Victor Phonograph

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Original VTLA Victrola Victor Record Boxes Albums for 1908 machines
$78.77
quality
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EDISON Victor Victrola PHONOGRAPH RECORD PLAYER Talking Machine Needle
$10.42
quality
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1920s Victrola
$149.99
quality
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RCA Nipper Victor Phonograph Rubber Dog HMV Squeak Toy
$45.00
quality
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Victor Victrola Talking Machine Phonograph Record Player Crank VV IX
$24.99
quality
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Victor RCA Phonograph Berliner Nipper and Gramophone Tip Tray
$200.00
quality
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TWO PHONOGRAPH 78 RPM SOUND BOXES FOR RECORD PLAYERS
$12.99
quality
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Victrola VV 7 11 entire mechanism
$150.00
quality
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Working RCA Victor Model 45 J 45 RPM Record Player Phonograph Turntable Bakelite
$56.99
quality
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Vintage RCA Slide O Matic 45 RPM Record Player 6 JM 1 for Parts Restore
$9.95
quality
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VINTAGE RCA VICTOR AUTOMOBILE RECORD PLAYER
$299.00
quality
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Antique Victor Victrola Phonograph Tone Arm Base
$10.99
quality
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Victor Phonograph Record Celluloid Trade Advertising Pocket Mirror Alma Gluck
$130.00
quality
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Victor III phongraph
$787.00
quality
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VICTOR VICTROLA MOTOR MECHANISM AND BADGE PLATE VV7 11
$7.00
quality
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Old Vintage Antique Victor Victrola Vv 105 Upright Phonograph 1924 Model
$100.00
quality
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Victrola 2 sound box
$45.00
quality
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1905 Victor I phonograph
$549.89
quality
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VICTOR 2 PHONOGRAPH REPRODUCER REBUILT VERY GOOD TONE
$75.00
quality
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Vintage Victor Phonogragh Needle Box with Assorted Needles
$12.00
quality
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Antique Victor VV IX A Victrola Talking Machine Phonograph vv ix a ELECTRIC
$159.95
quality
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ANTIQUE 1950s Garrard Model T Record Player England
$39.99
quality
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1910s Victor X Victrola Phonograph Tiger Oak Case 57 Records Talking Machine
$399.00
quality
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ANTIQUE PHONOGRAPH VICTOR VICTROLA VV IV OAK TABLETOP SERIAL 341882
$149.99
quality
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1920s Victor VTM Nipper His Masters Voice Phonograph Pinback Pin Beautiful
$130.00
quality
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Original Victor Phonograph Record Catalogue May 1906 EDITION
$12.83
quality
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Antique RCA Victrola
$250.00
quality
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1918 FACTORY SEALED Victor Victrola TUNGSTONE Phonograph Needles In Orig Packet
$39.99
quality
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Antique 1926 Crank Victor Victrola 4 3 Consollete Phonograph Record Player
$100.00
quality
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RCA Victrola Cabinet Key Old Original
$15.00
quality
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Antique Gramophone Reproducer with Arm
$35.00
quality
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Victor No2 Reproducer Mica Diaphragm Gasket Kit
$9.99
quality
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Vintage RCA Victor 9 EY 3 45 RPM Record Player with Beautiful Bakelite Cabinet
$112.50
quality
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VINTAGE RCA VICTOR VICTROLA DELUXE 45RPM RECORD PLAYER MODEL 8 EY 4FK BAKELITE
$49.99
quality
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Vtg Victor Talking Machine NEEDLE TINS CUPS Phonograph Record Player NEEDLES
$9.95
quality
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300 MEDIUM TONE Record NEEDLES for vintage 78rpm Victrola Gramophone Phonograph
$11.97
quality
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VINTAGE RCA VICTOR RECORDS NIPPER THE DOG CHALKWARE STATUE FIGURINE
$74.97
quality
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Early nickel plated antique Victor Victrola phonograph cabinet key
$12.50
quality
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Vintage RCA Victrola Console
$10.00
quality
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Victor Exhibition Reproducer Rear Flange
$11.20
quality
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Victrola RCA Victor Model 45 j 2 serial 908923 victrola rca victor
$38.00
quality
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Victrola Victor Talking Machine
$129.99
quality
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WORKING GRAMOPHONE
$200.00
quality
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VICTOR EXHIBITION REPRODUCER
$89.95
quality
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VINTAGE RCA VICTOR MODEL 6 EY 3A RECORD PLAYER FOR REPAIR OR PARTS
$39.00
quality
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Olympia No 15 Victrola that is a great antique piece
$500.00
quality
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VICTOR TALKING MACHINE MOTOR PARTS
$20.00
quality
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Victor Victrola Exhibition Phonograph Reproducer Flange Rubber Tone Arm Gasket
$11.20
quality
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Very Rare 1930 Chicago Radio Antique Floor Stand Tube Radio
$499.99
quality
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VICTOR VICTROLA TONE ARM + MOUNT No 2 REPRODUCER PHONOGRAPH TALKING MACHINE
$41.00
quality
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VICTOR M PHONOGRAPH FOR RESTORATION GOOD RUNNING MOTOR
$675.00
quality
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Antique Door Knobs Victor Victrola Talking Machine
$22.00
quality
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Antique Box of Victor 1 Fibre Needles Victor Talking Machine Co Patent 1907
$27.00
quality
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Antique German Junghans Mission Style Wall Clock
$299.99
quality
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Victor Phonograph SMALL LIGHT GREEN Turntable Felt Round fits 10 diameter
$6.25
quality
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ENAMELED PIN RCA NIPPER THE DOG HIS MASTERS VOICE
$1.99
quality
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Francis James The EMG Story Ginn Expert Handmade Gramophone 1998
$144.99
quality
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James Weber SIGNED The Talking Machine Advertising of Berliner Gramophone Victor
$19.99
quality
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100 SOFT TONE NEEDLES Victrola Record Player for Columbia Brunswick 1900 1940s
$4.37
quality
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Vintage RCA Victor 45 EY 2 Bakelite Record Player Phonograph Restoration Project
$45.00
quality
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Vintage RCA Victor 45 EY 3 Record Player
$89.95
quality
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NEW Victor 7 Inch Old Black Joe By Walter Rogers
$15.75
quality
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Victor Victrola Portable Phonograph Player VV 260 1927
$88.00
quality
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ANTIQUE VICTOR PHONOGRAPH 500 NEEDLES TIN ADVERTISING CONTAINER
$9.99
quality
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Victor Talking Machine Parts To Fit VV4 3 Motor Crank Turntable Board Emblem
$59.95
quality
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TWO Vintage RCA VICTOR Nipper PROMO work MUGS hard to find
$9.99
quality
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VICTOR EXHIBITION PHONOGRAPH REPRODUCER VICTROLA TALKING MACHINE
$55.00
quality
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Nipper His Masters Voice 10 pc Collection RCA Victor Model T Ford Lennox
$39.99
quality
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Nipper His Masters Voice 10 pc Collection RCA Victor Worlds Fair Token Tin ++
$39.99
quality
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Antique Victor Talking Machine
$150.00
quality
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Victor Victrola Tone Arm and Back Mount Nickel
$12.99
quality
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MAJESTIC radio model 7 71 lowboy burl walnut 8 tube GRIGS repair parts 1928
$79.00
quality
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Victrola Phonograph Silver LID HINGE BRACKET
$0.99
quality
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Antique Victor VV VI Hand Crank Tabletop Victrola Phonograph
$85.00
quality
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Replacement Phonograph Brake Leather
$2.99
quality
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Vintage Antique Victor Needles Advertisting Phonograph Teal Tin With Needles
$9.99
quality
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Vintage Chalkware NIpper Dog large RCA Victor Advertising big 19x 13
$250.00
quality
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EDISON Victor Victrola PHONOGRAPH RECORD PLAYER Talking Machine Needle
$74.96
quality
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1949 RCA Victor Victrola 45 RPM Radio Record Player RP 168 MODE
$36.29
quality
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Vintage Rca Victor Record Player Brochure High Fidelity
$7.00
quality
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Vintage Original Victor Victrola Spring Crank Motor Gears Parts or Repair XI
$4.95
quality
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Victrola Victor Talking Machine Floor Model Phonograph
$299.95
quality
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RECORD DUSTING BRUSHES FOR VICTOR OR ANY TYPE RECORDS
$7.50
quality
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SIMPLEX RECORD CLEANER FOR VICTOR PHONOGAPH OR OTHERS NICE CONDITION
$7.50
quality
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Vintage 1950s RPM Suit Case Record Player Victor RGA Model 6 EY 3B
$19.99
quality
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Victor Phonograph LARGE LIGHT GREEN Turntable Felt Round fits 12 diameter
$6.25
quality
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RCA VINTAGE EY 2 45RPM RECORD PLAYER RESTORED 1 of a Kind Coca Cola
$400.00
quality
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Clean Rebuilt Victor Exhibition Reproducer For Victrola Phonograph Record Player
$47.00
quality
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Vintage Victrola RCA Victor Nipper Needles Tins Box Etc Collection
$34.99
quality
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Antique Set of 4 Door Hinges for Victor Victrola Phonograph
$17.00
quality
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Vintage RCA Victor Record Player Model 6 EMP1
$60.68
quality
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VINTAGE VICTROLA VICTOR TALKING MACHINE
$40.00
quality
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Antique 11 5 8 Victor Cast Iron Platter Turntable phonograph t
$14.99
quality
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RCA Victor Phonograph Model 65U
$64.99
quality
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STANDARD TALKING MACHINE
$205.50
quality
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Pathe Salon Size Wax Phonograph Cylinder Le Prophete Sacred March Opera
$39.99
quality
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Vintage Victor Record
$20.00
quality
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1916 1918 CHENEY TALKING MACHINE PHONOGRAPH STYLE NO 3 ORG MANUAL VICTOR EDISON
$399.00
quality
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Vintage RCA Victor 45 RPM Electric Record Player Model 45 EY 2 Parts or Repair
$29.99
quality
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Original Antique Victor Victrola Phonograph Cabinet Key Nickel Plate
$13.50
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


If you are looking for a different item here are a list of 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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