The Straight Dope: Why are vinyl record speeds 33, 45, and 78 RPM? And why the big hole in 45s? Search The Straight Dope A Straight Dope Classic from Cecil's Storehouse of Human Knowledge Why are vinyl record speeds 33, 45, and 78 RPM? And why the big hole in 45s? March 12, 1976 Dear Cecil: What was so special about the record speeds 33, 45, and 78 RPM except that 33 plus 45 equals 78? How and why were these speeds chosen? And why did 45s have that big hole? — John L., Dallas Cecil replies: Like so many things in this world, John, the various record speeds were determined by chance and compromise. The compromise in this case was between playing time and fidelity. The slower a record revolves, the longer it plays and the worse it sounds. Slow speeds are acceptable for spoken-word recordings (many early "talking books" were recorded at 16-2/3 RPM), but not for music, where sound quality is critical.

Thomas Edison's first phonographs were hand cranked, which made a single standard speed virtually impossible. The listener cranked the machine at whatever speed sounded right, which usually worked out to around 80 RPM. That was slow enough to get five minutes of material (then, as now, the average length of a popular song) onto one of Edison's five-inch cylinders, and fast enough to provide what passed in those days for decent fidelity. When Emile Berliner invented the disc record in 1888, he designed it to meet the loose standards of the Edison cylinder — five minutes of playing time at 70 to 80 RPM. Formal standardization — at 78.26 RPM — didn't come until 1925, when the phonograph was married to the electric motor. 78.26 happened to be the speed a common, mass-produced 3600 RPM motor would yield if fitted with an equally common 46:1 gear. Around this same time the original acoustic method of recording was made obsolete by a new, and far superior, electric system. The fidelity possible at 78 RPM could now be had at a much slower speed — 33-1/3.

But the record manufacturers felt the fickle public — then deserting the phonograph in favor of a newer novelty, the radio — would be put off by the cost of converting from 78 to 33-1/3. So, through the twenties and thirties, the process was used only in studios and radio stations. In 1931, RCA Victor badly bungled an attempt to put a cheap, imperfect 33-1/3 system on the mass market, and no one tried it again until 1948, when Columbia Records introduced Dr. Peter Goldmark's new "microgroove" system. Columbia shrewdly pitched the new "LPs" to classical musical collectors, pointing out that the longhair listener could now settle back and enjoy an entire movement of a symphony without the annoyance of changing the disc every five minutes. Hoping to set 33-1/3 as the new standard, Columbia offered the process free to any company that cared to use it. But RCA Victor, still licking its corporate wounds after the 1931 debacle, would have none of it.

The company insisted on making what looked like another bonehead move: dumping an entirely new system — 45 RPM — on the market. Just as Emile Berliner had adapted his disc to meet the standard of the Edison cylinder, RCA had designed the 45 to conform to the 78 — it offered the same playing time, somewhat improved fidelity, and the dubious advantage of being more "convenient" because the discs were smaller. In presenting the 45, RCA came up with some drivel about how 45 RPM was the optimum speed for sound reproduction. But it was revealed that in fact RCA had told its engineers to come up with any old speed so long as it wasn't compatible with Columbia's system. The big hole was apparently supposed to make the two types of records even more incompatible. Thus began the so-called "war of the speeds." Since 45s offered few real advantages over the old 78s, most of the smaller manufacturers opted for the Columbia system. RCA, though, held out for 18 months, during which time industry sales volume dropped 25 percent as consumers waited for the giants to fight it out between themselves.

Finally, in 1950, RCA capitulated, sort of. It began making 33-1/3 records using the Columbia system. But it didn't discontinue the 45. Instead, it spent $5 million advertising 45 RPM as the preferred speed for popular music. In reality, of course, the speed didn't make any difference. A 7-inch record was simply more convenient for single tunes than a 12-inch one. Nonetheless, the public allowed itself to be duped, and in 1951 Columbia began making 45s too. Thus we ended with one speed and spindle size for popular songs, and another for symphonies. The 78, mercifully, was out of the picture by 1950. Actually, the whole concept of constant turntable speed had been obsolete since the turn of the century. At a constant turntable speed, the velocity of the grooves moving past the stylus decreases as the record plays — the inner spirals of the track being, of course, much smaller than the outer ones, circumference-wise.

If the groove speed were held constant instead of the turntable speed (in much the same way that a reel of film plays out at a steady 24 frames a second), it would be possible to record over 90 minutes of material on a single side. You'd have greater fidelity and a lessened potential for damage to the record. A few phonographs designed on this principal were marketed in the early 1900s. But technology is one thing and show biz is another. For obvious commercial reasons — just imagine how much more crap Barry White would need to pad out an album — this line of development was never pursued. — Cecil Adams Record Formats Why 78, 45 and 33 1/3 record formats? 1.78s: (c. 1900 - 1960) The first disc format was the 10-inch 78 rpm record, pictured above in the center, invented around 1900. The first record player was invented around 1870 by Thomas Edison, but this used cylindrical records about the size of an empty toilet paper tube. The flat 78s were much easier to store.

The grooves on these records were much larger than later LPs and 45s (about 4 times as big) and the needles were larger too. 78s were recorded and played back "acoustically", without any electric amplifiers or microphones, until about 1925. 78s were obsolete by about 1960. Since the grooves are so spaced out and the records spin so fast, a standard 10-inch 78 can't hold more than about 3 minutes of music per side. They are typically made of a shellac compound (as in furniture finish!), and have the consistency of a china plate, so they are very thick and heavy and break easily. 33s / "LPs": (c. 1948 - 1990) The 33, a.k.a. the "LP" (Long Playing record) or "album", pictured above at left, was invented in 1948. These LPs were popular until around 1990 when CDs were popular enough to take over. An LP could hold up to a total of 60 minutes of music, but most didn't have more than 40 minutes.

They are made of vinyl plastic rather than shellac, so they are more flexible and don't tend to break like 78s. The grooves are 4 times smaller, so they were originally called "Microgrooves" (MG), and early LPs have this written on the label. Interestingly enough, there are enough people still willing to buy "classic" albums, particularly jazz and blues, that some of the labels in those styles, like Blue Note records, Original Jazz Classics (a.k.a. Prestige, Riverside, Contemporary, New Jazz, etc) and Delmark Records are once again pressing and selling LPs for about $9 - 13 through mail order. LPs of some newer releases are available, in very limited quantities. Because people are still willing to buy classic albums, there is still a strong market for the best record players and the industry is looking up. 45s: (c. 1949 - 1990) The 45, pictured above at right, was the alternative to the LP when you wanted to record a single pop song rather than a full album. The 45 had the same smaller-sized groove as the LP, and the center hole was larger.

45s became popular in jukeboxes, which had previously used 78s, because 45s took up less space and you could fit more songs in the box. Suddenly jukes went from offering 24 or 40 songs on 78s to having 100 to 200 songs on 45s. 45s are also made of vinyl rather than shellac, and can hold up to about 5 minutes of music on each side. 45s are still being made in limited quantities for jukebox operators who have not upgraded to newer CD jukeboxes, so you can still get some of the latest releases on 45. Does anyone know why 78 revolutions per minute was chosen as the standard rotation speed of old-fashioned gramophone records, rather than a round number such as 75 or 80 rpm? And are there convincing explanations for the choice of speeds for later EPs and LPs of 33 1/3 rpm and 45 rpm? It was Emil Berliner, the inventor of the gramophone, who determined roughly how fast old disc records should spin.

He avoided Edison's need for a stylus made from precious jewels by using points which could be made from steel sewing needles and pins. The size of the stylus effectively determined the size of the grooves in a record and the recordable frequency range limited by this groove size determined a speed between 70 and 90 rpm. Standardization did not begin until 1912, when the British Gramophone Company conducted listening tests on their back catalogue. They settled on the average (or possibly the median) of these tests, which turned out to be 78 rpm. Other companies adopted this, but the process was not complete until the early 1930s. Even after this date �rogue rpm� records still appeared. After standardization problems still occurred. Because of electrical mains frequencies differences on opposite sides of the Atlantic, stroboscopic speed testers and synchronous motors meant a nominal speed of 77.922 rpm in countries that used 50 hertz and 78.261 in countries that used 60 hertz. These were later fixed in national (but not international) standards. Records of 33 1/3 rpm were developed in conjunction with films.

A 12-inch 78 with Berliner-type grooves could hold between 4 and 5 minutes per side. The first practical sound films produced in the US in the late 1920s had their sound on separate disc records and it was more important for the sound to be continuous. A reel of film might run for 11 minutes, so a rotational speed of about 32 rpm was required to make the sound match the picture. History doesn't tell us why precisely 33 1/3 was chosen, but in retrospect it was a very good choice because stroboscopic speed testers can be made for this speed which will work on both sides of the Atlantic. It seems CBS engineers (who developed the first LPs in 1948), simply experimented with one of the old machines hanging around in their workshop. They then developed new groove dimensions which gave an acceptable signal-to-noise ratio with the new plastic material "vinyl". The 45 rpm speed was the only one to be decided by a precise optimization procedure (by RCA Victor in 1948).

Calculus was used to show that the optimum use of a disc record of constant rotational speed occurs when the innermost recorded diameter is half the outermost recorded diameter. That's why a 7-inch single has a label 3 1/2 inches in diameter. Given the CBS vinyl groove dimensions and certain assumptions about the bandwidth and tolerable distortion, a speed of 45 rpm comes out of the formula. PETER COPELAND British Library National Sound Archive London From 1894 to around 1930 there were many different record speeds ranging from 65 to 90 rpm, each case being a compromise between playing time and the need for a clean cut in the original wax. The Victor company used 76 rpm for many years for its recordings but instructed buyers to reproduce at 78�the record�s durability was improved that way. The standard of 78 rpm arrived by default, although the actual speed depended on the electrical mains frequency. Constant linear speed, or varying the rpm, was commercialized but did not prove to be a success (until the arrival of the CD).

The speed of 33 1/3 was introduced in 1927 after theoretical analysis of the compromise between signal-to-noise ratio and playing time (3 minutes per radial inch) by J. P. Maxfield of Bell Laboratories for sound films produced on the Vitaphone system. And it was a professional de facto standard before it became commercialized by CBS in 1948. It has been suggested that 78 minus 33 equals 45 was the reason for the emergence of 45 rpm records but, in fact, Maxfield's analysis still applies: the 45 "single" was RCA�s equivalent to a 10-inch, 78 rpm record, only smaller. GEORGE BROCK-NANNESTAD Copenhagen Denmark Emil Berliner's first disc gramophones were wound by hand at somewhere between 60 and 100 rpm. The 7-inch discs lasted a minute or so and had low sound quality. Berliner and his assistant Fred Gaisberg realized that unless the speed was governed, the gramophone would never be more than a novelty. Gaisberg visited a young mechanic who was making clockwork machinery in hoping to use it for sewing machines.

This machinery was never successful in sewing machines, but was ideal for gramophones, and it rotated at 78 rpm. The mechanic, Eldridge Johnson, became a millionaire. Columbia made all its discs to run at 80 and HMV had its pioneer recordings produced between 68 and 92 rpm with the key of the piece marked on the label. You then tuned it on your own piano, using the gramophone's governor. These speeds all gradually settled into the standard of 78. When talking pictures first arrived in the late 1920s, the sound was recorded separated on discs and had to be synchronized by the projectionist at each showing. Every cinema projection room had a pair of projectors, each taking 1000-feet reels of film, whose running time was about 10 minutes. The projectionist switched projectors after each reel. Ideally, this meant that the sound should last 10 minutes as well, as it would be impossible to synchronize a sound changeover in mid-reel.

At the time, however, a 12 inch 78 rpm record lasted for only about 4 minutes, so the Vitagraph company simply slowed down the 78 until it lasted 10 minutes and recorded all their masters on that, starting each disc in the middle, as it was easier to drop a needle there than the outer edge. This new speed was 33 1/3 rpm, adopted for other records in the late 1940s when Columbia introduced its first vinyl, long-play discs with microgrooves, giving a play time of about 30 minutes on each side. However, the long-play disc wasn't particularly suitable to popular music, as the public wanted its records as singles with good sound quality even at high volumes. RCA Victor came up with a 7-inch vinyl disc with microgrooves, rotating at 45 rpm, a speed chosen specifically to make the most of the music, unlike 78s or 33 1/3s. And does no one remember the 16s?

ROGER WORSLEY Invention | History of the LP Record History of the LP Record Invention Invention The invention of the 33 1/3 long-playing record had its beginnings in the invention of the 78-rpm shellac disc. During the early part of the twentieth century, recording companies struggled to get beyond the three and four minute playing barriers that had been in place since the phonograph’s inception. In the 1920s, the Big Three laboratories (Columbia, Edison, and Victor) extended the playing time to seven or eight minutes, while Western Electric managed to push the limit to ten minutes in order to match the length of reel films. [1] The sound quality was not as good on these longer-playing discs as it was on the shorter-playing discs and so nothing beyond that was produced in the 1930s. The micro-groove or long-playing record technology built on advances that been available, but unused since the 1930s. By this point the big record companies realized that creating a longer-playing record would require a tougher medium that could hold a smaller groove. They would also require more sensitive electromagnetic pick-ups that would not rapidly wear down the records.

The type of recording medium was the first crucial aspect. Earlier attempts by Victor in 1931 to produce a long-playing record had failed because slower turntable speeds on shellac records resulted in more “rumble” and unwanted undesirable frequency noise. [2] Record companies had tried and failed to add more grooves to records to increase their playing time, but the shellac surface could not effectively hold all of the sound information of the smaller grooves. One of the major advances that had been made in the 1930s was the introduction of vinyl resins. These records consisted of mixture of vinyl chloride and vinyl acetate, known as Vinylite, which was harder and finer than shellac, and allowed the discs to be cut with 224 to 226 grooves per inch, which was a massive improvement over the former 80 to 100 grooves per inch. [3] Decreasing the width and increasing the number of grooves was only one of the ways to make records play longer. The other was to slow down the rate of revolution on the turntable.

Throughout the 1930s many companies tried one or both of these techniques to create a longer-playing record, but Columbia was first to successfully combine both of these methods to create a long-playing record. This first successful LP record was developed by Columbia Records, under the direction of Dr. Peter Goldmark, a Hungarian-born electrical engineer in his late thirties who had been delegated the task of developing a practical slow-speed microgroove record with a team of co-workers and Bill Bachman, Columbia’s research director. [4] The team’s goal was to find a way to increase the number of grooves per record without injuring the sound quality of the record. Goldmark also spent time improving the duplicating techniques for the new records because he had been appalled by the lack of concern for foreign particles introduced during this process when he had visited the Columbia Record plant. He understood that these new microgroove records could produce recordings that had less background noise if they were created in cleaner recording rooms.

[5] On Friday June 21, 1948, Columbia Records held a press conference at the Waldorf-Astoria Hotel in New York City to unveil their new technology which was a non-breakable, 12-inch, microgroove disc that had a playing time of twenty-three minutes per side. [6] Peter Goldmark Despite the fact that the long-playing record had a history that went back to the 1920s, Columbia wanted to depict it as new technology. Many of the journalists present were skeptical because many other companies had tried and failed to recreate a long-playing record in previous years. The reporters were given a demonstration to help ease their skepticism. The prototype held 224 to 300 grooves per inch, was pressed in a non-breakable plastic known as vinylite, and played for twenty-three minutes per side. [7] The demonstration proved that the LP record had no trace of breaks nor had the sound quality suffered from the increase in grooves. Some reporters were of the mind that the LP record actually had better sound quality than previous records. To further emphasize how revolutionary this product was Columbia had made two stacks of records: one of the new LP records and one of conventional records.

Both stacks contained about 325 different musical selections, but the stack of conventional records was almost eight feet tall while the stack of LPs was just over fifteen inches. [8] Besides demonstrating their new record, Columbia also had to demonstrate the new machine that played it. The new reproducer had a turntable that revolved at a steady 33 1/3 rpm. This slower speed made it extremely important to cut down on the noise of the turntable and to eliminate variations in turning speeds. The reproducer also had an extremely light and specially designed pickup that only produced about six to seven grams of pressure on the record. This lighter pickup meant that the new discs would resist wear and last longer than the older 78s. [9] LP record player In 1947, Columbia (which did not have its ownrecord player manufacturing facility) kept the LP a secret while they made a deal with the Philco Radio Company in Philadelphia to manufacture the new players necessary for the success of their new type of record. [10] They saw that it was pointless to attempt to market the LP without a good collection of recordings so they assembled a library of recordings in the new format before releasing it to the public.

Although all types of music were released as LPs, they were especially ideal for longer pieces of music, such as symphonies or operas. [11] From the beginning Columbia hoped to have a quick and painless transition to the new record speed. In order to accomplish this they met with RCA Victor, their biggest competitor, and offered to share the LP recording system and technology with them. [12] RCA Victor, angry that Columbia had beaten them, ignored the overtures, forcing Columbia to move forward with the LP alone. This attempted transition to microgroove records was slow for a variety of reasons. One was the “record wars” that erupted between the Columbia and RCA. Columbia had hoped that their 33 1/3-rpm would be the standard, but RCA, believing that they had invented the first LP, introduced their own 45-rpm microgroove disc to compete with Columbia. [13] This “battle of the speeds” confused many consumers and caused them to delay their purchases. By 1950, there were four speeds for consumers to choose from; 78, 33 1/3, 45, and 16.

Within the first year of after its release Columbia’s sale of LP records reached over $3 million. [14] The first LPs were not perfect by any means and met some resistance. They were not uniform, often had a dull sound, contained sustained notes that tended to waver slightly, and sometimes contained pre-echo, which occurred when parts of the music made a faint and untimely appearance ahead of the beat. [15] The different speeds and the different sizes of the hole in the middle of the records made playing 78s, 45s, and 33 1/3s tricky. In June 1947, Columbia Records announced that their record machine company Philco planned to manufacture all future machines with multiple playing speeds. [16] In spite of the many problems, an many enthusiastic consumers saw the future promise of LPs through the minimized problem of surface scratch and record wear. They also saw the benefits of hearing more uninterrupted musical performances on fewer discs, which gave them more music for less money and allowed for easier storage and portability. [17] Vinyl Record Formats: EPs, LPs, 33s, 45s, 78s Oh My!

| Vinyl Revinyl Tweet Record Spider Vinyl records are produced in a variety of formats, and have a variety of terms describing them. Most of us kids that grew up with CDs don't know too much about this stuff, so I have prepared this handy guide! It should also be noted that vinyl records have gone through a wide variety of format changes over the years. From their size to their playback speed to the depth of the grooves, and even the way in which the grooves are read, there are tons of formats out there, most of which are obsolete and very hard to find. I only want to focus on the main formats that are being used today, so this guide is not complete by any means. If you really want to get into the history of vinyl, I highly recommend Wikipedia's page about the Gramophone record . With that said, here is the abridged version from Vinyl Revinyl! EPs and LPs...Huh? I have seen these acronyms all over the place in music shops for as long as I can remember. However, to call something an EP or an LP is generally not very accurate way to describe a record.

In short, EP stands for "extended play", and is generally used to describe a 7" 45 RPM record. LP stands for "long play", and is often used to describe 12" 33 RPM records. However, these definitions are not completely sufficient because EP and LP are used to describe a variety of other record formats, most of which are out of print and obsolete. In general, all you need to know is that some people use the term EP to describe a single or short record with a few songs. LP is generally used to describe full-length albums. Why is a single 7" record referred to as "Extended Play"? The reason is that this new EP format did allow for extra playing time compared to what was offered at the time. Back in the bad old days, large records (10 and 12") would only play about 3-4 minutes per side. 7" EPs can play up to 12-15 minutes per side, hence the name "extended play". Record Speeds: 33, 45 and 78 RPM Records are played back at a certain RPM (rotations per minute) on your turntable.

However, to be played back at that speed, it must also be recorded on to the record at that speed. Records that rotate at faster speeds generally contain more musical data, and are said to sound better. These days, most records that you'll come across are recorded at 33 or 45 RPMs. 78 RPM records are still out there, but as far as I know, no one is making them. Many newer turntables won't even play them because they don't have a setting for 78 RPMs. Most records that are recorded at 45 RPMs are singles. Many of these records feature a large center hole so they can be used with jukeboxes and record changing mechanisms. To play a 45 on a turntable with a small spindle (the needle in the middle of the platter), you need a plastic "spider" that snaps into the center of the record so it can be played. However, not all 45 RPM records are singles, or "EPs". Some LPs are being released at a playback speed of 45 RPM.

Some believe that 45 RPM records sound better than 33 RPM records, and some audiophile-grade records use the faster 45 RPM format. I recently picked up Metallica's Master of Puppets in the 45 RPM format, but don't have a comparable 33 RPM record to compare it to, so I can't comment on improvements in sound over a 33 RPM record. I can say that it sounds WAAAAAY better than a CD. Here's some more interesting trivia: Some old record formats play back at 120 RPM. Another failed record format playback speed is 16 2/3 RPM (Half that of a 33 RPM) Record grooves are about 25 microns (.001 inches) wide. Some records are read by the stylus from the center of the record, outward (CDs operate this way too), as opposed to being read from the outside of the record in. Alright! I hope you learned something here. Kick back, and enjoy the music!

Related posts: How to Sell Old Phonograph Records: 11 Steps (with Pictures) How to Sell Old Phonograph Records Two Methods: Finding and Selling Your Records Shipping and Payment for Online Sales Community Q&A Do you have a stash of old records you'd like to sell? There are many collectors who are willing to deal with you to buy that stack of old records you've kept around for years. While not all of them are worth a lot of money, some are; read carefully and find out if you're a few steps away from getting some cash for them. Steps Finding and Selling Your Records 1 Study your ABCs -- Attics, Basements and Closets. They could yield some extra money and free up some valuable space in your home for other uses. LPs (long-playing 10 and 12 inch discs, playing at 33 1/3 revolutions per minute), 78s (somewhat breakable discs, playing at 78 revolutions per minute with one tune on each side) and 45s (7 inch discs playing at 45 revolutions per minute) could prove valuable.

2 Gather together all the records you think you may want to get rid of, and prepare to profit off your past. 3 Consider supply and demand. How available is the record? If millions were initially sold, it is likely that many will turn up in thrift shops, used record stores, and many homes. The scarcity factor must be present. There must be a demand for that record because of the artists performing (for example, a major talent who died young, before being able to make many records), the label on which it was recorded (the original recording as distinguished from a "reissue"), or an oddity concerning the record (for example, a V-disc, wartime government recording, an air-check taken from a radio broadcast, an original picture disc, or a 10-inch LP). The scarcity factor can also be affected by whether a record is "out-of-print" (no longer available from the manufacturer), thereby decreasing the supply. "Bootlegs" (records illegally produced from live concerts or broadcasts) are also valuable to collectors. 4 Check the condition of the record. If it is in "mint" condition (perfect) or "near mint" condition, it will have the highest possible value.

A record in "very good" condition should not have any distorted sounds or loss of sound quality. "Good" means it may have some imperfections, but can be readily enjoyed. "Fair" means it can play, but it will have obvious sound impairment and detract from your enjoyment and the value of the record. Those with surface noise and scratches will be of little or no value. Some dealers may have a slightly different grading scale. 5 Think about the content of the recording. Generally speaking, there is more interest in music than in spoken word or comedy records and the value would therefore be greater. Certain kinds of musical recordings bring high sales prices. Jazz records and original Broadway cast and movie soundtracks tend to provide a more active market and greater value. Also, early rhythm and blues records and the doo wop sound are highly valued and collectible. Among classical records, the most valuable are orchestral performances, then solo instrumental, chamber music and concertos, solo vocal and operatic arias, and finally, complete operas. To some collectors, whether a record is mono or stereo affects the value. See the Tips below for emerging trends. 6 Find the right purchaser for your treasure.

Records are purchased by collectors, mail order dealers, used records stores, and the general public (sometimes on a nostalgic impulse or because of a favorite artist. Also, some audiophiles believe the sound quality produced by vinyl is greater than that of a CD or other media format). For truly rare records, the best prices will come from dealers who know the market and how much they can resell them for. Collectors are emotional and sometimes fanatical about collecting their specialties. They may pay top prices for particular idiosyncrasies. It is unusual to get top dollar for a rare record from the "general public," where only the performance value is recognized, not the resale or trading value. 7 Do your research before initiating a transaction. Painstaking research along with knowledge of the record industry and its artists is required to determine the value of a particular recording. It may be possible to determine a value for a "rare" record once you have determined that it is truly rare. For more on pricing, check the tips below. 8 Catalog your records. List the artist, the title of the record, LP, 45 or 78rpm, the record catalog number, and its condition. 9 Find buyers.

Take the list to a record librarian, a local record store or some used record stores for offers and indications as to rarity. Talk to friends and associates. Advertise in local classifieds or collectors' publications. Go to record shows, local used record stores, flea markets or bazaars, or garage sales. Use the internet; there are are many auction and classified sites such as eBay where you can sell your records. Method Shipping and Payment for Online Sales 1 With the Internet, most sales will be conducted without either party having met each other in person. It is far more likely that you will pack and ship without ever having met the buyer. Using an online 'bank' such as PayPal is worth the small fee per transaction since you can then accept major credit cards or e-checks, and if you choose, shipping charges are included in the original electronically created and automatically emailed invoice. Shipment is not made until payment is received in full, which is normally only a matter of minutes. 2 Damages in transit can destroy records but vinyl is difficult to damage if packaged properly and high temperatures are avoided.

By requiring that shipping insurance be purchased along with regular postal charges, the shipper is reimbursed for lost or damaged records, and then can reimburse the buyer their payment. Sellers are not liable for damaged or lost freight if the item is properly packaged, insured and has delivery confirmation requested. Today, it's normal for buyers to pay for all actual postage costs and reasonable handling fees. Do not ever send any item by C.O.D. Today many sellers do not offer refunds if they have completely and honestly described all flaws on the record and/or cover, and properly packaged and shipped the item. Some sellers offer 3 to 30 day refund periods, but may only offer a trade for like item or credit with seller. Community Q&A How do you know that your records are old? wikiHow Contributor Check for dates and symbols from older times. For example: Columbia record Dec 19 1901, When the Nightingale is Singing in the Moonlight, sung by Henry Burr. Do records without covers have any value? wikiHow Contributor They have little value as part of the experience is that the booklet and covers that come with the tracks along with the actual track listing certainly lessen the value, than with the original covers.

Are colored vinyl and records made in countries outside the U.S. generally more valuable? wikiHow Contributor All determined by each release. However, UK records tend to also be 180g releases - offering a deeper groove and sound in the pressing - some folks prefer that where available. Generally speaking, most common and even uncommon margin within a similar median in price, regardless of where printed, only demand sets the going price. Can you suggest a site that has information about what vinyl records are worth? wikiHow Contributor Goldmine is a printed publication that lists pricing based on value. Discogs.com is a marketplace that has statistics of actual sales available. Be sure to be true in grading your albums. I have several albums of 5 or 6 records in each, that are really old, all classical, orchestras from the 40's. How can I sell them? wikiHow Contributor You would be best to price them using Goldmine American Records for pricing based on grade and catalogue number. Or consider donating them to your local resource center as a donation tax write off. How much are Michael Jackson records worth? wikiHow Contributor These albums were number #1 sellers. There are thousands of them out there, each edition with several reissues and pressings.

Use the catalogue number to search marketplaces online and conservately grade your copy to determine a rough estimate of the aberage selling price for you version. I am cleaning out my cousin's house. Her husband collected lots of old records -- he has about 1,000 albums of every artist imaginable. How do I get estimate on their value? wikiHow Contributor Check the serial numbers on each (the little number scratched in the center of the record) and search them up individually on the internet. This will give you an idea of how much each record is worth. You can also send them off to record dealers to price them for you If this question (or a similar one) is answered twice in this section, please click here to let us know. Tips Know that most records that are not "rare" can bring only pennies from dealers. Rare records can bring from a 1.00-50.00. There are a number of price guides published, but values indicated are generally highly inflated or based on an isolated sale. Obviously, collectors and dealers want to read that records can bring high prices. Internet marketplaces such as Ebay can be a source of information about what a record might sell for.

Recently, a market began developing for rock records of early vintage, especially those of deceased cult figures such as Jimi Hendrix, Janis Joplin and Jim Morrison. Also, brisk trading now occurs among collectors of 45s, especially among the 1950s rhythm and blues and early rock artists. There is great interest in rare and unusual records (foreign issues, etc) from Elvis and the Beatles. There is also significant interest in records that came with enclosures, such as posters of the artists. Contact / Sell Your Records | Wanted: Old Records, Buy and Sell 78 RPM and 45 RPM Blues, Jazz, Soul Vinyl at Paul Solarski Rare Records Contact / Sell Your Records Contact / Sell Your Records Why Sell to Paul I pay TOP DOLLAR! Collecting and dealing since 1971. With years of sales in record collector publications as well as eBay internet auctions(See my feedback reputation under seller id: paulsolarski), I have the current expertise to get you the most for your records. You are tired of the eBay hassle.

Many have tried eBay and discovered that after the eBay fees, commissions, rules, taxes and dealing with buyers it made much more sense to sell everything to me for one nice price. If you sell on eBay they will now file a Form 1099 reporting your sales to the IRS. I buy ‘em all! I buy a wider range of records than most dealers who specialize in a category or two…and over the years I have developed strong buyers in all collecting categories. As a collector who resells to serious collectors I pay much more than typical-I’ll definitely be your last quote. Immediate CASH paid-No partial or time payments and as a professional, full-time record dealer I communicate and work promptly. Records are speedily packed and moved-I work within your schedule. As a serious buyer, I travel for the “right” records. I buy thousands of records throughout each year on regular road trips and through the mail. I also pay FINDER’S FEES that lead to purchasing quality record collections.

How to Sell Your Records If you have records for sale matching the types I am looking for call us at: (901) 435-6668 with the specifics or send a listing to my email: paulrecs@gmail.com or to Paul Solarski Box 355, Arlington, TN 38002. If you mail a list and require a response, please include a SASE. Lists need to include the label name, catalog number and artist name. Song titles or other information are not needed. In the case of a large collection where no list exists then representative samples from random pulls either listed or discussed over the phone will suffice. If you have a large collection for sale please let me know the following: How many records do you have. Or let me know the size in linear feet if it is a larger collection. What genres or types of music are in your collection that match my wants as shown on this site. Let me know your contact information. Be assured I will not share any of the information you provide us with a third party. I need a name, primary phone number, email, best time to call, city, state and zip code.

I need to have complete contact information to help in the buying process. When we discuss the records you have for sale I will provide you with ranges that I pay for the records based on condition. Condition is all-important! For larger collections that I buy in person I can then give an exact value once I see the condition. For smaller groups of records that I buy through the mail I can give an exact value again once we see the records. If it is helpful I can even send at no cost to you our customized record boxing system that makes it easier for the seller to just pack them and mail them off. I also include detailed mailing instructions. With over 35 years experience buying records in person and through the mail I know how to make the process run smoothly. Please note that I cannot provide phone appraisals of records. If you are an institution or estate needing a formal written appraisal for insurance, donation or other purposes please call me directly to discuss our services and fee structure.

The Paul Solarski Advantage: Vintage 78 Records - Collector Information | Collectors Weekly Vintage 78 Records Overview eBay Auctions Show & Tell Articles Before iTunes, CDs, 8-tracks, LPs , or even seven-inch EPs, 78s were the main medium for recorded music, so-called because they were played at 78 rotations per minute (rpm). Produced primarily by Victor, Columbia, Brunswick, and Capitol, 78s were first invented by Emile Berliner in the late 19th century. At first, Berliner made the “plates,” as the records were called, out of celluloid and rubber-based materials, but in 1894 he switched to shellac, inspired by its transformative impact on the telephone industry. Early shellac 78s measured seven inches across, but by 1900 they were generally 10 or 12 inches in diameter. For years, early radio stations in both the U.S. and Britain did everything they could to drive 78s out of the market. At the time, most radio stations provided listeners with live music—recorded music represented a threat to their business model.

Thus, they discouraged their listeners from spending money on “canned” music. In England, the Musicians Union went so far as to require radio stations to pay the Union for every minute they played records instead of live music. Thanks to these policies and the poor sound quality of 78s, records took a while to catch on. In 1912, Thomas Edison released a competitor to the 78, the Edison disc, which was much thicker (a full quarter-inch!) and featured better audio quality. But the Edison disc required its own expensive phonograph , and it was discontinued in 1929, the same year opera star Arturo Toscanini declared that he would never record anything because a record could not fully capture the beauty of his voice. Even so, record companies released a wide variety of genres on 78s, from classical to pop to recorded animal noises. In fact, classical releases spawned the origin of the term “album”: because each side of a 78 could only hold about five minutes of music, hour-long symphonies had to be divided into six discs, which were bound together in something resembling a photo album.

Seventy-eights were better suited to short pop songs, but this length limitation would prove to be the format’s biggest weakness in the decades to come. Still, 78s gradually gained acceptance, helped along by the popularity of jukeboxes after the Depression. Then, in 1942, the American Federation of Musicians declared that it would not record anything that did not directly help the American war effort—shellac was scarce, and it was an important material during wartime. The moratorium on record manufacturing lasted until 1944. When production got back on track, though, much of the shellac used for new records was recycled, which resulted in lower-quality discs. Even so, shellac was on its way out anyway. In 1948, Columbia released the 10-inch LP ; when Victor responded with the 45 in 1949, the “War of the Speeds” was on, and the industry soon switched from shellac to vinyl , which was much more durable and allowed for thinner grooves and, thus, longer playing times per side... In the mid-1950s, seven-inch vinyl singles began cutting into the popularity of 78s even more.

Indeed, 1958 was the last year the 78 was the best-selling format in the United States; within five years, 78s were no longer produced in any Western countries, though foreign labels like EMI’s Indian division kept producing them for a bit longer. Since then, the 78 rpm speed and format have been revived a few times as a promotional gimmick, but these records are generally pressed on vinyl rather than shellac. One example was the Sundown Playboys’ “Saturday Nite Special” in 1971. The most collectible 78s today are those from the late ’50s, when 78s were less common and releases were often pressed on multiple formats. In the U.K., for example, Elvis Presley ’s “A Mess of Blues” is highly collectible as a 78 because it is much easier to find as a seven-inch vinyl single.

Best of the Web (“Hall of Fame”) Sun Records Discography John Boija's comprehensive site offers photos of every 45, 78, and LP recorded at Sun Records—from those recorded… [ read review or visit site ] Vinyl Divas Vinyl Divas pays homage to international female opera singers of the LP era. Chronicling more than 800 singers, the… [ read review or visit site ] 317X Despite its mysterious title, 317X is plain and simple—an online gallery of vintage LPs, with a 1950s vintage fee… [ read review or visit site ] Mybeatles.net Jesse Barron's collection of Beatles 45s, picture sleeves, magazines, books, and memorabilia.

Browse singles and al… [ read review or visit site ] Association of Vogue Picture Record Collectors This great site, from the Association of Vogue Picture Record Collectors, offers detailed background information an… [ read review or visit site ] The Remington Site Since 1999, the Remington Site has offered classical music collectors a glimpse into Remington Records, an independ… [ read review or visit site ] Clubs & Associations The History of Vinyl Records | Our Pastimes The History of Vinyl Records By Tim Neely Chad Baker/Jason Reed/Ryan McVay/Photodisc/Getty Images Today's vinyl records aren't that much different from those that were introduced in the 1940s. The styles of music and the artists have changed, and a few refinements have improved their sound quality, most notably the introduction of stereo sound in the late 1950s, but the basic record has not. Before Vinyl, There Was Shellac: 78s When Thomas Edison invented the phonograph in 1877, the playback medium was cylindrical in shape. Emile Berliner changed that in 1888 by creating a flat disc to be played on what he called a gramophone.

Over a period of several decades, these records became standardized at a speed of approximately 78 rpm and in sizes of 10 and 12 inches in diameter, the larger ones usually for classical music. They were made of a shellac-based compound that proved both noisy and brittle. Also, because of their short length, several changes of side were necessary to listen to, for example, a movement of a symphony. Long-Playing Records Came Next In 1931, the RCA Victor Company introduced an early version of a long-playing record, but it failed to catch on and was all but dead by 1933. The Depression and World War II inhibited further attempts to create a more modern record. After several years of research, Columbia introduced a microgroove 33 1/3 rpm long-playing record in 1948. Unlike the standard 10-inch 78 rpm record, which could play about 3 1/2 minutes on one side, the new “LP” could hold 15-plus minutes on one side of a 10-inch record and up to 25 minutes on one side of a 12-inch disc.

Also, these new records were made of a vinyl compound rather than the easily breakable shellac of 78s. The larger discs were originally meant for classical music and the smaller for non-classical, but by 1955, the 10-inch LP had been superseded by the 12-inch version. The 45 RPM Single Followed Denise Scott-jackson/Hemera/Getty Images Less than a year after Columbia's LP, in March 1949, RCA Victor introduced its own microgroove vinyl system — a 7-inch disc that played at 45 rpm. (It's been said that the speed came from subtracting 33 from 78, but there may be [more to it than that] ( These were closer in concept to the 78s they ended up replacing, as they became the preferred method for singles. RCA also invented a special record changer to go along with the discs, which is why they have the large hole in the middle rather than the small hole of 33s and 78s. For a few years, record labels issued albums in sets of 45s as well as on long-playing LPs.

In 1952, the extended-play 45, which became known as the “EP,” was introduced to replace those boxes of 45s, but once again these EPs rarely served more than a niche market, though some Elvis Presley EPs were huge sellers in 1956. Most labels phased out EP releases by the early 1960s, though Capitol released a Beatles EP in 1965, and RCA issued one last Elvis Presley EP in 1967. Two Ears, Two Sounds: Stereo Records The next innovation in records was the stereo disc, which was introduced in 1957. Stereo recording began on some films as early as 1939, and by 1954, several labels were recording in stereo. Reel-to-reel stereo tapes were sold before stereo records were because there were several competing ideas on how to make stereo records, and no one could agree which was best. Finally, an independent label, Audio Fidelity, chose one of the methods and started to release stereo records in 1957.

The major labels followed, and by 1959, many new LPs were being issued in mono and stereo at the same time. Stereo 45s followed but didn't catch on at first; they began to reappear in 1968, and almost all labels were releasing stereo singles by 1973. Monaural LPs began to be discontinued in 1967, and by the end of 1968, virtually all new albums were in stereo only. Some older releases were converted using various methods into fake stereo; these albums are generally avoided except to complete a collection. Vinyl Records Today Most of the refinements in records since then have been to improve what is already there. In the 1970s, quadraphonic (four-channel) sound failed to catch on because of incompatible competing formats. Other techniques, including half-speed mastering and metal mastering, are attempts to improve the stereo sound. Because vinyl records can become scratched, warped and dirty, other formats slowly took over. Eight-track and cassette tapes were introduced in the 1960s; by the mid-1980s, more cassettes than vinyl records were sold.

In 1982, the digital compact disc came to market and superseded both cassettes and LPs by 1991. Though the pops, ticks and warping of vinyl were not an issue with CDs, the shiny metal discs have their own problems, which led audiophiles, disc jockeys and collectors back to the old-fashioned vinyl record. References

Question: What were 78's, 45's, and 33's?
Answer: Records