Question: Did the 45 rpm or 12 inch disc offer longer playing time?

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: Did the 45 rpm or 12 inch disc offer longer playing time?, 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 do the initials EP stand for?

Answer: extended play

<hl> The 45 rpm discs also came in a variety known as extended play (EP), which achieved up to 10–15 minutes play at the expense of attenuating (and possibly compressing) the sound to reduce the width required by the groove. <hl> EP discs were cheaper to produce, and were used in cases where unit sales were likely to be more limited or to reissue LP albums on the smaller format for those people who had only 45 rpm players. LP albums could be purchased 1 EP at a time, with four items per EP, or in a boxed set with 3 EPs or 12 items. The large center hole on 45s allows for easier handling by jukebox mechanisms. EPs were generally discontinued by the late 1950s in the U.S. as three- and four-speed record players replaced the individual 45 players. One indication of the decline of the 45 rpm EP is that the last Columbia Records reissue of Frank Sinatra songs on 45 rpm EP records, called Frank Sinatra (Columbia B-2641) was issued on December 7, 1959. The EP lasted considerably longer in Europe, and was a popular format during the 1960s for recordings by artists such as Serge Gainsbourg and the Beatles.

The 45 rpm discs also came in a variety known as <hl> extended play <hl> (EP), which achieved up to 10–15 minutes play at the expense of attenuating (and possibly compressing) the sound to reduce the width required by the groove. EP discs were cheaper to produce, and were used in cases where unit sales were likely to be more limited or to reissue LP albums on the smaller format for those people who had only 45 rpm players. LP albums could be purchased 1 EP at a time, with four items per EP, or in a boxed set with 3 EPs or 12 items. The large center hole on 45s allows for easier handling by jukebox mechanisms. EPs were generally discontinued by the late 1950s in the U.S. as three- and four-speed record players replaced the individual 45 players. One indication of the decline of the 45 rpm EP is that the last Columbia Records reissue of Frank Sinatra songs on 45 rpm EP records, called Frank Sinatra (Columbia B-2641) was issued on December 7, 1959. The EP lasted considerably longer in Europe, and was a popular format during the 1960s for recordings by artists such as Serge Gainsbourg and the Beatles.

question: What do the initials EP stand for?, context: The 45 rpm discs also came in a variety known as extended play (EP), which achieved up to 10–15 minutes play at the expense of attenuating (and possibly compressing) the sound to reduce the width required by the groove. EP discs were cheaper to produce, and were used in cases where unit sales were likely to be more limited or to reissue LP albums on the smaller format for those people who had only 45 rpm players. LP albums could be purchased 1 EP at a time, with four items per EP, or in a boxed set with 3 EPs or 12 items. The large center hole on 45s allows for easier handling by jukebox mechanisms. EPs were generally discontinued by the late 1950s in the U.S. as three- and four-speed record players replaced the individual 45 players. One indication of the decline of the 45 rpm EP is that the last Columbia Records reissue of Frank Sinatra songs on 45 rpm EP records, called Frank Sinatra (Columbia B-2641) was issued on December 7, 1959. The EP lasted considerably longer in Europe, and was a popular format during the 1960s for recordings by artists such as Serge Gainsbourg and the Beatles.


Question: Why were 45s more popular with jukeboxes?

Answer: The large center hole

The 45 rpm discs also came in a variety known as extended play (EP), which achieved up to 10–15 minutes play at the expense of attenuating (and possibly compressing) the sound to reduce the width required by the groove. EP discs were cheaper to produce, and were used in cases where unit sales were likely to be more limited or to reissue LP albums on the smaller format for those people who had only 45 rpm players. LP albums could be purchased 1 EP at a time, with four items per EP, or in a boxed set with 3 EPs or 12 items. <hl> The large center hole on 45s allows for easier handling by jukebox mechanisms. <hl> EPs were generally discontinued by the late 1950s in the U.S. as three- and four-speed record players replaced the individual 45 players. One indication of the decline of the 45 rpm EP is that the last Columbia Records reissue of Frank Sinatra songs on 45 rpm EP records, called Frank Sinatra (Columbia B-2641) was issued on December 7, 1959. The EP lasted considerably longer in Europe, and was a popular format during the 1960s for recordings by artists such as Serge Gainsbourg and the Beatles.

The 45 rpm discs also came in a variety known as extended play (EP), which achieved up to 10–15 minutes play at the expense of attenuating (and possibly compressing) the sound to reduce the width required by the groove. EP discs were cheaper to produce, and were used in cases where unit sales were likely to be more limited or to reissue LP albums on the smaller format for those people who had only 45 rpm players. LP albums could be purchased 1 EP at a time, with four items per EP, or in a boxed set with 3 EPs or 12 items. <hl> The large center hole <hl> on 45s allows for easier handling by jukebox mechanisms. EPs were generally discontinued by the late 1950s in the U.S. as three- and four-speed record players replaced the individual 45 players. One indication of the decline of the 45 rpm EP is that the last Columbia Records reissue of Frank Sinatra songs on 45 rpm EP records, called Frank Sinatra (Columbia B-2641) was issued on December 7, 1959. The EP lasted considerably longer in Europe, and was a popular format during the 1960s for recordings by artists such as Serge Gainsbourg and the Beatles.

question: Why were 45s more popular with jukeboxes?, context: The 45 rpm discs also came in a variety known as extended play (EP), which achieved up to 10–15 minutes play at the expense of attenuating (and possibly compressing) the sound to reduce the width required by the groove. EP discs were cheaper to produce, and were used in cases where unit sales were likely to be more limited or to reissue LP albums on the smaller format for those people who had only 45 rpm players. LP albums could be purchased 1 EP at a time, with four items per EP, or in a boxed set with 3 EPs or 12 items. The large center hole on 45s allows for easier handling by jukebox mechanisms. EPs were generally discontinued by the late 1950s in the U.S. as three- and four-speed record players replaced the individual 45 players. One indication of the decline of the 45 rpm EP is that the last Columbia Records reissue of Frank Sinatra songs on 45 rpm EP records, called Frank Sinatra (Columbia B-2641) was issued on December 7, 1959. The EP lasted considerably longer in Europe, and was a popular format during the 1960s for recordings by artists such as Serge Gainsbourg and the Beatles.


Question: What format was phased out by the end of the 1950s?

Answer: EPs

The 45 rpm discs also came in a variety known as extended play (EP), which achieved up to 10–15 minutes play at the expense of attenuating (and possibly compressing) the sound to reduce the width required by the groove. EP discs were cheaper to produce, and were used in cases where unit sales were likely to be more limited or to reissue LP albums on the smaller format for those people who had only 45 rpm players. <hl> LP albums could be purchased 1 EP at a time, with four items per EP, or in a boxed set with 3 EPs or 12 items. <hl> The large center hole on 45s allows for easier handling by jukebox mechanisms. EPs were generally discontinued by the late 1950s in the U.S. as three- and four-speed record players replaced the individual 45 players. One indication of the decline of the 45 rpm EP is that the last Columbia Records reissue of Frank Sinatra songs on 45 rpm EP records, called Frank Sinatra (Columbia B-2641) was issued on December 7, 1959. The EP lasted considerably longer in Europe, and was a popular format during the 1960s for recordings by artists such as Serge Gainsbourg and the Beatles.

The 45 rpm discs also came in a variety known as extended play (EP), which achieved up to 10–15 minutes play at the expense of attenuating (and possibly compressing) the sound to reduce the width required by the groove. EP discs were cheaper to produce, and were used in cases where unit sales were likely to be more limited or to reissue LP albums on the smaller format for those people who had only 45 rpm players. LP albums could be purchased 1 EP at a time, with four items per EP, or in a boxed set with 3 <hl> EPs <hl> or 12 items. The large center hole on 45s allows for easier handling by jukebox mechanisms. EPs were generally discontinued by the late 1950s in the U.S. as three- and four-speed record players replaced the individual 45 players. One indication of the decline of the 45 rpm EP is that the last Columbia Records reissue of Frank Sinatra songs on 45 rpm EP records, called Frank Sinatra (Columbia B-2641) was issued on December 7, 1959. The EP lasted considerably longer in Europe, and was a popular format during the 1960s for recordings by artists such as Serge Gainsbourg and the Beatles.

question: What format was phased out by the end of the 1950s?, context: The 45 rpm discs also came in a variety known as extended play (EP), which achieved up to 10–15 minutes play at the expense of attenuating (and possibly compressing) the sound to reduce the width required by the groove. EP discs were cheaper to produce, and were used in cases where unit sales were likely to be more limited or to reissue LP albums on the smaller format for those people who had only 45 rpm players. LP albums could be purchased 1 EP at a time, with four items per EP, or in a boxed set with 3 EPs or 12 items. The large center hole on 45s allows for easier handling by jukebox mechanisms. EPs were generally discontinued by the late 1950s in the U.S. as three- and four-speed record players replaced the individual 45 players. One indication of the decline of the 45 rpm EP is that the last Columbia Records reissue of Frank Sinatra songs on 45 rpm EP records, called Frank Sinatra (Columbia B-2641) was issued on December 7, 1959. The EP lasted considerably longer in Europe, and was a popular format during the 1960s for recordings by artists such as Serge Gainsbourg and the Beatles.


Question: What was a benefit of EPs over LPs?

Answer: EP discs were cheaper

The 45 rpm discs also came in a variety known as extended play (EP), which achieved up to 10–15 minutes play at the expense of attenuating (and possibly compressing) the sound to reduce the width required by the groove. <hl> EP discs were cheaper to produce, and were used in cases where unit sales were likely to be more limited or to reissue LP albums on the smaller format for those people who had only 45 rpm players. <hl> LP albums could be purchased 1 EP at a time, with four items per EP, or in a boxed set with 3 EPs or 12 items. The large center hole on 45s allows for easier handling by jukebox mechanisms. EPs were generally discontinued by the late 1950s in the U.S. as three- and four-speed record players replaced the individual 45 players. One indication of the decline of the 45 rpm EP is that the last Columbia Records reissue of Frank Sinatra songs on 45 rpm EP records, called Frank Sinatra (Columbia B-2641) was issued on December 7, 1959. The EP lasted considerably longer in Europe, and was a popular format during the 1960s for recordings by artists such as Serge Gainsbourg and the Beatles.

The 45 rpm discs also came in a variety known as extended play (EP), which achieved up to 10–15 minutes play at the expense of attenuating (and possibly compressing) the sound to reduce the width required by the groove. <hl> EP discs were cheaper <hl> to produce, and were used in cases where unit sales were likely to be more limited or to reissue LP albums on the smaller format for those people who had only 45 rpm players. LP albums could be purchased 1 EP at a time, with four items per EP, or in a boxed set with 3 EPs or 12 items. The large center hole on 45s allows for easier handling by jukebox mechanisms. EPs were generally discontinued by the late 1950s in the U.S. as three- and four-speed record players replaced the individual 45 players. One indication of the decline of the 45 rpm EP is that the last Columbia Records reissue of Frank Sinatra songs on 45 rpm EP records, called Frank Sinatra (Columbia B-2641) was issued on December 7, 1959. The EP lasted considerably longer in Europe, and was a popular format during the 1960s for recordings by artists such as Serge Gainsbourg and the Beatles.

question: What was a benefit of EPs over LPs?, context: The 45 rpm discs also came in a variety known as extended play (EP), which achieved up to 10–15 minutes play at the expense of attenuating (and possibly compressing) the sound to reduce the width required by the groove. EP discs were cheaper to produce, and were used in cases where unit sales were likely to be more limited or to reissue LP albums on the smaller format for those people who had only 45 rpm players. LP albums could be purchased 1 EP at a time, with four items per EP, or in a boxed set with 3 EPs or 12 items. The large center hole on 45s allows for easier handling by jukebox mechanisms. EPs were generally discontinued by the late 1950s in the U.S. as three- and four-speed record players replaced the individual 45 players. One indication of the decline of the 45 rpm EP is that the last Columbia Records reissue of Frank Sinatra songs on 45 rpm EP records, called Frank Sinatra (Columbia B-2641) was issued on December 7, 1959. The EP lasted considerably longer in Europe, and was a popular format during the 1960s for recordings by artists such as Serge Gainsbourg and the Beatles.


Question: What three speeds were sound on most home stereos in the mid 1950's?

Answer: 78, 45, 33 1⁄3

<hl> From the mid-1950s through the 1960s, in the U.S. the common home record player or "stereo" (after the introduction of stereo recording) would typically have had these features: a three- or four-speed player ( 78, 45, 33 1⁄3 , and sometimes 16 2⁄3 rpm); with changer, a tall spindle that would hold several records and automatically drop a new record on top of the previous one when it had finished playing, a combination cartridge with both 78 and microgroove styli and a way to flip between the two; and some kind of adapter for playing the 45s with their larger center hole. <hl> The adapter could be a small solid circle that fit onto the bottom of the spindle (meaning only one 45 could be played at a time) or a larger adaptor that fit over the entire spindle, permitting a stack of 45s to be played.

From the mid-1950s through the 1960s, in the U.S. the common home record player or "stereo" (after the introduction of stereo recording) would typically have had these features: a three- or four-speed player (<hl> 78, 45, 33 1⁄3 <hl>, and sometimes 16 2⁄3 rpm); with changer, a tall spindle that would hold several records and automatically drop a new record on top of the previous one when it had finished playing, a combination cartridge with both 78 and microgroove styli and a way to flip between the two; and some kind of adapter for playing the 45s with their larger center hole. The adapter could be a small solid circle that fit onto the bottom of the spindle (meaning only one 45 could be played at a time) or a larger adaptor that fit over the entire spindle, permitting a stack of 45s to be played.

From the mid-1950s through the 1960s, in the U.S. the common home record player or "stereo" (after the introduction of stereo recording) would typically have had these features: a three- or four-speed player ( <hl> 78, 45, 33 1⁄3 <hl> , and sometimes 16 2⁄3 rpm); with changer, a tall spindle that would hold several records and automatically drop a new record on top of the previous one when it had finished playing, a combination cartridge with both 78 and microgroove styli and a way to flip between the two; and some kind of adapter for playing the 45s with their larger center hole.

question: What three speeds were sound on most home stereos in the mid 1950's?, context: From the mid-1950s through the 1960s, in the U.S. the common home record player or "stereo" (after the introduction of stereo recording) would typically have had these features: a three- or four-speed player (78, 45, 33 1⁄3, and sometimes 16 2⁄3 rpm); with changer, a tall spindle that would hold several records and automatically drop a new record on top of the previous one when it had finished playing, a combination cartridge with both 78 and microgroove styli and a way to flip between the two; and some kind of adapter for playing the 45s with their larger center hole. The adapter could be a small solid circle that fit onto the bottom of the spindle (meaning only one 45 could be played at a time) or a larger adaptor that fit over the entire spindle, permitting a stack of 45s to be played.


Question: What feature of 45s required an adapter in most home stereos?

Answer: larger center hole.

<hl> From the mid-1950s through the 1960s, in the U.S. the common home record player or "stereo" (after the introduction of stereo recording) would typically have had these features: a three- or four-speed player (78, 45, 33 1⁄3, and sometimes 16 2⁄3 rpm); with changer, a tall spindle that would hold several records and automatically drop a new record on top of the previous one when it had finished playing, a combination cartridge with both 78 and microgroove styli and a way to flip between the two; and some kind of adapter for playing the 45s with their larger center hole. The adapter could be a small solid circle that fit onto the bottom of the spindle (meaning only one 45 could be played at a time) or a larger adaptor that fit over the entire spindle, permitting a stack of 45s to be played. <hl>

From the mid-1950s through the 1960s, in the U.S. the common home record player or "stereo" (after the introduction of stereo recording) would typically have had these features: a three- or four-speed player (78, 45, 33 1⁄3, and sometimes 16 2⁄3 rpm); with changer, a tall spindle that would hold several records and automatically drop a new record on top of the previous one when it had finished playing, a combination cartridge with both 78 and microgroove styli and a way to flip between the two; and some kind of adapter for playing the 45s with their <hl> larger center hole. <hl> The adapter could be a small solid circle that fit onto the bottom of the spindle (meaning only one 45 could be played at a time) or a larger adaptor that fit over the entire spindle, permitting a stack of 45s to be played.

question: What feature of 45s required an adapter in most home stereos?, context: From the mid-1950s through the 1960s, in the U.S. the common home record player or "stereo" (after the introduction of stereo recording) would typically have had these features: a three- or four-speed player (78, 45, 33 1⁄3, and sometimes 16 2⁄3 rpm); with changer, a tall spindle that would hold several records and automatically drop a new record on top of the previous one when it had finished playing, a combination cartridge with both 78 and microgroove styli and a way to flip between the two; and some kind of adapter for playing the 45s with their larger center hole. The adapter could be a small solid circle that fit onto the bottom of the spindle (meaning only one 45 could be played at a time) or a larger adaptor that fit over the entire spindle, permitting a stack of 45s to be played.


Question: What feature was found on more home stereos that allowed continuous play between records?

Answer: changer

<hl> From the mid-1950s through the 1960s, in the U.S. the common home record player or "stereo" (after the introduction of stereo recording) would typically have had these features: a three- or four-speed player (78, 45, 33 1⁄3, and sometimes 16 2⁄3 rpm); with changer , a tall spindle that would hold several records and automatically drop a new record on top of the previous one when it had finished playing, a combination cartridge with both 78 and microgroove styli and a way to flip between the two; and some kind of adapter for playing the 45s with their larger center hole. <hl> The adapter could be a small solid circle that fit onto the bottom of the spindle (meaning only one 45 could be played at a time) or a larger adaptor that fit over the entire spindle, permitting a stack of 45s to be played.

From the mid-1950s through the 1960s, in the U.S. the common home record player or "stereo" (after the introduction of stereo recording) would typically have had these features: a three- or four-speed player (78, 45, 33 1⁄3, and sometimes 16 2⁄3 rpm); with <hl> changer <hl>, a tall spindle that would hold several records and automatically drop a new record on top of the previous one when it had finished playing, a combination cartridge with both 78 and microgroove styli and a way to flip between the two; and some kind of adapter for playing the 45s with their larger center hole. The adapter could be a small solid circle that fit onto the bottom of the spindle (meaning only one 45 could be played at a time) or a larger adaptor that fit over the entire spindle, permitting a stack of 45s to be played.

From the mid-1950s through the 1960s, in the U.S. the common home record player or "stereo" (after the introduction of stereo recording) would typically have had these features: a three- or four-speed player (78, 45, 33 1⁄3, and sometimes 16 2⁄3 rpm); with <hl> changer <hl> , a tall spindle that would hold several records and automatically drop a new record on top of the previous one when it had finished playing, a combination cartridge with both 78 and microgroove styli and a way to flip between the two; and some kind of adapter for playing the 45s with their larger center hole.

question: What feature was found on more home stereos that allowed continuous play between records?, context: From the mid-1950s through the 1960s, in the U.S. the common home record player or "stereo" (after the introduction of stereo recording) would typically have had these features: a three- or four-speed player (78, 45, 33 1⁄3, and sometimes 16 2⁄3 rpm); with changer, a tall spindle that would hold several records and automatically drop a new record on top of the previous one when it had finished playing, a combination cartridge with both 78 and microgroove styli and a way to flip between the two; and some kind of adapter for playing the 45s with their larger center hole. The adapter could be a small solid circle that fit onto the bottom of the spindle (meaning only one 45 could be played at a time) or a larger adaptor that fit over the entire spindle, permitting a stack of 45s to be played.


Question: What format was less common but could sometimes be found on home stereos?

Answer: 16 2⁄3 rpm

<hl> From the mid-1950s through the 1960s, in the U.S. the common home record player or "stereo" (after the introduction of stereo recording) would typically have had these features: a three- or four-speed player (78, 45, 33 1⁄3, and sometimes 16 2⁄3 rpm ); with changer, a tall spindle that would hold several records and automatically drop a new record on top of the previous one when it had finished playing, a combination cartridge with both 78 and microgroove styli and a way to flip between the two; and some kind of adapter for playing the 45s with their larger center hole. <hl> The adapter could be a small solid circle that fit onto the bottom of the spindle (meaning only one 45 could be played at a time) or a larger adaptor that fit over the entire spindle, permitting a stack of 45s to be played.

From the mid-1950s through the 1960s, in the U.S. the common home record player or "stereo" (after the introduction of stereo recording) would typically have had these features: a three- or four-speed player (78, 45, 33 1⁄3, and sometimes <hl> 16 2⁄3 rpm <hl>); with changer, a tall spindle that would hold several records and automatically drop a new record on top of the previous one when it had finished playing, a combination cartridge with both 78 and microgroove styli and a way to flip between the two; and some kind of adapter for playing the 45s with their larger center hole. The adapter could be a small solid circle that fit onto the bottom of the spindle (meaning only one 45 could be played at a time) or a larger adaptor that fit over the entire spindle, permitting a stack of 45s to be played.

From the mid-1950s through the 1960s, in the U.S. the common home record player or "stereo" (after the introduction of stereo recording) would typically have had these features: a three- or four-speed player (78, 45, 33 1⁄3, and sometimes <hl> 16 2⁄3 rpm <hl> ); with changer, a tall spindle that would hold several records and automatically drop a new record on top of the previous one when it had finished playing, a combination cartridge with both 78 and microgroove styli and a way to flip between the two; and some kind of adapter for playing the 45s with their larger center hole.

question: What format was less common but could sometimes be found on home stereos?, context: From the mid-1950s through the 1960s, in the U.S. the common home record player or "stereo" (after the introduction of stereo recording) would typically have had these features: a three- or four-speed player (78, 45, 33 1⁄3, and sometimes 16 2⁄3 rpm); with changer, a tall spindle that would hold several records and automatically drop a new record on top of the previous one when it had finished playing, a combination cartridge with both 78 and microgroove styli and a way to flip between the two; and some kind of adapter for playing the 45s with their larger center hole. The adapter could be a small solid circle that fit onto the bottom of the spindle (meaning only one 45 could be played at a time) or a larger adaptor that fit over the entire spindle, permitting a stack of 45s to be played.


Question: Wy did records outside of the US often have small holes with the ability to punch out the center?

Answer: for use in jukeboxes

RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a "spider". These inserts, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, were prevalent starting in the 1960s, selling in the tens of millions per year during the 45 rpm heyday. <hl> In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically for use in jukeboxes ) <hl> .

RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a "spider". These inserts, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, were prevalent starting in the 1960s, selling in the tens of millions per year during the 45 rpm heyday. In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically <hl> for use in jukeboxes <hl>).

In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically <hl> for use in jukeboxes <hl> )

question: Wy did records outside of the US often have small holes with the ability to punch out the center?, context: RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a "spider". These inserts, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, were prevalent starting in the 1960s, selling in the tens of millions per year during the 45 rpm heyday. In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically for use in jukeboxes).


Question: What were the plastic inserts which would adapt 45s to the smaller spindle of an LP player called?

Answer: spider

<hl> RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a " spider ". <hl> These inserts, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, were prevalent starting in the 1960s, selling in the tens of millions per year during the 45 rpm heyday. In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically for use in jukeboxes).

RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a "<hl> spider <hl>". These inserts, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, were prevalent starting in the 1960s, selling in the tens of millions per year during the 45 rpm heyday. In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically for use in jukeboxes).

RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a " <hl> spider <hl> ".

question: What were the plastic inserts which would adapt 45s to the smaller spindle of an LP player called?, context: RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a "spider". These inserts, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, were prevalent starting in the 1960s, selling in the tens of millions per year during the 45 rpm heyday. In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically for use in jukeboxes).


Question: What invention did Thomas Hutchinson introduce?

Answer: spider

<hl> RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a " spider ". <hl> These inserts, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, were prevalent starting in the 1960s, selling in the tens of millions per year during the 45 rpm heyday. In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically for use in jukeboxes).

RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a "<hl> spider <hl>". These inserts, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, were prevalent starting in the 1960s, selling in the tens of millions per year during the 45 rpm heyday. In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically for use in jukeboxes).

RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a " <hl> spider <hl> ".

question: What invention did Thomas Hutchinson introduce?, context: RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a "spider". These inserts, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, were prevalent starting in the 1960s, selling in the tens of millions per year during the 45 rpm heyday. In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically for use in jukeboxes).


Question: Whom were the adaptable inserts for 45s to LPs commissioned by?

Answer: RCA president David Sarnoff

RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a "spider". <hl> These inserts, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, were prevalent starting in the 1960s, selling in the tens of millions per year during the 45 rpm heyday. <hl> In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically for use in jukeboxes).

RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a "spider". These inserts, commissioned by <hl> RCA president David Sarnoff <hl> and invented by Thomas Hutchison, were prevalent starting in the 1960s, selling in the tens of millions per year during the 45 rpm heyday. In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically for use in jukeboxes).

question: Whom were the adaptable inserts for 45s to LPs commissioned by?, context: RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a "spider". These inserts, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, were prevalent starting in the 1960s, selling in the tens of millions per year during the 45 rpm heyday. In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically for use in jukeboxes).


Question: How many spiders were sold in the 45 rpm heydays?

Answer: tens of millions per year

RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a "spider". <hl> These inserts, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, were prevalent starting in the 1960s, selling in the tens of millions per year during the 45 rpm heyday. <hl> In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically for use in jukeboxes).

RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a "spider". These inserts, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, were prevalent starting in the 1960s, selling in the <hl> tens of millions per year <hl> during the 45 rpm heyday. In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically for use in jukeboxes).

question: How many spiders were sold in the 45 rpm heydays?, context: RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a "spider". These inserts, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, were prevalent starting in the 1960s, selling in the tens of millions per year during the 45 rpm heyday. In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically for use in jukeboxes).


Question: What term was coined to differentiate better sounding products in the 1920s?

Answer: high fidelity

<hl> The term " high fidelity " was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. <hl> The term began to be used by some audio engineers and consumers through the 1930s and 1940s. After 1949 a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available in 1958, gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players. High Fidelity and Audio were two magazines that hi-fi consumers and engineers could read for reviews of playback equipment and recordings.

The term "<hl> high fidelity <hl>" was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. The term began to be used by some audio engineers and consumers through the 1930s and 1940s. After 1949 a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available in 1958, gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players. High Fidelity and Audio were two magazines that hi-fi consumers and engineers could read for reviews of playback equipment and recordings.

The term " <hl> high fidelity <hl> " was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction.

question: What term was coined to differentiate better sounding products in the 1920s?, context: The term "high fidelity" was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. The term began to be used by some audio engineers and consumers through the 1930s and 1940s. After 1949 a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available in 1958, gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players. High Fidelity and Audio were two magazines that hi-fi consumers and engineers could read for reviews of playback equipment and recordings.


Question: What magazines provided reviews for audio equipment?

Answer: High Fidelity and Audio

The term "high fidelity" was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. The term began to be used by some audio engineers and consumers through the 1930s and 1940s. After 1949 a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available in 1958, gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players. <hl> High Fidelity and Audio were two magazines that hi-fi consumers and engineers could read for reviews of playback equipment and recordings. <hl>

The term "high fidelity" was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. The term began to be used by some audio engineers and consumers through the 1930s and 1940s. After 1949 a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available in 1958, gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players. <hl> High Fidelity and Audio <hl> were two magazines that hi-fi consumers and engineers could read for reviews of playback equipment and recordings.

question: What magazines provided reviews for audio equipment?, context: The term "high fidelity" was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. The term began to be used by some audio engineers and consumers through the 1930s and 1940s. After 1949 a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available in 1958, gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players. High Fidelity and Audio were two magazines that hi-fi consumers and engineers could read for reviews of playback equipment and recordings.


Question: What happened in 1958 that changed the home music scene?

Answer: variety of improvements in recording and playback technologies

The term "high fidelity" was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. The term began to be used by some audio engineers and consumers through the 1930s and 1940s. <hl> After 1949 a variety of improvements in recording and playback technologies , especially stereo recordings, which became widely available in 1958, gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players. <hl> High Fidelity and Audio were two magazines that hi-fi consumers and engineers could read for reviews of playback equipment and recordings.

The term "high fidelity" was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. The term began to be used by some audio engineers and consumers through the 1930s and 1940s. After 1949 a <hl> variety of improvements in recording and playback technologies <hl>, especially stereo recordings, which became widely available in 1958, gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players. High Fidelity and Audio were two magazines that hi-fi consumers and engineers could read for reviews of playback equipment and recordings.

After 1949 a <hl> variety of improvements in recording and playback technologies <hl> , especially stereo recordings, which became widely available in 1958, gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players.

question: What happened in 1958 that changed the home music scene?, context: The term "high fidelity" was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. The term began to be used by some audio engineers and consumers through the 1930s and 1940s. After 1949 a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available in 1958, gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players. High Fidelity and Audio were two magazines that hi-fi consumers and engineers could read for reviews of playback equipment and recordings.


Question: During what years did the term HiFi take off with engineers?

Answer: 1930s and 1940s

The term "high fidelity" was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. <hl> The term began to be used by some audio engineers and consumers through the 1930s and 1940s . <hl> After 1949 a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available in 1958, gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players. High Fidelity and Audio were two magazines that hi-fi consumers and engineers could read for reviews of playback equipment and recordings.

The term "high fidelity" was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. The term began to be used by some audio engineers and consumers through the <hl> 1930s and 1940s <hl>. After 1949 a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available in 1958, gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players. High Fidelity and Audio were two magazines that hi-fi consumers and engineers could read for reviews of playback equipment and recordings.

The term began to be used by some audio engineers and consumers through the <hl> 1930s and 1940s <hl> .

question: During what years did the term HiFi take off with engineers?, context: The term "high fidelity" was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. The term began to be used by some audio engineers and consumers through the 1930s and 1940s. After 1949 a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available in 1958, gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players. High Fidelity and Audio were two magazines that hi-fi consumers and engineers could read for reviews of playback equipment and recordings.


Question: What term would be used when one said they produced perfect sound reproduction?

Answer: high fidelity

<hl> The term " high fidelity " was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. <hl> The term began to be used by some audio engineers and consumers through the 1930s and 1940s. After 1949 a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available in 1958, gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players. High Fidelity and Audio were two magazines that hi-fi consumers and engineers could read for reviews of playback equipment and recordings.

The term "<hl> high fidelity <hl>" was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. The term began to be used by some audio engineers and consumers through the 1930s and 1940s. After 1949 a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available in 1958, gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players. High Fidelity and Audio were two magazines that hi-fi consumers and engineers could read for reviews of playback equipment and recordings.

The term " <hl> high fidelity <hl> " was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction.

question: What term would be used when one said they produced perfect sound reproduction?, context: The term "high fidelity" was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. The term began to be used by some audio engineers and consumers through the 1930s and 1940s. After 1949 a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available in 1958, gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players. High Fidelity and Audio were two magazines that hi-fi consumers and engineers could read for reviews of playback equipment and recordings.


Question: What did Alan Blumlein event?

Answer: stereophonic record system

Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. <hl> The ultimately dominant "45/45" stereophonic record system was invented by Alan Blumlein of EMI in 1931 and patented the same year. <hl> EMI cut the first stereo test discs using the system in 1933 (see Bell Labs Stereo Experiments of 1933) although the system was not exploited commercially until much later.

Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. The ultimately dominant "45/45" <hl> stereophonic record system <hl> was invented by Alan Blumlein of EMI in 1931 and patented the same year. EMI cut the first stereo test discs using the system in 1933 (see Bell Labs Stereo Experiments of 1933) although the system was not exploited commercially until much later.

question: What did Alan Blumlein event?, context: Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. The ultimately dominant "45/45" stereophonic record system was invented by Alan Blumlein of EMI in 1931 and patented the same year. EMI cut the first stereo test discs using the system in 1933 (see Bell Labs Stereo Experiments of 1933) although the system was not exploited commercially until much later.


Question: When did EMI create the first stereo discs?

Answer: 1933

Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. The ultimately dominant "45/45" stereophonic record system was invented by Alan Blumlein of EMI in 1931 and patented the same year. <hl> EMI cut the first stereo test discs using the system in 1933 (see Bell Labs <hl> Stereo Experiments of 1933) although the system was not exploited commercially until much later.

Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. The ultimately dominant "45/45" stereophonic record system was invented by Alan Blumlein of EMI in 1931 and patented the same year. EMI cut the first stereo test discs using the system in <hl> 1933 <hl> (see Bell Labs Stereo Experiments of 1933) although the system was not exploited commercially until much later.

question: When did EMI create the first stereo discs?, context: Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. The ultimately dominant "45/45" stereophonic record system was invented by Alan Blumlein of EMI in 1931 and patented the same year. EMI cut the first stereo test discs using the system in 1933 (see Bell Labs Stereo Experiments of 1933) although the system was not exploited commercially until much later.


Question: What was the benefit of 45/45 stereo sound?

Answer: more natural listening experience

<hl> Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. <hl> The ultimately dominant "45/45" stereophonic record system was invented by Alan Blumlein of EMI in 1931 and patented the same year. EMI cut the first stereo test discs using the system in 1933 (see Bell Labs Stereo Experiments of 1933) although the system was not exploited commercially until much later.

Stereophonic sound recording, which attempts to provide a <hl> more natural listening experience <hl> by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. The ultimately dominant "45/45" stereophonic record system was invented by Alan Blumlein of EMI in 1931 and patented the same year. EMI cut the first stereo test discs using the system in 1933 (see Bell Labs Stereo Experiments of 1933) although the system was not exploited commercially until much later.

question: What was the benefit of 45/45 stereo sound?, context: Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. The ultimately dominant "45/45" stereophonic record system was invented by Alan Blumlein of EMI in 1931 and patented the same year. EMI cut the first stereo test discs using the system in 1933 (see Bell Labs Stereo Experiments of 1933) although the system was not exploited commercially until much later.


Question: What year was stereo sound patented?

Answer: 1931

Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. <hl> The ultimately dominant "45/45" stereophonic record system was invented by Alan Blumlein of EMI in 1931 and patented the same year. <hl> EMI cut the first stereo test discs using the system in 1933 (see Bell Labs Stereo Experiments of 1933) although the system was not exploited commercially until much later.

Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. The ultimately dominant "45/45" stereophonic record system was invented by Alan Blumlein of EMI in <hl> 1931 <hl> and patented the same year. EMI cut the first stereo test discs using the system in 1933 (see Bell Labs Stereo Experiments of 1933) although the system was not exploited commercially until much later.

question: What year was stereo sound patented?, context: Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. The ultimately dominant "45/45" stereophonic record system was invented by Alan Blumlein of EMI in 1931 and patented the same year. EMI cut the first stereo test discs using the system in 1933 (see Bell Labs Stereo Experiments of 1933) although the system was not exploited commercially until much later.


Question: How was the commercial success of stereo sound in the 1930s?

Answer: was not exploited commercially until much later.

Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. The ultimately dominant "45/45" stereophonic record system was invented by Alan Blumlein of EMI in 1931 and patented the same year. EMI cut the first stereo test discs using the system in 1933 (see Bell Labs Stereo Experiments of 1933) <hl> although the system was not exploited commercially until much later. <hl>

Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. The ultimately dominant "45/45" stereophonic record system was invented by Alan Blumlein of EMI in 1931 and patented the same year. EMI cut the first stereo test discs using the system in 1933 (see Bell Labs Stereo Experiments of 1933) although the system <hl> was not exploited commercially until much later. <hl>

question: How was the commercial success of stereo sound in the 1930s?, context: Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. The ultimately dominant "45/45" stereophonic record system was invented by Alan Blumlein of EMI in 1931 and patented the same year. EMI cut the first stereo test discs using the system in 1933 (see Bell Labs Stereo Experiments of 1933) although the system was not exploited commercially until much later.


Question: What did quadraphonic recording feature?

Answer: recorded four separate sound signals.

The development of quadraphonic records was announced in 1971. <hl> These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. <hl> When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.

The development of quadraphonic records was announced in 1971. These <hl> recorded four separate sound signals. <hl> This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.

question: What did quadraphonic recording feature?, context: The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.


Question: What was the newest break through in home sound systems in 1971?

Answer: development of quadraphonic records

<hl> The development of quadraphonic records was announced in 1971. <hl> These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.

The <hl> development of quadraphonic records <hl> was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.

question: What was the newest break through in home sound systems in 1971?, context: The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.


Question: How would the commercial success of quadraphonic records be defined?

Answer: commercially unsuccessful

The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). <hl> They proved commercially unsuccessful , but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today. <hl>

The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved <hl> commercially unsuccessful <hl>, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.

They proved <hl> commercially unsuccessful <hl> , but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.

question: How would the commercial success of quadraphonic records be defined?, context: The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.


Question: What did developments in quadraphonic recordings inspire?

Answer: later surround-sound systems

The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). <hl> They proved commercially unsuccessful, but were an important precursor to later surround-sound systems , as seen in SACD and home cinema today. <hl>

The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to <hl> later surround-sound systems <hl>, as seen in SACD and home cinema today.

They proved commercially unsuccessful, but were an important precursor to <hl> later surround-sound systems <hl> , as seen in SACD and home cinema today.

question: What did developments in quadraphonic recordings inspire?, context: The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.


Question: What was a major issue with CD-4 technology?

Answer: no cutting heads were available that could handle the HF information

A different format, CD-4 (not to be confused with compact disc), by RCA, encoded the front-rear difference information on an ultrasonic carrier, which required a special wideband cartridge to capture it on carefully calibrated pickup arm/turntable combinations. CD-4 was even less successful than the two matrixed formats. <hl> (A further problem was that no cutting heads were available that could handle the HF information . <hl> That was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get a wider frequency response in stereo with reduced distortion and greater headroom.)

A different format, CD-4 (not to be confused with compact disc), by RCA, encoded the front-rear difference information on an ultrasonic carrier, which required a special wideband cartridge to capture it on carefully calibrated pickup arm/turntable combinations. CD-4 was even less successful than the two matrixed formats. (A further problem was that <hl> no cutting heads were available that could handle the HF information <hl>. That was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get a wider frequency response in stereo with reduced distortion and greater headroom.)

(A further problem was that <hl> no cutting heads were available that could handle the HF information <hl> .

question: What was a major issue with CD-4 technology?, context: A different format, CD-4 (not to be confused with compact disc), by RCA, encoded the front-rear difference information on an ultrasonic carrier, which required a special wideband cartridge to capture it on carefully calibrated pickup arm/turntable combinations. CD-4 was even less successful than the two matrixed formats. (A further problem was that no cutting heads were available that could handle the HF information. That was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get a wider frequency response in stereo with reduced distortion and greater headroom.)


Question: How widespread was the success of CD-4 format?

Answer: even less successful than the two matrixed formats

A different format, CD-4 (not to be confused with compact disc), by RCA, encoded the front-rear difference information on an ultrasonic carrier, which required a special wideband cartridge to capture it on carefully calibrated pickup arm/turntable combinations. <hl> CD-4 was even less successful than the two matrixed formats . <hl> (A further problem was that no cutting heads were available that could handle the HF information. That was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get a wider frequency response in stereo with reduced distortion and greater headroom.)

A different format, CD-4 (not to be confused with compact disc), by RCA, encoded the front-rear difference information on an ultrasonic carrier, which required a special wideband cartridge to capture it on carefully calibrated pickup arm/turntable combinations. CD-4 was <hl> even less successful than the two matrixed formats <hl>. (A further problem was that no cutting heads were available that could handle the HF information. That was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get a wider frequency response in stereo with reduced distortion and greater headroom.)

CD-4 was <hl> even less successful than the two matrixed formats <hl> .

question: How widespread was the success of CD-4 format?, context: A different format, CD-4 (not to be confused with compact disc), by RCA, encoded the front-rear difference information on an ultrasonic carrier, which required a special wideband cartridge to capture it on carefully calibrated pickup arm/turntable combinations. CD-4 was even less successful than the two matrixed formats. (A further problem was that no cutting heads were available that could handle the HF information. That was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get a wider frequency response in stereo with reduced distortion and greater headroom.)


Question: What format was less successful than quadraphonic?

Answer: CD-4

<hl> A different format, CD-4 (not to be confused with compact disc), by RCA, encoded the front-rear difference information on an ultrasonic carrier, which required a special wideband cartridge to capture it on carefully calibrated pickup arm/turntable combinations. <hl> CD-4 was even less successful than the two matrixed formats. (A further problem was that no cutting heads were available that could handle the HF information. That was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get a wider frequency response in stereo with reduced distortion and greater headroom.)

A different format, <hl> CD-4 <hl> (not to be confused with compact disc), by RCA, encoded the front-rear difference information on an ultrasonic carrier, which required a special wideband cartridge to capture it on carefully calibrated pickup arm/turntable combinations. CD-4 was even less successful than the two matrixed formats. (A further problem was that no cutting heads were available that could handle the HF information. That was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get a wider frequency response in stereo with reduced distortion and greater headroom.)

question: What format was less successful than quadraphonic?, context: A different format, CD-4 (not to be confused with compact disc), by RCA, encoded the front-rear difference information on an ultrasonic carrier, which required a special wideband cartridge to capture it on carefully calibrated pickup arm/turntable combinations. CD-4 was even less successful than the two matrixed formats. (A further problem was that no cutting heads were available that could handle the HF information. That was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get a wider frequency response in stereo with reduced distortion and greater headroom.)


Question: What were potential benefits of the CD-4 format?

Answer: reduced distortion and greater headroom

A different format, CD-4 (not to be confused with compact disc), by RCA, encoded the front-rear difference information on an ultrasonic carrier, which required a special wideband cartridge to capture it on carefully calibrated pickup arm/turntable combinations. CD-4 was even less successful than the two matrixed formats. (A further problem was that no cutting heads were available that could handle the HF information. That was remedied by cutting at half the speed. <hl> Later, the special half-speed cutting heads and equalization techniques were employed to get a wider frequency response in stereo with reduced distortion and greater headroom .) <hl>

A different format, CD-4 (not to be confused with compact disc), by RCA, encoded the front-rear difference information on an ultrasonic carrier, which required a special wideband cartridge to capture it on carefully calibrated pickup arm/turntable combinations. CD-4 was even less successful than the two matrixed formats. (A further problem was that no cutting heads were available that could handle the HF information. That was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get a wider frequency response in stereo with <hl> reduced distortion and greater headroom <hl>.)

Later, the special half-speed cutting heads and equalization techniques were employed to get a wider frequency response in stereo with <hl> reduced distortion and greater headroom <hl> .)

question: What were potential benefits of the CD-4 format?, context: A different format, CD-4 (not to be confused with compact disc), by RCA, encoded the front-rear difference information on an ultrasonic carrier, which required a special wideband cartridge to capture it on carefully calibrated pickup arm/turntable combinations. CD-4 was even less successful than the two matrixed formats. (A further problem was that no cutting heads were available that could handle the HF information. That was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get a wider frequency response in stereo with reduced distortion and greater headroom.)


Question: Who created the CD-4 format?

Answer: RCA

<hl> A different format, CD-4 (not to be confused with compact disc), by RCA , encoded the front-rear difference information on an ultrasonic carrier, which required a special wideband cartridge to capture it on carefully calibrated pickup arm/turntable combinations. <hl> CD-4 was even less successful than the two matrixed formats. (A further problem was that no cutting heads were available that could handle the HF information. That was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get a wider frequency response in stereo with reduced distortion and greater headroom.)

A different format, CD-4 (not to be confused with compact disc), by <hl> RCA <hl>, encoded the front-rear difference information on an ultrasonic carrier, which required a special wideband cartridge to capture it on carefully calibrated pickup arm/turntable combinations. CD-4 was even less successful than the two matrixed formats. (A further problem was that no cutting heads were available that could handle the HF information. That was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get a wider frequency response in stereo with reduced distortion and greater headroom.)

A different format, CD-4 (not to be confused with compact disc), by <hl> RCA <hl> , encoded the front-rear difference information on an ultrasonic carrier, which required a special wideband cartridge to capture it on carefully calibrated pickup arm/turntable combinations.

question: Who created the CD-4 format?, context: A different format, CD-4 (not to be confused with compact disc), by RCA, encoded the front-rear difference information on an ultrasonic carrier, which required a special wideband cartridge to capture it on carefully calibrated pickup arm/turntable combinations. CD-4 was even less successful than the two matrixed formats. (A further problem was that no cutting heads were available that could handle the HF information. That was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get a wider frequency response in stereo with reduced distortion and greater headroom.)


Question: For which company did C. Robert Fine work for?

Answer: Mercury Records

<hl> Under the direction of recording engineer C. Robert Fine, Mercury Records initiated a minimalist single microphone monaural recording technique in 1951. <hl> The first record, a Chicago Symphony Orchestra performance of Pictures at an Exhibition, conducted by Rafael Kubelik, was described as "being in the living presence of the orchestra" by The New York Times music critic. The series of records was then named Mercury Living Presence. In 1955, Mercury began three-channel stereo recordings, still based on the principle of the single microphone. The center (single) microphone was of paramount importance, with the two side mics adding depth and space. Record masters were cut directly from a three-track to two-track mixdown console, with all editing of the master tapes done on the original three-tracks. In 1961, Mercury enhanced this technique with three-microphone stereo recordings using 35 mm magnetic film instead of half-inch tape for recording. The greater thickness and width of 35 mm magnetic film prevented tape layer print-through and pre-echo and gained extended frequency range and transient response. The Mercury Living Presence recordings were remastered to CD in the 1990s by the original producer, Wilma Cozart Fine, using the same method of 3-to-2 mix directly to the master recorder.

Under the direction of recording engineer C. Robert Fine, <hl> Mercury Records <hl> initiated a minimalist single microphone monaural recording technique in 1951. The first record, a Chicago Symphony Orchestra performance of Pictures at an Exhibition, conducted by Rafael Kubelik, was described as "being in the living presence of the orchestra" by The New York Times music critic. The series of records was then named Mercury Living Presence. In 1955, Mercury began three-channel stereo recordings, still based on the principle of the single microphone. The center (single) microphone was of paramount importance, with the two side mics adding depth and space. Record masters were cut directly from a three-track to two-track mixdown console, with all editing of the master tapes done on the original three-tracks. In 1961, Mercury enhanced this technique with three-microphone stereo recordings using 35 mm magnetic film instead of half-inch tape for recording. The greater thickness and width of 35 mm magnetic film prevented tape layer print-through and pre-echo and gained extended frequency range and transient response. The Mercury Living Presence recordings were remastered to CD in the 1990s by the original producer, Wilma Cozart Fine, using the same method of 3-to-2 mix directly to the master recorder.

question: For which company did C. Robert Fine work for?, context: Under the direction of recording engineer C. Robert Fine, Mercury Records initiated a minimalist single microphone monaural recording technique in 1951. The first record, a Chicago Symphony Orchestra performance of Pictures at an Exhibition, conducted by Rafael Kubelik, was described as "being in the living presence of the orchestra" by The New York Times music critic. The series of records was then named Mercury Living Presence. In 1955, Mercury began three-channel stereo recordings, still based on the principle of the single microphone. The center (single) microphone was of paramount importance, with the two side mics adding depth and space. Record masters were cut directly from a three-track to two-track mixdown console, with all editing of the master tapes done on the original three-tracks. In 1961, Mercury enhanced this technique with three-microphone stereo recordings using 35 mm magnetic film instead of half-inch tape for recording. The greater thickness and width of 35 mm magnetic film prevented tape layer print-through and pre-echo and gained extended frequency range and transient response. The Mercury Living Presence recordings were remastered to CD in the 1990s by the original producer, Wilma Cozart Fine, using the same method of 3-to-2 mix directly to the master recorder.


Question: What benefits were found in using the 35mm magnetic film?

Answer: prevented tape layer print-through and pre-echo and gained extended frequency range and transient response

Under the direction of recording engineer C. Robert Fine, Mercury Records initiated a minimalist single microphone monaural recording technique in 1951. The first record, a Chicago Symphony Orchestra performance of Pictures at an Exhibition, conducted by Rafael Kubelik, was described as "being in the living presence of the orchestra" by The New York Times music critic. The series of records was then named Mercury Living Presence. In 1955, Mercury began three-channel stereo recordings, still based on the principle of the single microphone. The center (single) microphone was of paramount importance, with the two side mics adding depth and space. Record masters were cut directly from a three-track to two-track mixdown console, with all editing of the master tapes done on the original three-tracks. In 1961, Mercury enhanced this technique with three-microphone stereo recordings using 35 mm magnetic film instead of half-inch tape for recording. <hl> The greater thickness and width of 35 mm magnetic film prevented tape layer print-through and pre-echo and gained extended frequency range and transient response . <hl> The Mercury Living Presence recordings were remastered to CD in the 1990s by the original producer, Wilma Cozart Fine, using the same method of 3-to-2 mix directly to the master recorder.

Under the direction of recording engineer C. Robert Fine, Mercury Records initiated a minimalist single microphone monaural recording technique in 1951. The first record, a Chicago Symphony Orchestra performance of Pictures at an Exhibition, conducted by Rafael Kubelik, was described as "being in the living presence of the orchestra" by The New York Times music critic. The series of records was then named Mercury Living Presence. In 1955, Mercury began three-channel stereo recordings, still based on the principle of the single microphone. The center (single) microphone was of paramount importance, with the two side mics adding depth and space. Record masters were cut directly from a three-track to two-track mixdown console, with all editing of the master tapes done on the original three-tracks. In 1961, Mercury enhanced this technique with three-microphone stereo recordings using 35 mm magnetic film instead of half-inch tape for recording. The greater thickness and width of 35 mm magnetic film <hl> prevented tape layer print-through and pre-echo and gained extended frequency range and transient response <hl>. The Mercury Living Presence recordings were remastered to CD in the 1990s by the original producer, Wilma Cozart Fine, using the same method of 3-to-2 mix directly to the master recorder.

The greater thickness and width of 35 mm magnetic film <hl> prevented tape layer print-through and pre-echo and gained extended frequency range and transient response <hl> .

question: What benefits were found in using the 35mm magnetic film?, context: Under the direction of recording engineer C. Robert Fine, Mercury Records initiated a minimalist single microphone monaural recording technique in 1951. The first record, a Chicago Symphony Orchestra performance of Pictures at an Exhibition, conducted by Rafael Kubelik, was described as "being in the living presence of the orchestra" by The New York Times music critic. The series of records was then named Mercury Living Presence. In 1955, Mercury began three-channel stereo recordings, still based on the principle of the single microphone. The center (single) microphone was of paramount importance, with the two side mics adding depth and space. Record masters were cut directly from a three-track to two-track mixdown console, with all editing of the master tapes done on the original three-tracks. In 1961, Mercury enhanced this technique with three-microphone stereo recordings using 35 mm magnetic film instead of half-inch tape for recording. The greater thickness and width of 35 mm magnetic film prevented tape layer print-through and pre-echo and gained extended frequency range and transient response. The Mercury Living Presence recordings were remastered to CD in the 1990s by the original producer, Wilma Cozart Fine, using the same method of 3-to-2 mix directly to the master recorder.


Question: Who developed the 3-to-2 mix to create lifelike recordings?

Answer: Mercury

<hl> Under the direction of recording engineer C. Robert Fine, Mercury Records initiated a minimalist single microphone monaural recording technique in 1951. <hl> The first record, a Chicago Symphony Orchestra performance of Pictures at an Exhibition, conducted by Rafael Kubelik, was described as "being in the living presence of the orchestra" by The New York Times music critic. The series of records was then named Mercury Living Presence. In 1955, Mercury began three-channel stereo recordings, still based on the principle of the single microphone. The center (single) microphone was of paramount importance, with the two side mics adding depth and space. Record masters were cut directly from a three-track to two-track mixdown console, with all editing of the master tapes done on the original three-tracks. In 1961, Mercury enhanced this technique with three-microphone stereo recordings using 35 mm magnetic film instead of half-inch tape for recording. The greater thickness and width of 35 mm magnetic film prevented tape layer print-through and pre-echo and gained extended frequency range and transient response. The Mercury Living Presence recordings were remastered to CD in the 1990s by the original producer, Wilma Cozart Fine, using the same method of 3-to-2 mix directly to the master recorder.

Under the direction of recording engineer C. Robert Fine, <hl> Mercury <hl> Records initiated a minimalist single microphone monaural recording technique in 1951. The first record, a Chicago Symphony Orchestra performance of Pictures at an Exhibition, conducted by Rafael Kubelik, was described as "being in the living presence of the orchestra" by The New York Times music critic. The series of records was then named Mercury Living Presence. In 1955, Mercury began three-channel stereo recordings, still based on the principle of the single microphone. The center (single) microphone was of paramount importance, with the two side mics adding depth and space. Record masters were cut directly from a three-track to two-track mixdown console, with all editing of the master tapes done on the original three-tracks. In 1961, Mercury enhanced this technique with three-microphone stereo recordings using 35 mm magnetic film instead of half-inch tape for recording. The greater thickness and width of 35 mm magnetic film prevented tape layer print-through and pre-echo and gained extended frequency range and transient response. The Mercury Living Presence recordings were remastered to CD in the 1990s by the original producer, Wilma Cozart Fine, using the same method of 3-to-2 mix directly to the master recorder.

question: Who developed the 3-to-2 mix to create lifelike recordings?, context: Under the direction of recording engineer C. Robert Fine, Mercury Records initiated a minimalist single microphone monaural recording technique in 1951. The first record, a Chicago Symphony Orchestra performance of Pictures at an Exhibition, conducted by Rafael Kubelik, was described as "being in the living presence of the orchestra" by The New York Times music critic. The series of records was then named Mercury Living Presence. In 1955, Mercury began three-channel stereo recordings, still based on the principle of the single microphone. The center (single) microphone was of paramount importance, with the two side mics adding depth and space. Record masters were cut directly from a three-track to two-track mixdown console, with all editing of the master tapes done on the original three-tracks. In 1961, Mercury enhanced this technique with three-microphone stereo recordings using 35 mm magnetic film instead of half-inch tape for recording. The greater thickness and width of 35 mm magnetic film prevented tape layer print-through and pre-echo and gained extended frequency range and transient response. The Mercury Living Presence recordings were remastered to CD in the 1990s by the original producer, Wilma Cozart Fine, using the same method of 3-to-2 mix directly to the master recorder.