yz2022/T2P-DownstreamNLP huggingface dataset:
Gramophone_record

Vinyl's lower surface noise level than shellac was not forgotten, nor was its durability. In the late 1930s, radio commercials and pre-recorded radio programs being sent to disc jockeys started being stamped in vinyl, so they would not break in the mail. In the mid-1940s, special DJ copies of records started being made of vinyl also, for the same reason. These were all 78 rpm. During and after World War II, when shellac supplies were extremely limited, some 78 rpm records were pressed in vinyl instead of shellac, particularly the six-minute 12-inch (30 cm) 78 rpm records produced by V-Disc for distribution to United States troops in World War II. In the 1940s, radio transcriptions, which were usually on 16-inch records, but sometimes 12-inch, were always made of vinyl, but cut at 33 1⁄3 rpm. Shorter transcriptions were often cut at 78 rpm.

Question: By the mid 1940s what was the primary material records were made of?
Answer: vinyl

Question: Which material was more durable,  shellac or vinyl?
Answer: vinyl
Gramophone_record

In 1968, Reprise planned to release a series of 78 rpm singles from their artists on their label at the time, called the Reprise Speed Series. Only one disc actually saw release, Randy Newman's I Think It's Going to Rain Today, a track from his self-titled debut album (with The Beehive State on the flipside). Reprise did not proceed further with the series due to a lack of sales for the single, and a lack of general interest in the concept. Guitarist & vocalist Leon Redbone released a promotional 78 rpm record in 1978 featuring two songs (Alabama Jubilee and Please Don't Talk About Me When I'm Gone) from his Champagne Charlie album. In 1980 Stiff Records in the United Kingdom issued a 78 by Joe "King" Carrasco containing the songs Buena (Spanish for "good," with the alternate spelling "Bueno" on the label) and Tuff Enuff. Underground comic cartoonist and 78 rpm record collector Robert Crumb released three discs with his Cheap Suit Serenaders in the 1980s.

Question: In what year did Reprise plan to release a series of 78 rpm singles?
Answer: 1968

Question: What two songs were featured on the 1978 release by Leon Redbone in 78 rpm format?
Answer: Alabama Jubilee and Please Don't Talk About Me When I'm Gone

Question: Which disc did Reprise release in 78 rpm format?
Answer: Think It's Going to Rain Today

Question: Why did Reprise only release one 78 rpm vinyl?
Answer: lack of sales for the single, and a lack of general interest

Question: What record company released recordings of 'Buena' and 'Tuff Enuff' in 1980?
Answer: Stiff Records
Gramophone_record

Vinyl's lower surface noise level than shellac was not forgotten, nor was its durability. In the late 1930s, radio commercials and pre-recorded radio programs being sent to disc jockeys started being stamped in vinyl, so they would not break in the mail. In the mid-1940s, special DJ copies of records started being made of vinyl also, for the same reason. These were all 78 rpm. During and after World War II, when shellac supplies were extremely limited, some 78 rpm records were pressed in vinyl instead of shellac, particularly the six-minute 12-inch (30 cm) 78 rpm records produced by V-Disc for distribution to United States troops in World War II. In the 1940s, radio transcriptions, which were usually on 16-inch records, but sometimes 12-inch, were always made of vinyl, but cut at 33 1⁄3 rpm. Shorter transcriptions were often cut at 78 rpm.

Question: What was a factor in shellac availability?
Answer: World War II
Gramophone_record

Flexible or so-called "unbreakable" records made of unusual materials were introduced by a number of manufacturers at various times during the 78 rpm era. In the UK, Nicole records, made of celluloid or a similar substance coated onto a cardboard core disc, were produced for a few years beginning in 1904, but they suffered from an exceptionally high level of surface noise. In the United States, Columbia Records introduced flexible, fiber-cored "Marconi Velvet Tone Record" pressings in 1907, but the advantages and longevity of their relatively noiseless surfaces depended on the scrupulous use of special gold-plated Marconi Needles and the product was not a success. Thin, flexible plastic records such as the German Phonycord and the British Filmophone and Goodson records appeared around 1930 but also did not last long. The contemporary French Pathé Cellodiscs, made of a very thin black plastic, which uncannily resembles the vinyl "sound sheet" magazine inserts of the 1965–1985 era, were similarly short-lived. In the US, Hit of the Week records, made of a patented translucent plastic called Durium coated on a heavy brown paper base, were introduced in early 1930. A new issue came out every week and they were sold at newsstands like a weekly magazine. Although inexpensive and commercially successful at first, they soon fell victim to the Great Depression and production in the US ended in 1932. Related Durium records continued to be made somewhat later in the UK and elsewhere, and as remarkably late as 1950 in Italy, where the name "Durium" survived far into the LP era as a trademark on ordinary vinyl records. Despite all these attempts at innovation, shellac compounds continued to be used for the overwhelming majority of commercial 78 rpm records during the lifetime of the format.

Question: What was a common problem found in early flexible records?
Answer: surface noise
Gramophone_record

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

Question: What gear ration creates 78.26 rpm?
Answer: 46:1

Question: In what year was 78.26 rpm chosen as standard?
Answer: 1925

Question: How many rpm did the electrically powered synchronous turanable motor run at?
Answer: 3600 rpm

Question: Why are these records known as '78s'?
Answer: to distinguish them from other newer disc record formats
Gramophone_record

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

Question: When did the 45 rpm gain popularity over the 78 rpm
Answer: 1950s

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

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 Alan Blumlein event?
Answer: stereophonic record system

Question: When did EMI create the first stereo discs?
Answer: 1933

Question: What was the benefit of 45/45 stereo sound?
Answer: more natural listening experience
Gramophone_record

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

Question: When were RIAA standards established?
Answer: mid-1950s
Gramophone_record

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

Question: How was the commercial success of stereo sound in the 1930s?
Answer: was not exploited commercially until much later.
Gramophone_record

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

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

Question: At which time were the 79 rpm no longer mass produced?
Answer: about 1960
Gramophone_record

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

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

Question: When did the 33 1/3 rpm hit the market?
Answer: June 1948
Gramophone_record

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

Question: Who developed the 33 1/3 rpm speed record?
Answer: Peter Goldmark
Gramophone_record

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

Question: Which company lost the "War of the Speeds"?
Answer: RCA
Gramophone_record

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

Question: To the end of which era could you find 16 rpm setting on record players?
Answer: 1970s
Gramophone_record

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

Question: When did RCA release their 45 rpm format?
Answer: March 1949
Gramophone_record

In January 1938, Milt Gabler started recording for his new label, Commodore Records, and to allow for longer continuous performances, he recorded some 12-inch records. Eddie Condon explained: "Gabler realized that a jam session needs room for development." The first two 12-inch recordings did not take advantage of the extra length: "Carnegie Drag" was 3:15; "Carnegie Jump", 2:41. But at the second session, on April 30, the two 12-inch recordings were longer: "Embraceable You" was 4:05; "Serenade to a Shylock", 4:32. Another way around the time limitation was to issue a selection on both sides of a single record. Vaudeville stars Gallagher and Shean recorded "Mr. Gallagher and Mr. Shean", written by Irving and Jack Kaufman, as two sides of a 10-inch 78 in 1922 for Cameo. An obvious workaround for longer recordings was to release a set of records. An early multi-record release was in 1903, when HMV in England made the first complete recording of an opera, Verdi's Ernani, on 40 single-sided discs. In 1940, Commodore released Eddie Condon and his Band's recording of "A Good Man Is Hard to Find" in four parts, issued on both sides of two 12-inch 78s. This limitation on the duration of recordings persisted from 1910 until the invention of the LP record, in 1948. In popular music, this time limitation of about 3:30 on a 10-inch 78 rpm record meant that singers usually did not release long pieces on record. One exception is Frank Sinatra's recording of Rodgers and Hammerstein's "Soliloquy", from Carousel, made on May 28, 1946. Because it ran 7:57, longer than both sides of a standard 78 rpm 10-inch record, it was released on Columbia's Masterwork label (the classical division) as two sides of a 12-inch record. The same was true of John Raitt's performance of the song on the original cast album of Carousel, which had been issued on a 78-rpm album set by American Decca in 1945.

Question: What was a typical recording time of a song in 1948?
Answer: about 3:30
Gramophone_record

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
Gramophone_record

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

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

Question: What was 16 2/3 rpm speed used for?
Answer: narrated publications
Gramophone_record

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

Question: On which date did Columbia release it's last 78?
Answer: November 1, 1954.
Gramophone_record

In January 1938, Milt Gabler started recording for his new label, Commodore Records, and to allow for longer continuous performances, he recorded some 12-inch records. Eddie Condon explained: "Gabler realized that a jam session needs room for development." The first two 12-inch recordings did not take advantage of the extra length: "Carnegie Drag" was 3:15; "Carnegie Jump", 2:41. But at the second session, on April 30, the two 12-inch recordings were longer: "Embraceable You" was 4:05; "Serenade to a Shylock", 4:32. Another way around the time limitation was to issue a selection on both sides of a single record. Vaudeville stars Gallagher and Shean recorded "Mr. Gallagher and Mr. Shean", written by Irving and Jack Kaufman, as two sides of a 10-inch 78 in 1922 for Cameo. An obvious workaround for longer recordings was to release a set of records. An early multi-record release was in 1903, when HMV in England made the first complete recording of an opera, Verdi's Ernani, on 40 single-sided discs. In 1940, Commodore released Eddie Condon and his Band's recording of "A Good Man Is Hard to Find" in four parts, issued on both sides of two 12-inch 78s. This limitation on the duration of recordings persisted from 1910 until the invention of the LP record, in 1948. In popular music, this time limitation of about 3:30 on a 10-inch 78 rpm record meant that singers usually did not release long pieces on record. One exception is Frank Sinatra's recording of Rodgers and Hammerstein's "Soliloquy", from Carousel, made on May 28, 1946. Because it ran 7:57, longer than both sides of a standard 78 rpm 10-inch record, it was released on Columbia's Masterwork label (the classical division) as two sides of a 12-inch record. The same was true of John Raitt's performance of the song on the original cast album of Carousel, which had been issued on a 78-rpm album set by American Decca in 1945.

Question: On which label did Frank Sinatra release his recording of Soliloquy?
Answer: Columbia's Masterwork label
Gramophone_record

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 was coined to differentiate better sounding products in the 1920s?
Answer: high fidelity

Question: What magazines provided reviews for audio equipment?
Answer: High Fidelity and Audio
Gramophone_record

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

Question: What record format was created for use in Chrysler automobiles?
Answer: Highway Hi-Fi 16 2⁄3 rpm record