Question: What is the higher end of typical human hearing?

Answer: 20,000 Hz

There is a theory that vinyl records can audibly represent higher frequencies than compact discs. According to Red Book specifications, the compact disc has a frequency response of 20 Hz up to 22,050 Hz, and most CD players measure flat within a fraction of a decibel from at least 20 Hz to 20 kHz at full output. Turntable rumble obscures the low-end limit of vinyl but the upper end can be, with some cartridges, reasonably flat within a few decibels to 30 kHz, with gentle roll-off. Carrier signals of Quad LPs popular in the 1970s were at 30 kHz to be out of the range of human hearing. <hl> The average human auditory system is sensitive to frequencies from 20 Hz to a maximum of around 20,000 Hz . <hl> The upper and lower frequency limits of human hearing vary per person.

There is a theory that vinyl records can audibly represent higher frequencies than compact discs. According to Red Book specifications, the compact disc has a frequency response of 20 Hz up to 22,050 Hz, and most CD players measure flat within a fraction of a decibel from at least 20 Hz to 20 kHz at full output. Turntable rumble obscures the low-end limit of vinyl but the upper end can be, with some cartridges, reasonably flat within a few decibels to 30 kHz, with gentle roll-off. Carrier signals of Quad LPs popular in the 1970s were at 30 kHz to be out of the range of human hearing. The average human auditory system is sensitive to frequencies from 20 Hz to a maximum of around <hl> 20,000 Hz <hl>. The upper and lower frequency limits of human hearing vary per person.

The average human auditory system is sensitive to frequencies from 20 Hz to a maximum of around <hl> 20,000 Hz <hl> .


Question: Does the hearing range of the human vary?

There is a theory that vinyl records can audibly represent higher frequencies than compact discs. According to Red Book specifications, the compact disc has a frequency response of 20 Hz up to 22,050 Hz, and most CD players measure flat within a fraction of a decibel from at least 20 Hz to 20 kHz at full output. Turntable rumble obscures the low-end limit of vinyl but the upper end can be, with some cartridges, reasonably flat within a few decibels to 30 kHz, with gentle roll-off. Carrier signals of Quad LPs popular in the 1970s were at 30 kHz to be out of the range of human hearing. The average human auditory system is sensitive to frequencies from 20 Hz to a maximum of around 20,000 Hz. The upper and lower frequency limits of human hearing vary per person.

Answer: The upper and lower frequency limits of human hearing vary per person

There is a theory that vinyl records can audibly represent higher frequencies than compact discs. According to Red Book specifications, the compact disc has a frequency response of 20 Hz up to 22,050 Hz, and most CD players measure flat within a fraction of a decibel from at least 20 Hz to 20 kHz at full output. Turntable rumble obscures the low-end limit of vinyl but the upper end can be, with some cartridges, reasonably flat within a few decibels to 30 kHz, with gentle roll-off. Carrier signals of Quad LPs popular in the 1970s were at 30 kHz to be out of the range of human hearing. The average human auditory system is sensitive to frequencies from 20 Hz to a maximum of around 20,000 Hz. <hl> The upper and lower frequency limits of human hearing vary per person . <hl>

There is a theory that vinyl records can audibly represent higher frequencies than compact discs. According to Red Book specifications, the compact disc has a frequency response of 20 Hz up to 22,050 Hz, and most CD players measure flat within a fraction of a decibel from at least 20 Hz to 20 kHz at full output. Turntable rumble obscures the low-end limit of vinyl but the upper end can be, with some cartridges, reasonably flat within a few decibels to 30 kHz, with gentle roll-off. Carrier signals of Quad LPs popular in the 1970s were at 30 kHz to be out of the range of human hearing. The average human auditory system is sensitive to frequencies from 20 Hz to a maximum of around 20,000 Hz. <hl> The upper and lower frequency limits of human hearing vary per person <hl>.

<hl> The upper and lower frequency limits of human hearing vary per person <hl> .


Question: Who would engrave the master disc of a vinyl record?

For the first several decades of disc record manufacturing, sound was recorded directly on to the "master disc" at the recording studio. From about 1950 on (earlier for some large record companies, later for some small ones) it became usual to have the performance first recorded on audio tape, which could then be processed and/or edited, and then dubbed on to the master disc. A record cutter would engrave the grooves into the master disc. Early versions of these master discs were soft wax, and later a harder lacquer was used. The mastering process was originally something of an art as the operator had to manually allow for the changes in sound which affected how wide the space for the groove needed to be on each rotation.

Answer: record cutter

For the first several decades of disc record manufacturing, sound was recorded directly on to the "master disc" at the recording studio. From about 1950 on (earlier for some large record companies, later for some small ones) it became usual to have the performance first recorded on audio tape, which could then be processed and/or edited, and then dubbed on to the master disc. <hl> A record cutter would engrave the grooves into the master disc. <hl> Early versions of these master discs were soft wax, and later a harder lacquer was used. The mastering process was originally something of an art as the operator had to manually allow for the changes in sound which affected how wide the space for the groove needed to be on each rotation.

For the first several decades of disc record manufacturing, sound was recorded directly on to the "master disc" at the recording studio. From about 1950 on (earlier for some large record companies, later for some small ones) it became usual to have the performance first recorded on audio tape, which could then be processed and/or edited, and then dubbed on to the master disc. A <hl> record cutter <hl> would engrave the grooves into the master disc. Early versions of these master discs were soft wax, and later a harder lacquer was used. The mastering process was originally something of an art as the operator had to manually allow for the changes in sound which affected how wide the space for the groove needed to be on each rotation.


Question: What was used in first recordings of vinyl records?

Answer: soft wax

For the first several decades of disc record manufacturing, sound was recorded directly on to the "master disc" at the recording studio. From about 1950 on (earlier for some large record companies, later for some small ones) it became usual to have the performance first recorded on audio tape, which could then be processed and/or edited, and then dubbed on to the master disc. A record cutter would engrave the grooves into the master disc. <hl> Early versions of these master discs were soft wax , and later a harder lacquer was used. <hl> The mastering process was originally something of an art as the operator had to manually allow for the changes in sound which affected how wide the space for the groove needed to be on each rotation.

For the first several decades of disc record manufacturing, sound was recorded directly on to the "master disc" at the recording studio. From about 1950 on (earlier for some large record companies, later for some small ones) it became usual to have the performance first recorded on audio tape, which could then be processed and/or edited, and then dubbed on to the master disc. A record cutter would engrave the grooves into the master disc. Early versions of these master discs were <hl> soft wax <hl>, and later a harder lacquer was used. The mastering process was originally something of an art as the operator had to manually allow for the changes in sound which affected how wide the space for the groove needed to be on each rotation.

Early versions of these master discs were <hl> soft wax <hl> , and later a harder lacquer was used.


Question: What was used in final recordings of vinyl records?

Answer: harder lacquer

For the first several decades of disc record manufacturing, sound was recorded directly on to the "master disc" at the recording studio. From about 1950 on (earlier for some large record companies, later for some small ones) it became usual to have the performance first recorded on audio tape, which could then be processed and/or edited, and then dubbed on to the master disc. A record cutter would engrave the grooves into the master disc. <hl> Early versions of these master discs were soft wax, and later a harder lacquer was used. <hl> The mastering process was originally something of an art as the operator had to manually allow for the changes in sound which affected how wide the space for the groove needed to be on each rotation.

For the first several decades of disc record manufacturing, sound was recorded directly on to the "master disc" at the recording studio. From about 1950 on (earlier for some large record companies, later for some small ones) it became usual to have the performance first recorded on audio tape, which could then be processed and/or edited, and then dubbed on to the master disc. A record cutter would engrave the grooves into the master disc. Early versions of these master discs were soft wax, and later a <hl> harder lacquer <hl> was used. The mastering process was originally something of an art as the operator had to manually allow for the changes in sound which affected how wide the space for the groove needed to be on each rotation.


Question: After the 1950s what was a typical recording process?

Answer: first recorded on audio tape, which could then be processed and/or edited, and then dubbed on to the master disc

For the first several decades of disc record manufacturing, sound was recorded directly on to the "master disc" at the recording studio. <hl> From about 1950 on (earlier for some large record companies, later for some small ones) it became usual to have the performance first recorded on audio tape, which could then be processed and/or edited, and then dubbed on to the master disc . <hl> A record cutter would engrave the grooves into the master disc. Early versions of these master discs were soft wax, and later a harder lacquer was used. The mastering process was originally something of an art as the operator had to manually allow for the changes in sound which affected how wide the space for the groove needed to be on each rotation.

For the first several decades of disc record manufacturing, sound was recorded directly on to the "master disc" at the recording studio. From about 1950 on (earlier for some large record companies, later for some small ones) it became usual to have the performance <hl> first recorded on audio tape, which could then be processed and/or edited, and then dubbed on to the master disc <hl>. A record cutter would engrave the grooves into the master disc. Early versions of these master discs were soft wax, and later a harder lacquer was used. The mastering process was originally something of an art as the operator had to manually allow for the changes in sound which affected how wide the space for the groove needed to be on each rotation.

From about 1950 on (earlier for some large record companies, later for some small ones) it became usual to have the performance <hl> first recorded on audio tape, which could then be processed and/or edited, and then dubbed on to the master disc <hl> .


Question: Where were sound recordings originally made to?

Answer: master disc

<hl> For the first several decades of disc record manufacturing, sound was recorded directly on to the " master disc " at the recording studio. <hl> From about 1950 on (earlier for some large record companies, later for some small ones) it became usual to have the performance first recorded on audio tape, which could then be processed and/or edited, and then dubbed on to the master disc. A record cutter would engrave the grooves into the master disc. Early versions of these master discs were soft wax, and later a harder lacquer was used. The mastering process was originally something of an art as the operator had to manually allow for the changes in sound which affected how wide the space for the groove needed to be on each rotation.

For the first several decades of disc record manufacturing, sound was recorded directly on to the "<hl> master disc <hl>" at the recording studio. From about 1950 on (earlier for some large record companies, later for some small ones) it became usual to have the performance first recorded on audio tape, which could then be processed and/or edited, and then dubbed on to the master disc. A record cutter would engrave the grooves into the master disc. Early versions of these master discs were soft wax, and later a harder lacquer was used. The mastering process was originally something of an art as the operator had to manually allow for the changes in sound which affected how wide the space for the groove needed to be on each rotation.

For the first several decades of disc record manufacturing, sound was recorded directly on to the " <hl> master disc <hl> " at the recording studio.


Question: Should alcohol be used to clean gramophone recordings?

As the playing of gramophone records causes gradual degradation of the recording, they are best preserved by transferring them onto other media and playing the records as rarely as possible. They need to be stored on edge, and do best under environmental conditions that most humans would find comfortable. The medium needs to be kept clean, but alcohol should only be used on PVC or optical media, not on 78s.[citation needed] The equipment for playback of certain formats (e.g., 16 and 78 rpm) is manufactured only in small quantities, leading to increased difficulty in finding equipment to play the recordings.

Answer: alcohol should only be used on PVC or optical media

As the playing of gramophone records causes gradual degradation of the recording, they are best preserved by transferring them onto other media and playing the records as rarely as possible. They need to be stored on edge, and do best under environmental conditions that most humans would find comfortable. <hl> The medium needs to be kept clean, but alcohol should only be used on PVC or optical media , not on 78s.[citation needed] The equipment for playback of certain formats (e.g., 16 and 78 rpm) is manufactured only in small quantities, leading to increased difficulty in finding equipment to play the recordings. <hl>

As the playing of gramophone records causes gradual degradation of the recording, they are best preserved by transferring them onto other media and playing the records as rarely as possible. They need to be stored on edge, and do best under environmental conditions that most humans would find comfortable. The medium needs to be kept clean, but <hl> alcohol should only be used on PVC or optical media <hl>, not on 78s.[citation needed] The equipment for playback of certain formats (e.g., 16 and 78 rpm) is manufactured only in small quantities, leading to increased difficulty in finding equipment to play the recordings.

The medium needs to be kept clean, but <hl> alcohol should only be used on PVC or optical media <hl> , not on 78s.[citation needed] The equipment for playback of certain formats (e.g., 16 and 78 rpm) is manufactured only in small quantities, leading to increased difficulty in finding equipment to play the recordings.


Question: Is gramophone equipment readily available?

Answer: manufactured only in small quantities

As the playing of gramophone records causes gradual degradation of the recording, they are best preserved by transferring them onto other media and playing the records as rarely as possible. They need to be stored on edge, and do best under environmental conditions that most humans would find comfortable. <hl> The medium needs to be kept clean, but alcohol should only be used on PVC or optical media, not on 78s.[citation needed] The equipment for playback of certain formats (e.g., 16 and 78 rpm) is manufactured only in small quantities , leading to increased difficulty in finding equipment to play the recordings. <hl>

As the playing of gramophone records causes gradual degradation of the recording, they are best preserved by transferring them onto other media and playing the records as rarely as possible. They need to be stored on edge, and do best under environmental conditions that most humans would find comfortable. The medium needs to be kept clean, but alcohol should only be used on PVC or optical media, not on 78s.[citation needed] The equipment for playback of certain formats (e.g., 16 and 78 rpm) is <hl> manufactured only in small quantities <hl>, leading to increased difficulty in finding equipment to play the recordings.

The medium needs to be kept clean, but alcohol should only be used on PVC or optical media, not on 78s.[citation needed] The equipment for playback of certain formats (e.g., 16 and 78 rpm) is <hl> manufactured only in small quantities <hl> , leading to increased difficulty in finding equipment to play the recordings.


Question: What is the recommendation of gramophone recordings to preserve integrity?

Answer: transferring them onto other media

<hl> As the playing of gramophone records causes gradual degradation of the recording, they are best preserved by transferring them onto other media and playing the records as rarely as possible. <hl> They need to be stored on edge, and do best under environmental conditions that most humans would find comfortable. The medium needs to be kept clean, but alcohol should only be used on PVC or optical media, not on 78s.[citation needed] The equipment for playback of certain formats (e.g., 16 and 78 rpm) is manufactured only in small quantities, leading to increased difficulty in finding equipment to play the recordings.

As the playing of gramophone records causes gradual degradation of the recording, they are best preserved by <hl> transferring them onto other media <hl> and playing the records as rarely as possible. They need to be stored on edge, and do best under environmental conditions that most humans would find comfortable. The medium needs to be kept clean, but alcohol should only be used on PVC or optical media, not on 78s.[citation needed] The equipment for playback of certain formats (e.g., 16 and 78 rpm) is manufactured only in small quantities, leading to increased difficulty in finding equipment to play the recordings.


Question: What is a drawback of gramophone use?

Answer: gradual degradation

<hl> As the playing of gramophone records causes gradual degradation of the recording, they are best preserved by transferring them onto other media and playing the records as rarely as possible. <hl> They need to be stored on edge, and do best under environmental conditions that most humans would find comfortable. The medium needs to be kept clean, but alcohol should only be used on PVC or optical media, not on 78s.[citation needed] The equipment for playback of certain formats (e.g., 16 and 78 rpm) is manufactured only in small quantities, leading to increased difficulty in finding equipment to play the recordings.

As the playing of gramophone records causes <hl> gradual degradation <hl> of the recording, they are best preserved by transferring them onto other media and playing the records as rarely as possible. They need to be stored on edge, and do best under environmental conditions that most humans would find comfortable. The medium needs to be kept clean, but alcohol should only be used on PVC or optical media, not on 78s.[citation needed] The equipment for playback of certain formats (e.g., 16 and 78 rpm) is manufactured only in small quantities, leading to increased difficulty in finding equipment to play the recordings.


Question: How are gramophones best stored?

Answer: on edge

As the playing of gramophone records causes gradual degradation of the recording, they are best preserved by transferring them onto other media and playing the records as rarely as possible. <hl> They need to be stored on edge , and do best under environmental conditions that most humans would find comfortable. <hl> The medium needs to be kept clean, but alcohol should only be used on PVC or optical media, not on 78s.[citation needed] The equipment for playback of certain formats (e.g., 16 and 78 rpm) is manufactured only in small quantities, leading to increased difficulty in finding equipment to play the recordings.

As the playing of gramophone records causes gradual degradation of the recording, they are best preserved by transferring them onto other media and playing the records as rarely as possible. They need to be stored <hl> on edge <hl>, and do best under environmental conditions that most humans would find comfortable. The medium needs to be kept clean, but alcohol should only be used on PVC or optical media, not on 78s.[citation needed] The equipment for playback of certain formats (e.g., 16 and 78 rpm) is manufactured only in small quantities, leading to increased difficulty in finding equipment to play the recordings.

They need to be stored <hl> on edge <hl> , and do best under environmental conditions that most humans would find comfortable.


Question: Is it difficult to transfer recording from historic interest to newer technologies?

Where old disc recordings are considered to be of artistic or historic interest, from before the era of tape or where no tape master exists, archivists play back the disc on suitable equipment and record the result, typically onto a digital format, which can be copied and manipulated to remove analog flaws without any further damage to the source recording. For example, Nimbus Records uses a specially built horn record player to transfer 78s. Anyone can do this using a standard record player with a suitable pickup, a phono-preamp (pre-amplifier) and a typical personal computer. However, for accurate transfer, professional archivists carefully choose the correct stylus shape and diameter, tracking weight, equalisation curve and other playback parameters and use high-quality analogue-to-digital converters.

Answer: Anyone can do this

Where old disc recordings are considered to be of artistic or historic interest, from before the era of tape or where no tape master exists, archivists play back the disc on suitable equipment and record the result, typically onto a digital format, which can be copied and manipulated to remove analog flaws without any further damage to the source recording. For example, Nimbus Records uses a specially built horn record player to transfer 78s. <hl> Anyone can do this using a standard record player with a suitable pickup, a phono-preamp (pre-amplifier) and a typical personal computer. <hl> However, for accurate transfer, professional archivists carefully choose the correct stylus shape and diameter, tracking weight, equalisation curve and other playback parameters and use high-quality analogue-to-digital converters.

Where old disc recordings are considered to be of artistic or historic interest, from before the era of tape or where no tape master exists, archivists play back the disc on suitable equipment and record the result, typically onto a digital format, which can be copied and manipulated to remove analog flaws without any further damage to the source recording. For example, Nimbus Records uses a specially built horn record player to transfer 78s. <hl> Anyone can do this <hl> using a standard record player with a suitable pickup, a phono-preamp (pre-amplifier) and a typical personal computer. However, for accurate transfer, professional archivists carefully choose the correct stylus shape and diameter, tracking weight, equalisation curve and other playback parameters and use high-quality analogue-to-digital converters.


Question: What would offer the highest quality transfers of historic interest?

Answer: professional archivists

Where old disc recordings are considered to be of artistic or historic interest, from before the era of tape or where no tape master exists, archivists play back the disc on suitable equipment and record the result, typically onto a digital format, which can be copied and manipulated to remove analog flaws without any further damage to the source recording. For example, Nimbus Records uses a specially built horn record player to transfer 78s. Anyone can do this using a standard record player with a suitable pickup, a phono-preamp (pre-amplifier) and a typical personal computer. <hl> However, for accurate transfer, professional archivists carefully choose the correct stylus shape and diameter, tracking weight, equalisation curve and other playback parameters and use high-quality analogue-to-digital converters. <hl>

Where old disc recordings are considered to be of artistic or historic interest, from before the era of tape or where no tape master exists, archivists play back the disc on suitable equipment and record the result, typically onto a digital format, which can be copied and manipulated to remove analog flaws without any further damage to the source recording. For example, Nimbus Records uses a specially built horn record player to transfer 78s. Anyone can do this using a standard record player with a suitable pickup, a phono-preamp (pre-amplifier) and a typical personal computer. However, for accurate transfer, <hl> professional archivists <hl> carefully choose the correct stylus shape and diameter, tracking weight, equalisation curve and other playback parameters and use high-quality analogue-to-digital converters.


Question: What would a hobbiest need to transfer historic recordings to digital formats?

Answer: standard record player with a suitable pickup, a phono-preamp (pre-amplifier) and a typical personal computer

Where old disc recordings are considered to be of artistic or historic interest, from before the era of tape or where no tape master exists, archivists play back the disc on suitable equipment and record the result, typically onto a digital format, which can be copied and manipulated to remove analog flaws without any further damage to the source recording. For example, Nimbus Records uses a specially built horn record player to transfer 78s. <hl> Anyone can do this using a standard record player with a suitable pickup, a phono-preamp (pre-amplifier) and a typical personal computer . <hl> However, for accurate transfer, professional archivists carefully choose the correct stylus shape and diameter, tracking weight, equalisation curve and other playback parameters and use high-quality analogue-to-digital converters.

Where old disc recordings are considered to be of artistic or historic interest, from before the era of tape or where no tape master exists, archivists play back the disc on suitable equipment and record the result, typically onto a digital format, which can be copied and manipulated to remove analog flaws without any further damage to the source recording. For example, Nimbus Records uses a specially built horn record player to transfer 78s. Anyone can do this using a <hl> standard record player with a suitable pickup, a phono-preamp (pre-amplifier) and a typical personal computer <hl>. However, for accurate transfer, professional archivists carefully choose the correct stylus shape and diameter, tracking weight, equalisation curve and other playback parameters and use high-quality analogue-to-digital converters.

Anyone can do this using a <hl> standard record player with a suitable pickup, a phono-preamp (pre-amplifier) and a typical personal computer <hl> .


Question: Is an original destroyed when transferred to digital format?

Answer: without any further damage to the source recording

<hl> Where old disc recordings are considered to be of artistic or historic interest, from before the era of tape or where no tape master exists, archivists play back the disc on suitable equipment and record the result, typically onto a digital format, which can be copied and manipulated to remove analog flaws without any further damage to the source recording . <hl> For example, Nimbus Records uses a specially built horn record player to transfer 78s. Anyone can do this using a standard record player with a suitable pickup, a phono-preamp (pre-amplifier) and a typical personal computer. However, for accurate transfer, professional archivists carefully choose the correct stylus shape and diameter, tracking weight, equalisation curve and other playback parameters and use high-quality analogue-to-digital converters.

Where old disc recordings are considered to be of artistic or historic interest, from before the era of tape or where no tape master exists, archivists play back the disc on suitable equipment and record the result, typically onto a digital format, which can be copied and manipulated to remove analog flaws <hl> without any further damage to the source recording <hl>. For example, Nimbus Records uses a specially built horn record player to transfer 78s. Anyone can do this using a standard record player with a suitable pickup, a phono-preamp (pre-amplifier) and a typical personal computer. However, for accurate transfer, professional archivists carefully choose the correct stylus shape and diameter, tracking weight, equalisation curve and other playback parameters and use high-quality analogue-to-digital converters.

Where old disc recordings are considered to be of artistic or historic interest, from before the era of tape or where no tape master exists, archivists play back the disc on suitable equipment and record the result, typically onto a digital format, which can be copied and manipulated to remove analog flaws <hl> without any further damage to the source recording <hl> .


Question: What is one benefit of transferring an older format to a newer format?

Answer: manipulated to remove analog flaws

<hl> Where old disc recordings are considered to be of artistic or historic interest, from before the era of tape or where no tape master exists, archivists play back the disc on suitable equipment and record the result, typically onto a digital format, which can be copied and manipulated to remove analog flaws without any further damage to the source recording. <hl> For example, Nimbus Records uses a specially built horn record player to transfer 78s. Anyone can do this using a standard record player with a suitable pickup, a phono-preamp (pre-amplifier) and a typical personal computer. However, for accurate transfer, professional archivists carefully choose the correct stylus shape and diameter, tracking weight, equalisation curve and other playback parameters and use high-quality analogue-to-digital converters.

Where old disc recordings are considered to be of artistic or historic interest, from before the era of tape or where no tape master exists, archivists play back the disc on suitable equipment and record the result, typically onto a digital format, which can be copied and <hl> manipulated to remove analog flaws <hl> without any further damage to the source recording. For example, Nimbus Records uses a specially built horn record player to transfer 78s. Anyone can do this using a standard record player with a suitable pickup, a phono-preamp (pre-amplifier) and a typical personal computer. However, for accurate transfer, professional archivists carefully choose the correct stylus shape and diameter, tracking weight, equalisation curve and other playback parameters and use high-quality analogue-to-digital converters.


Question: What was a major cause of declined vinyl sales?

Groove recordings, first designed in the final quarter of the 19th century, held a predominant position for nearly a century—withstanding competition from reel-to-reel tape, the 8-track cartridge, and the compact cassette. In 1988, the compact disc surpassed the gramophone record in unit sales. Vinyl records experienced a sudden decline in popularity between 1988 and 1991, when the major label distributors restricted their return policies, which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles. First the distributors began charging retailers more for new product if they returned unsold vinyl, and then they stopped providing any credit at all for returns. Retailers, fearing they would be stuck with anything they ordered, only ordered proven, popular titles that they knew would sell, and devoted more shelf space to CDs and cassettes. Record companies also deleted many vinyl titles from production and distribution, further undermining the availability of the format and leading to the closure of pressing plants. This rapid decline in the availability of records accelerated the format's decline in popularity, and is seen by some as a deliberate ploy to make consumers switch to CDs, which were more profitable for the record companies.

Answer: major label distributors restricted their return policies

Groove recordings, first designed in the final quarter of the 19th century, held a predominant position for nearly a century—withstanding competition from reel-to-reel tape, the 8-track cartridge, and the compact cassette. In 1988, the compact disc surpassed the gramophone record in unit sales. <hl> Vinyl records experienced a sudden decline in popularity between 1988 and 1991, when the major label distributors restricted their return policies , which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles. <hl> First the distributors began charging retailers more for new product if they returned unsold vinyl, and then they stopped providing any credit at all for returns. Retailers, fearing they would be stuck with anything they ordered, only ordered proven, popular titles that they knew would sell, and devoted more shelf space to CDs and cassettes. Record companies also deleted many vinyl titles from production and distribution, further undermining the availability of the format and leading to the closure of pressing plants. This rapid decline in the availability of records accelerated the format's decline in popularity, and is seen by some as a deliberate ploy to make consumers switch to CDs, which were more profitable for the record companies.

Groove recordings, first designed in the final quarter of the 19th century, held a predominant position for nearly a century—withstanding competition from reel-to-reel tape, the 8-track cartridge, and the compact cassette. In 1988, the compact disc surpassed the gramophone record in unit sales. Vinyl records experienced a sudden decline in popularity between 1988 and 1991, when the <hl> major label distributors restricted their return policies <hl>, which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles. First the distributors began charging retailers more for new product if they returned unsold vinyl, and then they stopped providing any credit at all for returns. Retailers, fearing they would be stuck with anything they ordered, only ordered proven, popular titles that they knew would sell, and devoted more shelf space to CDs and cassettes. Record companies also deleted many vinyl titles from production and distribution, further undermining the availability of the format and leading to the closure of pressing plants. This rapid decline in the availability of records accelerated the format's decline in popularity, and is seen by some as a deliberate ploy to make consumers switch to CDs, which were more profitable for the record companies.

Vinyl records experienced a sudden decline in popularity between 1988 and 1991, when the <hl> major label distributors restricted their return policies <hl> , which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles.


Question: Which allows for more profits, vinyl or compact discs?

Answer: CDs, which were more profitable for the record companies

Groove recordings, first designed in the final quarter of the 19th century, held a predominant position for nearly a century—withstanding competition from reel-to-reel tape, the 8-track cartridge, and the compact cassette. In 1988, the compact disc surpassed the gramophone record in unit sales. Vinyl records experienced a sudden decline in popularity between 1988 and 1991, when the major label distributors restricted their return policies, which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles. First the distributors began charging retailers more for new product if they returned unsold vinyl, and then they stopped providing any credit at all for returns. Retailers, fearing they would be stuck with anything they ordered, only ordered proven, popular titles that they knew would sell, and devoted more shelf space to CDs and cassettes. Record companies also deleted many vinyl titles from production and distribution, further undermining the availability of the format and leading to the closure of pressing plants. <hl> This rapid decline in the availability of records accelerated the format's decline in popularity, and is seen by some as a deliberate ploy to make consumers switch to CDs, which were more profitable for the record companies . <hl>

Groove recordings, first designed in the final quarter of the 19th century, held a predominant position for nearly a century—withstanding competition from reel-to-reel tape, the 8-track cartridge, and the compact cassette. In 1988, the compact disc surpassed the gramophone record in unit sales. Vinyl records experienced a sudden decline in popularity between 1988 and 1991, when the major label distributors restricted their return policies, which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles. First the distributors began charging retailers more for new product if they returned unsold vinyl, and then they stopped providing any credit at all for returns. Retailers, fearing they would be stuck with anything they ordered, only ordered proven, popular titles that they knew would sell, and devoted more shelf space to CDs and cassettes. Record companies also deleted many vinyl titles from production and distribution, further undermining the availability of the format and leading to the closure of pressing plants. This rapid decline in the availability of records accelerated the format's decline in popularity, and is seen by some as a deliberate ploy to make consumers switch to <hl> CDs, which were more profitable for the record companies <hl>.

This rapid decline in the availability of records accelerated the format's decline in popularity, and is seen by some as a deliberate ploy to make consumers switch to <hl> CDs, which were more profitable for the record companies <hl> .


Question: When did vinyl record sales decline?

Answer: between 1988 and 1991

Groove recordings, first designed in the final quarter of the 19th century, held a predominant position for nearly a century—withstanding competition from reel-to-reel tape, the 8-track cartridge, and the compact cassette. In 1988, the compact disc surpassed the gramophone record in unit sales. <hl> Vinyl records experienced a sudden decline in popularity between 1988 and 1991 , when the major label distributors restricted their return policies, which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles. <hl> First the distributors began charging retailers more for new product if they returned unsold vinyl, and then they stopped providing any credit at all for returns. Retailers, fearing they would be stuck with anything they ordered, only ordered proven, popular titles that they knew would sell, and devoted more shelf space to CDs and cassettes. Record companies also deleted many vinyl titles from production and distribution, further undermining the availability of the format and leading to the closure of pressing plants. This rapid decline in the availability of records accelerated the format's decline in popularity, and is seen by some as a deliberate ploy to make consumers switch to CDs, which were more profitable for the record companies.

Groove recordings, first designed in the final quarter of the 19th century, held a predominant position for nearly a century—withstanding competition from reel-to-reel tape, the 8-track cartridge, and the compact cassette. In 1988, the compact disc surpassed the gramophone record in unit sales. Vinyl records experienced a sudden decline in popularity <hl> between 1988 and 1991 <hl>, when the major label distributors restricted their return policies, which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles. First the distributors began charging retailers more for new product if they returned unsold vinyl, and then they stopped providing any credit at all for returns. Retailers, fearing they would be stuck with anything they ordered, only ordered proven, popular titles that they knew would sell, and devoted more shelf space to CDs and cassettes. Record companies also deleted many vinyl titles from production and distribution, further undermining the availability of the format and leading to the closure of pressing plants. This rapid decline in the availability of records accelerated the format's decline in popularity, and is seen by some as a deliberate ploy to make consumers switch to CDs, which were more profitable for the record companies.

Vinyl records experienced a sudden decline in popularity <hl> between 1988 and 1991 <hl> , when the major label distributors restricted their return policies, which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles.


Question: When did compact disc popularity take hold?

Answer: 1988

Groove recordings, first designed in the final quarter of the 19th century, held a predominant position for nearly a century—withstanding competition from reel-to-reel tape, the 8-track cartridge, and the compact cassette. <hl> In 1988 , the compact disc surpassed the gramophone record in unit sales. <hl> Vinyl records experienced a sudden decline in popularity between 1988 and 1991, when the major label distributors restricted their return policies, which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles. First the distributors began charging retailers more for new product if they returned unsold vinyl, and then they stopped providing any credit at all for returns. Retailers, fearing they would be stuck with anything they ordered, only ordered proven, popular titles that they knew would sell, and devoted more shelf space to CDs and cassettes. Record companies also deleted many vinyl titles from production and distribution, further undermining the availability of the format and leading to the closure of pressing plants. This rapid decline in the availability of records accelerated the format's decline in popularity, and is seen by some as a deliberate ploy to make consumers switch to CDs, which were more profitable for the record companies.

Groove recordings, first designed in the final quarter of the 19th century, held a predominant position for nearly a century—withstanding competition from reel-to-reel tape, the 8-track cartridge, and the compact cassette. In <hl> 1988 <hl>, the compact disc surpassed the gramophone record in unit sales. Vinyl records experienced a sudden decline in popularity between 1988 and 1991, when the major label distributors restricted their return policies, which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles. First the distributors began charging retailers more for new product if they returned unsold vinyl, and then they stopped providing any credit at all for returns. Retailers, fearing they would be stuck with anything they ordered, only ordered proven, popular titles that they knew would sell, and devoted more shelf space to CDs and cassettes. Record companies also deleted many vinyl titles from production and distribution, further undermining the availability of the format and leading to the closure of pressing plants. This rapid decline in the availability of records accelerated the format's decline in popularity, and is seen by some as a deliberate ploy to make consumers switch to CDs, which were more profitable for the record companies.

In <hl> 1988 <hl> , the compact disc surpassed the gramophone record in unit sales.


Question: When were groove recordings developed?

Answer: final quarter of the 19th century,

<hl> Groove recordings, first designed in the final quarter of the 19th century, held a predominant position for nearly a century—withstanding competition from reel-to-reel tape, the 8-track cartridge, and the compact cassette. <hl> In 1988, the compact disc surpassed the gramophone record in unit sales. Vinyl records experienced a sudden decline in popularity between 1988 and 1991, when the major label distributors restricted their return policies, which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles. First the distributors began charging retailers more for new product if they returned unsold vinyl, and then they stopped providing any credit at all for returns. Retailers, fearing they would be stuck with anything they ordered, only ordered proven, popular titles that they knew would sell, and devoted more shelf space to CDs and cassettes. Record companies also deleted many vinyl titles from production and distribution, further undermining the availability of the format and leading to the closure of pressing plants. This rapid decline in the availability of records accelerated the format's decline in popularity, and is seen by some as a deliberate ploy to make consumers switch to CDs, which were more profitable for the record companies.

Groove recordings, first designed in the <hl> final quarter of the 19th century, <hl> held a predominant position for nearly a century—withstanding competition from reel-to-reel tape, the 8-track cartridge, and the compact cassette. In 1988, the compact disc surpassed the gramophone record in unit sales. Vinyl records experienced a sudden decline in popularity between 1988 and 1991, when the major label distributors restricted their return policies, which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles. First the distributors began charging retailers more for new product if they returned unsold vinyl, and then they stopped providing any credit at all for returns. Retailers, fearing they would be stuck with anything they ordered, only ordered proven, popular titles that they knew would sell, and devoted more shelf space to CDs and cassettes. Record companies also deleted many vinyl titles from production and distribution, further undermining the availability of the format and leading to the closure of pressing plants. This rapid decline in the availability of records accelerated the format's decline in popularity, and is seen by some as a deliberate ploy to make consumers switch to CDs, which were more profitable for the record companies.


Question: Are records generally out of print as of date?

In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.

Answer: Vinyl records continue to be manufactured and sold today

In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. <hl> Vinyl records continue to be manufactured and sold today , especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. <hl> Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.

In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. <hl> Vinyl records continue to be manufactured and sold today <hl>, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.

<hl> Vinyl records continue to be manufactured and sold today <hl> , especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs.


Question: Are albums ever reproduced?

Answer: Many popular new albums are given releases

In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. <hl> (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl. <hl>

In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) <hl> Many popular new albums are given releases <hl> on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.


Question: What types of vinyl hold the most popularity?

Answer: Old records and out-of-print recordings

In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. <hl> Old records and out-of-print recordings in particular are in much demand by collectors the world over. <hl> (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.

In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. <hl> Old records and out-of-print recordings <hl> in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.


Question: Does vinyl record maintain any popularity?

Answer: records still have enthusiastic supporters

<hl> In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters . <hl> Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.

In spite of their flaws, such as the lack of portability, <hl> records still have enthusiastic supporters <hl>. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.

In spite of their flaws, such as the lack of portability, <hl> records still have enthusiastic supporters <hl> .


Question: What is a reason a DJ would prefer vinyl to CD?

Many electronic dance music and hip hop releases today are still preferred on vinyl; however, digital copies are still widely available. This is because for disc jockeys ("DJs"), vinyl has an advantage over the CD: direct manipulation of the medium. DJ techniques such as slip-cueing, beatmatching, and scratching originated on turntables. With CDs or compact audio cassettes one normally has only indirect manipulation options, e.g., the play, stop, and pause buttons. With a record one can place the stylus a few grooves farther in or out, accelerate or decelerate the turntable, or even reverse its direction, provided the stylus, record player, and record itself are built to withstand it. However, many CDJ and DJ advances, such as DJ software and time-encoded vinyl, now have these capabilities and more.

Answer: direct manipulation

Many electronic dance music and hip hop releases today are still preferred on vinyl; however, digital copies are still widely available. <hl> This is because for disc jockeys ("DJs"), vinyl has an advantage over the CD: direct manipulation of the medium. <hl> DJ techniques such as slip-cueing, beatmatching, and scratching originated on turntables. With CDs or compact audio cassettes one normally has only indirect manipulation options, e.g., the play, stop, and pause buttons. With a record one can place the stylus a few grooves farther in or out, accelerate or decelerate the turntable, or even reverse its direction, provided the stylus, record player, and record itself are built to withstand it. However, many CDJ and DJ advances, such as DJ software and time-encoded vinyl, now have these capabilities and more.

Many electronic dance music and hip hop releases today are still preferred on vinyl; however, digital copies are still widely available. This is because for disc jockeys ("DJs"), vinyl has an advantage over the CD: <hl> direct manipulation <hl> of the medium. DJ techniques such as slip-cueing, beatmatching, and scratching originated on turntables. With CDs or compact audio cassettes one normally has only indirect manipulation options, e.g., the play, stop, and pause buttons. With a record one can place the stylus a few grooves farther in or out, accelerate or decelerate the turntable, or even reverse its direction, provided the stylus, record player, and record itself are built to withstand it. However, many CDJ and DJ advances, such as DJ software and time-encoded vinyl, now have these capabilities and more.


Question: In what techniques would a DJ require a vinyl record?

Answer: slip-cueing, beatmatching, and scratching

Many electronic dance music and hip hop releases today are still preferred on vinyl; however, digital copies are still widely available. This is because for disc jockeys ("DJs"), vinyl has an advantage over the CD: direct manipulation of the medium. <hl> DJ techniques such as slip-cueing, beatmatching, and scratching originated on turntables. <hl> With CDs or compact audio cassettes one normally has only indirect manipulation options, e.g., the play, stop, and pause buttons. With a record one can place the stylus a few grooves farther in or out, accelerate or decelerate the turntable, or even reverse its direction, provided the stylus, record player, and record itself are built to withstand it. However, many CDJ and DJ advances, such as DJ software and time-encoded vinyl, now have these capabilities and more.

Many electronic dance music and hip hop releases today are still preferred on vinyl; however, digital copies are still widely available. This is because for disc jockeys ("DJs"), vinyl has an advantage over the CD: direct manipulation of the medium. DJ techniques such as <hl> slip-cueing, beatmatching, and scratching <hl> originated on turntables. With CDs or compact audio cassettes one normally has only indirect manipulation options, e.g., the play, stop, and pause buttons. With a record one can place the stylus a few grooves farther in or out, accelerate or decelerate the turntable, or even reverse its direction, provided the stylus, record player, and record itself are built to withstand it. However, many CDJ and DJ advances, such as DJ software and time-encoded vinyl, now have these capabilities and more.


Question: Are all turn tables capable of DJ manipulation of vinyl records?

Answer: provided the stylus, record player, and record itself are built to withstand it

Many electronic dance music and hip hop releases today are still preferred on vinyl; however, digital copies are still widely available. This is because for disc jockeys ("DJs"), vinyl has an advantage over the CD: direct manipulation of the medium. DJ techniques such as slip-cueing, beatmatching, and scratching originated on turntables. With CDs or compact audio cassettes one normally has only indirect manipulation options, e.g., the play, stop, and pause buttons. <hl> With a record one can place the stylus a few grooves farther in or out, accelerate or decelerate the turntable, or even reverse its direction, provided the stylus, record player, and record itself are built to withstand it . <hl> However, many CDJ and DJ advances, such as DJ software and time-encoded vinyl, now have these capabilities and more.

Many electronic dance music and hip hop releases today are still preferred on vinyl; however, digital copies are still widely available. This is because for disc jockeys ("DJs"), vinyl has an advantage over the CD: direct manipulation of the medium. DJ techniques such as slip-cueing, beatmatching, and scratching originated on turntables. With CDs or compact audio cassettes one normally has only indirect manipulation options, e.g., the play, stop, and pause buttons. With a record one can place the stylus a few grooves farther in or out, accelerate or decelerate the turntable, or even reverse its direction, <hl> provided the stylus, record player, and record itself are built to withstand it <hl>. However, many CDJ and DJ advances, such as DJ software and time-encoded vinyl, now have these capabilities and more.

With a record one can place the stylus a few grooves farther in or out, accelerate or decelerate the turntable, or even reverse its direction, <hl> provided the stylus, record player, and record itself are built to withstand it <hl> .


Question: What is commonly preferred by DJs vinyl or CD?

Answer: any electronic dance music and hip hop releases today are still preferred on vinyl

<hl> M any electronic dance music and hip hop releases today are still preferred on vinyl ; however, digital copies are still widely available. <hl> This is because for disc jockeys ("DJs"), vinyl has an advantage over the CD: direct manipulation of the medium. DJ techniques such as slip-cueing, beatmatching, and scratching originated on turntables. With CDs or compact audio cassettes one normally has only indirect manipulation options, e.g., the play, stop, and pause buttons. With a record one can place the stylus a few grooves farther in or out, accelerate or decelerate the turntable, or even reverse its direction, provided the stylus, record player, and record itself are built to withstand it. However, many CDJ and DJ advances, such as DJ software and time-encoded vinyl, now have these capabilities and more.

M<hl> any electronic dance music and hip hop releases today are still preferred on vinyl <hl>; however, digital copies are still widely available. This is because for disc jockeys ("DJs"), vinyl has an advantage over the CD: direct manipulation of the medium. DJ techniques such as slip-cueing, beatmatching, and scratching originated on turntables. With CDs or compact audio cassettes one normally has only indirect manipulation options, e.g., the play, stop, and pause buttons. With a record one can place the stylus a few grooves farther in or out, accelerate or decelerate the turntable, or even reverse its direction, provided the stylus, record player, and record itself are built to withstand it. However, many CDJ and DJ advances, such as DJ software and time-encoded vinyl, now have these capabilities and more.

M <hl> any electronic dance music and hip hop releases today are still preferred on vinyl <hl> ; however, digital copies are still widely available.


Question: Had vinyl technology ceased expanding?

Answer: However, many CDJ and DJ advances, such as DJ software and time-encoded vinyl, now have these capabilities and more.

Many electronic dance music and hip hop releases today are still preferred on vinyl; however, digital copies are still widely available. This is because for disc jockeys ("DJs"), vinyl has an advantage over the CD: direct manipulation of the medium. DJ techniques such as slip-cueing, beatmatching, and scratching originated on turntables. With CDs or compact audio cassettes one normally has only indirect manipulation options, e.g., the play, stop, and pause buttons. With a record one can place the stylus a few grooves farther in or out, accelerate or decelerate the turntable, or even reverse its direction, provided the stylus, record player, and record itself are built to withstand it. <hl> However, many CDJ and DJ advances, such as DJ software and time-encoded vinyl, now have these capabilities and more. <hl>


Question: Whom set the most recent sales record of vinyl records since 1991?

In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records was the only physical music medium with increasing sales with relation to the previous year. Sales of other mediums including individual digital tracks, digital albums and compact discs have fallen, the latter having the greatest drop-in-sales rate.

Answer: Jack White

<hl> In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. <hl> The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records was the only physical music medium with increasing sales with relation to the previous year. Sales of other mediums including individual digital tracks, digital albums and compact discs have fallen, the latter having the greatest drop-in-sales rate.

In 2014 artist <hl> Jack White <hl> sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records was the only physical music medium with increasing sales with relation to the previous year. Sales of other mediums including individual digital tracks, digital albums and compact discs have fallen, the latter having the greatest drop-in-sales rate.


Question: What medium has seen the biggest fall in sales as of late?

Answer: compact discs

In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records was the only physical music medium with increasing sales with relation to the previous year. <hl> Sales of other mediums including individual digital tracks, digital albums and compact discs have fallen, the latter having the greatest drop-in-sales rate. <hl>

In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records was the only physical music medium with increasing sales with relation to the previous year. Sales of other mediums including individual digital tracks, digital albums and <hl> compact discs <hl> have fallen, the latter having the greatest drop-in-sales rate.


Question: What was unique to vinyl sales in 2014?

Answer: was the only physical music medium with increasing sales with relation to the previous year

In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. <hl> In 2014, the sale of vinyl records was the only physical music medium with increasing sales with relation to the previous year . <hl> Sales of other mediums including individual digital tracks, digital albums and compact discs have fallen, the latter having the greatest drop-in-sales rate.

In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records <hl> was the only physical music medium with increasing sales with relation to the previous year <hl>. Sales of other mediums including individual digital tracks, digital albums and compact discs have fallen, the latter having the greatest drop-in-sales rate.

In 2014, the sale of vinyl records <hl> was the only physical music medium with increasing sales with relation to the previous year <hl> .


Question: Who sold 34,000 vinyl records in 1994?

Answer: Pearl Jam

In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. <hl> The sales record was previously held by Pearl Jam 's, Vitalogy, which sold 34,000 copies in one week in 1994. <hl> In 2014, the sale of vinyl records was the only physical music medium with increasing sales with relation to the previous year. Sales of other mediums including individual digital tracks, digital albums and compact discs have fallen, the latter having the greatest drop-in-sales rate.

In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by <hl> Pearl Jam <hl>'s, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records was the only physical music medium with increasing sales with relation to the previous year. Sales of other mediums including individual digital tracks, digital albums and compact discs have fallen, the latter having the greatest drop-in-sales rate.

The sales record was previously held by <hl> Pearl Jam <hl> 's, Vitalogy, which sold 34,000 copies in one week in 1994.


Question: Prior to 2014 when was the most recent large sale of vinyl records?

Answer: 1991

In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. <hl> The sales of the record beat the largest sales in one week on vinyl since 1991 . <hl> The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records was the only physical music medium with increasing sales with relation to the previous year. Sales of other mediums including individual digital tracks, digital albums and compact discs have fallen, the latter having the greatest drop-in-sales rate.

In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since <hl> 1991 <hl>. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records was the only physical music medium with increasing sales with relation to the previous year. Sales of other mediums including individual digital tracks, digital albums and compact discs have fallen, the latter having the greatest drop-in-sales rate.

The sales of the record beat the largest sales in one week on vinyl since <hl> 1991 <hl> .


Question: Warner Bros. pictures before what year are part of the Turner Entertainment library?

Historically, the channel's programming consisted mainly of featured classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. Pictures (covering films released before 1950) and Metro-Goldwyn-Mayer (covering films released before May 1986). However, TCM now has licensing deals with other Hollywood film studios as well as its Time Warner sister company, Warner Bros. (which now controls the Turner Entertainment library and its own later films), and occasionally shows more recent films. Turner Classic Movies is a dedicated film channel and is available in United States, United Kingdom, France (TCM Cinéma), Spain (TCM España), Nordic countries, Middle East and Africa.

Answer: 1950

<hl> Historically, the channel's programming consisted mainly of featured classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. Pictures (covering films released before 1950 ) <hl> and Metro-Goldwyn-Mayer (covering films released before May 1986). However, TCM now has licensing deals with other Hollywood film studios as well as its Time Warner sister company, Warner Bros. (which now controls the Turner Entertainment library and its own later films), and occasionally shows more recent films. Turner Classic Movies is a dedicated film channel and is available in United States, United Kingdom, France (TCM Cinéma), Spain (TCM España), Nordic countries, Middle East and Africa.

Historically, the channel's programming consisted mainly of featured classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. Pictures (covering films released before <hl> 1950 <hl>) and Metro-Goldwyn-Mayer (covering films released before May 1986). However, TCM now has licensing deals with other Hollywood film studios as well as its Time Warner sister company, Warner Bros. (which now controls the Turner Entertainment library and its own later films), and occasionally shows more recent films. Turner Classic Movies is a dedicated film channel and is available in United States, United Kingdom, France (TCM Cinéma), Spain (TCM España), Nordic countries, Middle East and Africa.

Historically, the channel's programming consisted mainly of featured classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. Pictures (covering films released before <hl> 1950 <hl> )


Question: Up until what month and year of release are films from Metro-Goldwyn-Mayer part of the Turner Entertainment library?

Answer: May 1986

<hl> Historically, the channel's programming consisted mainly of featured classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. Pictures (covering films released before 1950) and Metro-Goldwyn-Mayer (covering films released before May 1986 ). <hl> However, TCM now has licensing deals with other Hollywood film studios as well as its Time Warner sister company, Warner Bros. (which now controls the Turner Entertainment library and its own later films), and occasionally shows more recent films. Turner Classic Movies is a dedicated film channel and is available in United States, United Kingdom, France (TCM Cinéma), Spain (TCM España), Nordic countries, Middle East and Africa.

Historically, the channel's programming consisted mainly of featured classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. Pictures (covering films released before 1950) and Metro-Goldwyn-Mayer (covering films released before <hl> May 1986 <hl>). However, TCM now has licensing deals with other Hollywood film studios as well as its Time Warner sister company, Warner Bros. (which now controls the Turner Entertainment library and its own later films), and occasionally shows more recent films. Turner Classic Movies is a dedicated film channel and is available in United States, United Kingdom, France (TCM Cinéma), Spain (TCM España), Nordic countries, Middle East and Africa.

Historically, the channel's programming consisted mainly of featured classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. Pictures (covering films released before 1950) and Metro-Goldwyn-Mayer (covering films released before <hl> May 1986 <hl> ).


Question: What company owns TCM and Warner Bros.?

Answer: Time Warner

Historically, the channel's programming consisted mainly of featured classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. Pictures (covering films released before 1950) and Metro-Goldwyn-Mayer (covering films released before May 1986). <hl> However, TCM now has licensing deals with other Hollywood film studios as well as its Time Warner sister company, Warner Bros. (which now controls the Turner Entertainment library and its own later films), and occasionally shows more recent films. <hl> Turner Classic Movies is a dedicated film channel and is available in United States, United Kingdom, France (TCM Cinéma), Spain (TCM España), Nordic countries, Middle East and Africa.

Historically, the channel's programming consisted mainly of featured classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. Pictures (covering films released before 1950) and Metro-Goldwyn-Mayer (covering films released before May 1986). However, TCM now has licensing deals with other Hollywood film studios as well as its <hl> Time Warner <hl> sister company, Warner Bros. (which now controls the Turner Entertainment library and its own later films), and occasionally shows more recent films. Turner Classic Movies is a dedicated film channel and is available in United States, United Kingdom, France (TCM Cinéma), Spain (TCM España), Nordic countries, Middle East and Africa.


Question: What is Turner Classic Movies called in France?

Answer: TCM Cinéma

Historically, the channel's programming consisted mainly of featured classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. Pictures (covering films released before 1950) and Metro-Goldwyn-Mayer (covering films released before May 1986). However, TCM now has licensing deals with other Hollywood film studios as well as its Time Warner sister company, Warner Bros. (which now controls the Turner Entertainment library and its own later films), and occasionally shows more recent films. <hl> Turner Classic Movies is a dedicated film channel and is available in United States, United Kingdom, France ( TCM Cinéma ), Spain (TCM España), Nordic countries, Middle East and Africa. <hl>

Historically, the channel's programming consisted mainly of featured classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. Pictures (covering films released before 1950) and Metro-Goldwyn-Mayer (covering films released before May 1986). However, TCM now has licensing deals with other Hollywood film studios as well as its Time Warner sister company, Warner Bros. (which now controls the Turner Entertainment library and its own later films), and occasionally shows more recent films. Turner Classic Movies is a dedicated film channel and is available in United States, United Kingdom, France (<hl> TCM Cinéma <hl>), Spain (TCM España), Nordic countries, Middle East and Africa.

Turner Classic Movies is a dedicated film channel and is available in United States, United Kingdom, France ( <hl> TCM Cinéma <hl> ), Spain (TCM España), Nordic countries, Middle East and Africa.


Question: What is the Spanish version of Turner Classic Movies?

Answer: TCM España

Historically, the channel's programming consisted mainly of featured classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. Pictures (covering films released before 1950) and Metro-Goldwyn-Mayer (covering films released before May 1986). However, TCM now has licensing deals with other Hollywood film studios as well as its Time Warner sister company, Warner Bros. (which now controls the Turner Entertainment library and its own later films), and occasionally shows more recent films. <hl> Turner Classic Movies is a dedicated film channel and is available in United States, United Kingdom, France (TCM Cinéma), Spain ( TCM España ), Nordic countries, Middle East and Africa. <hl>

Historically, the channel's programming consisted mainly of featured classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. Pictures (covering films released before 1950) and Metro-Goldwyn-Mayer (covering films released before May 1986). However, TCM now has licensing deals with other Hollywood film studios as well as its Time Warner sister company, Warner Bros. (which now controls the Turner Entertainment library and its own later films), and occasionally shows more recent films. Turner Classic Movies is a dedicated film channel and is available in United States, United Kingdom, France (TCM Cinéma), Spain (<hl> TCM España <hl>), Nordic countries, Middle East and Africa.

Turner Classic Movies is a dedicated film channel and is available in United States, United Kingdom, France (TCM Cinéma), Spain ( <hl> TCM España <hl> ), Nordic countries, Middle East and Africa.


Question: How much did Ted Turner pay for Metro-Goldwyn Mayer?

In 1986, eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for $1.5 billion. Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to Kirk Kerkorian, from whom Turner had purchased the studio less than a year before. As part of the deal, Turner Entertainment retained ownership of MGM's library of films released up to May 9, 1986. Turner Broadcasting System was split into two companies; Turner Broadcasting System and Metro-Goldwyn-Mayer and reincorporated as MGM/UA Communications Co.

Answer: $1.5 billion

<hl> In 1986, eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for $1.5 billion . <hl> Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to Kirk Kerkorian, from whom Turner had purchased the studio less than a year before. As part of the deal, Turner Entertainment retained ownership of MGM's library of films released up to May 9, 1986. Turner Broadcasting System was split into two companies; Turner Broadcasting System and Metro-Goldwyn-Mayer and reincorporated as MGM/UA Communications Co.

In 1986, eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for <hl> $1.5 billion <hl>. Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to Kirk Kerkorian, from whom Turner had purchased the studio less than a year before. As part of the deal, Turner Entertainment retained ownership of MGM's library of films released up to May 9, 1986. Turner Broadcasting System was split into two companies; Turner Broadcasting System and Metro-Goldwyn-Mayer and reincorporated as MGM/UA Communications Co.

In 1986, eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for <hl> $1.5 billion <hl> .


Question: In what year did Ted Turner buy Metro-Goldwyn-Mayer?

Answer: 1986

<hl> In 1986 , eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for $1.5 billion. <hl> Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to Kirk Kerkorian, from whom Turner had purchased the studio less than a year before. As part of the deal, Turner Entertainment retained ownership of MGM's library of films released up to May 9, 1986. Turner Broadcasting System was split into two companies; Turner Broadcasting System and Metro-Goldwyn-Mayer and reincorporated as MGM/UA Communications Co.

In <hl> 1986 <hl>, eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for $1.5 billion. Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to Kirk Kerkorian, from whom Turner had purchased the studio less than a year before. As part of the deal, Turner Entertainment retained ownership of MGM's library of films released up to May 9, 1986. Turner Broadcasting System was split into two companies; Turner Broadcasting System and Metro-Goldwyn-Mayer and reincorporated as MGM/UA Communications Co.

In <hl> 1986 <hl> , eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for $1.5 billion.


Question: Who did Ted Turner sell Metro-Goldwyn-Mayer to?

Answer: Kirk Kerkorian

In 1986, eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for $1.5 billion. <hl> Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to Kirk Kerkorian , from whom Turner had purchased the studio less than a year before. <hl> As part of the deal, Turner Entertainment retained ownership of MGM's library of films released up to May 9, 1986. Turner Broadcasting System was split into two companies; Turner Broadcasting System and Metro-Goldwyn-Mayer and reincorporated as MGM/UA Communications Co.

In 1986, eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for $1.5 billion. Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to <hl> Kirk Kerkorian <hl>, from whom Turner had purchased the studio less than a year before. As part of the deal, Turner Entertainment retained ownership of MGM's library of films released up to May 9, 1986. Turner Broadcasting System was split into two companies; Turner Broadcasting System and Metro-Goldwyn-Mayer and reincorporated as MGM/UA Communications Co.

Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to <hl> Kirk Kerkorian <hl> , from whom Turner had purchased the studio less than a year before.


Question: Who did Ted Turner buy Metro-Goldwyn-Mayer from?

Answer: Kirk Kerkorian

In 1986, eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for $1.5 billion. <hl> Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to Kirk Kerkorian , from whom Turner had purchased the studio less than a year before. <hl> As part of the deal, Turner Entertainment retained ownership of MGM's library of films released up to May 9, 1986. Turner Broadcasting System was split into two companies; Turner Broadcasting System and Metro-Goldwyn-Mayer and reincorporated as MGM/UA Communications Co.

In 1986, eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for $1.5 billion. Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to <hl> Kirk Kerkorian <hl>, from whom Turner had purchased the studio less than a year before. As part of the deal, Turner Entertainment retained ownership of MGM's library of films released up to May 9, 1986. Turner Broadcasting System was split into two companies; Turner Broadcasting System and Metro-Goldwyn-Mayer and reincorporated as MGM/UA Communications Co.

Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to <hl> Kirk Kerkorian <hl> , from whom Turner had purchased the studio less than a year before.


Question: Up to what date of release did Turner retain ownership of the MGM film library?

Answer: May 9, 1986

In 1986, eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for $1.5 billion. Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to Kirk Kerkorian, from whom Turner had purchased the studio less than a year before. <hl> As part of the deal, Turner Entertainment retained ownership of MGM's library of films released up to May 9, 1986 . <hl> Turner Broadcasting System was split into two companies; Turner Broadcasting System and Metro-Goldwyn-Mayer and reincorporated as MGM/UA Communications Co.

In 1986, eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for $1.5 billion. Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to Kirk Kerkorian, from whom Turner had purchased the studio less than a year before. As part of the deal, Turner Entertainment retained ownership of MGM's library of films released up to <hl> May 9, 1986 <hl>. Turner Broadcasting System was split into two companies; Turner Broadcasting System and Metro-Goldwyn-Mayer and reincorporated as MGM/UA Communications Co.

As part of the deal, Turner Entertainment retained ownership of MGM's library of films released up to <hl> May 9, 1986 <hl> .


Question: On what network did Turner Entertainment's film library air prior to the creation of TCM?

The film library of Turner Entertainment would serve as the base form of programming for TCM upon the network's launch. Before the creation of Turner Classic Movies, films from Turner's library of movies aired on the Turner Broadcasting System's advertiser-supported cable network TNT – along with colorized versions of black-and-white classics such as The Maltese Falcon. After the library was acquired, MGM/UA signed a deal with Turner to continue distributing the pre-May 1986 MGM and to begin distributing the pre-1950 Warner Bros. film libraries for video release (the rest of the library went to Turner Home Entertainment).

Answer: TNT

The film library of Turner Entertainment would serve as the base form of programming for TCM upon the network's launch. <hl> Before the creation of Turner Classic Movies, films from Turner's library of movies aired on the Turner Broadcasting System's advertiser-supported cable network TNT – along with colorized versions of black-and-white classics such as The Maltese Falcon. <hl> After the library was acquired, MGM/UA signed a deal with Turner to continue distributing the pre-May 1986 MGM and to begin distributing the pre-1950 Warner Bros. film libraries for video release (the rest of the library went to Turner Home Entertainment).

The film library of Turner Entertainment would serve as the base form of programming for TCM upon the network's launch. Before the creation of Turner Classic Movies, films from Turner's library of movies aired on the Turner Broadcasting System's advertiser-supported cable network <hl> TNT <hl> – along with colorized versions of black-and-white classics such as The Maltese Falcon. After the library was acquired, MGM/UA signed a deal with Turner to continue distributing the pre-May 1986 MGM and to begin distributing the pre-1950 Warner Bros. film libraries for video release (the rest of the library went to Turner Home Entertainment).


Question: What was a notable film that Turner colorized?

Answer: The Maltese Falcon

The film library of Turner Entertainment would serve as the base form of programming for TCM upon the network's launch. <hl> Before the creation of Turner Classic Movies, films from Turner's library of movies aired on the Turner Broadcasting System's advertiser-supported cable network TNT – along with colorized versions of black-and-white classics such as The Maltese Falcon . <hl> After the library was acquired, MGM/UA signed a deal with Turner to continue distributing the pre-May 1986 MGM and to begin distributing the pre-1950 Warner Bros. film libraries for video release (the rest of the library went to Turner Home Entertainment).

The film library of Turner Entertainment would serve as the base form of programming for TCM upon the network's launch. Before the creation of Turner Classic Movies, films from Turner's library of movies aired on the Turner Broadcasting System's advertiser-supported cable network TNT – along with colorized versions of black-and-white classics such as <hl> The Maltese Falcon <hl>. After the library was acquired, MGM/UA signed a deal with Turner to continue distributing the pre-May 1986 MGM and to begin distributing the pre-1950 Warner Bros. film libraries for video release (the rest of the library went to Turner Home Entertainment).

Before the creation of Turner Classic Movies, films from Turner's library of movies aired on the Turner Broadcasting System's advertiser-supported cable network TNT – along with colorized versions of black-and-white classics such as <hl> The Maltese Falcon <hl> .


Question: Who did Turner ink a deal with to distribute Warner Bros. films from before 1950?

Answer: MGM/UA

The film library of Turner Entertainment would serve as the base form of programming for TCM upon the network's launch. Before the creation of Turner Classic Movies, films from Turner's library of movies aired on the Turner Broadcasting System's advertiser-supported cable network TNT – along with colorized versions of black-and-white classics such as The Maltese Falcon. <hl> After the library was acquired, MGM/UA signed a deal with Turner to continue distributing the pre-May 1986 MGM and to begin distributing the pre-1950 Warner Bros. film libraries for video release (the rest of the library went to Turner Home Entertainment). <hl>

The film library of Turner Entertainment would serve as the base form of programming for TCM upon the network's launch. Before the creation of Turner Classic Movies, films from Turner's library of movies aired on the Turner Broadcasting System's advertiser-supported cable network TNT – along with colorized versions of black-and-white classics such as The Maltese Falcon. After the library was acquired, <hl> MGM/UA <hl> signed a deal with Turner to continue distributing the pre-May 1986 MGM and to begin distributing the pre-1950 Warner Bros. film libraries for video release (the rest of the library went to Turner Home Entertainment).


Question: The MGM/UA-Turner deal concerned MGM films released prior to what date?

Answer: May 1986

The film library of Turner Entertainment would serve as the base form of programming for TCM upon the network's launch. Before the creation of Turner Classic Movies, films from Turner's library of movies aired on the Turner Broadcasting System's advertiser-supported cable network TNT – along with colorized versions of black-and-white classics such as The Maltese Falcon. <hl> After the library was acquired, MGM/UA signed a deal with Turner to continue distributing the pre- May 1986 MGM and to begin distributing the pre-1950 Warner Bros. film libraries for video release (the rest of the library went to Turner Home Entertainment). <hl>

The film library of Turner Entertainment would serve as the base form of programming for TCM upon the network's launch. Before the creation of Turner Classic Movies, films from Turner's library of movies aired on the Turner Broadcasting System's advertiser-supported cable network TNT – along with colorized versions of black-and-white classics such as The Maltese Falcon. After the library was acquired, MGM/UA signed a deal with Turner to continue distributing the pre-<hl> May 1986 <hl> MGM and to begin distributing the pre-1950 Warner Bros. film libraries for video release (the rest of the library went to Turner Home Entertainment).

After the library was acquired, MGM/UA signed a deal with Turner to continue distributing the pre- <hl> May 1986 <hl> MGM and to begin distributing the pre-1950 Warner Bros. film libraries for video release (the rest of the library went to Turner Home Entertainment).


Question: How many subscribers had access to TCM upon it launch?

At the time of its launch, TCM was available to approximately one million cable television subscribers. The network originally served as a competitor to AMC – which at the time was known as "American Movie Classics" and maintained a virtually identical format to TCM, as both networks largely focused on films released prior to 1970 and aired them in an uncut, uncolorized, and commercial-free format. AMC had broadened its film content to feature colorized and more recent films by 2002 and abandoned its commercial-free format, leaving TCM as the only movie-oriented cable channel to devote its programming entirely to classic films without commercial interruption.

Answer: one million

<hl> At the time of its launch, TCM was available to approximately one million cable television subscribers. <hl> The network originally served as a competitor to AMC – which at the time was known as "American Movie Classics" and maintained a virtually identical format to TCM, as both networks largely focused on films released prior to 1970 and aired them in an uncut, uncolorized, and commercial-free format. AMC had broadened its film content to feature colorized and more recent films by 2002 and abandoned its commercial-free format, leaving TCM as the only movie-oriented cable channel to devote its programming entirely to classic films without commercial interruption.

At the time of its launch, TCM was available to approximately <hl> one million <hl> cable television subscribers. The network originally served as a competitor to AMC – which at the time was known as "American Movie Classics" and maintained a virtually identical format to TCM, as both networks largely focused on films released prior to 1970 and aired them in an uncut, uncolorized, and commercial-free format. AMC had broadened its film content to feature colorized and more recent films by 2002 and abandoned its commercial-free format, leaving TCM as the only movie-oriented cable channel to devote its programming entirely to classic films without commercial interruption.


Question: When TCM premiered, what was AMC called?

Answer: American Movie Classics

At the time of its launch, TCM was available to approximately one million cable television subscribers. <hl> The network originally served as a competitor to AMC – which at the time was known as " American Movie Classics " and maintained a virtually identical format to TCM, as both networks largely focused on films released prior to 1970 and aired them in an uncut, uncolorized, and commercial-free format. <hl> AMC had broadened its film content to feature colorized and more recent films by 2002 and abandoned its commercial-free format, leaving TCM as the only movie-oriented cable channel to devote its programming entirely to classic films without commercial interruption.

At the time of its launch, TCM was available to approximately one million cable television subscribers. The network originally served as a competitor to AMC – which at the time was known as "<hl> American Movie Classics <hl>" and maintained a virtually identical format to TCM, as both networks largely focused on films released prior to 1970 and aired them in an uncut, uncolorized, and commercial-free format. AMC had broadened its film content to feature colorized and more recent films by 2002 and abandoned its commercial-free format, leaving TCM as the only movie-oriented cable channel to devote its programming entirely to classic films without commercial interruption.

The network originally served as a competitor to AMC – which at the time was known as " <hl> American Movie Classics <hl> " and maintained a virtually identical format to TCM, as both networks largely focused on films released prior to 1970 and aired them in an uncut, uncolorized, and commercial-free format.