Victor Phonograph

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VICTOR VICTROLA BOARD AND MOTORMOTOR REBUILT
$91.00
quality
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Antique Victor Victrola Phonograph Talking Machine Record Player 1923 Mahogany
$295.00
quality
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RCA VINTAGE EY 2 45RPM RECORD PLAYER REBUILT
$300.00
quality
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Antique Victor Talking Machine VV IV 1916 Table Top Hand Crank original LISTEN
$150.00
quality
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Victrola Phonograph Victor VV X Talking Machine Turntable Green Felt Part Plate
$15.00
quality
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vintage antique Victor phonograph VV VI record player BODY works
$99.99
quality
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Victrola Columbian phonograph Horn Crane and Reproducer 17 1 2 inches long
$11.50
quality
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ANTIQUE VICTOR OAK TALKING MACHINE CABINET WITH TURNTABLE
$105.00
quality
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Victor Victrola Phonograph tone arm mounting screws 3 Talking Machine VV X
$6.99
quality
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Antique Victor III Phonograph Gramophone Horn Talking Machine
$910.00
quality
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Antique Victrola Record Cabinet
$125.00
quality
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Vintage Phonograph HARMONY Working Old Crank Up Record Player
$26.00
quality
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RARE RCA VICTOR CRUMB SWEEPER Mint in Box NIPPER
$15.00
quality
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RCA 45 RPM record player 45 J 2
$19.95
quality
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VINTAGE RCA VICTOR RECORD PLAYER MODEL 7 EY 1ef 2 Pink 45 Victrola 7ey1ef Tube
$46.42
quality
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VICTOR VICTROLA MOTOR VV 50MOTOR REBUILT
$50.00
quality
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Lot Of Victor Phonograph Record Supplement Catolog 1922 1923 Victrola
$65.00
quality
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VICTROLA MOTOR AND BOARDMOTOR REBUILT
$91.00
quality
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1950 RCA VICTOR 45 VICTROLA RECORD CHANGER MODEL 45 EY 2 RENOVATION REQD
$26.00
quality
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VICTOR Victrola Phonograph cabinet key OLD and Original
$21.49
quality
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VINTAGE RCA VICTOR VICTROLA 45 RPM RECORD PLAYER MODEL 45 EY 2 For Parts
$50.00
quality
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Victrola Phonograph Tone Arm
$9.99
quality
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VE 12 15 Electrola Doors Victor Talking Machine Company Victrola Exc Cond
$99.00
quality
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VE 12 15 Electrola Back Panel Victor Talking Machine Co Victrola Exc Cond
$99.00
quality
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Vintage Record Storage album
$15.99
quality
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Victor Victrola Walnut Antique Phonograph Record Player Model VV 90 Recoton
$190.00
quality
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Vintage 1930s 1940s Embassy Gramophone Needles Soft Tone Yellow Tin British
$9.99
quality
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Victor Talking Machine V V X I V Phonograph Board and other parts
$100.00
quality
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Vintage 1940s 1950s Verona Needles Gramophone Victrola Tin RCA Victor HMV
$9.99
quality
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Victor Victrola VE XVI in Tiger Oak With Key Outstanding Machine Victrola 16
$595.00
quality
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Rca Victor Orthophonic Record Player Model 7 HF 51956Restored
$325.00
quality
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Antique Replica Dark Wood Phonograph Gramophone with Large Engraved Brass Horn
$159.99
quality
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VICTOR MONARCH SPECIAL MS WITH OAK SPEARTIP HORN
$2,275.00
quality
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RCA Victor Trilogy Plastics 36 Polyethylene Nipper Dog Figurine Statue HMV GE
$224.50
quality
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Victor Phonograph Schoolhouse Record Catalog RARE
$11.00
quality
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Victor Victrola Exhibition Phonograph Reproducer Flange Rubber Tone Arm Gasket
$11.20
quality
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VE 12 15 ELECTROLA LID Victor Talking Machine Company Original Walnut Finish
$49.99
quality
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Vintage Original Victor Victrola Phonograph Cabinet Key
$24.99
quality
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VE 12 15 ELECTROLA COMPLETE MOTOR BOARD Victor Talking Machine Company
$99.00
quality
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Antique Replica RCA Victor Phonograph Gramophone with Large Silver Metal Horn
$139.99
quality
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VE 12 15 Electrola PWR VOL ON OFF SWITCH PLATE SET Victor Talking Machine Co
$99.00
quality
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VE 12 15 ELECTROLA LID SUPPORT BRACKETS Victor Talking Machine Company
$39.99
quality
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VE 12 15 ELECTROLA MAIN POWER WIRE HARNESS Victor Talking Machine Company
$29.99
quality
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Early 1920s Victor Talking Machine HMV Nipper Trade Advertising Pin
$89.00
quality
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VE 12 15 ELECTROLA PWR ON LIGHT WOOD BLOCK SUPPORT Victor Talking Machine Co
$39.00
quality
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CRATE SIDE PANEL Victor Talking Machine Co Victrola A Damaged Disco
$10.50
quality
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Vintage 1920s Tin Needle Outfits Condor Loud Half Soft Tone RCA Victor Nipper
$51.00
quality
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Victor VV IV Table Top Phonograph Oak Case
$200.00
quality
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Lot of 3 Vintage RCA Victor Steel Needle Packets Extra Loud Full Tone Sealed HMV
$13.48
quality
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Vintage RCA Victor Nipper Gramophone Full Tone 200 Needle Tin Red Gold HMV
$9.99
quality
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VE 12 15 ELECTROLA ALBUM STORAGE BOXES Victor Talking Machine Company Victrola
$39.99
quality
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Victor Victrola Oak Antique Phonograph Record Player Model VVXI
$975.00
quality
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VE 12 15 ELECTROLA WIRE HARNESS W LIFT LIGHT SWITCH Victor Talking Machine Co
$49.99
quality
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VE 12 15 ELECTROLA INTERIOR LIGHT Victor Talking Machine Company
$49.99
quality
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Victor Schoolhouse Tonearm and Mount Assembly
$249.99
quality
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RCA Victor Nipper Dog Doorstop Old Heavy Hand Painted His Masters Voice
$15.50
quality
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Vintage Rca Victor Victrola 45 Rpm Record Player Model 45 Ey 2 Bakelite
$44.99
quality
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Vintage RCA Victor 45 RPM Record Player Phono Model 45 EY 2 w 45 Records
$51.00
quality
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Antique Replica RCA Victor Phonograph Gramophone with Large Gold Brass Horn
$159.99
quality
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RARE VICTOR PHONOGRAPH GLASS STORE FRONT DOOR STORED AND UNTOUCHED FOR DECADES
$2,650.00
quality
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VICTOR VV XIV VICTROLA HORN ASSEMBLY FROM COLLECTOR
$29.95
quality
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Vintage GOLD VICTROLA No2 PHONOGRAPH REPRODUCER W ARM VICTOR VE 300 ELECTROLA
$41.01
quality
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Ragtime Rastus Phonograph Disc Record Dancing Doll Victor Victrola Columbia
$98.00
quality
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Vintage VICTROLA COMPLETE WIRE HARNESS for VICTOR VE 300 ELECTROLA
$9.99
quality
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Vintage VICTROLA ELECTRIC MOTOR BASEPLATE TURNTABLE VICTOR VE 300 ELECTROLA
$25.00
quality
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Vintage VICTROLA GOLD BASE PLATE SCREWS VICTOR VE 300 ELECTROLA
$9.99
quality
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Antique Replica RCA Victor Phonograph Gramophone with Large Engraved Brass Horn
$159.99
quality
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Vintage VICTROLA GOLD PLATED NEEDLE CANISTER W LID NEEDLES VE 300 ELECTROLA
$22.50
quality
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Vintage VICTROLA LAMP LIGHT SOCKET W PULL CHAIN VICTOR VE 300 ELECTROLA
$19.50
quality
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Vintage VICTROLA LID MORTISE LOCK BRASS ESCUTCHEON VICTOR VE 300 ELECTROLA
$9.99
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Phonograph Victrola Gramophone Needle Tin Henry Brokers
$19.99
quality
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Vintage VICTROLA LOT OF 5 HIGH END GOLD KNOBS SCREWS VICTOR VE 300 ELECTROLA
$21.40
quality
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Vintage VICTROLA RESISTOR MOUNTING SCREWS VICTOR VE 300 ELECTROLA
$9.99
quality
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Vintage VICTROLA PHONOGRAPH DATA PLATE VICTOR ELECTROLA VE 300 Ser 981
$12.50
quality
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RCA Victor His Masters Voice Gramophone Phonograph With Brass Horn
$249.99
quality
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Victrola Victor Talking machine His Masters Voice wood box
$175.00
quality
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c1917 Victor Victrola Wind up Phonograph
$299.00
quality
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Victor Exhibition Reproducer Rear Flange
$11.20
quality
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RCA Victor 9 JY 9JY 1949 Vintage Antique 45RPM 10 Disc Record Player Restored
$234.99
quality
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RCA Victor 45 RPM Record Player Vintage 1949 Bakelite Phonograph 9JY Changer
$65.00
quality
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victrola record player 1919
$127.50
quality
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Victor Talking Machine VV IV 258383 E Antique Hand Crank Phonograph
$59.99
quality
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E Berliner 7 Inch GRAMOPHONE PHONOGRAPH RECORD Patents 1888 to 1895
$41.00
quality
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victor talking machine oil original
$10.50
quality
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Vintage Victor Victrola Talking Machine Phonograph VV IX Cabinet Parts Repair
$24.95
quality
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ANTIQUE Sonora Record Player Victrola Era WORKING PICKUP ONLY Will Not Ship
$149.99
quality
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1923 VV 210 Victor Victrola The Talking Machine 78rpm Player w 50 records
$99.99
quality
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Victrola style crank phonograph Cheney Talking Machine
$75.00
quality
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Antique oak Victor Victrola VV 50 portable phonograph
$112.50
quality
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Victor Victrola Nickel Plated Phonograph Exhibition Reproducer with Nipper Box
$145.00
quality
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RCA Victor Bakelite Record Player 9 JYIt Works
$33.00
quality
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Beautiful 1950s RCA Victor 45 EY 3 45 rpm record playerPartially restored
$69.00
quality
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DIXONS FLAKE GRAPHITE FOR VICTOR PHONGRAPH MAIN SPRING 1 2 PD 1911
$90.88
quality
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Victor Phonograph LARGE LIGHT GREEN Turntable Felt Round fits 12 diameter
$6.25
quality
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VICTOR TALKING MACHINE SPRING MOTOR OIL FULL BOTTLE 1913 ORIGINAL W CONTAINER
$71.00
quality
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RCA Victor Nipper His Masters Voice Logo Metal Key Chain NIP
$0.99
quality
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ANTIQUE ORIOLE TALKING MACHINE PHONOGRAPH RECORD PLAYER FOR PARTS OR REPAIR
$30.00
quality
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Phonograph Victrola Gramophone Needle Tin Victor 375 Needles Half Tone
$29.99
quality
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RCA Victor Nipper His Masters Voice Logo Stained Glass Style Window Hanging
$0.99
quality
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RCA Victor Nipper His Masters Voice Logo 1988 Xmas Christmas Ornament
$0.99
quality

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Victor Phonograph


Victor Phonograph

Frequently Asked Questions...

I need an appraisal on my Victor Victrola Phonograph. Does anyone know of a free website?

Answer:

you can appraise it yourself, what i did is i take pictures of my art work, then write my estimate of the value (the appraisal) on the back of the photo, then i have my homeowners insurance carrier file those photos in their archives. should any thing happen to my art, it is covered for what ever the value i put on it, once the insurance company accepts the photos you can technically say what that item is worth for whatever it was approved for.-blurey

1901 Williams And Walker Victor Monarch Record Played On Victor Model 'D' Phonograph


And for more related products on Collectible Memorabilia, please check out the following:

Production Of Gramophone Records

Mass producing

The soft master known as a lacquer would then be silvered using the same process as the silvering of mirrors, commonly the lacquer was sprayed with a saponin mix, rinsed, spraying with Stannous Chloride which sensitized the surface, rinsed again before the finally simultaneously spraying the Silver solution and dextrose reducer. This silver coating provided the conductive layer to carry the current for the subsequent nickel plating electroplated with a metal, commonly a nickel alloy. In the early days (19401960) the nickel plating was only brief, just an hour or less, before transferring to a copper plating tank. This was due to copper plating being both quicker and simpler to manage at that time. Later with advent of Nickel Sulphamate plating solutions all matrices were solid nickel. Most factories transferred the Master Matrix after an initial flash of Nickel in a slow warm nickel electroplating bath at around 15 ampere to a hot 130 degree Nickel plating bath where the amperage would be raised at regular intervals until the amperage reached between 110A and 200A depending on the standard of the equipment and the skill of the operators. This and all subsequent metal copies were known as matrices. When this metal master was removed from the lacquer (master), it would be a negative master or Master Matrix, since it was a negative copy of the lacquer. (In the UK, this was called the master; note the difference from soft master/lacquer disc above). In the earliest days the negative master was used as a mold to press records sold to the public, but as demand for mass production of records grew, another step was added to the process.

The metal master was then electroplated (electroformed)to create metal positive matrices, or "mothers". From these positives, stampers (negative) would be formed. Producing mothers was similar to electroforming Masters, except the time allowed to turn-up to full amperage was much shorter and the heavier Mothers could be produced in as little as one hour and stampers (145 grams) could be made in 45 minutes. Prior to plating either the Nickel Master or Nickel Mother it needed to be passified to prevent the next matrix adhering to the previous matrix. There were several methods used, EMI favoured the fairly difficult, Albumin soaking method where as CBS Records and Phillips used the Electrolytic method. Soaking in a di-chromate solution was another popular method. The electrolytic method was similar to the standard electrolytic cleaning method except the cycles were reversed finishing the process with Matrix as the anode. This also cleaned the surface of the matrix about to be copied. After separating from the Master a new mother was polished with a fine abrasive to remove or at least round-off the microscopic "horns" at the top of the grooves, produced by the cutting lathe. This allowed the vinyl to flow better in the pressing stage and reduced the non-fill problem. Stampers produced from the mothers after separating were chrome plated to provide a hard stain-free surface. Each stamper was next centre punched, methods used included aligning the final locked groove over three pins or tapping the edge while rotating under the punch until the grooves could be seen (through a microscope) to move constantly towards the centre. Either method was quite skilled and took much effort to learn. The centre punch not only punched a hole but formed a lip which would be used to secure the stamper into the press. The stamper was next trimmed to size and the back sanded smooth to ensure a smooth finish to the mouldings and improve contact between the stamper and the press die. The edge was then pressed hydraulically to form another lip to clamp the edge down on the press. The stampers would be used in hydraulic presses to mould the LP discs. The advantages of this system over the earlier more direct system included ability to make a large number of records quickly by using multiple stampers. Also, more records could be produced from each master since molds would eventually wear out.

Since the master was the unique source of the positive, made to produce the stampers, it was considered a library item. Accordingly, copy positives, required to replace worn positives, were made from unused early stampers. These were known as copy shells and were the physical equivalent of the first positive.

The "pedigree" of any record can be traced through the positive/stamper identities used, by reading the lettering found on the record run-out area.

Packaging and distribution

Singles are typically sold in plain or label-logo paper sleeves, though EPs are often treated to a cover in similar style to an LP. LPs are universally packaged in cardboard covers with a paper (usually additional artwork, photography, and/or lyrics) or plastic liner (or "poly-lined" paper) protecting the delicate surface of the record. Few albums have had records packaged inside with a 3 mil polyethylene plastic sleeve, either square or round-bottomed (also called "U" shaped), and an accompanying 11x11 paper insert with the additional artwork, photography, and/or lyrics as described above. The insert could be single- or double-sided, in color or grayscale, and glossy or matte.

Packaging methods have changed since the introduction of the LP record. The 'wrap-around' or 'flipback' sleeve initially became the standard packaging method for LPs during the 1950s. In this packaging method the front cover is able to be printed in colour and is laminated, whereas the back cover features only black text on a white background and is usually unlaminated. These sleeves are constructed in two parts: a laminated front section is wrapped around a separate back panel. Three 'flaps' are used to fix the front and back panels together on the outside. As the unlaminated cardboard back cover section is prone to discolouration due to exposure to natural light, in some instances a single printed sheet containing the back cover information is pasted over the entire back panel, covering the 'wrap-around' flaps but not reaching the outer edge of the sleeve, thus allowing some of the laminated 'flaps' to be exposed. Whilst discolouration still occurs with this method, it is often less evident than when the cardboard back cover alone is exposed. A common feature of flipback sleeves in the 1960s was for information specific to either monaural or stereo versions of the record (typically a format-specific catalogue number and a "MONO" or "STEREO" disclaimer) would be printed on the same front cover artwork, and the whole front panel shifted up or down to expose the appropriate "version" on the front while the unused one would be covered up (but often not very well) by the back cover panel.

Towards the end of the 1960s advances in printing and packaging technology lead to the introduction of the 'fully laminated' sleeve. Rather than the two-part construction of the 'wrap-around' sleeve, this method consists of a single component part, which is printed in full colour and is completely laminated with the 'flaps' tucked inside the back sleeve section. This is the method generally used for all subsequent releases in the vinyl age and is considered superior not only because of the additional ease allowed in the use of a single component, but also because the fully laminated finish offers far better protection from discolouration caused by exposure to natural light.

With the advent of long-playing records, the album cover became more than just packaging and protection, and album cover art became an important part of the music marketing and consuming experience. In the 1970s it became more common to have picture covers on singles. Many singles with picture sleeves (especially from the 1960s) are sought out by collectors, and the sleeves alone can go for a high price. LPs can have embossed cover art (with some sections being raised), an effect rarely seen on CD covers. The label area on the disc itself may contain themed or custom artwork rather than the standard record company's logo layout.

An array of albums pressed in varying presentations

Records are made at large manufacturing plants, either owned by the major labels, or run by independent operators to whom smaller operations and independent labels could go for smaller runs. A band starting out might get a few hundred disks stamped, whereas big selling artists need the presses running full time to manufacture the hundreds of thousands of copies needed for the launch of a big album.

Records are generally sold through specialist shops, although some big chain stores also have record departments. Many records are sold from stock, but it is normal to place special orders for less common records. Stock is expensive, so only large city center stores can afford to have several copies of a record.

While records are generally pressed on plain black vinyl, the album itself is given a much more ornamental appearance. This can include a solid color (other than black), splatter art, a marble look, or transparency (either tinged with a color or clear). Some examples of this can be seen to the right. One of the most well known examples of this technique is the white vinyl repressing of The Beatles' White Album.

Labels

RCA logo with Nipper, the RCA/HMV dog.

Record companies organised their products into labels. These could either be subsidiary companies, or they could simply be just a brand name. For example, EMI published records under the His Master's Voice (HMV) label which was their classical recording brand, Harvest for their progressive rock brand, home to Pink Floyd. They also had Music for Pleasure and Classics for Pleasure as their economy labels. EMI also used the Parlophone brand in the UK for Beatles records in the early 1960s.

In the 1970s successful musicians sought greater control, and one way they achieved this was with their own labels, though normally they were still operated by the large music corporations. Two of the most famous early examples of this were the Beatles' Apple Records and Led Zeppelin's Swan Song Records

In the late 1970s the anarchic punk rock movement gave rise to the independent record labels. These were not owned or even distributed by the major corporations. In the UK, examples were Stiff Records who published Ian Dury and the Blockheads and Two Tone Records, label for The Specials. These allowed smaller bands to step onto the ladder without having to conform to the rigid rules of the large corporations.

Home recording

One example of an "instantaneous recording" machine, available to the home recording enthusiast by about 1929 or 1930, was the "Sentinel Chromatron" machine. The Sentinel Chromatron recorded on a single side of uncoated aluminum; its records were read with a fibre needle. It was "rather unstable technology" which produced poor sound quality in comparison to shellac records and was rarely used after 1935.

RCA Victor introduced home phonograph disk recorders in October 1930. These phonographs featured a large counter-balanced tone arm with horseshoe magnet pick-up. These types of pick-ups could also be "driven" to actually move the needle and RCA took advantage of that by designing a system of home recording that used "pre-grooved" records. The material that the records were made from (advertised as "Victrolac") was soft and it was possible to somewhat modulate the grooves using the pick-up with proper recording needle and a fairly heavy weight placed on the pick-up. The discs were only six inches in diameter so recording time at 78rpm was brief. Larger size Victor blanks were introduced late in 1931, when RCA-Victor introduced the Radiola-Electrola RE-57. These machines were capable of recording at 33 1/3 rpm as well as 78 rpm. One could select to record something from the radio or one could record using the hand-held microphone. The RAE-59 sold for a hefty $350.00 at a time when many manufacturers had trouble finding buyers for $50.00 radios.

The home phonograph disk recorders of the 1930s were expensive machines that few could afford. Cheaper machines, such as the Wilcox-Gay Recordio line, were sold during the late 1940s and early 1950s. They operated at 78 rpm only and were similar in appearance to (and not much larger than) a portable phonograph of the era. One 1941 model that included a radio sold for $39.95, approximately equivalent to $500 in 2005 dollars. The fidelity was adequate for clear voice recordings.

In the past (approximately from the 1940s through the 1970s), there were booths called Voice-O-Graphs, that let the user record their own voice onto a record when money was inserted. These were often found at arcades and tourist attractions alongside other vending and game machines. The Empire State Building's 86th floor observatory in New York City, Coney Island, NY and Conneaut Lake Park, PA are some of the locations which had such machines. Gem Razors also created thousands of free Voice-O-Graph records during wartime for the troops to send home to their families.

During the reign of the Communist Party in the former USSR, records were commonly homemade using discarded medical x-rays. These records, nicknamed "Bones" or "Ribs", were usually inscribed with illegal copies of popular music banned by the government. They also became a popular means of distribution among Soviet punk bands; in addition to the high cost and low availability of vinyl, punk music was politically suppressed, and publishing outlets were limited.

Home-made "Bone" record

Currently, two companies (Vestax and Vinylrecorder) offer disk recorders priced in the high four figures which enable "experienced professional users" and enthusiasts to produce high-fidelity stereo vinyl recordings. The Gakken Company in Japan also offers the Emile Berliner Gramophone Kit, and while it does not record actual records, it enables the user to physically inscribe sounds onto a CD (or any flat, smooth surface) with a needle and replay them back on any similar machine.

Home recording equipment made a cameo appearance in the 1941 Marx Brothers film, The Big Store. A custom recording was also the original surprise Christmas present in the 1931 version of The Bobbsey Twins' Wonderful Secret (when the book was rewritten in 1962 as The Bobbsey Twins' Wonderful Winter Secret, it became an 8 mm movie).

References

^ a b The "Sentinel Chromatron" machine for recording on uncoated aluminum is described as part of a History Detectives 2007 investigation of an Amos 'n' Andy Recording (Official PBS transcript here). The Amos 'n' Andy radio episode recorded was called "Breach of Promise"; it was broadcast on March 5, 1931 by the Woodmen of the World on WOW radio in Omaha, Nebraska.

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