Grammophon

Review of: Grammophon

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On 01.10.2020
Last modified:01.10.2020

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Grammophon

Grammophon Grammophone Trichter Grammofon für Schellack Platten im antiken Stil. Nostalgie Grammophon im Stile der antiken Zeit, mit wunderschönem. Tips und Tricks für Ihr Grammophon und wie Sie es am besten benutzen. Grammophone und Schellackplatten sind ja nicht neu zu kaufen, hier ein paar Hinweise. Top-Angebote für Antike Grammophone online entdecken bei eBay. Top Marken | Günstige Preise | Große Auswahl.

Grammophon Navigationsmenü

Ein Grammophon oder -fon (von altgriechisch γράμμα grámma, deutsch ‚​Geschriebenes' und φωνή phōnḗ ‚Stimme, Laut, Ton') ist ein Gerät zur Aufzeichnung. aubaho Nostalgie Grammophon Gramophone Dekoration mit Trichter Grammofon Antik-Stil (e). 5,0 von 5 Sternen 1. eBay Kleinanzeigen: Grammophon, Kleinanzeigen - Jetzt finden oder inserieren! eBay Kleinanzeigen - Kostenlos. Einfach. Lokal. Top-Angebote für Grammofon in Sammler-Grammophone online entdecken bei eBay. Top Marken | Günstige Preise | Große Auswahl. Top-Angebote für Antike Grammophone online entdecken bei eBay. Top Marken | Günstige Preise | Große Auswahl. Angebote zu Grammophon. Günstig kaufen und gratis inserieren auf willhaben - der größte Marktplatz Österreichs. Tips und Tricks für Ihr Grammophon und wie Sie es am besten benutzen. Grammophone und Schellackplatten sind ja nicht neu zu kaufen, hier ein paar Hinweise.

Grammophon

Top-Angebote für Antike Grammophone online entdecken bei eBay. Top Marken | Günstige Preise | Große Auswahl. Top-Angebote für Grammofon in Sammler-Grammophone online entdecken bei eBay. Top Marken | Günstige Preise | Große Auswahl. aubaho Nostalgie Grammophon Gramophone Dekoration mit Trichter Grammofon Antik-Stil (e). 5,0 von 5 Sternen 1.

Grammophon - Grammophon aufziehen

So sieht sich Berliner gezwungen, seine Produkte umzubenennen oder ins Ausland zu gehen. Die Federwerke waren so ausgelegt, dass sie mindestens eine Plattenseite vollständig mit konstanter Geschwindigkeit abspielen konnten. Zu den ersten gehörte das seit hergestellte Zonophon. Es treten weiterhin lineare verzerrende Resonanzen auf: die Nadel mit ihrer Halterung, die Membran und auch der Trichter haben Eigenresonanzen, die auf die Klangfarbe Einfluss nehmen. Aktuelle Suchen. Sehr altes Trichter Grammophon. Von verschiedenen Herstellern wurden ab dieser Zeit auch Sets angeboten, mit denen ein Grammophon zur elektrischen Tonabnahme umgebaut werden konnte; entweder ersetzte man dabei Schmerzlos die Schalldose durch einen elektrischen Abnehmer oder montierte einen kompletten zusätzlichen Tonarm. EUR 20,99 Versand. Auf einen Blick finden sie hier die neuesten Beiträge. Welche Schallplatten können antike Grammophone abspielen? Beliebt waren ab Mitte der er Jahre leicht transportable und daher auch im Freien, Kocan Kadar Konuş 2 Izle. Jahrhundert, funktioniert,einige Ersatznadeln. Das Material war ursprünglich für die Herstellung von Isolatoren entwickelt worden. Shauen Sie auch zu meinen anderen Anzeige.

Glass and William S. The Class M was powered by a wet-cell glass battery that would spill dangerous acid if it tipped over or broke.

By , record manufacturers had begun using a rudimentary duplication process to mass-produce their product. While the live performers recorded the master phonograph, up to ten tubes led to blank cylinders in other phonographs.

Until this development, each record had to be custom-made. Before long, a more advanced pantograph -based process made it possible to simultaneously produce 90— copies of each record.

However, as demand for certain records grew, popular artists still needed to re-record and re-re-record their songs. Reportedly, the medium's first major African-American star George Washington Johnson was obliged to perform his "The Laughing Song" or the separate "The Whistling Coon" [28] literally thousands of times in a studio during his recording career.

Sometimes he would sing "The Laughing Song" more than fifty times in a day, at twenty cents per rendition. The average price of a single cylinder in the mids was about fifty cents.

Lambert 's lead cylinder recording for an experimental talking clock is often identified as the oldest surviving playable sound recording, [29] although the evidence advanced for its early date is controversial.

Recently developed optical scanning and image processing techniques have given new life to early recordings by making it possible to play unusually delicate or physically unplayable media without physical contact.

A recording made on a sheet of tinfoil at an demonstration of Edison's phonograph in St. Louis, Missouri has been played back by optical scanning and digital analysis.

A few other early tinfoil recordings are known to survive, including a slightly earlier one which is believed to preserve the voice of U.

President Rutherford B. Hayes , but as of May they have not yet been scanned. These antique tinfoil recordings, which have typically been stored folded, are too fragile to be played back with a stylus without seriously damaging them.

Edison's tinfoil recording of Mary Had a Little Lamb , not preserved, has been called the first instance of recorded verse. The event was filmed by an early sound-on-film newsreel camera, and an audio clip from that film's soundtrack is sometimes mistakenly presented as the original recording.

Barnum and Shakespearean actor Edwin Booth are amongst the earliest verified recordings by the famous that have survived to the present. Alexander Graham Bell and his two associates took Edison's tinfoil phonograph and modified it considerably to make it reproduce sound from wax instead of tinfoil.

Although Edison had invented the phonograph in the fame bestowed on him for this invention was not due to its efficiency.

Recording with his tinfoil phonograph was too difficult to be practical, as the tinfoil tore easily, and even when the stylus was properly adjusted, its reproduction of sound was distorted, and good for only a few playbacks; nevertheless Edison had discovered the idea of sound recording.

However immediately after his discovery he did not improve it, allegedly because of an agreement to spend the next five years developing the New York City electric light and power system.

Meanwhile, Bell, a scientist and experimenter at heart, was looking for new worlds to conquer after his invention of the telephone. In Hubbard got Bell interested in improving the phonograph, and it was agreed that a laboratory should be set up in Washington.

Experiments were also to be conducted on the transmission of sound by light , which resulted in the selenium-celled Photophone.

By , the Volta associates had succeeded in improving an Edison tinfoil machine to some extent. Wax was put in the grooves of the heavy iron cylinder, and no tinfoil was used.

Rather than apply for a patent at that time, however, they deposited the machine in a sealed box at the Smithsonian , and specified that it was not to be opened without the consent of two of the three men.

The sound vibrations had been indented in the wax which had been applied to the Edison phonograph. The following was the text of one of their recordings: "There are more things in heaven and earth, Horatio, than are dreamed of in your philosophy.

I am a Graphophone and my mother was a phonograph. The explanation is that in the early experiments, the turntable, with disc, was mounted on the shop lathe, along with the recording and reproducing heads.

Later, when the complete models were built, most of them featured vertical turntables. One interesting exception was a horizontal seven inch turntable.

The machine, although made in , was a duplicate of one made earlier but taken to Europe by Chichester Bell.

Tainter was granted U. Patent , on July 10, The playing arm is rigid, except for a pivoted vertical motion of 90 degrees to allow removal of the record or a return to starting position.

While recording or playing, the record not only rotated, but moved laterally under the stylus, which thus described a spiral, recording grooves to the inch.

The preserved Bell and Tainter records are of both the lateral cut and the Edison-style hill-and-dale up-and-down styles.

Edison for many years used the "hill-and-dale" method on both his cylinders and Diamond Disc records , and Emile Berliner is credited with the invention of the lateral cut, acid-etched Gramophone record in The Volta associates, however, had been experimenting with both formats and directions of groove modulation as early as The basic distinction between the Edison's first phonograph patent and the Bell and Tainter patent of was the method of recording.

Edison's method was to indent the sound waves on a piece of tin foil, while Bell and Tainter's invention called for cutting, or "engraving", the sound waves into a wax record with a sharp recording stylus.

In , when the Volta Associates were sure that they had a number of practical inventions, they filed patent applications and began to seek out investors.

It was formed to control the patents and to handle the commercial development of their sound recording and reproduction inventions, one of which became the first Dictaphone.

After the Volta Associates gave several demonstrations in the City of Washington, businessmen from Philadelphia created the American Graphophone Company on March 28, , in order to produce and sell the machines for the budding phonograph marketplace.

Shortly after American Graphophone's creation, Jesse H. He then created the North American Phonograph Company to consolidate the national sales rights of both the Graphophone and the Edison Speaking Phonograph.

In the early s Lippincott fell victim to the unit's mechanical problems and also to resistance from stenographers. A coin-operated version of the Graphophone, U.

Patent , , was developed by Tainter in to compete with nickel-in-the-slot entertainment phonograph U. Patent , demonstrated in by Louis T.

Glass, manager of the Pacific Phonograph Company. The work of the Volta Associates laid the foundation for the successful use of dictating machines in business, because their wax recording process was practical and their machines were durable.

But it would take several more years and the renewed efforts of Edison and the further improvements of Emile Berliner and many others, before the recording industry became a major factor in home entertainment.

Discs are not inherently better than cylinders at providing audio fidelity. Rather, the advantages of the format are seen in the manufacturing process: discs can be stamped; cylinders could not be until — when the gold moulding process was introduced by Edison.

Recordings made on a cylinder remain at a constant linear velocity for the entirety of the recording, while those made on a disc have a higher linear velocity at the outer portion of the groove compared to the inner portion.

Edison's patented recording method recorded with vertical modulations in a groove. Berliner utilized a laterally modulated groove.

Though Edison's recording technology was better than Berliner's, [ clarification needed ] there were commercial advantages to a disc system since the disc could be easily mass-produced by molding and stamping and it required less storage space for a collection of recordings.

Berliner successfully argued that his technology was different enough from Edison's that he did not need to pay royalties on it, which reduced his business expenses.

Through experimentation, in Berliner began commercial production of his disc records, and "gramophones". His " gramophone record " was the first disc record to be offered to the public.

They were five inches Seven-inch Also in Berliner replaced the hard rubber used to make the discs with a shellac compound.

Work by Eldridge R. Johnson eventually improved the sound fidelity to a point where it was as good as the cylinder. In , discs were first pressed with music on both sides and capable of around seven minutes total playing time, as opposed to the cylinder's typical duration on two minutes at that time.

As a result of this and the fragility of wax cylinders in transit and storage, cylinders sales declined. Edison felt the increasing commercial pressure for disc records, and by , though reluctant at first, his production of disc records was in full swing.

This was the Edison Disc Record. Nevertheless, he continued to manufacture cylinders until and was last to withdraw from that market.

From the mids until World War I , both phonograph cylinder and disc recordings and machines to play them on were widely mass-marketed and sold.

The disc system superseded the cylinder in Europe by when both Columbia and Pathe withdrew from that market. By , Edison was the only company still producing cylinders in the USA although in Great Britain small manufacturers pressed on until See gramophone record.

The s brought improved radio technology. Radio sales increased, bringing many phonograph dealers to near financial ruin.

With efforts at improved audio fidelity, the big record companies succeeded in keeping business booming through the end of the decade, but the record sales plummeted during the Great Depression , with many companies merging or going out of business.

Record sales picked up appreciably by the late 30s and early 40s, with greater improvements in fidelity and more money to be spent.

In the s, vinyl originally known as vinylite was introduced as a record material for radio transcription discs , and for radio commercials.

At that time, virtually no discs for home use were made from this material. This significantly reduced breakage during transport.

The first commercial vinylite record was the set of five 12" discs " Prince Igor " Asch Records album S, dubbed from Soviet masters in Victor began selling some home-use vinyl 78s in late ; but most 78s were made of a shellac compound until the rpm format was completely phased out.

Shellac records were heavier and more brittle. Booms in record sales returned after the Second World War, as industry standards changed from 78s to vinyl, long-playing records commonly called record albums , which could contain an entire symphony , and 45s which usually contained one hit song popularized on the radio — thus the term "single" record — plus another song on the back or "flip" side.

An " extended play " version of the 45 was also available, designated 45 EP , which provided capacity for longer musical selections, or for two regular-length songs per side.

Shortcomings include surface noise caused by dirt or abrasions scratches and failure caused by deep surface scratches causing skipping of the stylus forward and missing a section, or groove lock, causing a section to repeat, usually punctuated by a popping noise.

Their circuitry used three Philco germanium PNP alloy-fused junction audio frequency transistors. By the s, cheaper portable record players and record changers which played stacks of records in wooden console cabinets were popular, usually with heavy and crude tonearms in the portables.

The consoles were often equipped with better quality pick-up cartridges. Even pharmacies stocked 45 rpm records at their front counters. Rock music played on 45s became the soundtrack to the s as people bought the same songs that were played free of charge on the radio.

Some record players were even tried in automobiles, but were quickly displaced by 8-track and cassette tapes.

The fidelity of sound reproduction made great advances during the s, as turntables became very precise instruments with belt or direct drive, jewel-balanced tonearms, some with electronically controlled linear tracking and magnetic cartridges.

A well-maintained record would have very little surface noise. A novelty variation on the standard format was the use of multiple concentric spirals with different recordings.

Thus when the record was played multiple times, different recordings would play, seemingly at random. These were often utilized in talking toys and games.

Records themselves became an art form because of the large surface onto which graphics and books could be printed, and records could be molded into unusual shapes, colors, or with images picture discs.

The turntable remained a common element of home audio systems well after the introduction of other media, such as audio tape and even the early years of the compact disc as a lower-priced music format.

However, even though the cost of producing CDs fell below that of records, CDs remained a higher-priced music format than either cassettes or records.

Thus, records were not uncommon in home audio systems into the early s. By the turn of the 21st century, the turntable had become a niche product, as the price of CD players , which reproduce music free of pops and scratches, fell far lower than high-fidelity tape players or turntables.

Nevertheless, there is some increase in interest; many big-box media stores carry turntables, as do professional DJ equipment stores.

Most low-end and mid-range amplifiers omit the phono input ; but on the other hand, low-end turntables with built-in phono pre-amplifiers are widely available.

Some combination systems include a basic turntable, a CD player, a cassette deck. Records also continue to be manufactured and sold today, albeit in smaller quantities than in the disc phonograph's heyday.

Inexpensive record players typically used a flanged steel stamping for the turntable structure. A rubber disc would be secured to the top of the stamping to provide traction for the record, as well as a small amount of vibration isolation.

The spindle bearing usually consisted of a bronze bushing. The flange on the stamping provided a convenient place to drive the turntable by means of an idler wheel see below.

While light and cheap to manufacture, these mechanisms had low inertia , making motor speed instabilities more pronounced.

Costlier turntables made from heavy aluminium castings have greater balanced mass and inertia, helping minimize vibration at the stylus, and maintaining constant speed without wow or flutter, even if the motor exhibits cogging effects.

Like stamped steel turntables, they were topped with rubber. Because of the increased mass, they usually employed ball bearings or roller bearings in the spindle to reduce friction and noise.

Most are belt or direct drive, but some use an idler wheel. A specific case was the Swiss "Lenco" drive, which possessed a very heavy turntable coupled via an idler wheel to a long, tapered motor drive shaft.

This enabled stepless rotation or speed control on the drive. Because of this feature the Lenco became popular in the late s with dancing schools, because the dancing instructor could lead the dancing exercises at different speeds.

By the early s, some companies started producing very inexpensive turntables that displaced the products of companies like BSR.

Commonly found in "all-in-one" stereos from assorted far-east manufacturers, they used a thin plastic table set in a plastic plinth, no mats, belt drive, weak motors, and often, lightweight plastic tonearms with no counterweight.

Most used sapphire pickups housed in ceramic cartridges, and they lacked several features of earlier units, such as auto-start and record-stacking.

While not as common now that turntables are absent from the cheap "all-in-one" units, this type of turntable has made a strong resurgence in nostalgia-marketed record players.

From the earliest phonograph designs, many of which were powered by spring-wound mechanisms, a speed governor was essential. Most of these employed some type of flywheel-friction disc to control the speed of the rotating cylinder or turntable; as the speed increased, centrifugal force caused a brake—often a felt pad—to rub against a smooth metal surface, slowing rotation.

Electrically powered turntables, whose rotational speed was governed by other means, eventually made their mechanical counterparts obsolete.

The mechanical governor was, however, still employed in some toy phonographs such as those found in talking dolls until they were replaced by digital sound generators in the late 20th century.

Many modern players have platters with a continuous series of strobe markings machined or printed around their edge. Viewing these markings in artificial light at mains frequency produces a stroboscopic effect , which can be used to verify proper rotational speed.

Additionally, the edge of the turntable can contain magnetic markings to provide feedback pulses to an electronic speed-control system.

Earlier designs used a rubberized idler-wheel drive system. However, wear and decomposition of the wheel, as well as the direct mechanical coupling to a vibrating motor, introduced low-frequency noise " rumble " and speed variations " wow and flutter " into the sound.

These systems generally used a synchronous motor which ran at a speed synchronized to the frequency of the AC power supply. Portable record players typically used an inexpensive shaded-pole motor.

At the end of the motor shaft there was a stepped driving capstan; to obtain different speeds, the rubber idler wheel was moved to contact different steps of this capstan.

The idler was pinched against the bottom or inside edge of the platter to drive it. Until the s, the idler-wheel drive was the most common on turntables, except for higher-end audiophile models.

However, even some higher-end turntables, such as the Lenco , Garrard , EMT , and Dual turntables, used idler-wheel drive. Belt drives brought improved motor and platter isolation compared to idler-wheel designs.

Motor noise, generally heard as low-frequency rumble, is greatly reduced. The design of the belt drive turntable allows for a less expensive motor than the direct-drive turntable to be used.

The elastomeric belt absorbs motor vibrations and noise which could otherwise be picked up by the stylus. It also absorbs small, fast speed variations, caused by "cogging", which in other designs are heard as "flutter.

The "Acoustical professional" turntable earlier marketed under Dutch "Jobo prof" of the s however possessed an expensive German drive motor, the "Pabst Aussenläufer" "Pabst outrunner".

As this motor name implied, the rotor was on the outside of the motor and acted as a flywheel ahead of the belt-driven turntable itself.

In combination with a steel to nylon turntable bearing with molybdenum disulfide inside for lifelong lubrication very low wow, flutter and rumble figures were achieved.

Direct-drive turntables drive the platter directly without utilizing intermediate wheels, belts, or gears as part of a drive train.

The platter functions as a motor armature. This requires good engineering, with advanced electronics for acceleration and speed control.

Matsushita's Technics division introduced the first commercially successful direct drive platter, model SP10, in , which was joined by the Technics SL turntable, in Its updated model, SLMK2, released in , had a stronger motor, a convenient pitch control slider for beatmatching and a stylus illuminator, which made it the long-standing favourite among disc jockeys see " Turntablism ".

By the beginnings of the 80s, lowering of costs in microcontroller electronics made direct drive turntables more affordable. The evaluation of the "best" drive technology is not clear and more depending on the implementation than on the drive technology itself.

Technical measurements show that similarly low flutter 0. The tone arm or tonearm holds the pickup cartridge over the groove, the stylus tracking the groove with the desired force to give the optimal compromise between good tracking and minimizing wear of the stylus and record groove.

At its simplest, a tone arm is a pivoted lever, free to move in two axes vertical and horizontal with a counterbalance to maintain tracking pressure.

However, the requirements of high-fidelity reproduction place more demands upon the arm design. In a perfect world:.

These demands are contradictory and impossible to realize massless arms and zero-friction bearings do not exist in the real world , so tone arm designs require engineering compromises.

Solutions vary, but all modern tonearms are at least relatively lightweight and stiff constructions, with precision, very low friction pivot bearings in both the vertical and horizontal axes.

Most arms are made from some kind of alloy the cheapest being aluminium , but some manufacturers use balsa wood, while others use carbon fiber or graphite.

The latter materials favor a straight arm design; alloys' properties lend themselves to S-type arms. The tone arm got its name before the age of electronics.

It originally served to conduct actual sound waves from a purely mechanical "pickup" called a sound box or reproducer to a so-described "amplifying" horn.

The earliest electronic record players, introduced at the end of , had massive electromagnetic pickups that contained a horseshoe magnet, used disposable steel needles, and weighed several ounces.

Their full weight rested on the record, providing ample tracking force to overcome their low compliance but causing rapid record wear.

The tone arms were rudimentary and remained so even after lighter crystal pickups appeared about ten years later.

When fine-grooved vinyl records were introduced in the late s, still smaller and lighter crystal later, ceramic cartridges with semi-permanent jewel styluses became standard.

In the mids these were joined by a new generation of magnetic cartridges that bore little resemblance to their crude ancestors.

Far smaller tracking forces became possible and the balanced arm came into use. Prices varied widely. The well-known and extremely popular high-end S-type SME arm of the — era not only had a complicated design, it was also very costly.

It was used during that period by all official radio stations in the Dutch Broadcast studio facilities of the NOS, as well as by the pirate radio station Veronica.

Playing records from a boat in international waters, the arm had to withstand sudden ship movements. Anecdotes indicate this low-cost arm was the only one capable of keeping the needle firmly in the groove during heavy storms at sea.

Quality arms employ an adjustable counterweight to offset the mass of the arm and various cartridges and headshells. On this counterweight, a calibrated dial enables easy adjustment of stylus force.

After perfectly balancing the arm, the dial itself is "zeroed"; the stylus force can then be dialed in by screwing the counterweight towards the fulcrum.

Sometimes a separate spring or smaller weight provides fine tuning. Of special adjustment consideration, Stanton cartridges of the EE E series [and others like them] feature a small record brush ahead of the cartridge.

Even on a perfectly flat LP, tonearms are prone to two types of tracking errors that affect the sound. As the tonearm tracks the groove, the stylus exerts a frictional force tangent to the arc of the groove, and since this force does not intersect the tone arm pivot, a clockwise rotational force moment occurs and a reaction skating force is exerted on the stylus by the record groove wall away from center of the disc.

Modern arms provide an anti-skate mechanism , using springs, hanging weights, or magnets to produce an offsetting counter-clockwise force at the pivot, making the net lateral force on the groove walls near zero.

The second error occurs as the arm sweeps in an arc across the disc, causing the angle between the cartridge head and groove to change slightly.

Making the arm longer to reduce this angle is a partial solution, but less than ideal. A longer arm weighs more, and only an infinitely long [pivoted] arm would reduce the error to zero.

Some designs Burne-Jones, and Garrard "Zero" series use dual arms in a parallelogram arrangement, pivoting the cartridge head to maintain a constant angle as it moves across the record.

Unfortunately this "solution" creates more problems than it solves, compromising rigidity and creating sources of unwanted noise. The pivoted arm produces yet another problem which is unlikely to be significant to the audiophile, though.

As the master was originally cut in a linear motion from the edge towards the center, but the stylus on the pivoted arm always draws an arc, this causes a timing drift that is most significant when digitizing music and beat mapping the data for synchronization with other songs in a DAW or DJ software unless the software allows building a non-linear beat map.

As the contact point of the stylus on the record wanders farther from the linear path between the starting point and center hole, the tempo and pitch tend to decrease towards the middle of the record, until the arc reaches its apex.

After that the tempo and pitch increase towards the end as the contact point comes closer to the linear path again. Because the surface speed of the record is lower at the end, the relative speed error from the same absolute distance error is higher at the end, and the increase in tempo is more notable towards the end than the decrease towards the middle.

This can be somewhat reduced by a curved arm pivoted so that the end point of the arc stays farther from the linear path than the starting point, or by a long straight arm that pivots perpendicularly to the linear path in the middle of the record.

However the tempo droop at the middle can only be completely avoided by a linear tracking arm. If the arm is not pivoted, but instead carries the stylus along a radius of the disc, there is no skating force and little to no cartridge angle error.

Such arms are known as linear tracking or tangential arms. These are driven along a track by various means, from strings and pulleys, to worm gears or electromagnets.

The cartridge's position is usually regulated by an electronic servomechanism or mechanical interface, moving the stylus properly over the groove as the record plays, or for song selection.

There are long-armed and short-armed linear arm designs. On a perfectly flat record a short arm will do, but once the record is even slightly warped, a short arm will be troublesome.

Any vertical motion of the record surface at the stylus contact point will cause the stylus to considerably move longitudinally in the groove.

This will cause the stylus to ride non-tangentially in the groove and cause a stereo phase error as well as pitch error every time the stylus rides over the warp.

Also the arm track can come into touch with the record. A long arm will not completely eliminate this problem but will tolerate warped records much better.

These were eclipsed by more successful implementations of the concept from the late s through the early s. These models positioned the track outside the platter's edge, as did turntables by Harman Kardon, Mitsubishi, Pioneer, Yamaha, Sony, etc.

A s design from Revox harkened back to the s attempts and, record lathes , positioning the track directly over the record. An enclosed bridge-like assembly is swung into place from the platter's right edge to its middle.

Once in place, a short tonearm under this "bridge" plays the record, driven across laterally by a motor. The Technics SL , introduced in , was the first direct drive linear tracking turntable, and placed the track and arm on the underside of the rear-hinged dust cover, to fold down over the record, similar to the SL-Q6 pictured.

The earliest Edison phonographs used horizontal, spring-powered drives to carry the stylus across the recording at a pre-determined rate.

The resources it takes to produce one incredible linear turntable could produce several excellent ones.

Some of the most sophisticated and expensive tonearms and turntable units ever made are linear trackers, from companies such as Rockport and Clearaudio.

In theory, it seems nearly ideal; a stylus replicating the motion of the recording lathe used to cut the "master" record could result in minimal wear and maximum sound reproduction.

In practice, in vinyl's heyday it was generally too much too late. Since the early s, an elegant solution has been the near-frictionless air bearing linear arm that requires no tracking drive mechanism other than the record groove.

This provides a similar benefit as the electronic linear tonearm without the complexity and necessity of servo-motor correction for tracking error.

In this case the trade-off is the introduction of pneumatics in the form of audible pumps and tubing. A more elegant solution is the mechanically driven low-friction design, also driven by the groove.

Examples include Souther Engineering U. This design places an exceeding demand upon precision engineering due to the lack of pneumatics.

Historically, most high-fidelity "component" systems preamplifiers or receivers that accepted input from a phonograph turntable had separate inputs for both ceramic and magnetic cartridges typically labeled "CER" and "MAG".

One piece systems often had no additional phono inputs at all, regardless of type. Most systems today, if they accept input from a turntable at all, are configured for use only with magnetic cartridges.

Manufacturers of high-end systems often have in-built moving coil amplifier circuitry, or outboard head-amplifiers supporting either moving magnet or moving coil cartridges that can be plugged into the line stage.

Additionally, cartridges may contain styli or needles that can be separated according to their tip: Spherical styli, and elliptical styli.

Spherical styli have their tip shaped like one half of a sphere, and elliptical styli have their tip shaped like one end of an ellipse. Spherical styli preserve more of the groove of the record than elliptical styli, while elliptical styli offer higher sound quality.

Early electronic phonographs used a piezo-electric crystal for pickup though the earliest electronic phonographs used crude magnetic pick-ups , where the mechanical movement of the stylus in the groove generates a proportional electrical voltage by creating stress within a crystal typically Rochelle salt.

Crystal pickups are relatively robust, and produce a substantial signal level which requires only a modest amount of further amplification.

The output is not very linear however, introducing unwanted distortion. It is difficult to make a crystal pickup suitable for quality stereo reproduction, as the stiff coupling between the crystal and the long stylus prevents close tracking of the needle to the groove modulations.

This tends to increase wear on the record, and introduces more distortion. Another problem is the hygroscopic nature of the crystal itself: it absorbs moisture from the air and may dissolve.

The crystal was protected by embedding it in other materials, without hindering the movement of the pickup mechanism itself. After a number of years, the protective jelly often deteriorated or leaked from the cartridge case and the full unit needed replacement.

The next development was the ceramic cartridge, a piezoelectric device that used newer and better materials.

These were more sensitive, and offered greater compliance , that is, lack of resistance to movement and so increased ability to follow the undulations of the groove without gross distorting or jumping out of the groove.

Higher compliance meant lower tracking forces and reduced wear to both the disc and stylus. It also allowed ceramic stereo cartridges to be made.

During the s to s, ceramic cartridge became common in low quality phonographs, but better high-fidelity or "hi-fi" systems used magnetic cartridges, and the availability of low cost magnetic cartridges from the s onwards made ceramic cartridges obsolete for essentially all purposes.

The result, a much smoother frequency curve extended the lifetime for this popular and very cheap type. There are two common designs for magnetic cartridges, moving magnet MM and moving coil MC originally called dynamic.

Both operate on the same physics principle of electromagnetic induction. The moving magnet type was by far the most common and more robust of the two, though audiophiles often claim that the moving coil system yields higher fidelity sound.

In either type, the stylus itself, usually of diamond, is mounted on a tiny metal strut called a cantilever, which is suspended using a collar of highly compliant plastic.

This gives the stylus the freedom to move in any direction. On the other end of the cantilever is mounted a tiny permanent magnet moving magnet type or a set of tiny wound coils moving coil type.

The magnet is close to a set of fixed pick-up coils, or the moving coils are held within a magnetic field generated by fixed permanent magnets.

In either case, the movement of the stylus as it tracks the grooves of a record causes a fluctuating magnetic field, which causes a small electric current to be induced in the coils.

This current closely follows the sound waveform cut into the record, and may be transmitted by wires to an electronic amplifier where it is processed and amplified in order to drive a loudspeaker.

Depending upon the amplifier design, a phono-preamplifier may be necessary. In most moving magnet designs, the stylus itself is detachable from the rest of the cartridge so it can easily be replaced.

There are three primary types of cartridge mounts. The most common type is attached using two small screws to a headshell that then plugs into the tonearm, while another is a standardized "P-mount" or "T4P" cartridge invented by Technics in and adopted by other manufacturers that plugs directly into the tonearm.

Many P-mount cartridges come with adapters to allow them to be mounted to a headshell. The third type is used mainly in cartridges designed for DJ use and it has a standard round headshell connector.

Some mass market turntables use a proprietary integrated cartridge that cannot be upgraded. In these units, the magnet itself sits behind the four coils and magnetises the cores of all four coils.

The moving iron cross at the other end of the coils varies the gaps between itself and each of these cores, according to its movements. These variations lead to voltage variations as described above.

Strain gauge or "semiconductor" cartridges do not generate a voltage, but act like a variable resistor, whose resistance directly depends on the movement of the stylus.

Thus, the cartridge "modulates" an external voltage supplied by the special preamplifier. The main disadvantage is the need of a special preamplifier that supplies a steady current typically 5mA to the semiconductor elements and handles a special equalization than the one needed for magnetic cartridges.

A high-end strain-gauge cartridge is currently sold by an audiophile company, with special preamplifiers available.

Electrostatic cartridges [54] were marketed by Stax in the and years. They needed individual operating electronics or preamplifiers. A few specialist laser turntables read the groove optically using a laser pickup.

Since there is no physical contact with the record, no wear is incurred. However, this "no wear" advantage is debatable, since vinyl records have been tested to withstand even plays with no significant audio degradation, provided that it is played with a high quality cartridge and that the surfaces are clean.

An alternative approach is to take a high-resolution photograph or scan of each side of the record and interpret the image of the grooves using computer software.

An amateur attempt using a flatbed scanner lacked satisfactory fidelity. A smooth-tipped stylus in popular usage often called a needle due to the former use of steel needles for the purpose is used to play the recorded groove.

A special chisel-like stylus is used to engrave the groove into the master record. The stylus is subject to hard wear as it is the only small part that comes into direct contact with the spinning record.

In terms of the pressure imposed on its minute areas of actual contact, the forces it must bear are enormous. There are three desired qualities in a stylus: first, that it faithfully follows the contours of the recorded groove and transmits its vibrations to the next part in the chain; second, that it does not damage the recorded disc; and third, that it is resistant to wear.

A worn-out, damaged or defective stylus tip will degrade audio quality and injure the groove. Different materials for the stylus have been used over time.

Thomas Edison introduced the use of sapphire in and the use of diamond in for his cylinder phonographs. The Edison Diamond Disc players — , when properly played, hardly ever required the stylus to be changed.

The styli for vinyl records were also made out of sapphire or diamond. It uses a sapphire stem on which a diamond tip is fixed by a special adhesive.

A stylus tip mass as low as 0. Award Winners Only. Follow us. Subscribe to Gramophone Save money and never miss an issue.

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