Question: What was the play time of a 45 rpm

Answer: eight minutes

Unwilling to accept and license Columbia's system, in February 1949 RCA Victor, in cooperation of its parent, the Radio Corporation of America, released the first 45 rpm single, 7 inches in diameter with a large center hole. The 45 rpm player included a changing mechanism that allowed multiple disks to be stacked, much as a conventional changer handled 78s. The short playing time of a single 45 rpm side meant that long works, such as symphonies, had to be released on multiple 45s instead of a single LP, but RCA claimed that the new high-speed changer rendered side breaks so brief as to be inaudible or inconsequential. Early 45 rpm records were made from either vinyl or polystyrene. <hl> They had a playing time of eight minutes . <hl>

Unwilling to accept and license Columbia's system, in February 1949 RCA Victor, in cooperation of its parent, the Radio Corporation of America, released the first 45 rpm single, 7 inches in diameter with a large center hole. The 45 rpm player included a changing mechanism that allowed multiple disks to be stacked, much as a conventional changer handled 78s. The short playing time of a single 45 rpm side meant that long works, such as symphonies, had to be released on multiple 45s instead of a single LP, but RCA claimed that the new high-speed changer rendered side breaks so brief as to be inaudible or inconsequential. Early 45 rpm records were made from either vinyl or polystyrene. They had a playing time of <hl> eight minutes <hl>.

They had a playing time of <hl> eight minutes <hl> .

question: What was the play time of a 45 rpm, context: Unwilling to accept and license Columbia's system, in February 1949 RCA Victor, in cooperation of its parent, the Radio Corporation of America, released the first 45 rpm single, 7 inches in diameter with a large center hole. The 45 rpm player included a changing mechanism that allowed multiple disks to be stacked, much as a conventional changer handled 78s. The short playing time of a single 45 rpm side meant that long works, such as symphonies, had to be released on multiple 45s instead of a single LP, but RCA claimed that the new high-speed changer rendered side breaks so brief as to be inaudible or inconsequential. Early 45 rpm records were made from either vinyl or polystyrene. They had a playing time of eight minutes.


Question: What was the size of a RCA Victor 45 rpm?

Answer: 7 inches

<hl> Unwilling to accept and license Columbia's system, in February 1949 RCA Victor, in cooperation of its parent, the Radio Corporation of America, released the first 45 rpm single, 7 inches in diameter with a large center hole. <hl> The 45 rpm player included a changing mechanism that allowed multiple disks to be stacked, much as a conventional changer handled 78s. The short playing time of a single 45 rpm side meant that long works, such as symphonies, had to be released on multiple 45s instead of a single LP, but RCA claimed that the new high-speed changer rendered side breaks so brief as to be inaudible or inconsequential. Early 45 rpm records were made from either vinyl or polystyrene. They had a playing time of eight minutes.

Unwilling to accept and license Columbia's system, in February 1949 RCA Victor, in cooperation of its parent, the Radio Corporation of America, released the first 45 rpm single, <hl> 7 inches <hl> in diameter with a large center hole. The 45 rpm player included a changing mechanism that allowed multiple disks to be stacked, much as a conventional changer handled 78s. The short playing time of a single 45 rpm side meant that long works, such as symphonies, had to be released on multiple 45s instead of a single LP, but RCA claimed that the new high-speed changer rendered side breaks so brief as to be inaudible or inconsequential. Early 45 rpm records were made from either vinyl or polystyrene. They had a playing time of eight minutes.

question: What was the size of a RCA Victor 45 rpm?, context: Unwilling to accept and license Columbia's system, in February 1949 RCA Victor, in cooperation of its parent, the Radio Corporation of America, released the first 45 rpm single, 7 inches in diameter with a large center hole. The 45 rpm player included a changing mechanism that allowed multiple disks to be stacked, much as a conventional changer handled 78s. The short playing time of a single 45 rpm side meant that long works, such as symphonies, had to be released on multiple 45s instead of a single LP, but RCA claimed that the new high-speed changer rendered side breaks so brief as to be inaudible or inconsequential. Early 45 rpm records were made from either vinyl or polystyrene. They had a playing time of eight minutes.


Question: Who had made an attempt in the 1920s to release a long play time recording?

Answer: World Records

One early attempt at lengthening the playing time should be mentioned. <hl> At least one manufacturer in the early 1920s, World Records , produced records that played at a constant linear velocity, controlled by Noel Pemberton Billing's patented add-on governor device. <hl> As these were played from the outside to the inside, the rotational speed of the records increased as reproduction progressed. This action is similar (although in reverse) to that on the modern compact disc and the CLV version of its predecessor, the Philips Laser Disc.

One early attempt at lengthening the playing time should be mentioned. At least one manufacturer in the early 1920s, <hl> World Records <hl>, produced records that played at a constant linear velocity, controlled by Noel Pemberton Billing's patented add-on governor device. As these were played from the outside to the inside, the rotational speed of the records increased as reproduction progressed. This action is similar (although in reverse) to that on the modern compact disc and the CLV version of its predecessor, the Philips Laser Disc.

At least one manufacturer in the early 1920s, <hl> World Records <hl> , produced records that played at a constant linear velocity, controlled by Noel Pemberton Billing's patented add-on governor device.

question: Who had made an attempt in the 1920s to release a long play time recording?, context: One early attempt at lengthening the playing time should be mentioned. At least one manufacturer in the early 1920s, World Records, produced records that played at a constant linear velocity, controlled by Noel Pemberton Billing's patented add-on governor device. As these were played from the outside to the inside, the rotational speed of the records increased as reproduction progressed. This action is similar (although in reverse) to that on the modern compact disc and the CLV version of its predecessor, the Philips Laser Disc.


Question: What caused the constant linear velocity?

Answer: Noel Pemberton Billing's patented add-on governor device

One early attempt at lengthening the playing time should be mentioned. <hl> At least one manufacturer in the early 1920s, World Records, produced records that played at a constant linear velocity, controlled by Noel Pemberton Billing's patented add-on governor device . <hl> As these were played from the outside to the inside, the rotational speed of the records increased as reproduction progressed. This action is similar (although in reverse) to that on the modern compact disc and the CLV version of its predecessor, the Philips Laser Disc.

One early attempt at lengthening the playing time should be mentioned. At least one manufacturer in the early 1920s, World Records, produced records that played at a constant linear velocity, controlled by <hl> Noel Pemberton Billing's patented add-on governor device <hl>. As these were played from the outside to the inside, the rotational speed of the records increased as reproduction progressed. This action is similar (although in reverse) to that on the modern compact disc and the CLV version of its predecessor, the Philips Laser Disc.

At least one manufacturer in the early 1920s, World Records, produced records that played at a constant linear velocity, controlled by <hl> Noel Pemberton Billing's patented add-on governor device <hl> .

question: What caused the constant linear velocity?, context: One early attempt at lengthening the playing time should be mentioned. At least one manufacturer in the early 1920s, World Records, produced records that played at a constant linear velocity, controlled by Noel Pemberton Billing's patented add-on governor device. As these were played from the outside to the inside, the rotational speed of the records increased as reproduction progressed. This action is similar (although in reverse) to that on the modern compact disc and the CLV version of its predecessor, the Philips Laser Disc.


Question: What was a unique feature of World Records records?

Answer: played from the outside to the inside

One early attempt at lengthening the playing time should be mentioned. At least one manufacturer in the early 1920s, World Records, produced records that played at a constant linear velocity, controlled by Noel Pemberton Billing's patented add-on governor device. <hl> As these were played from the outside to the inside , the rotational speed of the records increased as reproduction progressed. <hl> This action is similar (although in reverse) to that on the modern compact disc and the CLV version of its predecessor, the Philips Laser Disc.

One early attempt at lengthening the playing time should be mentioned. At least one manufacturer in the early 1920s, World Records, produced records that played at a constant linear velocity, controlled by Noel Pemberton Billing's patented add-on governor device. As these were <hl> played from the outside to the inside <hl>, the rotational speed of the records increased as reproduction progressed. This action is similar (although in reverse) to that on the modern compact disc and the CLV version of its predecessor, the Philips Laser Disc.

As these were <hl> played from the outside to the inside <hl> , the rotational speed of the records increased as reproduction progressed.

question: What was a unique feature of World Records records?, context: One early attempt at lengthening the playing time should be mentioned. At least one manufacturer in the early 1920s, World Records, produced records that played at a constant linear velocity, controlled by Noel Pemberton Billing's patented add-on governor device. As these were played from the outside to the inside, the rotational speed of the records increased as reproduction progressed. This action is similar (although in reverse) to that on the modern compact disc and the CLV version of its predecessor, the Philips Laser Disc.


Question: What currently utilized item was World Records CLV similar to?

Answer: Philips Laser Disc

One early attempt at lengthening the playing time should be mentioned. At least one manufacturer in the early 1920s, World Records, produced records that played at a constant linear velocity, controlled by Noel Pemberton Billing's patented add-on governor device. As these were played from the outside to the inside, the rotational speed of the records increased as reproduction progressed. <hl> This action is similar (although in reverse) to that on the modern compact disc and the CLV version of its predecessor, the Philips Laser Disc . <hl>

One early attempt at lengthening the playing time should be mentioned. At least one manufacturer in the early 1920s, World Records, produced records that played at a constant linear velocity, controlled by Noel Pemberton Billing's patented add-on governor device. As these were played from the outside to the inside, the rotational speed of the records increased as reproduction progressed. This action is similar (although in reverse) to that on the modern compact disc and the CLV version of its predecessor, the <hl> Philips Laser Disc <hl>.

This action is similar (although in reverse) to that on the modern compact disc and the CLV version of its predecessor, the <hl> Philips Laser Disc <hl> .

question: What currently utilized item was World Records CLV similar to?, context: One early attempt at lengthening the playing time should be mentioned. At least one manufacturer in the early 1920s, World Records, produced records that played at a constant linear velocity, controlled by Noel Pemberton Billing's patented add-on governor device. As these were played from the outside to the inside, the rotational speed of the records increased as reproduction progressed. This action is similar (although in reverse) to that on the modern compact disc and the CLV version of its predecessor, the Philips Laser Disc.


Question: What gear ration creates 78.26 rpm?

Answer: 46:1

In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. <hl> This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. <hl> In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a <hl> 46:1 <hl> gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

question: What gear ration creates 78.26 rpm?, context: In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.


Question: In what year was 78.26 rpm chosen as standard?

Answer: 1925

<hl> In 1925 , 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. <hl> This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

In <hl> 1925 <hl>, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

In <hl> 1925 <hl> , 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor.

question: In what year was 78.26 rpm chosen as standard?, context: In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.


Question: How many rpm did the electrically powered synchronous turanable motor run at?

Answer: 3600 rpm

In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. <hl> This motor ran at 3600 rpm , such that a 46:1 gear ratio would produce 78.26 rpm. <hl> In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at <hl> 3600 rpm <hl>, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

This motor ran at <hl> 3600 rpm <hl> , such that a 46:1 gear ratio would produce 78.26 rpm.

question: How many rpm did the electrically powered synchronous turanable motor run at?, context: In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.


Question: Why are these records known as '78s'?

Answer: to distinguish them from other newer disc record formats

In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). <hl> After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats . <hl> Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, <hl> to distinguish them from other newer disc record formats <hl>. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

After World War II these records were retroactively known as 78s, <hl> to distinguish them from other newer disc record formats <hl> .

question: Why are these records known as '78s'?, context: In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.


Question: When did the 45 rpm gain popularity over the 78 rpm

Answer: 1950s

The older 78 format continued to be mass-produced alongside the newer formats using new materials until about 1960 in the U.S., and in a few countries, such as India (where some Beatles recordings were issued on 78), into the 1960s. For example, Columbia Records' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heart, issued November 1, 1954. As late as the 1970s, some children's records were released at the 78 rpm speed. In the United Kingdom, the 78 rpm single lasted longer than in the United States and the 45 rpm took longer to become popular. <hl> The 78 rpm was overtaken in popularity by the 45 rpm in the late 1950s , as teenagers became increasingly affluent. <hl>

The older 78 format continued to be mass-produced alongside the newer formats using new materials until about 1960 in the U.S., and in a few countries, such as India (where some Beatles recordings were issued on 78), into the 1960s. For example, Columbia Records' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heart, issued November 1, 1954. As late as the 1970s, some children's records were released at the 78 rpm speed. In the United Kingdom, the 78 rpm single lasted longer than in the United States and the 45 rpm took longer to become popular. The 78 rpm was overtaken in popularity by the 45 rpm in the late <hl> 1950s <hl>, as teenagers became increasingly affluent.

The 78 rpm was overtaken in popularity by the 45 rpm in the late <hl> 1950s <hl> , as teenagers became increasingly affluent.

question: When did the 45 rpm gain popularity over the 78 rpm, context: The older 78 format continued to be mass-produced alongside the newer formats using new materials until about 1960 in the U.S., and in a few countries, such as India (where some Beatles recordings were issued on 78), into the 1960s. For example, Columbia Records' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heart, issued November 1, 1954. As late as the 1970s, some children's records were released at the 78 rpm speed. In the United Kingdom, the 78 rpm single lasted longer than in the United States and the 45 rpm took longer to become popular. The 78 rpm was overtaken in popularity by the 45 rpm in the late 1950s, as teenagers became increasingly affluent.


Question: With which crowd did the 45 rpm gain popularity?

Answer: teenagers

The older 78 format continued to be mass-produced alongside the newer formats using new materials until about 1960 in the U.S., and in a few countries, such as India (where some Beatles recordings were issued on 78), into the 1960s. For example, Columbia Records' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heart, issued November 1, 1954. As late as the 1970s, some children's records were released at the 78 rpm speed. In the United Kingdom, the 78 rpm single lasted longer than in the United States and the 45 rpm took longer to become popular. <hl> The 78 rpm was overtaken in popularity by the 45 rpm in the late 1950s, as teenagers became increasingly affluent. <hl>

The older 78 format continued to be mass-produced alongside the newer formats using new materials until about 1960 in the U.S., and in a few countries, such as India (where some Beatles recordings were issued on 78), into the 1960s. For example, Columbia Records' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heart, issued November 1, 1954. As late as the 1970s, some children's records were released at the 78 rpm speed. In the United Kingdom, the 78 rpm single lasted longer than in the United States and the 45 rpm took longer to become popular. The 78 rpm was overtaken in popularity by the 45 rpm in the late 1950s, as <hl> teenagers <hl> became increasingly affluent.

question: With which crowd did the 45 rpm gain popularity?, context: The older 78 format continued to be mass-produced alongside the newer formats using new materials until about 1960 in the U.S., and in a few countries, such as India (where some Beatles recordings were issued on 78), into the 1960s. For example, Columbia Records' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heart, issued November 1, 1954. As late as the 1970s, some children's records were released at the 78 rpm speed. In the United Kingdom, the 78 rpm single lasted longer than in the United States and the 45 rpm took longer to become popular. The 78 rpm was overtaken in popularity by the 45 rpm in the late 1950s, as teenagers became increasingly affluent.


Question: At which time were the 79 rpm no longer mass produced?

Answer: about 1960

<hl> The older 78 format continued to be mass-produced alongside the newer formats using new materials until about 1960 in the U.S., and in a few countries, such as India (where some Beatles recordings were issued on 78), into the 1960s. <hl> For example, Columbia Records' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heart, issued November 1, 1954. As late as the 1970s, some children's records were released at the 78 rpm speed. In the United Kingdom, the 78 rpm single lasted longer than in the United States and the 45 rpm took longer to become popular. The 78 rpm was overtaken in popularity by the 45 rpm in the late 1950s, as teenagers became increasingly affluent.

The older 78 format continued to be mass-produced alongside the newer formats using new materials until <hl> about 1960 <hl> in the U.S., and in a few countries, such as India (where some Beatles recordings were issued on 78), into the 1960s. For example, Columbia Records' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heart, issued November 1, 1954. As late as the 1970s, some children's records were released at the 78 rpm speed. In the United Kingdom, the 78 rpm single lasted longer than in the United States and the 45 rpm took longer to become popular. The 78 rpm was overtaken in popularity by the 45 rpm in the late 1950s, as teenagers became increasingly affluent.

question: At which time were the 79 rpm no longer mass produced?, context: The older 78 format continued to be mass-produced alongside the newer formats using new materials until about 1960 in the U.S., and in a few countries, such as India (where some Beatles recordings were issued on 78), into the 1960s. For example, Columbia Records' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heart, issued November 1, 1954. As late as the 1970s, some children's records were released at the 78 rpm speed. In the United Kingdom, the 78 rpm single lasted longer than in the United States and the 45 rpm took longer to become popular. The 78 rpm was overtaken in popularity by the 45 rpm in the late 1950s, as teenagers became increasingly affluent.


Question: On which date did Columbia release it's last 78?

Answer: November 1, 1954.

The older 78 format continued to be mass-produced alongside the newer formats using new materials until about 1960 in the U.S., and in a few countries, such as India (where some Beatles recordings were issued on 78), into the 1960s. <hl> For example, Columbia Records' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heart, issued November 1, 1954. As late as the 1970s, some children's records were released at the 78 rpm speed. <hl> In the United Kingdom, the 78 rpm single lasted longer than in the United States and the 45 rpm took longer to become popular. The 78 rpm was overtaken in popularity by the 45 rpm in the late 1950s, as teenagers became increasingly affluent.

The older 78 format continued to be mass-produced alongside the newer formats using new materials until about 1960 in the U.S., and in a few countries, such as India (where some Beatles recordings were issued on 78), into the 1960s. For example, Columbia Records' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heart, issued <hl> November 1, 1954. <hl> As late as the 1970s, some children's records were released at the 78 rpm speed. In the United Kingdom, the 78 rpm single lasted longer than in the United States and the 45 rpm took longer to become popular. The 78 rpm was overtaken in popularity by the 45 rpm in the late 1950s, as teenagers became increasingly affluent.

question: On which date did Columbia release it's last 78?, context: The older 78 format continued to be mass-produced alongside the newer formats using new materials until about 1960 in the U.S., and in a few countries, such as India (where some Beatles recordings were issued on 78), into the 1960s. For example, Columbia Records' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heart, issued November 1, 1954. As late as the 1970s, some children's records were released at the 78 rpm speed. In the United Kingdom, the 78 rpm single lasted longer than in the United States and the 45 rpm took longer to become popular. The 78 rpm was overtaken in popularity by the 45 rpm in the late 1950s, as teenagers became increasingly affluent.


Question: What was the last country to phase out the 78 rpm?

Answer: United Kingdom

The older 78 format continued to be mass-produced alongside the newer formats using new materials until about 1960 in the U.S., and in a few countries, such as India (where some Beatles recordings were issued on 78), into the 1960s. For example, Columbia Records' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heart, issued November 1, 1954. As late as the 1970s, some children's records were released at the 78 rpm speed. <hl> In the United Kingdom , the 78 rpm single lasted longer than in the United States and the 45 rpm took longer to become popular. <hl> The 78 rpm was overtaken in popularity by the 45 rpm in the late 1950s, as teenagers became increasingly affluent.

The older 78 format continued to be mass-produced alongside the newer formats using new materials until about 1960 in the U.S., and in a few countries, such as India (where some Beatles recordings were issued on 78), into the 1960s. For example, Columbia Records' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heart, issued November 1, 1954. As late as the 1970s, some children's records were released at the 78 rpm speed. In the <hl> United Kingdom <hl>, the 78 rpm single lasted longer than in the United States and the 45 rpm took longer to become popular. The 78 rpm was overtaken in popularity by the 45 rpm in the late 1950s, as teenagers became increasingly affluent.

In the <hl> United Kingdom <hl> , the 78 rpm single lasted longer than in the United States and the 45 rpm took longer to become popular.

question: What was the last country to phase out the 78 rpm?, context: The older 78 format continued to be mass-produced alongside the newer formats using new materials until about 1960 in the U.S., and in a few countries, such as India (where some Beatles recordings were issued on 78), into the 1960s. For example, Columbia Records' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heart, issued November 1, 1954. As late as the 1970s, some children's records were released at the 78 rpm speed. In the United Kingdom, the 78 rpm single lasted longer than in the United States and the 45 rpm took longer to become popular. The 78 rpm was overtaken in popularity by the 45 rpm in the late 1950s, as teenagers became increasingly affluent.


Question: What percentage of Elvis Presley's single sales were of 78s?

Answer: less than 10%

Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could afford at the time. <hl> By the end of 1957, RCA Victor announced that 78s accounted for less than 10% of Presley's singles sales, essentially announcing the death throes of the 78 rpm format. <hl> The last Presley single released on 78 in the United States was RCA Victor 20-7410, I Got Stung/One Night (1958), while the last 78 in the UK was RCA 1194, A Mess Of Blues/Girl Of My Best Friend (1960).

Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could afford at the time. By the end of 1957, RCA Victor announced that 78s accounted for <hl> less than 10% <hl> of Presley's singles sales, essentially announcing the death throes of the 78 rpm format. The last Presley single released on 78 in the United States was RCA Victor 20-7410, I Got Stung/One Night (1958), while the last 78 in the UK was RCA 1194, A Mess Of Blues/Girl Of My Best Friend (1960).

question: What percentage of Elvis Presley's single sales were of 78s?, context: Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could afford at the time. By the end of 1957, RCA Victor announced that 78s accounted for less than 10% of Presley's singles sales, essentially announcing the death throes of the 78 rpm format. The last Presley single released on 78 in the United States was RCA Victor 20-7410, I Got Stung/One Night (1958), while the last 78 in the UK was RCA 1194, A Mess Of Blues/Girl Of My Best Friend (1960).


Question: What was the last 78 released in the UK by RCA?

Answer: A Mess Of Blues/Girl Of My Best Friend

Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could afford at the time. By the end of 1957, RCA Victor announced that 78s accounted for less than 10% of Presley's singles sales, essentially announcing the death throes of the 78 rpm format. <hl> The last Presley single released on 78 in the United States was RCA Victor 20-7410, I Got Stung/One Night (1958), while the last 78 in the UK was RCA 1194, A Mess Of Blues/Girl Of My Best Friend (1960). <hl>

Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could afford at the time. By the end of 1957, RCA Victor announced that 78s accounted for less than 10% of Presley's singles sales, essentially announcing the death throes of the 78 rpm format. The last Presley single released on 78 in the United States was RCA Victor 20-7410, I Got Stung/One Night (1958), while the last 78 in the UK was RCA 1194, <hl> A Mess Of Blues/Girl Of My Best Friend <hl> (1960).

question: What was the last 78 released in the UK by RCA?, context: Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could afford at the time. By the end of 1957, RCA Victor announced that 78s accounted for less than 10% of Presley's singles sales, essentially announcing the death throes of the 78 rpm format. The last Presley single released on 78 in the United States was RCA Victor 20-7410, I Got Stung/One Night (1958), while the last 78 in the UK was RCA 1194, A Mess Of Blues/Girl Of My Best Friend (1960).


Question: Why did Elvis sales of 78s perform so well in the Southern States?

Answer: 45 rpm player was a luxury few could afford at the time

Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. <hl> This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could afford at the time . <hl> By the end of 1957, RCA Victor announced that 78s accounted for less than 10% of Presley's singles sales, essentially announcing the death throes of the 78 rpm format. The last Presley single released on 78 in the United States was RCA Victor 20-7410, I Got Stung/One Night (1958), while the last 78 in the UK was RCA 1194, A Mess Of Blues/Girl Of My Best Friend (1960).

Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new <hl> 45 rpm player was a luxury few could afford at the time <hl>. By the end of 1957, RCA Victor announced that 78s accounted for less than 10% of Presley's singles sales, essentially announcing the death throes of the 78 rpm format. The last Presley single released on 78 in the United States was RCA Victor 20-7410, I Got Stung/One Night (1958), while the last 78 in the UK was RCA 1194, A Mess Of Blues/Girl Of My Best Friend (1960).

This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new <hl> 45 rpm player was a luxury few could afford at the time <hl> .

question: Why did Elvis sales of 78s perform so well in the Southern States?, context: Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could afford at the time. By the end of 1957, RCA Victor announced that 78s accounted for less than 10% of Presley's singles sales, essentially announcing the death throes of the 78 rpm format. The last Presley single released on 78 in the United States was RCA Victor 20-7410, I Got Stung/One Night (1958), while the last 78 in the UK was RCA 1194, A Mess Of Blues/Girl Of My Best Friend (1960).


Question: On which label did Elvis release his early singles?

Answer: Sun Records

<hl> Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. <hl> This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could afford at the time. By the end of 1957, RCA Victor announced that 78s accounted for less than 10% of Presley's singles sales, essentially announcing the death throes of the 78 rpm format. The last Presley single released on 78 in the United States was RCA Victor 20-7410, I Got Stung/One Night (1958), while the last 78 in the UK was RCA 1194, A Mess Of Blues/Girl Of My Best Friend (1960).

Some of Elvis Presley's early singles on <hl> Sun Records <hl> might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could afford at the time. By the end of 1957, RCA Victor announced that 78s accounted for less than 10% of Presley's singles sales, essentially announcing the death throes of the 78 rpm format. The last Presley single released on 78 in the United States was RCA Victor 20-7410, I Got Stung/One Night (1958), while the last 78 in the UK was RCA 1194, A Mess Of Blues/Girl Of My Best Friend (1960).

question: On which label did Elvis release his early singles?, context: Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could afford at the time. By the end of 1957, RCA Victor announced that 78s accounted for less than 10% of Presley's singles sales, essentially announcing the death throes of the 78 rpm format. The last Presley single released on 78 in the United States was RCA Victor 20-7410, I Got Stung/One Night (1958), while the last 78 in the UK was RCA 1194, A Mess Of Blues/Girl Of My Best Friend (1960).


Question: What was the last Elvis Presley single released on 78?

Answer: I Got Stung/One Night

Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could afford at the time. By the end of 1957, RCA Victor announced that 78s accounted for less than 10% of Presley's singles sales, essentially announcing the death throes of the 78 rpm format. <hl> The last Presley single released on 78 in the United States was RCA Victor 20-7410, I Got Stung/One Night (1958), while the last 78 in the UK was RCA 1194, A Mess Of Blues/Girl Of My Best Friend (1960). <hl>

Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could afford at the time. By the end of 1957, RCA Victor announced that 78s accounted for less than 10% of Presley's singles sales, essentially announcing the death throes of the 78 rpm format. The last Presley single released on 78 in the United States was RCA Victor 20-7410, <hl> I Got Stung/One Night <hl> (1958), while the last 78 in the UK was RCA 1194, A Mess Of Blues/Girl Of My Best Friend (1960).

question: What was the last Elvis Presley single released on 78?, context: Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could afford at the time. By the end of 1957, RCA Victor announced that 78s accounted for less than 10% of Presley's singles sales, essentially announcing the death throes of the 78 rpm format. The last Presley single released on 78 in the United States was RCA Victor 20-7410, I Got Stung/One Night (1958), while the last 78 in the UK was RCA 1194, A Mess Of Blues/Girl Of My Best Friend (1960).


Question: What two formats replaced the 78?

Answer: 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm

<hl> After World War II, two new competing formats came onto the market and gradually replaced the standard "78": the 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm (see above). <hl> The 33 1⁄3 rpm LP (for "long-play") format was developed by Columbia Records and marketed in June 1948. RCA Victor developed the 45 rpm format and marketed it in March 1949, each pursuing their own r&d in secret. Both types of new disc used narrower grooves, intended to be played with smaller stylus—typically 0.001 inches (25 µm) wide, compared to 0.003 inches (76 µm) for a 78—so the new records were sometimes called Microgroove. In the mid-1950s all record companies agreed to a common recording standard called RIAA equalization. Prior to the establishment of the standard each company used its own preferred standard, requiring discriminating listeners to use pre-amplifiers with multiple selectable equalization curves.

After World War II, two new competing formats came onto the market and gradually replaced the standard "78": the <hl> 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm <hl> (see above). The 33 1⁄3 rpm LP (for "long-play") format was developed by Columbia Records and marketed in June 1948. RCA Victor developed the 45 rpm format and marketed it in March 1949, each pursuing their own r&d in secret. Both types of new disc used narrower grooves, intended to be played with smaller stylus—typically 0.001 inches (25 µm) wide, compared to 0.003 inches (76 µm) for a 78—so the new records were sometimes called Microgroove. In the mid-1950s all record companies agreed to a common recording standard called RIAA equalization. Prior to the establishment of the standard each company used its own preferred standard, requiring discriminating listeners to use pre-amplifiers with multiple selectable equalization curves.

question: What two formats replaced the 78?, context: After World War II, two new competing formats came onto the market and gradually replaced the standard "78": the 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm (see above). The 33 1⁄3 rpm LP (for "long-play") format was developed by Columbia Records and marketed in June 1948. RCA Victor developed the 45 rpm format and marketed it in March 1949, each pursuing their own r&d in secret. Both types of new disc used narrower grooves, intended to be played with smaller stylus—typically 0.001 inches (25 µm) wide, compared to 0.003 inches (76 µm) for a 78—so the new records were sometimes called Microgroove. In the mid-1950s all record companies agreed to a common recording standard called RIAA equalization. Prior to the establishment of the standard each company used its own preferred standard, requiring discriminating listeners to use pre-amplifiers with multiple selectable equalization curves.


Question: Who developed the 33 1/3 rpm LP?

Answer: Columbia Records

After World War II, two new competing formats came onto the market and gradually replaced the standard "78": the 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm (see above). <hl> The 33 1⁄3 rpm LP (for "long-play") format was developed by Columbia Records and marketed in June 1948. <hl> RCA Victor developed the 45 rpm format and marketed it in March 1949, each pursuing their own r&d in secret. Both types of new disc used narrower grooves, intended to be played with smaller stylus—typically 0.001 inches (25 µm) wide, compared to 0.003 inches (76 µm) for a 78—so the new records were sometimes called Microgroove. In the mid-1950s all record companies agreed to a common recording standard called RIAA equalization. Prior to the establishment of the standard each company used its own preferred standard, requiring discriminating listeners to use pre-amplifiers with multiple selectable equalization curves.

After World War II, two new competing formats came onto the market and gradually replaced the standard "78": the 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm (see above). The 33 1⁄3 rpm LP (for "long-play") format was developed by <hl> Columbia Records <hl> and marketed in June 1948. RCA Victor developed the 45 rpm format and marketed it in March 1949, each pursuing their own r&d in secret. Both types of new disc used narrower grooves, intended to be played with smaller stylus—typically 0.001 inches (25 µm) wide, compared to 0.003 inches (76 µm) for a 78—so the new records were sometimes called Microgroove. In the mid-1950s all record companies agreed to a common recording standard called RIAA equalization. Prior to the establishment of the standard each company used its own preferred standard, requiring discriminating listeners to use pre-amplifiers with multiple selectable equalization curves.

question: Who developed the 33 1/3 rpm LP?, context: After World War II, two new competing formats came onto the market and gradually replaced the standard "78": the 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm (see above). The 33 1⁄3 rpm LP (for "long-play") format was developed by Columbia Records and marketed in June 1948. RCA Victor developed the 45 rpm format and marketed it in March 1949, each pursuing their own r&d in secret. Both types of new disc used narrower grooves, intended to be played with smaller stylus—typically 0.001 inches (25 µm) wide, compared to 0.003 inches (76 µm) for a 78—so the new records were sometimes called Microgroove. In the mid-1950s all record companies agreed to a common recording standard called RIAA equalization. Prior to the establishment of the standard each company used its own preferred standard, requiring discriminating listeners to use pre-amplifiers with multiple selectable equalization curves.


Question: When did the 33 1/3 rpm hit the market?

Answer: June 1948

After World War II, two new competing formats came onto the market and gradually replaced the standard "78": the 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm (see above). <hl> The 33 1⁄3 rpm LP (for "long-play") format was developed by Columbia Records and marketed in June 1948 . <hl> RCA Victor developed the 45 rpm format and marketed it in March 1949, each pursuing their own r&d in secret. Both types of new disc used narrower grooves, intended to be played with smaller stylus—typically 0.001 inches (25 µm) wide, compared to 0.003 inches (76 µm) for a 78—so the new records were sometimes called Microgroove. In the mid-1950s all record companies agreed to a common recording standard called RIAA equalization. Prior to the establishment of the standard each company used its own preferred standard, requiring discriminating listeners to use pre-amplifiers with multiple selectable equalization curves.

After World War II, two new competing formats came onto the market and gradually replaced the standard "78": the 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm (see above). The 33 1⁄3 rpm LP (for "long-play") format was developed by Columbia Records and marketed in <hl> June 1948 <hl>. RCA Victor developed the 45 rpm format and marketed it in March 1949, each pursuing their own r&d in secret. Both types of new disc used narrower grooves, intended to be played with smaller stylus—typically 0.001 inches (25 µm) wide, compared to 0.003 inches (76 µm) for a 78—so the new records were sometimes called Microgroove. In the mid-1950s all record companies agreed to a common recording standard called RIAA equalization. Prior to the establishment of the standard each company used its own preferred standard, requiring discriminating listeners to use pre-amplifiers with multiple selectable equalization curves.

The 33 1⁄3 rpm LP (for "long-play") format was developed by Columbia Records and marketed in <hl> June 1948 <hl> .

question: When did the 33 1/3 rpm hit the market?, context: After World War II, two new competing formats came onto the market and gradually replaced the standard "78": the 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm (see above). The 33 1⁄3 rpm LP (for "long-play") format was developed by Columbia Records and marketed in June 1948. RCA Victor developed the 45 rpm format and marketed it in March 1949, each pursuing their own r&d in secret. Both types of new disc used narrower grooves, intended to be played with smaller stylus—typically 0.001 inches (25 µm) wide, compared to 0.003 inches (76 µm) for a 78—so the new records were sometimes called Microgroove. In the mid-1950s all record companies agreed to a common recording standard called RIAA equalization. Prior to the establishment of the standard each company used its own preferred standard, requiring discriminating listeners to use pre-amplifiers with multiple selectable equalization curves.


Question: When did RCA release their 45 rpm format?

Answer: March 1949

After World War II, two new competing formats came onto the market and gradually replaced the standard "78": the 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm (see above). The 33 1⁄3 rpm LP (for "long-play") format was developed by Columbia Records and marketed in June 1948. <hl> RCA Victor developed the 45 rpm format and marketed it in March 1949 , each pursuing their own r&d in secret. <hl> Both types of new disc used narrower grooves, intended to be played with smaller stylus—typically 0.001 inches (25 µm) wide, compared to 0.003 inches (76 µm) for a 78—so the new records were sometimes called Microgroove. In the mid-1950s all record companies agreed to a common recording standard called RIAA equalization. Prior to the establishment of the standard each company used its own preferred standard, requiring discriminating listeners to use pre-amplifiers with multiple selectable equalization curves.

After World War II, two new competing formats came onto the market and gradually replaced the standard "78": the 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm (see above). The 33 1⁄3 rpm LP (for "long-play") format was developed by Columbia Records and marketed in June 1948. RCA Victor developed the 45 rpm format and marketed it in <hl> March 1949 <hl>, each pursuing their own r&d in secret. Both types of new disc used narrower grooves, intended to be played with smaller stylus—typically 0.001 inches (25 µm) wide, compared to 0.003 inches (76 µm) for a 78—so the new records were sometimes called Microgroove. In the mid-1950s all record companies agreed to a common recording standard called RIAA equalization. Prior to the establishment of the standard each company used its own preferred standard, requiring discriminating listeners to use pre-amplifiers with multiple selectable equalization curves.

RCA Victor developed the 45 rpm format and marketed it in <hl> March 1949 <hl> , each pursuing their own r&d in secret.

question: When did RCA release their 45 rpm format?, context: After World War II, two new competing formats came onto the market and gradually replaced the standard "78": the 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm (see above). The 33 1⁄3 rpm LP (for "long-play") format was developed by Columbia Records and marketed in June 1948. RCA Victor developed the 45 rpm format and marketed it in March 1949, each pursuing their own r&d in secret. Both types of new disc used narrower grooves, intended to be played with smaller stylus—typically 0.001 inches (25 µm) wide, compared to 0.003 inches (76 µm) for a 78—so the new records were sometimes called Microgroove. In the mid-1950s all record companies agreed to a common recording standard called RIAA equalization. Prior to the establishment of the standard each company used its own preferred standard, requiring discriminating listeners to use pre-amplifiers with multiple selectable equalization curves.


Question: When were RIAA standards established?

Answer: mid-1950s

After World War II, two new competing formats came onto the market and gradually replaced the standard "78": the 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm (see above). The 33 1⁄3 rpm LP (for "long-play") format was developed by Columbia Records and marketed in June 1948. RCA Victor developed the 45 rpm format and marketed it in March 1949, each pursuing their own r&d in secret. Both types of new disc used narrower grooves, intended to be played with smaller stylus—typically 0.001 inches (25 µm) wide, compared to 0.003 inches (76 µm) for a 78—so the new records were sometimes called Microgroove. <hl> In the mid-1950s all record companies agreed to a common recording standard called RIAA equalization. <hl> Prior to the establishment of the standard each company used its own preferred standard, requiring discriminating listeners to use pre-amplifiers with multiple selectable equalization curves.

After World War II, two new competing formats came onto the market and gradually replaced the standard "78": the 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm (see above). The 33 1⁄3 rpm LP (for "long-play") format was developed by Columbia Records and marketed in June 1948. RCA Victor developed the 45 rpm format and marketed it in March 1949, each pursuing their own r&d in secret. Both types of new disc used narrower grooves, intended to be played with smaller stylus—typically 0.001 inches (25 µm) wide, compared to 0.003 inches (76 µm) for a 78—so the new records were sometimes called Microgroove. In the <hl> mid-1950s <hl> all record companies agreed to a common recording standard called RIAA equalization. Prior to the establishment of the standard each company used its own preferred standard, requiring discriminating listeners to use pre-amplifiers with multiple selectable equalization curves.

question: When were RIAA standards established?, context: After World War II, two new competing formats came onto the market and gradually replaced the standard "78": the 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm (see above). The 33 1⁄3 rpm LP (for "long-play") format was developed by Columbia Records and marketed in June 1948. RCA Victor developed the 45 rpm format and marketed it in March 1949, each pursuing their own r&d in secret. Both types of new disc used narrower grooves, intended to be played with smaller stylus—typically 0.001 inches (25 µm) wide, compared to 0.003 inches (76 µm) for a 78—so the new records were sometimes called Microgroove. In the mid-1950s all record companies agreed to a common recording standard called RIAA equalization. Prior to the establishment of the standard each company used its own preferred standard, requiring discriminating listeners to use pre-amplifiers with multiple selectable equalization curves.


Question: What was 16 2/3 rpm speed used for?

Answer: narrated publications

Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16 2⁄3 rpm record to be played in Chrysler automobiles, but poor performance of the system and weak implementation by Chrysler and Columbia led to the demise of the 16 2⁄3 rpm records. <hl> Subsequently, the 16 2⁄3 rpm speed was used for narrated publications for the blind and visually impaired, and were never widely commercially available, although it was common to see new turntable models with a 16 rpm speed setting produced as late as the 1970s. <hl>

Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16 2⁄3 rpm record to be played in Chrysler automobiles, but poor performance of the system and weak implementation by Chrysler and Columbia led to the demise of the 16 2⁄3 rpm records. Subsequently, the 16 2⁄3 rpm speed was used for <hl> narrated publications <hl> for the blind and visually impaired, and were never widely commercially available, although it was common to see new turntable models with a 16 rpm speed setting produced as late as the 1970s.

question: What was 16 2/3 rpm speed used for?, context: Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16 2⁄3 rpm record to be played in Chrysler automobiles, but poor performance of the system and weak implementation by Chrysler and Columbia led to the demise of the 16 2⁄3 rpm records. Subsequently, the 16 2⁄3 rpm speed was used for narrated publications for the blind and visually impaired, and were never widely commercially available, although it was common to see new turntable models with a 16 rpm speed setting produced as late as the 1970s.


Question: Who developed the 33 1/3 rpm speed record?

Answer: Peter Goldmark

Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. <hl> Peter Goldmark , the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16 2⁄3 rpm record to be played in Chrysler automobiles, but poor performance of the system and weak implementation by Chrysler and Columbia led to the demise of the 16 2⁄3 rpm records. <hl> Subsequently, the 16 2⁄3 rpm speed was used for narrated publications for the blind and visually impaired, and were never widely commercially available, although it was common to see new turntable models with a 16 rpm speed setting produced as late as the 1970s.

Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. <hl> Peter Goldmark <hl>, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16 2⁄3 rpm record to be played in Chrysler automobiles, but poor performance of the system and weak implementation by Chrysler and Columbia led to the demise of the 16 2⁄3 rpm records. Subsequently, the 16 2⁄3 rpm speed was used for narrated publications for the blind and visually impaired, and were never widely commercially available, although it was common to see new turntable models with a 16 rpm speed setting produced as late as the 1970s.

<hl> Peter Goldmark <hl> , the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16 2⁄3 rpm record to be played in Chrysler automobiles, but poor performance of the system and weak implementation by Chrysler and Columbia led to the demise of the 16 2⁄3 rpm records.

question: Who developed the 33 1/3 rpm speed record?, context: Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16 2⁄3 rpm record to be played in Chrysler automobiles, but poor performance of the system and weak implementation by Chrysler and Columbia led to the demise of the 16 2⁄3 rpm records. Subsequently, the 16 2⁄3 rpm speed was used for narrated publications for the blind and visually impaired, and were never widely commercially available, although it was common to see new turntable models with a 16 rpm speed setting produced as late as the 1970s.


Question: What record format was created for use in Chrysler automobiles?

Answer: Highway Hi-Fi 16 2⁄3 rpm record

Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. <hl> Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16 2⁄3 rpm record to be played in Chrysler automobiles, but poor performance of the system and weak implementation by Chrysler and Columbia led to the demise of the 16 2⁄3 rpm records. <hl> Subsequently, the 16 2⁄3 rpm speed was used for narrated publications for the blind and visually impaired, and were never widely commercially available, although it was common to see new turntable models with a 16 rpm speed setting produced as late as the 1970s.

Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the <hl> Highway Hi-Fi 16 2⁄3 rpm record <hl> to be played in Chrysler automobiles, but poor performance of the system and weak implementation by Chrysler and Columbia led to the demise of the 16 2⁄3 rpm records. Subsequently, the 16 2⁄3 rpm speed was used for narrated publications for the blind and visually impaired, and were never widely commercially available, although it was common to see new turntable models with a 16 rpm speed setting produced as late as the 1970s.

question: What record format was created for use in Chrysler automobiles?, context: Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16 2⁄3 rpm record to be played in Chrysler automobiles, but poor performance of the system and weak implementation by Chrysler and Columbia led to the demise of the 16 2⁄3 rpm records. Subsequently, the 16 2⁄3 rpm speed was used for narrated publications for the blind and visually impaired, and were never widely commercially available, although it was common to see new turntable models with a 16 rpm speed setting produced as late as the 1970s.


Question: Why did Chrysler discontinue use of the Hifi 16 2/3 rpm record?

Answer: poor performance

Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. <hl> Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16 2⁄3 rpm record to be played in Chrysler automobiles, but poor performance of the system and weak implementation by Chrysler and Columbia led to the demise of the 16 2⁄3 rpm records. <hl> Subsequently, the 16 2⁄3 rpm speed was used for narrated publications for the blind and visually impaired, and were never widely commercially available, although it was common to see new turntable models with a 16 rpm speed setting produced as late as the 1970s.

Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16 2⁄3 rpm record to be played in Chrysler automobiles, but <hl> poor performance <hl> of the system and weak implementation by Chrysler and Columbia led to the demise of the 16 2⁄3 rpm records. Subsequently, the 16 2⁄3 rpm speed was used for narrated publications for the blind and visually impaired, and were never widely commercially available, although it was common to see new turntable models with a 16 rpm speed setting produced as late as the 1970s.

question: Why did Chrysler discontinue use of the Hifi 16 2/3 rpm record?, context: Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16 2⁄3 rpm record to be played in Chrysler automobiles, but poor performance of the system and weak implementation by Chrysler and Columbia led to the demise of the 16 2⁄3 rpm records. Subsequently, the 16 2⁄3 rpm speed was used for narrated publications for the blind and visually impaired, and were never widely commercially available, although it was common to see new turntable models with a 16 rpm speed setting produced as late as the 1970s.


Question: To the end of which era could you find 16 rpm setting on record players?

Answer: 1970s

Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16 2⁄3 rpm record to be played in Chrysler automobiles, but poor performance of the system and weak implementation by Chrysler and Columbia led to the demise of the 16 2⁄3 rpm records. <hl> Subsequently, the 16 2⁄3 rpm speed was used for narrated publications for the blind and visually impaired, and were never widely commercially available, although it was common to see new turntable models with a 16 rpm speed setting produced as late as the 1970s . <hl>

Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16 2⁄3 rpm record to be played in Chrysler automobiles, but poor performance of the system and weak implementation by Chrysler and Columbia led to the demise of the 16 2⁄3 rpm records. Subsequently, the 16 2⁄3 rpm speed was used for narrated publications for the blind and visually impaired, and were never widely commercially available, although it was common to see new turntable models with a 16 rpm speed setting produced as late as the <hl> 1970s <hl>.

Subsequently, the 16 2⁄3 rpm speed was used for narrated publications for the blind and visually impaired, and were never widely commercially available, although it was common to see new turntable models with a 16 rpm speed setting produced as late as the <hl> 1970s <hl> .

question: To the end of which era could you find 16 rpm setting on record players?, context: Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16 2⁄3 rpm record to be played in Chrysler automobiles, but poor performance of the system and weak implementation by Chrysler and Columbia led to the demise of the 16 2⁄3 rpm records. Subsequently, the 16 2⁄3 rpm speed was used for narrated publications for the blind and visually impaired, and were never widely commercially available, although it was common to see new turntable models with a 16 rpm speed setting produced as late as the 1970s.


Question: Which company lost the "War of the Speeds"?

Answer: RCA

<hl> The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch (175 mm) 45 rpm disc. <hl> For a two-year period from 1948 to 1950, record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". (See also format war.) In 1949 Capitol and Decca adopted the new LP format and RCA gave in and issued its first LP in January 1950. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February 1951. By 1954, 200 million 45s had been sold.

The commercial rivalry between <hl> RCA <hl> Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch (175 mm) 45 rpm disc. For a two-year period from 1948 to 1950, record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". (See also format war.) In 1949 Capitol and Decca adopted the new LP format and RCA gave in and issued its first LP in January 1950. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February 1951. By 1954, 200 million 45s had been sold.

question: Which company lost the "War of the Speeds"?, context: The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch (175 mm) 45 rpm disc. For a two-year period from 1948 to 1950, record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". (See also format war.) In 1949 Capitol and Decca adopted the new LP format and RCA gave in and issued its first LP in January 1950. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February 1951. By 1954, 200 million 45s had been sold.


Question: What speed ultimantly ended up winning the war of the speeds?

Answer: 45 rpm

<hl> The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch (175 mm) 45 rpm disc. <hl> For a two-year period from 1948 to 1950, record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". (See also format war.) In 1949 Capitol and Decca adopted the new LP format and RCA gave in and issued its first LP in January 1950. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February 1951. By 1954, 200 million 45s had been sold.

The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch (175 mm) <hl> 45 rpm <hl> disc. For a two-year period from 1948 to 1950, record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". (See also format war.) In 1949 Capitol and Decca adopted the new LP format and RCA gave in and issued its first LP in January 1950. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February 1951. By 1954, 200 million 45s had been sold.

question: What speed ultimantly ended up winning the war of the speeds?, context: The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch (175 mm) 45 rpm disc. For a two-year period from 1948 to 1950, record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". (See also format war.) In 1949 Capitol and Decca adopted the new LP format and RCA gave in and issued its first LP in January 1950. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February 1951. By 1954, 200 million 45s had been sold.


Question: Over which years did the "War of the Speeds" last?

Answer: 1948 to 1950

The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch (175 mm) 45 rpm disc. <hl> For a two-year period from 1948 to 1950 , record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". <hl> (See also format war.) In 1949 Capitol and Decca adopted the new LP format and RCA gave in and issued its first LP in January 1950. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February 1951. By 1954, 200 million 45s had been sold.

The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch (175 mm) 45 rpm disc. For a two-year period from <hl> 1948 to 1950 <hl>, record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". (See also format war.) In 1949 Capitol and Decca adopted the new LP format and RCA gave in and issued its first LP in January 1950. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February 1951. By 1954, 200 million 45s had been sold.

For a two-year period from <hl> 1948 to 1950 <hl> , record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds".

question: Over which years did the "War of the Speeds" last?, context: The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch (175 mm) 45 rpm disc. For a two-year period from 1948 to 1950, record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". (See also format war.) In 1949 Capitol and Decca adopted the new LP format and RCA gave in and issued its first LP in January 1950. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February 1951. By 1954, 200 million 45s had been sold.


Question: By 1945 what was the total sale of 45s?

Answer: 200 million

By 1954, 200 million 45s had been sold.

The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch (175 mm) 45 rpm disc. For a two-year period from 1948 to 1950, record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". (See also format war.) In 1949 Capitol and Decca adopted the new LP format and RCA gave in and issued its first LP in January 1950. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February 1951. <hl> By 1954, 200 million 45s had been sold. <hl>

The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch (175 mm) 45 rpm disc. For a two-year period from 1948 to 1950, record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". (See also format war.) In 1949 Capitol and Decca adopted the new LP format and RCA gave in and issued its first LP in January 1950. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February 1951. By 1954, <hl> 200 million <hl> 45s had been sold.

question: By 1945 what was the total sale of 45s?, context: The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch (175 mm) 45 rpm disc. For a two-year period from 1948 to 1950, record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". (See also format war.) In 1949 Capitol and Decca adopted the new LP format and RCA gave in and issued its first LP in January 1950. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February 1951. By 1954, 200 million 45s had been sold.


Question: Which two companies were involved in the "War of the Speeds"?

Answer: RCA Victor and Columbia Records

<hl> The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch (175 mm) 45 rpm disc. <hl> For a two-year period from 1948 to 1950, record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". (See also format war.) In 1949 Capitol and Decca adopted the new LP format and RCA gave in and issued its first LP in January 1950. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February 1951. By 1954, 200 million 45s had been sold.

The commercial rivalry between <hl> RCA Victor and Columbia Records <hl> led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch (175 mm) 45 rpm disc. For a two-year period from 1948 to 1950, record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". (See also format war.) In 1949 Capitol and Decca adopted the new LP format and RCA gave in and issued its first LP in January 1950. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February 1951. By 1954, 200 million 45s had been sold.

question: Which two companies were involved in the "War of the Speeds"?, context: The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch (175 mm) 45 rpm disc. For a two-year period from 1948 to 1950, record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". (See also format war.) In 1949 Capitol and Decca adopted the new LP format and RCA gave in and issued its first LP in January 1950. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February 1951. By 1954, 200 million 45s had been sold.


Question: What format of LPs was discontinued?

Answer: 10-inch

Eventually the 12-inch (300 mm) <hl> 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. <hl> The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.

Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and <hl> 10-inch <hl> LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.

question: What format of LPs was discontinued?, context: Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.


Question: What was the significance of October 26th, 1956?

Answer: The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP

Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. <hl> The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. <hl> The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.

Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. <hl> The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP <hl> record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.

question: What was the significance of October 26th, 1956?, context: Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.


Question: In which country did the 10 in LP exist the longest?

Answer: United Kingdom

Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. <hl> The 10-inch LP however had a longer life in the United Kingdom , where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. <hl> The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.

Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the <hl> United Kingdom <hl>, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.

The 10-inch LP however had a longer life in the <hl> United Kingdom <hl> , where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form.

question: In which country did the 10 in LP exist the longest?, context: Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.


Question: Which format offered up to 1/2 an hour of recordings per side?

Answer: 12-inch LP

Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. <hl> The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side. <hl>

Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the <hl> 12-inch LP <hl> discs eventually provided up to one half-hour of recorded material per side.

question: Which format offered up to 1/2 an hour of recordings per side?, context: Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.