAILABLE COLOMBIANA* *SURAMERICANA* *ORQUESTA BILLOS CARACAS BOYS* *LADO A* *TRES PERLAS* *BOQUITA SALA* *MI CALI BELLA* *LAS PILANDERAS* *PLAYA BRISA Y MAR* *CARMEN DE BOLIVAR* *LADO B* *FIESTA EN CORRALEJA* *PALMIRA SENORIAL* *MACONDO* *NAVIDAD NEGRA* *PAISAJE* *ROBERTO RUIZ* *LP Y CARATURAL EN BUEN ESTADO*
LOS TOREROS MUERTOS POR BIAFRA-COLECCIONISTAS
*LP VINILO* *LOS TOREROS MUERTOS POR BIAFRA* *LADO A* *MAMA* *EL CIELO ES AZUL* *ON THE DESK* *LOS NINOS DE COLORES* *EN MI PORTAL* *LADO B* *PARA TI* *PILAR* *EN UN CUARTO DE BANO* *MANOLITO* *VMOS AL CMPO* *DIME GUA* *SONOLUX-ARRIOLA * *LP Y CARATURAL BUEN ESTADO* *PRECIO $ 25.000* *COMPRO LPS BUEN ESTADO-* *ENVIE SU LISTA-ESTADO-PRECIO * *PAGO* *PREGUNTE ANTES DE COMPRAR POR EL METODO DE PAGO Y ENVIO QUE DESEA .* *PREGUNTE POR DISPONIBILIDAD DEL ARTICULO, YA QUE TENGO OTROS LUGARES DE VENTA.* *Incluir el valor de los fletes en el Pago.* *
MADONA YOU CAN DANCE SIRE RECORD 1982- PRECIO COLECCIONISTAS-NO DISPONIBLE
*LP VINILO* *YOU CAN DANCE* *MADONNA AND DANCING* *SIRE RECORDS USA* *SIDE ONE* *SPOTLIGHT* *HOLIDAY* *EVERYBODY* *PHYSICAL ATTRACTION* *SIDE TWO* *OVER END OVER* *INTO THE GROOVE* *WHERES THE PARTY* *LP AND CARATURLA MUY BUENAS CONDICIONES* *PRECIO $ 35.000* *COMPRO LPS BUEN ESTADO-* *ENVIE SU LISTA-ESTADO-PRECIO A* *SUPER.REMATE@GMAIL.COM* *PAGO* *PREGUNTE ANTES DE COMPRAR POR EL METODO DE PAGO Y ENVIO QUE DESEA .* *PREGUNTE POR DISPONIBILIDAD DEL ARTICULO, YA QUE TENGO OTROS LUGARES DE VENTA.* *Incluir el valor de los fletes en el Pago.* *Toda la informacion, posterior a la com...
LOS PRISIONEROS- EMI -BUEN ESTADO-COLECCIONISTAS VENDIDO
*LP VINILO* *BUEN ESTADO CARATURLA Y LP* *LOS PRISIONEROS* *SIDE ONE* *QUIEN MATO A MARILYN* *BRIGADA DE NEGRO* *QUIEREN DINERO* *POR QUE LOS RICOS _* *POR FAVOR* *NUNCA QUEDAS MAL CON NADIE* *SIDE TWQO* *SEXO* *MUEVAN LAS INDUSTRIAS* *LATINOAMERICA ES UN PUEBLO AL SUR DE ESTADOS UNIDOS* *EL BAILE DE LOS QUE SOBRAN* *PARAMAR* *PORQUE NO SE VAN..* *DISCOS EMI* *111160.* VENDIDO *COMPRO LPS BUEN ESTADO-* *ENVIE SU LISTA-ESTADO-PRECIO A* *SUPER.REMATE@GMAIL.COM* *PAGO* *PREGUNTE ANTES DE COMPRAR POR EL METODO DE PAGO Y ENVIO QUE DESEA .* *PREGUNTE POR DISPONIBILIDAD DEL ARTICULO, YA QU...
MERENGUES EN REMIX- SONOLUX- COLECCIONISTAS
*LP VINILO* *MERENGUES EN REMIX* *SONOLUX LADO 1* *PEGANDO PECHO* *LA FALDITA* *EL MORENO ESTA* *LA MORENITA* *HOT! ME GUSTASTE* *LADO 2* *1-TU PUM PUM SOY CHIQUITO* *LA NEGRA* *LA MANITO* *EL CANTINERO* *PLATANO MADURA* *LP Y CARATURAL BUEN ESTADO* *PRECIO $ 20.000* *COMPRO LPS BUEN ESTADO-* *ENVIE SU LISTA-ESTADO-PRECIO A* *SUPER.REMATE@GMAIL.COM* *PAGO* *PREGUNTE ANTES DE COMPRAR POR EL METODO DE PAGO Y ENVIO QUE DESEA .* *PREGUNTE POR DISPONIBILIDAD DEL ARTICULO, YA QUE TENGO OTROS LUGARES DE VENTA.* *Incluir el valor de los fletes en el Pago.* *Toda la informacion, posterior a...
GRANDEX EXITOS DE JUAN LUIS GUERRA Y 4.40 -COLECCIONISTAS
*LP VINILO* *EXITOS ORIGINALES * *BILIBURRINA* *BURBUJAS DE AMOR* *COMO ABEJA AL PANAL* *GRABDES EXITOS DE JUAN LUIS GUERRA Y 4.40* *LADO A* *1-COMO ABEJA AL PANAL* *2-OJALA QUE LLEVA CAFE* *3-SI TU TE VAS* *4-AY MUJER* *5-ME ENAMORO DE ELLA* *LADO B* *BURBUJAS DE AMOR* *BILIBURRINA* *TU* *4-ELLA DICE* *5-REINA MIA* *DISCOS KAREN STEREO 58680074* *LP BUEN ESTADO-* *CARATULA BUEN ESTADO* *PRECIO $ 30.000* *COMPRO LPS BUEN ESTADO-* *ENVIE SU LISTA-ESTADO-PRECIO A* * *PAGO* *PREGUNTE ANTES DE COMPRAR POR EL METODO DE PAGO Y ENVIO QUE DESEA .* *PREGUNTE POR...
LADO A
1-COMO ABEJA AL PANAL
2-OJALA QUE LLEVA CAFE
3-SI TU TE VAS
4-AY MUJER
5-ME ENAMORO DE ELLA
BURBUJAS DE AMOR
BILIBURRINA
TU
4-ELLA DICE
5-REINA MIA
LP VINILO
EXITOS ORIGINALES
BILIBURRINA
BURBUJAS DE AMOR
COMO ABEJA AL PANAL
GRABDES EXITOS DE JUAN LUIS GUERRA Y 4.40
DISCOS KAREN STEREO 58680074
PRODUCIDO POR INDUSTRIAS FONOGRAFICAS
VICTORIA LTDA COLOMBIA
Vynil:VG Sleev: VG Label: VG
A GREAT COLLECTOR LP
GRADING IS STRICTLY VISUAL
EMOTIONS -TODAYS LOVE HITS-ALL ORIGINAL KETEL RECORDS USA. COLECCIONISTAS
LP VINILO EMOTIONS
TODAYS LOVE HITS
ALL ORIGINALS
PARA COLECCIONISTAS
KTEL NU 9390
PRINTED IN USA
SIDE ONE
SOMETIMES WHEN WE TOUCH
I GO CRAZY
FALLING
THIS ONES FOR YOU
I DONT LIKE TO SLEEP ALONE
DONT MAKE MY BROWN EYES BLUE
TORN BETWEEN TOW LOVERS
DONT GIVE UP TO US
SIDE TWO
EASY
THIS TIME IAM IN IT FOR LOVE
LOVES GRON DEEP
RIGHT TIME OF THE NIGHT
GONE TOO FAR
GET CLSER
IF I ANT HAVE YOU
EMOTIONS
BUEN ESTADO
COLECCIONISTAS
NIGHT FLIGHT TO VENUS-BONEY M. BUEN ESTADO -COLECCIONISTAS
*LP VINILO* *NIGHT FLIGHT TO VENUS* *BONEY M.* *INCLUYE RIOS DE BABILONIA* *SWING HANSA* *STEREO 26026 OT* *BUEN ESTADO* *CRATURLA Y LP* *PRECIO $ 30.000* *COMPRO LPS BUEN ESTADO-* *ENVIE SU LISTA-ESTADO-PRECIO A* *SUPER.REMATE@GMAIL.COM* *PAGO* *PREGUNTE ANTES DE COMPRAR POR EL METODO DE PAGO Y ENVIO QUE DESEA .* *PREGUNTE POR DISPONIBILIDAD DEL ARTICULO, YA QUE TENGO OTROS LUGARES DE VENTA.* *Incluir el valor de los fletes en el Pago.* *Toda la informacion, posterior a la compra se hace SOLO por correo e-mail. No telefono.
LOS VECINOS SPECIAL DELIVERY- SONOLUX BUEN ESTADO
*LP VINILO* *LOS VECINOS SPECIAL DELIVERY * *SIDE A* *SE VA TERESA* *2-EN EL PRIMER LUGAR* *3-LE NIEGO EL BESO* *4-AMOR IMPOSIBLE* *SIDE B* *PARA NADA* *NO SE MUERE NA* *AMOR CON AMOR SE PAGA* *SE VA A REIR DE TI* *DIRECTOR MUSICAL RAFAEL A. QUEZADA* *DISCOS SONOLUX 01013101464* *CARATURLA Y LP BUEN ESTADO* ** *COMPRO LPS BUEN ESTADO-* *ENVIE SU LISTA-ESTADO- *PAGO* *PREGUNTE ANTES DE COMPRAR POR EL METODO DE PAGO Y ENVIO QUE DESEA .* *PREGUNTE POR DISPONIBILIDAD DEL ARTICULO, YA QUE TENGO OTROS LUGARES DE VENTA.* *Incluir el v...
MASTERMIX HOMBRE G- COLECCIONISTAS vendido.
Lp Hombres G Mastermix Columbia kls-460848 Platinas & Ussia, MEGAMIXED BY PLATINAS USSIA Todos sus éxitos en versión Disco Mix CBS Sidea MEGAMIX-HOMBRE G Visite nuestro Bar Vuelve a mi-En la Playa-El es..-Rita la Cantaora- Venezia-Indiana-Lawrence de Arabia-Devuelveme a mi chica-Marta tiene un marca pasos. SLOW MIX-HOMBRE G La carretera-No llorare---Sin ti- Te quiero-Un par de palabras. SIDE AA MIX-HOMBRE G En la playa-Visite nuestro bar-El es ..-Rita la cantaora-Indiana-Venezia-Devuelveme a mi chica-Marta tiene un Marca pasos- USADO BUEN ESTADO- LISTA DE OFERTAS
ABBA VOULEZ VOUS- CONTIENE CHIQUITA-RCA VICTOR
LP VINILO ABBA VOULEZ VOUS RCA VICTOR 053030119 CARATULA BUEN ESTADO LP BUEN ESTADO PRECIO $ 25.000 LA FOTO CORRESPONDE AL LP SIDE A AS GOOD AS NEW VOULEZ-VOUS I HAVE A DREAM ANGELEYES THE KING HAST LOST HIS CROWN SIDE 2 DOES YOUR MOTHER KNOW IF IT WASNT FOR THE NIGHTS CHIQUITA SPANISH VERSION LOVERS KISSES OF FIRE ALL SONGS WRITTEN,ARRANGED AND PRODUCED BY BENNY ANDERSON AND BJORN ULVAEUS. BUEN ESTADO CONTIENE CHIQUITA
JULIO IGLESIAS- THE 24 GREATEST SONGS-
2 LPS- COLECCIONISTAS
LP JULIO IGLESIAS *2 LPS* *THE 24 GREATEST SONGS* *CBS 88469* *1978 EUROPA-HOLLANDA* *LP EN BUEN ESTADO CARATULA COMO LA FOTO* *1-QUIERME MUCHO* *2-QUIERO* *3-CUIDADO AMOR* *4-ABRAZAME* *5-ME OLVIDE DE VIVIR* *6-POR UN POCO DE AMOR* *LADO 2* *1-A VECES TU, A VECES YO* *2-POR EL AMOR DE UNA MUJER* *4-SONO IO* *5-UN CANTO DE GALICIA* *6- A FLOR DE PIEL* *DISCO DOS* *1- SOY UN TRUHAN* *2-CANDILEJAS* *3-CU CU RRU CU* *4-QUIEREME* *5-AL LLANERA* *6- PREGUNTALE* *DISCO DOS* *LADO 2* *1-MANUELA* *2-POBRE DIABLO* *3JURAME* *4-UN DIA DE TU DIA* *5-CAMINITO* *6- 33 ANOS.* *CBS HOLAND* LAS FOTOS CORR...
LP NEIL DIAMOND- COLECCIONISTAS
*LP CBS STEREO 14465* *NEIL DIAMOND* *SIDE 1* *IVE BEEN THIS WAY BEFORE* *ROSEMARY WINE* *LADY MAGDALENA* *THE LAST PICASO* *SIDE 2* *LONGFELLOW SERENADE* *YES I WILL* *REGGAE STRUT* *THE GIT OF SONG* *DISCO EN BUEN ESTADO* *CARTALUA COMO LA FOTO.* *LA FOTO CORRESPONDE AL LP.*
STARS ON 45- ESTRELLAS EN 45- COLECCIONISTAS
*LP STARS ON 45* *MERCURY 6302129* *PHILIPS* *SIDE A* *STARS ON 45* *NO REPLY* *ILL BE BACK* *DRIVE MY CAR* *DO YOU WANT TO KNOW A SECRET* *WE CAN WORK IT OUT* *I SHOULD HAVE KNNOWN BETTER* *NOW WHERE MAN* *YOU ARE GOING TO LOOSE THAT GIRL* *TICKET TO RIDE* *THE WORD* *ELEANOR RIGBY* *EVERY LITTLE THING* *SND YOUR BIRD CAN SING* *GET BACK* *EIGHT DAYS A WEEK* *IT WONT BE LONG}DAYTRIPPER WAIT* *GOOD DAY SHINE* *MY SWEET LORD* *WHILE MY GUITAR GENTLY WEEPS* *TAXMAN* *A HARD DAYS NIGHT* *THINGS WE SAID TODAY IF I FELL* *YOU CANT DO THAT* *OKEASE PLEASE ME* *FROM ME TO YOU* *I WANNA HOLD YOU ...
LP STARS ON 45
MERCURY 6302129
PHILIPS
SIDE A
STARS ON 45
NO REPLY
ILL BE BACK
DRIVE MY CAR
DO YOU WANT TO KNOW A SECRET
WE CAN WORK IT OUT
I SHOULD HAVE KNNOWN BETTER
NOW WHERE MAN
YOU ARE GOING TO LOOSE THAT GIRL
TICKET TO RIDE
THE WORD
ELEANOR RIGBY
EVERY LITTLE THING
SND YOUR BIRD CAN SING
GET BACK
EIGHT DAYS A WEEK
IT WONT BE LONG}DAYTRIPPER WAIT
GOOD DAY SHINE
MY SWEET LORD
WHILE MY GUITAR GENTLY WEEPS
TAXMAN
A HARD DAYS NIGHT
THINGS WE SAID TODAY IF I FELL
YOU CANT DO THAT
OKEASE PLEASE ME
FROM ME TO YOU
I WANNA HOLD YOU HAND
STARS 45
SIDE B
UNIQUE-
EXCLUSIVE COLLECTORS
LP ESCALONA-UN CANTO A LA VIDA- COLECCIONISTAS
*LP ESCALONA* *UN CANTO A LA VIDA* *SONY-COLUMBIA-* *CARACOL TELEVISION* *LADO A* *EL TESTMENTO* *LA MOLINERA* *LA PATILLERA* *EL ALMIRNTE PADILLA* *EL MEJORAL* *MIGUEL CANALES* *EL VILANUEVERO* *LADO B* *JAIME MOLINA* *EL ARCO IRIS* *EL JERRE*JERRE* *LA CUSTODIA DE BADILLO* *LA RESENTIDA* *LA GOLONDRINA* *CARATULA Y LP EN BUEN ESTADO* *LA FOTO CORRESPONDE AL LP.*
UNIQUE-
EXCLUSIVE COLLECTORS
LP ESCALONA
UN CANTO A LA VIDA
SONY-COLUMBIA-
CARACOL TELEVISION
LADO A
EL TESTMENTO
LA MOLINERA
LA PATILLERA
EL ALMIRNTE PADILLA
EL MEJORAL
MIGUEL CANALES
EL VILANUEVERO
LADO B
JAIME MOLINA
EL ARCO IRIS
EL JERRE*JERRE
LA CUSTODIA DE BADILLO
LA RESENTIDA
LA GOLONDRINA
LA GUERRA DE LOS CALLADOS-JOE ARROYO
COLECCIONISTAS
*LP JOE ARROYO* *PARA COLECCIONISTAS* *LA GUERRA DE LOS CALLADOS* *LADO A* *LA GUERRA DE LOS CALLADOS* *EL TRATO* *TERESA VUELVE* *EL VERANO* *LADO B* *EL MANA* *TE QUIERO MAS* *EL NINO DIOS* *MATIAGU* *CARATULA Y LP BUEN ESTADO* *LA FOTO CORRESPONDE AL LP.*
LP ESCALONA VOLUME 2. LA CASA EN EL AIRE COLECCIONISTAS .
L*ADA 1* *LA CASA EN EL AIRE* *EL PLAYONERO* *EL GENERAL DANGOND* *EL HAMBRE DE LICEO* *LA MAYE* *EL PIRATA DE LOPERENA* * LADO 2* *LA HISTORIA* *PARAGUACHON* *LA VIEJA SRA* *MALA SUERTE* *EL CHEVROLITO* *LA DESPEDIDA* *LA BRSILERA* *CARTAULA BUENA-LP BUEN ESTADO* *LA FOTO CORRESPONDE AL LP.*
SIDE 1
LA CASA EN EL AIRE
EL PLAYONERO
EL GENERAL DANGOND
EL HAMBRE DEL LICEO
LA MAYE
EL PIRATA DE LA LOPERNA
SIDE 2
LA HISTORIA
PARAGUACHON
LA VIEJA SARA
MALA SUERTE
EL CHEVROLITO
LA DESPEDIDA
LA BRASILERA
Item specifics
SUPEREXITOS DE EDDI SANTIAGO-COLECCIONISTAS
*LP SUPER EXITOS DE EDDI SANTIEGO* *DISCOS RODVEN* *LA FOTO CORRESPONDE AL LP.* *LADO A* *ME FALLASTE* *TU ME HACES FALTA* *MIA* *LLUVIA* *NADIE MEJOR QUE TU* *LADO B* *MANANA* *QUE LOCRUA ENAMONARME DE TI* *TODO EMPEZO* *HAGASMOSLO* *TU ME QUERIAS* *CARTATULA Y LP EN BUENAS CONDICIONES* *LA FOTO CORRESPONDE A LP* *
LP LICENCIA MELODY
CBS STEREO 142055
1986
MUY BUNE ESTADO
LADO A
HOY POR TI MANANA POR MI
VEINTE MILLAS
DESDE LA TRINCHERA
CARINO MIO
UHM AH OH
LADO B
TIMIDO
BESAME
YA NO TE PERDERE
NO,EL NO ES UN ROCKY
ME JUEGO TODO-
Veinte Millas
LIKE A PRAYER
EXPRESS YOUR SELF
LOVE SONG
TILL DEATH DO US PART
PROMISE TO TRY
CHERISH
DEAR JESSIE
PH FATHER
KEEP IT TOGETHER
SPANISH EYES
ACT OF CONTRITION
PRODUCED BY MADONA AND PATRIC LEONARD
PRODUCED BY MADONA AND STEPHEN BRAY
PRODUCED BY MADONA AND PRINCE
MADONA YOU CAN DANCE
SPOTLIGHT
HOLIDAY
EVERYBODY
PHYSICAL ATTRACTION
OVER AND OVER
INTO THE GROOVE
WHERE IS THE PARTY
JUAN LUIS GUERRA 4.40
BACHATA ROSA
LADO A
1-ROSALIA
2-COMO ABEJA AL PANAL
3-CARTA DE AMOR
4-ESTRELLITAS Y DUENDES
5- A PEDIR SU MANO
LA B
1-LA BILIBURRINA
2-BURBUJAS DE AMOR
3-BACHATA ROSA
4-REFORESTAME
5-ACOMPANEME CIVIL
1991 KAREN PUBKISHING COMPANY
KREN 5680078
LP LUIS MIGUEL ROMANCE
MTM 1992.
USA
LUIS
1954 NO ME PLATIQUES MAS
1944 INOLVIDABLE
1958 LA PUERTA
1957 LA BARCA
1968 TE EXTRANO
1951 USTED
MIGUEL
1952 CONTIGO EN LA DISTANCIA
1953 MUCHO CORAZON
1965 LA MENTIRA
1961 CUANDO VUELVA A TU LADO
1986 NO SE TU
1967 COMO
RELEASE IN COLOMBIA
WEA
Insert with songs in Spanish
LP MOCEDADES LA OTRA ESPANA
DISCOS ORBE
LP BUEN ESTADO
LA FOTO CORRESPONDE AL LP
LP
OF A SIMPLE MAN
PHILIPS STEREO 6369801
BUEN ESTADO
LA FOTO CORRESPONDE AL LP
SIDE 1
INTRO
THEARE IAUNT NO WAY
A BIG KITE
RECYCLE SALLY
DONT EXPECT ME TO BE YOUR FRIEND
A SIMPLE MAN
SIDE 2
ID LOVE YOU TO WANT ME
LET ME DOWN EASY
PEER-RO JUAN VALDEZ SAM QUIXOTE
RUNNING DEER
GYPSY AND THE3 MIDNIGHT GHOST
AM I TRU MYSELF
ALL SONGS WRITTEN BY LOBO AND PUBLISHED BY
KAISER MUSIC INC/FAMOUS MUSIC CORP, ASCAP
Accousticl guitats: Lobo
LP 1973
LP TROPICA CLUB
TRPICAL VOL 1
CBS 14466659
LA FOTO CORRESPONDE AL LP
CATARUTULA Y LP BUEN ESTADO
LADA 1-CUMBIAS
AMANECER DE UNA CUMBIA
POLLERA COLORA
LA MUCURA
AY COSITA LINDA
ADIOS CORAZON
MOMPOSINA
LA MUCURA
II CHA-CHA-CHA
BODEGUERO
LA BOA
BONITO Y SABROSO
VEREDA TROPICAL
SENOR JUEZ
CALCULADORA
BODEGUERO
III CUMBIAS
FESTIVAL GUARARE
LA BANDA BORRACH
MOCHILON
PRESUMIDA
COSECHA DE MUJERES
IV CUMBIAS
SE ME PERDIO LA CADENITA
GAVILAN
EL ORANGUTAN
QUIERO AMANECER
SANTA MARTA
MARIA CRISTINA
LADO 2
1 CHA-CHA-CHA
CACHITA
RICO BACILON
ADELA
FRENESI
CORAZON DE MELON
CACHITA
II CUMBIA
ANO VIEJO
SUAVECITA
PLEGARIA VALLENATA
MEDALLON
PESCADOR
TODOS LOS DOMINGOS
III MERENGUES
INTRODUCCION
PALO BONITO
ABUSADORA
EL AFRICANO
OYE TUS OJOS
NEGRITO DEL BATEY
OYE ABRE TUS OJOS
GRADUACIONES PARA VINILOS::
(N)=NEW. Nuevo.
El Vinilo se encuentra cerrado de Fábrica. sin abrir. No ha sido tocado nunca.
(M)=Mint.
Como Nuevo,en Perfectas condicones. Impecable.
(NM)=Near Mint.
Casi Nuevo. Se tocó solo una vez, Solo para Revisarlo. Limpio.
(EX)Excellent. Excelente.
El Vinilo ha sido tocado pocas veces y se encuentra en óptimo Estado y muy bien cuidado.
(VG+)Very Good Plus.
El Vinilo ha sido tocado regularmente. El sonido es bueno. Podría tener marcas visulaes pero nada que lo haga saltar o escucharse mal.
(VG)=Very Good.
El vinilo ha sido tocado regularmente y se le empieza a notar uso. Pude tener marcas visuales y ruidos de fondo o estática.
(G)=Good. Bueno
El vinilo ha sido tocado muchas veces y el Sonido ha sido afectado. Contiene ruido de fondo y podría saltar la aguja. Representa bastante uso.
L FOTO CORRESPONDE AL LP
MUY BUEN ESTADO
LP FM
MARISELA
COMPLETAMENTE TUYA
LA A
SIENTEME,AMAME,QUIEREME
ASI DE FACIL
AHORA NO!
ENAMORADA Y HERIDA
MI PROBLEMA
LADO B
COMPLETAMENTE TUYA
MUERIENDO DE AMOR
AMIGO MIO,CARINO MIO
SOLA CON MI SOLEDAD
A CAMBIO DE QUE
MUY BUEN ESTADO CARATULA Y LP
LP
JOSE FELICIANO ESCENAS DE AMOR
DISCO INCOLVE MW3 4179
MUY BUEN ESTADO
LA FOTO CORRESPONDE AL LP.
LP VINILO
LOS TOREROS MUERTOS POR BIAFRA
LADO A
MAMA
EL CIELO ES AZUL
ON THE DESK
LOS NINOS DE COLORES
EN MI PORTAL
LADO B
PARA TI
PILAR
EN UN CUARTO DE BANO
MANOLITO
VMOS AL CMPO
DIME GUA
SONOLUX-ARRIOLA
LP Y CARATURAL BUEN ESTADO
COMPRO LPS BUEN ESTADO-
ENVIE SU LISTA-ESTADO-PRECIO
LP HISPA VOX
JOSE LUIS PERALES
GRANDES EXITOS
BUEN ESTADO
LA FOTO CORRESPONDE AL LP
LADO A
YO QUIERO SER
PRIMER AMOR
QUISIERA DECIR TU NOMBRE
PODRE EOLVIDAR
COSAS DE DONA ASUNCION
EL TORERILLO
LADO B
Y TE VAS
ESO ME PRRGUNTO YO
POR TI
SI
CELOS DE MI GUITARR
PARA VOS CANTO
EL DIA QUE TENGA UNA CASA
LA FOTO CORRESPONDE AL LP
LP HERMANOS
CANTARE,CANTARAS
I WILL SING, YOU WILL SING
VARIOS AUTORES
CDBS 20 ANOS 4421290
BUEN ESTADO
LA FOTO CORRESPONDE AL LP
USADO- BUEN ESTADO
ORIGINAL
CAPITOL ESTEREO
11808
PRECIO FIJO
The Jazz Singer (soundtrack)
From Wikipedia, the free encyclopedia
| The Jazz Singer | ||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
 | ||||||||||||||||||||||||
| Soundtrack album by Neil Diamond | ||||||||||||||||||||||||
| Released | November 10, 1980 | |||||||||||||||||||||||
| Recorded | 1980 | |||||||||||||||||||||||
| Genre | Pop, rock | |||||||||||||||||||||||
| Length | 40:11 | |||||||||||||||||||||||
| Label | Capitol (original) Columbia (reissue) | |||||||||||||||||||||||
| Producer | Bob Gaudio | |||||||||||||||||||||||
| Neil Diamond chronology | ||||||||||||||||||||||||
| ||||||||||||||||||||||||
Vinyl-LP-Hit Xxplosión-Die absoluten Super Hits-TG 1371 - 1982 Germany
stereo k-tel
side a
THE LAND OF MAKE BELIVE
CAMBODIA
UNA NOTTE SPECIALE
EISBAR
WHO HAVE NOTHING
I NEED YOU
CHEERIO
VIVA TORERO
FLASH IN THE NIGHT
SIDE B
HALE,HEY LOUISE
MY BONNIE
LITTLE LADY
TO BE SUPERMAN
ANGEL FROM PARADISE
LITTLE TOWN FLIRT
HELP,GET ME SOME HELP
M INNAMORO DI TE
REALITY
Lp en buen estado
us
KANNY ROGERS GREATEST HITS
PARA COLECCIONISTAS
E46988, EPIC, 1981
Cover Grading: VG+ - EX
Inner Sleeve: VG+ - EX+, 3” slit on two sides, lyrics on sleeve
Recording Grading: EX+
CAN'T FORGET YOU
CLOSE MY EYES
COMING OUT OF THE DARK
DESDE LA OSCURIDAD
HEART WITH YOUR NAME ON IT
LIGHT OF LOVE
LIVE FOR LOVING YOU
MAMA YO CAN'T GO
NAYIB'S SONG
REMEMBER ME WITH LOVE
SEAL OUR FATE
SEX IN THE 90'S
WHAT GOES AROUND
GLORIA STEFAN
AND MIAMI SOUND MACHINE
LET IT LOOSE
SIDE ONE
BETCHA SAY THAT
LET I LOOSE
CANT STAY AWAY FROM YOU
GIVE IT UP
SURRENDER
SIDE TWO
RHYTHM IS GONNA GET YOU
LOVE TOY
I WANT YOU SO BAD}
1-2-3
ANYTHING FOR YOU
CBS 142042
GLORIA STEFAN
IN THE LIGHT
EXITOS DE GLORIA ESTEFAN
CBS
14464645
RENACER
CONGA
NO SERA FACIL
DR. BEAT
REGRESA A MI
NO TE OLVIDARE
DINGUI-LI BANGUI
NO ME VUELVO A ENAMORAR
SI VOY A PERDERTE
OYE MI CANTO
AIR SUPPLY
GTRATEST HITS
ARISTA 18 093 00247
LOST IN LOVE
EVEN THE NIGHTS ARE BTTER
THE ONE THAT YOU LOVE
MAKING LOVE OUT OF NOTHING AT ALL
SWEET DREAMS
ALL OUT OF LOVE
EVERY WOMAN IN LOVE
HERE I AM
CHANCES
HISTORIA DEL LP
TOMDO DE WIKIPEDIA
Un LP1 o elepé2 (del inglés long play), también llamado disco de larga duración, es un disco de vinilo de tamaño grande, de 12 pulgadas (30,5 cm) de diámetro, en el cual se puede grabar, en formato analógico, un máximo de unos 20 a 25 minutos de sonido por cada cara. Los LP suelen constar de unas ocho, diez o doce canciones, dependiendo de su duración, y están grabados a una velocidad de 33 y 1/3 revoluciones por minuto (33 RPM).
Los primeros discos de larga duración se comercializaron hacia 1948, aunque ya existía un precedente de este formato, desarrollado en 1930. Este tipo de disco fue la principal manera de publicar música grabada desde la década de 1950 hasta la de 1980.
A partir de mediados de los años 1980, los LP empezaron a perder protagonismo en favor de los casetes, más pequeños y resistentes, y ambos formatos fueron desplazados por los CDs. En la actualidad, en algunos países como Estados Unidos y países europeos hay un resurgimiento del formato, lo que hace que, ocasionalmente, sean publicadas grabaciones nuevas en LP.
Índice
[ocultar]Historia de los LP[editar]
Discos de banda sonora[editar]
Un antecesor directo del formato LP fue el disco de banda sonora utilizado por el sistema de cine sonoro Vitaphone, desarrollado por la empresa estadounidense Western Electric e introducido en 1926. Para los fines del sistema Vitaphone, los menos de cinco minutos de tiempo de reproducción de cada lado de un disco convencional de 12 pulgadas reproducido a 78 rpm no eran aceptables. El sonido debía ser reproducido de forma continua durante al menos 11 minutos, tiempo suficiente para acompañar a una bobina de película de 35 mm de 1000 pies (304,8 m) de longitud proyectada a razón de 24 fotogramas por segundo. El diámetro del disco se aumentó a 16 pulgadas (40,64 cm) y la velocidad se redujo a 33 1⁄3 rpm. A diferencia de los LP posteriores, estos discos se grabaron con el mismo "surco estándar" ancho utilizado por los discos de 78 rpm e incluso, el surco se iniciaba en el interior de la zona grabada cerca de la etiqueta del disco hacia el borde. Como los 78s, los primeros discos de banda sonora fueron prensados en un compuesto de goma laca abrasivo y reproducidos con una aguja de acero de un solo uso instalada dentro de un fonocaptor electromagnético masivo con una fuerza de seguimiento de 5 onzas de fuerza (1,39 N).
A mediados de 1931, todos los estudios de cine de Estados Unidos adoptaron el sistema de grabación de sonido en bandas sonoras ópticas, aunque estos editaron también hasta finales del año 1936, conjuntos de discos de banda sonora, matrizados mediante la transcripción de las bandas sonoras ópticas y reducidos a un tamaño de 12 pulgadas a fin de disminuir los costos, los cuales eran distribuidos a los cines que todavía estaban equipados con proyectores de sonido del sistema Vitaphone. 3
Discos de transcripción de radio[editar]
La programación de radio bajo licencia a diferentes estaciones se distribuyó en discos de 78 rpm a partir de 1928. La conveniencia de un tiempo de reproducción continua más largo pronto condujo a la adopción del formato de disco del sistema Vitaphone. Aproximadamente en 1930, comenzaron a ser utilizados discos de 16 pulgadas a 33 1⁄3 rpm para la mayoría de estas "transcripciones eléctricas" que reproducían unos 15 minutos por cada lado. Los discos eran grabados desde el borde interno al externo como en los discos de banda sonora o en sentido inverso.
Las piezas musicales más largas transmitidas en vivo que se extendían a lo largo de varios discos, se registaron en los lados impares (Lado "A") de adentro hacia afuera y los lados de número par (Lado "B") de afuera hacia adentro.
Algunos discos de transcripciones fueron grabados con surcos modulados de forma vertical, ya que se encontró que esto permitía no sólo un sonido de bajo más profundo, sino también una extensión de la respuesta de frecuencia de gama alta, ninguno de los cuales era necesariamente una gran ventaja en la práctica debido a las limitaciones de la radiodifusión de AM. Sin embargo, hoy en día es posible disfrutar de los beneficios de esas grabaciones de mayor fidelidad, a diferencia de las audiencias de radio originales.
Inicialmente, los discos de transcripción fueron prensados sólo en goma laca, pero hacia el año 1932 fueron apareciendo discos prensados por RCA Victor en un plástico denominado "Victrolac" basado en acetato de vinilo. Se utilizaron a veces otros plásticos para realizar estos prensajes. A finales de la década de 1930, el vinilo era estándar para casi todo tipo de discos prensados excepto los discos de 78 rpm comerciales ordinarios, que continuaron siendo fabricados de goma laca.
A partir de mediados de la década de 1930, los discos de acetato de 16 pulgadas grabados a 33 1⁄3 rpm fueron utilizados por las redes de radio para archivar grabaciones de sus emisiones en vivo, y por las estaciones locales estadounidenses para retrasar la emisión de la programación de las redes a las que estaban afiliadas o para pregrabar sus propias producciones. A fines de los años 1940, grabadoras magnéticas fueron adoptadas por las redes radiales y emisoras independientes para grabar espectáculos o repetirlos para ser emitidos en diferentes zonas horarias, pero los prensajes en vinilo de 16 pulgadas se siguieron utilizando en la década de 1960 para su distribución fuera de la red de la programación pregrabada. El estándar del LP de microsurco comenzó a ser incorporado a finales de la década de 1950, y en la década siguiente los discos se redujeron a 12 pulgadas de diámetro, haciéndose físicamente indistinguibles de los LPs ordinarios.
A menos que la cantidad requerida fuera muy pequeña, el prensado de discos era un medio más económico para la distribución de audio de alta calidad que la cinta magnética, y la masterización de CDs fue, en los primeros años de esa tecnología, muy cara, por lo que el uso de discos de transcripción en formato de LP continuó hasta la década de 1990.
Desarrollo inicial por RCA Victor[editar]
RCA Victor introdujo una primera versión de un disco de larga duración para uso doméstico en 1930. Estos discos, denominados por RCA Victor "Transcription Program" (Transcripción de programa en idioma español), eran de 12 pulgadas (30,48 cm) de diámetro, se reproducían a 33 1⁄3 rpm y tenían surcos de 4,5 mil (114,3 µm) y más estrechamente espaciados que los típicos 78s. Estos discos debían ser reproducidos con una aguja de acero cromado especial denominada "Chromium Orange" (Cromo Naranja, en idioma español). 4 Su tiempo de reproducción era de hasta 15 minutos por cada lado, eran utilizados principalmente para la música clásica "seria" y normalmente se prensaban en el plástico Victrolac desarrollado por RCA Victor, que proporcionaba una superficie de reproducción mucho más silenciosa. LaQuinta Sinfonía de Beethoven, interpretada por la Orquesta Sinfónica de Filadelfia bajo la dirección de Leopold Stokowski, fue la primera grabación de 12 pulgadas editada. Desafortunadamente, muchas de las ediciones posteriores no eran grabaciones nuevas sino simplemente transcripciones hechas de conjuntos de discos de 78 rpm existentes. Las transcripciones eran notablemente inferiores a los 78s originales. Los tocadiscos provistos con la velocidad de 33 1⁄3 rpm sólo eran máquinas caras de gama alta, que se vendieron en pequeñas cantidades, y el público no estaba comprando muchos discos de ningún tipo en el momento. Las ventas de discos en general, en los EE.UU. habían caído desde un máximo de 37,6 millones de discos vendidos en 1927 a 3,6 millones en 1933, 5 debido a la competencia de la radio y los efectos de la Gran Depresión. Pocos o ningún nuevo disco de Transcripción de Programa se grabaron después de 1933 y los tocadiscos de dos velocidades pronto desaparecieron de la línea de productos de consumo. A excepción de algunas grabaciones de música de fondo, los últimos de los títulos emitidos habían sido sacados de catálogo de discos de la compañía a finales de la década.
Desarrollo comercial por Columbia Records[editar]
Peter Goldmark, científico investigador en jefe de los Laboratorios CBS, lideró el equipo que desarrollaría un disco fonográfico que tuviera, por lo menos, 20 minutos de reproducción por cada lado.6 La investigación se inició en 1941, fue suspendida durante la Segunda Guerra Mundial, y luego se reanudó en 1945. 7
Columbia Records dio a conocer el LP en una conferencia de prensa en el Hotel Waldorf Astoria el 18 de junio de 1948, en dos formatos: 10 pulgadas (25,4 cm) de diámetro, equivalente a la de los sencillos de 78 rpm y 12 pulgadas (30,48 cm) de diámetro. 8 El lanzamiento inicial de los primeros 102 discos en formato LP constaba de 71 discos de doce pulgadas demúsica clásica y semiclásica, 20 discos de música clásica y ligera de diez pulgadas y 11 discos de música popular de diez pulgadas. De acuerdo con el catálogo inicial de estos discos publicado 3 días después y presentado por la publicación ''The Billboard'' el día 3 de julio de 1948, 9 el primer LP de doce pulgadas fue el Concierto en Mi menor Opus 64, de Felix Mendelssohn, ejecutado por el violinista Nathan Milstein con el acompañamiento de la Orquesta Filarmónica de Nueva York, dirigida por Bruno Walter y cuyo número de serie fue ML 4001.
Este primer LP en 12 pulgadas, había sido grabado en una sola sesión el 16 de mayo de 1945 en el teatro Carnegie Hallde Nueva York, mediante el método de corte directo de discos maestros de acetato de 16 pulgadas grabados a 33 1⁄3 rpm. Los discos maestros grabados en este formato fueron almacenados por Columbia Records, anticipándose así, al lanzamiento del LP en 1948. 10 Según Edward Wallerstein, empleado de Columbia Records, él insistió en que todo lo realizado por la empresa en discos de 78 rpm se grabara en formato de 16 pulgadas a 33 1⁄3 rpm, mencionando también que el técnico de CBS, Adrian Murphy envió, después de la Segunda Guerra Mundial, desde Luxemburgo una grabadora de cinta alemana Magnetophon a su empresa, la cual adquirió otros grabadores de cinta a las empresas Ampex y EMI, descontinuando en 1947 el método de masterización por corte de disco y suplantándolo por el de grabación de cinta maestra, el cual fue adoptado después de esa época por las empresas radiales y fonográficas en todo el mundo para el registro de audio. De hecho, el 40% de la producción inicial de LPs fue realizado mediante la masterización con cinta maestra magnética. 10 11
Formatos competidores[editar]
El LP fue pronto confrontado por el "45", un disco de vinilo de 7 pulgadas (17,78 cm) de diámetro de surcos finos, grabado y reproducido a 45 rpm desarrollado y presentado por RCA Victor en 1949. En un intento por competir con los discos LP, se editaron cajas de álbumes de 45, junto con 45s del tipo EP (Extended Play, Duración Extendida, en idioma castellano), que contenían dos o incluso tres temas en cada lado. A pesar de estos esfuerzos, el 45 tuvo éxito sólo en la sustitución directa del disco de 78 como el formato para edición de sencillos de canciones populares individuales.
Las grabadoras de carrete abierto plantearon un nuevo reto para el LP en la década de 1950, pero el mayor costo de las cintas pregrabadas presentadas por las compañías discográficas fue uno de varios factores que limitaron este formato a un pequeño nicho en el mercado. Los cartuchos de 8 pistas y los casetes eran más convenientes y menos costosos que las cintas de carrete abierto y se hicieron populares para el uso en los automóviles a partir de mediados de la década de 1960. Sin embargo, el LP no fue seriamente cuestionado como el medio principal para escuchar música grabada en el hogar hasta la década de 1970, cuando la calidad de audio del formato de casete se mejoró en gran medida gracias a mejores formulaciones de cinta y sistemas de reducción de ruido. La introducción mundial del disco compacto en 1983, que ofreció una grabación normalmente sin ruidos y sin degradado audibles por repetidas reproducciones o por rozaduras leves y arañazos, finalmente tuvo éxito en destronar al LP, ya que los precios inicialmente altos de los CDs y reproductores de CD comenzaron a bajar.
Junto con los discos fonográficos en general, algunos de los cuales fueron hechos de otros materiales, los LPs son ahora ampliamente conocidos como "vinilos". Desde finales de la década de 1990 y con un crecimiento constante a través del siglo 21 en adelante, se ha producido un renovado interés en el vinilo y la demanda por el medio ha estado en un constante aumento anual en nichos de mercado, sobre todo entre los audiófilos, discjockeys y fanáticos de la música independiente. La mayoría de las ventas de música, al momento de escribir esta sección, son de descargas de formatos de archivos digitales, debido a sus precios generalmente más bajos y amplia disponibilidad, las cuales han hecho disminuir la venta de CDs.12
LP HISTORY
FROM WIKIPEDIA
The LP (long playing[1]), or 331⁄3 rpm microgroove vinyl record, is a format forphonograph (gramophone) records, an analog sound storage medium. Introduced by Columbia Records in 1948, it was soon adopted as a new standard by the entire record industry. Apart from relatively minor refinements and the important later addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
Contents
[hide]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 vinyl and played with a smaller-tipped "microgroove" stylus at a speed of 331⁄3 rpm. Each side of a 12-inch LP could play for more than 20 minutes. Only the microgroove standard was truly new, as both vinyl and the 331⁄3 rpm speed had been used for special purposes for many years, as well as in one unsuccessful earlier attempt to introduce a long-playing record for home use.
Although the LP was especially suited to classical music because of its extended continuous playing time, it also allowed a collection of ten or more typical pop music recordings to be put on a single disc. Previously, such collections, as well as longer classical music broken up into several parts, had been sold as sets of 78 rpm records in a specially imprinted "record album" consisting of individual record sleeves bound together in book form. The use of the word "album" persisted for the one-disc LP equivalent.
History[edit]
Soundtrack discs[edit]
The prototype of the LP was the soundtrack disc used by the Vitaphone motion picture sound system, developed by Western Electric and introduced in 1926. For soundtrack purposes, the less than five minutes of playing time of each side of a conventional 12-inch 78 rpm disc was not acceptable. The sound had to play continuously for at least 11 minutes, long enough to accompany a full 1,000-foot (300 m) reel of 35 mm film projected at 24 frames per second. The disc diameter was increased to 16 inches (40 cm) and the speed was reduced to 331⁄3 revolutions per minute. Unlike their smaller LP descendants, they were made with the same large "standard groove" used by 78s.
Unlike conventional records, the groove started at the inside of the recorded area near the label and proceeded outward toward the edge. Like 78s, early soundtrack discs were pressed in an abrasive shellac compound and played with a single-use steel needle held in a massive electromagnetic pickup with a tracking force of five ounces (1.4 N).
By mid-1931, all motion picture studios were recording on optical soundtracks, but sets of soundtrack discs, mastered by dubbing from the optical tracks and scaled down to 12 inches to cut costs, were made as late as 1936 for distribution to theaters still equipped with disc-only sound projectors.[2]
Radio transcription discs[edit]
Syndicated radio programming was distributed on 78 rpm discs beginning in 1928. The desirability of a longer continuous playing time soon led to the adoption of the Vitaphone soundtrack disc format. 16-inch 331⁄3 rpm discs playing about 15 minutes per side were used for most of these "electrical transcriptions" beginning about 1930. Transcriptions were variously recorded inside out like soundtrack discs or with an outside start.
Longer pieces recorded live which extended over the course of several discs, pioneered the system of recording odd-numbered sides inside-out and even-numbered sides outside-in so that the fidelity would match when changing sides or discs. Since no changers were present in radio broadcasting, the sides had to be pressed in a hybrid of manual and automatic sequencing, arranged in such a manner that no single disc had to be turned over to play its other half, i.e., instead of a three-disc set having 1–2, 3–4 and 5–6 for manual or 1–6, 2–5 and 3–4 for automatic, broadcast sequences would have 1–4, 2–5 and 3–6.
Some transcriptions were recorded with a vertically modulated "hill and dale" groove, as this was found to allow not only a deeper bass due to the fact that turntable rumble was laterally-modulated in early radio station turntables, but also an extension of the high-end frequency response, neither of which was necessarily a great advantage in practice because of the limitations of AM broadcasting. However, today we can enjoy the benefits of those higher-fidelity recordings, even if the original radio audiences could not.
Initially, transcription discs were pressed only in shellac, but by 1932 pressings in RCA Victor's vinyl-based "Victrolac" were appearing. Other plastics were sometimes used. By the late 1930s, vinyl was standard for nearly all kinds of pressed discs except ordinary commercial 78s, which continued to be made of shellac.
Beginning in the mid-1930s, one-off 16-inch 331⁄3 rpm lacquer discs were used by radio networks to archive recordings of their live broadcasts, and by local stations to delay the broadcast of network programming or to prerecord their own productions. In the late 1940s, magnetic tape recorders were adopted by the networks to prerecord shows or repeat them for airing in different time zones, but 16-inch vinyl pressings continued to be used into the early 1960s for non-network distribution of prerecorded programming. The LP's microgroove standard started to be incorporated in the late 1950s, and in the 1960s the discs were reduced to 12 inches, becoming physically indistinguishable from ordinary LPs.
Unless the quantity required was very small, pressed discs were a more economical medium for distributing high-quality audio than tape, and CD mastering was, in the early years of that technology, very expensive, so the use of LP-format transcription discs continued into the 1990s. The King Biscuit Flower Hour is a late example, as are Westwood One's The Beatle Years and Doctor Demento programs, which were sent to stations on LP at least through 1992.[3]
RCA Victor[edit]
RCA Victor introduced an early version of a long-playing record for home use in September 1931. These "Program Transcription" discs, as Victor called them, played at 331⁄3 rpm and used a somewhat finer and more closely spaced groove than typical 78s. They were to be played with a special "Chromium Orange" chrome-plated steel needle. The 10-inch discs, mostly used for popular and light classical music, were normally pressed in shellac, but the 12-inch discs, mostly used for "serious" classical music, were normally pressed in Victor's new vinyl-based Victrolac compound, which provided a much quieter playing surface. They could hold up to 15 minutes per side. Beethoven's Fifth Symphony, performed by thePhiladelphia Symphony Orchestra under Leopold Stokowski, was the first 12-inch recording issued. The New York Timeswrote, "What we were not prepared for was the quality of reproduction ... incomparably fuller."[4][5][6] Unfortunately for Victor, it was downhill from there. Many of the subsequent issues were not new recordings but simply dubs made from existing 78 rpm record sets. The dubs were audibly inferior to the original 78s. Two-speed turntables with the 331⁄3 rpm speed were included only on expensive high-end machines, which sold in small numbers, and people were not buying many records of any kind at the time. Overall record sales in the US had crashed from a high of 105.6 million records sold in 1921 to 5.5 million in 1933, because of competition from radio and the effects of the Great Depression.[7] Few if any new Program Transcriptions were recorded after 1933 and two-speed turntables soon disappeared from consumer products. Except for a few recordings of background music for funeral parlors, the last of the issued titles had been purged from the company's record catalog by the end of the decade. The failure of the new product left RCA Victor with a low opinion of the prospects for any sort of long-playing record, influencing product development decisions during the coming decade.
Columbia[edit]
CBS Laboratories head research scientist Peter Goldmark led Columbia's team to develop a phonograph record that would hold at least 20 minutes per side.[8] The team included Howard H. Scott, who died September 22, 2012, at the age of 92.[9]
Research began in 1941, was suspended during World War II, and then resumed in 1945.[10] Columbia Records unveiled the LP at a press conference in the Waldorf Astoria on June 18, 1948, in two formats: 10 inches (25 centimetres) in diameter, matching that of 78 rpm singles, and 12 inches (30 centimetres) in diameter.[11] The initial release of 133 recordings were: 85 twelve-inch classical LP's (ML4001 to 4085), 26 ten-inch classics (ML2001 to 2026), 18 ten-inch popular numbers (CL6001 to 6018) and 4 ten-inch juvenile records (JL 8001 to 8004). According to the 1949 Columbia catalog, issued September 1948, the first twelve-inch LP was Mendelssohn's Concerto in E Minor by Nathan Milstein on the violin with the New York Philharmonic, conducted by Bruno Walter (ML 4001). Three ten-inch series were released: 'popular', starting with the reissue of The Voice of Frank Sinatra (CL 6001); 'classical', numbering from Beethoven's 8th symphony (ML 2001), and 'juvenile', commencing with Nursery Songs by Gene Kelly (JL 8001). Also released at this time were a pair of 2-LP sets, Puccini's La Bohème, SL-1 and Humperdinck's Hansel & Gretel, SL-2.[12]
Public reception[edit]
When the LP was introduced in 1948, the 78 was the conventional format for phonograph records. By 1952, 78s still accounted for slightly more than half of the units sold in the United States, and just under half of the dollar sales. The 45, oriented toward the single song, accounted for just over 30% of unit sales and just over 25% of dollar sales. The LP represented not quite 17% of unit sales and just over 26% of dollar sales.[13]
Ten years after their introduction, the share of unit sales for LPs in the US was almost 25%, and of dollar sales 58%. Most of the remainder was taken up by the 45; 78s accounted for only 2% of unit sales and 1% of dollar sales.[7] For this reason, major labels in the United States ceased manufacturing of 78s for popular and classical releases in 1956 with the minor labels following suit, with the final US-made 78 being produced in 1959.
Canada and the UK continued production into 1960 and India, the Philippines and South Africa continued to produce 78s up until 1965, with the last holdout, Argentina continuing the practice until 1970.
The LP's popularity ushered in the Album Era of English-language popular music beginning in the 1960s as performers took advantage of the longer playing time to create coherent themes or concept albums. Although the popularity of LPs fell in the late 1970s with the advent of first cassettes and later compact discs, the album survived as a popular format well into the 2000s.
Vinyl LP records have enjoyed an increased resurgence amongst a younger generation in the early 2010s.[14] Vinyl sales in the UK reached 2.8 million in 2012.[15]
Competing formats[edit]
The LP was soon confronted by the "45", a 7-inch (180 mm) diameter fine-grooved vinyl record playing at 45 rpm. It was introduced by RCA Victor in 1949. In an attempt to compete with the LP, boxed albums of 45s were issued, along with EP (Extended Play) 45s, which squeezed two or even three selections onto each side. Despite these efforts the 45 succeeded only in directly replacing the 78 as the format for issuing singles of individual popular songs.
Reel-to-reel magnetic tape recorders posed a new challenge to the LP in the 1950s, but the higher cost of prerecorded 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. However, the LP was not seriously challenged as the primary medium for listening to recorded music at home until the 1970s, when the audio quality of the cassette format was greatly improved by better tape formulations and noise reduction systems. 1983 saw the world-wide introduction of the digital Compact Disc (CD), which offered a recording that was, theoretically, completely 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 the prices gradually came down and by the early 1990s the CD had definitively succeeded in toppling the LP from its throne.
Along with phonograph records in general, some of which were made of other materials, LPs are now widely referred to simply as "vinyl". Beginning in the late 1990s and continuing into the 2010s, a modest renewed interest in vinyl has developed and the demand for the medium has been on a steady increase in niche markets, particularly among audiophiles, DJs and fans of indie music. However, the vast majority of recorded music sales are of compact discs and downloadable digital audio files, because of their greater convenience of use, generally cheaper prices and wider availability.[16]
Playing time[edit]
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When initially introduced, 12-inch LPs played for a maximum of 45 minutes, divided over two sides, with 10-inch versions carrying a maximum of 35 minutes again over two sides.
Owing to marketing attitudes at the time, the 12-inch format was reserved solely for higher-priced classical recordings andBroadway shows. Popular music appeared only on 10-inch records. Executives believed classical music aficionados would leap at the chance to finally hear a Beethoven symphony or a Mozart concerto without having to flip over a seemingly endless series of four-minute-per-side 78s, but popular music fans, used to consuming one song per side at a time, would find the shorter time of the 10-inch LP sufficient. This belief would prove to be erroneous in the end, and by the mid-1950s the 10-inch LP, like its similarly sized 78 rpm record, would lose out in the format wars and be discontinued. Ten-inch records would reappear as mini-albums in the late 1970s and early 1980s in the United States and Australia as a marketing alternative.
Exceptions[edit]
However, in 1952, Columbia Records began to bring out extended-play LPs that played for as long as 52 minutes, or 26 minutes per side.[citation needed] These were used mainly for the original cast albums of some Broadway musicals, such asKiss Me, Kate and My Fair Lady, or in order to fit an entire play, such as the 1950 production of Don Juan in Hell, onto just two LPs. The 52+ minute playing time remained rare, however, because of mastering limitations, and most LPs continued to be issued with a 30- to 45-minute playing time throughout the lifetime of their production.
An extremely limited number of albums would eventually exceed even the 52-minute limitation, with single albums going to as long as ninety minutes in the case of Arthur Fiedler's 1976 LP 90 Minutes with Arthur Fiedler and the Boston Pops, made by Radio Shack.[17] However, such records had to be cut with much narrower spacing between the grooves, which allowed for a much smaller amount of dynamic range on the records, and meant that playing the record with a worn needle could damage the record. It also resulted in a much quieter sound. Other notably long albums included the UK version of The Rolling Stones' Aftermath, with each side exceeding 26 minutes in length; Genesis' Duke, with each side exceeding 27 minutes; Bob Dylan's 1976 album Desire, with side two being just shy of thirty minutes; Brian Eno's 1975 album Discreet Music, whose A-side exceeded 30 minutes; Miles Davis' 1972 album Get Up with It, totalling 124:15 min over four sides;Todd Rundgren's 1975 album Initiation, totaling 67:32 min over two sides, and his 1973 album A Wizard, A True Star, whose second side reaches almost thirty minutes; La Monte Young's Dream House 78' 17", whose two sides were each just under 40 minutes (the running time of the album is indeed 78:17 min); and André Previn's Previn Plays Gershwin,, with theLondon Symphony Orchestra, whose sides each exceeded 30 minutes.[18] Single-LP releases of Beethoven's Ninth Symphony contained over 30 minutes on each side, with the third movement split into two parts. The Greenpeace International Record Project released in 1985 also approaches 40 minutes per side over its two sides. An extremely rare two-disc German pressing restores full sonic clarity and dynamic range lost by the compression to single-disc.
Spoken word and comedy albums, not having a wide range of musical instrumentation to reproduce, can be cut with much narrower spacing between the grooves; for example, The Comic Strip, released by Springtime Records in 1981, has a side A lasting 38:04 min and a side B lasting 31:08 min, for a total of 69:12 min.
In any case, the standard 45-minute playing time of the LP was a significant improvement over that of the previous dominant format, the 78 rpm single, which was generally limited to three to four minutes. At around 14 minutes per side for 10-inch and 23 minutes per side for 12-inch, LPs provided a measured time to enjoy a recording before having to flip discs.
Changers[edit]
Some record turntables, called record changers, could play a stack of records piled on a specially designed spindle and arm arrangement. Because of this, many multiple-record sets were released in what is called "automatic sequence". A two-record set would have Side 1 and Side 4 on one record, and Side 2 and Side 3 on the other, so the first two sides could play in a changer without the listener's intervention, and then they could simply flip the stack over. Larger boxed sets used appropriate automatic sequencing (1–8, 2–7, 3–6, 4–5 for example) to allow for ease of continuous playback, but difficulties if searching for an individual track.
In contrast to compact disc players, very few record players, e.g., laser or selected linear tracking turntables like Sharp RP-107/117,[19] could provide a per-track programmable interface, so the record albums play in the same order every time. As the LP achieved market dominance, musicians and producers began to pay special attention to the flow from song to song, to keep a consistent mood or feel, or to provide thematic continuity, as in concept albums.
Vulnerabilities[edit]
Vinyl records are much more vulnerable to scratches than CDs. On a record, a scratch can cause popping sounds with each revolution when the needle meets the scratch mark. Deeper scratches can cause the needle to jump out of the groove altogether. If the needle jumps ahead to a groove further inward, information gets skipped. And if it jumps outward to the groove it just finished playing, it can repeat in an infinite loop. This particular result of damage spawned the common simile "like a broken record", referring to anything that repeats seemingly endlessly. Additionally, records used in radio stations can suffer cue burn, which is a result of putting the needle on the record and then backing it up approximately a quarter turn so that it will play at the proper speed when the DJ starts the song. When this is done repeatedly, a hissing sound will preface the start of the actual song.
The large surface area of the record, being vinyl which is a material that is susceptible to becoming statically charged, pullsdust and smoke suspended particles out of the air, also causing crackles, pops, and (in the worst cases of contamination) distortion during playback. Records may be cleaned before playing, using record cleaner and/or antistatic record cleaning fluid and anti-static pads.[20]
Since LP discs are delicate, as well as heavy for their size, people are less inclined to lug a stack of them around – for example, when visiting friends or when traveling – than a similar quantity of music compiled onto 90-minute cassettes,compilation-tapes, or today's digital formats.
Groove[edit]
The average LP has about 1,500 feet (460 m or about a third of a mile) of groove on each side. The average tangential needle speed relative to the disc surface is approximately 1 mph, 1.4 km/h or 0.4 m/s. It travels fastest on the outside edge, unlike audio CDs, which change their speed of rotation to provide constant linear velocity (CLV). (By contrast, CDs play from the inner radius outward, the reverse of phonograph records.)
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The empty space before the start of the music has been amplified +15 dB to reveal the pre-echo.
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Thin, closely spaced spiral grooves that allowed for increased playing time on a 331⁄3 rpm microgroove LP led to a faint pre-echo warning of upcoming loud sounds. The cutting stylus unavoidably transferred some of the subsequent groove wall's impulse signal into the previous groove wall. It was discernible by some listeners throughout certain recordings but a quiet passage followed by a loud sound would allow anyone to hear a faint pre-echo of the loud sound occurring 1.8 seconds ahead of time.[21] This problem could also appear as "post"-echo, with a ghost of the sound arriving 1.8 seconds after its main impulse.
The RIAA equalization curve (used since 1954) de-emphasizes (weakens) the bass notes during recording, allowing closer spacing of record grooves and hence more playing time. It also boosts the high frequencies so the playback mirror image correction reduces surface noise. On playback, the turntable cartridge pre-amplifier reverses the RIAA curve to flatten out the frequencies again restoring the bass notes to normal and reducing the high frequencies to normal while reducing the inherent background hiss produced by the stylus contacting an imperfect vinyl surface. The net effect of RIAA equalization is to allow longer playing time and lower background noise while maintaining full fidelity of music or other content.
Fidelity and formats[edit]
The audio quality of LPs has increased greatly since their 1948 inception. Early LP recordings were monophonic; Alan Blumlein patented Stereophonic sound in 1931 (although stereophony had been demonstrated in 1881) but unsuccessful attemptswere made to create stereophonic records from the 1920s, including Emory Cook's 1952 idea of using two tracks, and a system using vertical modulation (harking back to Edison's 1877 experiments) for one channel and (then-universal) horizontal for the other, until the modern system ultimately released by Audio Fidelity Records in November 1957. This format uses two modulation angles, equal and opposite 45 degrees from vertical (and so perpendicular to each other), that can also be thought of as using traditional horizontal modulation for the sum of Left plus Right channels (mono), making it essentially compatible with simple mono recordings, and vertical-plane modulation for the difference of the two channels.
The following are some significant advances in the format.
- stereo sound became commercially available in late 1957/early 1958
- helium-cooled cutting heads that could withstand higher levels of high frequencies (Neumann SX68)— (Previously, the cutting engineer had to reduce the HF content of the signal sent to the record cutting head, otherwise the delicate coils could burn out.)
- Elliptical Stylus (marketed by several manufacturers at the end of the 1960s)
- cartridges that operate at lower tracking forces (~200 mN), beginning from mid-1960s
- half- and one-third-speed record cutting, which extend the usable bandwidth of the record
- Matrixed quadraphonic records (SQ, QS, EV-4, UHJ)
- "discrete" quadraphonic CD4 records, which enabled frequencies of up to 50 kHz to be recorded and played back
- longer-lasting, antistatic record compounds (e.g.: RCA Dynaflex, Q-540)
- better stylus tip shapes (Shibata, Van den Hul, MicroLine, etc.)
- Direct Metal Mastering
- noise-reduction (CX encoding, DBX encoding), starting from 1973
- In the late 1970s, engineers Gerry Block and Burgess Macneal devised a preview system of mastering vinyl which allowed about 10-20% more music per disc while not sacrificing dynamic range. The preview tape head was positioned far enough before the program tape head to allow the disk computer enough time to measure the peaks in low frequency and thereby expand the feed appropriately for the greater excursions of groove modulation they produce. The ne-plus-ultra Compudisk system was unveiled at the 1980 AES Convention, alongside the Zuma Disk Computer (made by John W. Bittner) and the Neumann VMS-80 lathe, which had its own advanced Disk Computer, on board.
- In the 1970s, quadraphonic sound (four-channel) records became available, both "discrete" and "matrix". These did not achieve the popularity of stereo records, partly because of scarcity of consumer playback equipment, competing and incompatible quad record standards (most of which were compatible with two-channel stereo equipment) and partly because of the Analog Quadraphonic Formats lack of quality in quad-remix releases. Quad never escaped the reputation of being a "gimmick", and the various (mutually incompatible) discrete 4-channel sound required an ultrasonic carrier signal that was technically difficult to capture and suffered degradation with playing.[22] Three-way and quadraphonic recordings, which were favored and championed by artists like Leopold Stokowski and Glenn Gould,[23]are now making a modest comeback, with older masters being turned into multi-channel Super Audio CDs. (However, a fair number of new surround recordings—primarily classical—are being made for SACD and Blu-ray Audio.)
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.[citation needed] Other experiments included reducing the thickness of LPs, leading to warping and increased susceptibility to damage. Using a biscuit of 130 grams of vinyl had been the standard, but some labels experimented with as little as 90 grams per LP.[citation needed]Today, high fidelity pressings follow the Japanese standard of 160, 180 or 200 grams.[citation needed]
Besides the standard black vinyl, specialty records are also pressed on different colors of PVC/A or special "picture discs" with a card picture sandwiched between two clear sides. Records in different novelty shapes are also produced.
Use by disc jockeys[edit]
Disc jockeys (or DJs) in clubs still rely heavily on vinyl records, as cuing tracks from cassette tapes is too slow and CDs did not allow creative playback options until quite recently. The term "DJ", which had always meant a person who played various pieces of music on the radio (originally 78s, then 45s, then tape cartridges and reels; now cuts from CDs or tracks on a computer) – a play on the horse-racing term "jockey" – has also come to encompass all kinds of skills in "scratching" (record playback manipulation) and mixing dance music, rapping over the music or even playing musical instruments, but the original dance club (non-radio) definition was simply somebody who played records, alternating between two turntables. The skill came in subtly matching beats or instruments from one song to the next, providing a consistent dance tempo. DJs also made occasional announcements and chatted with patrons to take requests while songs were actually playing, similar to what radio disc jockeys have been doing since the 1940s.
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