Long-playing records
Long-playing records (LPs) are a significant advancement in the history of music recording and playback. Introduced by Columbia Records in June 1948, LPs could play up to thirty minutes on each side, a substantial increase compared to the three to five minutes offered by earlier shellac discs. This innovation was achieved by reducing the rotation speed to 33 revolutions per minute (rpm) and utilizing a vinyl material that provided better sound quality and durability. Initially, both LPs and the competing 45-rpm format faced slow adoption, but by the mid-1950s, their popularity surged, leading to a revitalization of the recording industry.
LPs expanded the range of music available to audiences, allowing for longer compositions in genres such as classical and jazz, and fostering the growth of Broadway musical recordings. Additionally, the emergence of magnetic tape technology enabled greater flexibility in music production and promoted the establishment of independent record labels and small studios. This era also marked a cultural shift towards high-fidelity sound systems and home listening experiences, further enhancing the appreciation of recorded music. Overall, the introduction of LPs had a transformative impact on the music industry, leading to substantial growth and innovation in the years that followed.
On this Page
Long-playing records
Twelve-inch vinyl sound disc played at a speed of 33 1/3 revolutions per minute
Date Introduced in June, 1948
Long-playing records contributed to the expansion of musical styles and repertoire and the growth of the music industry during the 1950’s.
Prior to the introduction of long-playing records (LPs), commercial recordings were ten- or twelve-inch discs made of a composite of materials, including shellac, and played at a speed of 78 revolutions per minute (rpm). These discs played for three to five minutes per side, produced a great deal of surface noise, wore out quickly, and shattered easily. Longer musical works, especially classical pieces, had to be recorded over several discs, which were sold in sets as record “albums.” In June of 1948, Columbia Records introduced a long-playing disk that could play up to thirty minutes on each side. Columbia achieved this by slowing the speed of the record to 33 rpm and increasing the number of grooves per inch impressed on the disc, marketed as “microgrooves.” The new discs were made of vinyl, which was more durable, and produced sound more faithfully than shellac 78s.
Before launching LPs, Columbia management met with its main competitor, RCA Victor, and offered to share the technology and set standards for the new records. RCA refused, and Columbia began selling LPs after contracting with Philco to sell relatively inexpensive record players. In 1949, RCA countered with a seven-inch, 45-rpm disc, allowing the same 3-5 minute playing time as 78-rpm records. At first, neither the LP nor the 45 format was quickly adopted by the public, which held off investing in either one with their proprietary players, and sales fell from previous highs set in 1946 and 1947. Gradually, however, record companies produced both LPs and 45s, players were made that could play at several speeds, and by 1955, record sales began climbing above previous levels.
Impact
The concurrent development and use of magnetic tape for sound recording led to LPs affecting the repertoire of available music. Tape recorders allowed the capture and editing of performances at a relatively low cost. Small recording studios and independent record labels emerged and captured new markets ahead of the bigger labels. The recorded classical repertoire greatly expanded from a limited set of favorites to include Renaissance and Baroque music, more obscure Classic and Romantic works, and contemporary experimental music. Recordings of Broadway musicals were among the first big LP sellers, promoting the growth of the genre during the 1950’s. Additionally, jazz musicians were free to improvise beyond the three to five minutes of a 78, better capturing the free-form experience of live jazz. Single 45-rpm records became the standard for popular music as record companies supplied radio stations and millions of juke boxes with them. Home listeners, especially the burgeoning teenage market, bought 45s of hit songs and often ended up buying the LP albums from which the hit singles originated. In all, the combination of technology and social trends helped the U.S. recording industry grow from $151 million in 1951 to $514 million in 1959.
The introduction of LPs spurred interest in developing high-fidelity (hi-fi) sound systems, especially with the advent of stereo recordings in 1957. Dissatisfied with commercially available equipment, hi-fi enthusiasts built component systems from kits and parts from other electronic applications in pursuit of a concert hall experience in the home. The movement engendered hi-fi clubs and magazines such as High Fidelity.
Bibliography
Day, Timothy. A Century of Recorded Music: Listening to Musical History. New Haven, Conn.: Yale University Press, 2000. Discusses the effect of recording technology, including LPs, on the style and repertoire of classical music.
Millard, Andre. America on Record: A History of Recorded Sound. Cambridge, England: Cambridge University Press, 2003. An engaging history of sound recording and its musical and cultural impact.
Sanjek, Russell. Pennies from Heaven: The American Popular Music Business in the Twentieth Century. New York: Da Capo Press, 1996. Detailed study of the business of the recording industry.