![]() ![]() Later LP would add a groove guard when LP size records changers became more popular. This is to allow the stacking and preventing the records from touching each other where the groove is cut. If you look at 7 inch records they are thicker in the middle. Records were stacked on the spindle then dropped after previous record finished. The idea of the 7 inch record was that it was to be used with a record changer. So the 7 inch records was an update on this using the same microgroove that Columbia used on their LP. Keep in mind when RCA came up with the 7 inch record, almost all records were singles on 10 inch 78 rpm. It also got some exposure as you'd get some music from buyer who wanted the music specifically from they band who split the record with them. This allowed each band to share expenses of getting there records made. Indie bands of the do splits where they each have a few songs from each band on each side. These are often EPs meaning they aren't singles. Since the diameter is smaller than an LP, you increase the speed to more inches per second. They were 45 rpm because you higher IPS to get better sound. And of course, that's with all things being equal, which - all together now - they never are.ħ inch records were a direct competitor to the LP by Columbia. Optimum sound quality would be 12" 78 RPM with a modern stereo record groove, but there are way too many turntables that don't have 78 RPM, and you'd be back to your 5-minutes-per-side restriction. The answer is nearly always some combo of "because they don't know any better" and "because they don't give a shit what it sounds like and figure they can make more money this way". Asking "why did they do it this way?" in 2022 is a waste of brain cells. Putting a short 4- or 6- song EP on a 12" record came MUCH later, like 1970s, and the idea was either better sound quality (because they could let 'er rip in terms of volume and dynamic range without worrying about space), or making you pay more for less music, depending on how cynical you are.Īnd nowadays? It's the fucking wild west. Nobody with any damn sense presses 7" 33 1/3 if sound quality is even slightly a concern.īTW, there are actually a few countries out there, Brazil being one of them IIRC, where they did settle on 7" 33 1/3 as the main singles format anyway. ![]() Inner groove distortion out the yin-yang. 7" 33 1/3 is a BAD format, sound-quality-wise. 7" 33 1/3 became sort of a specialty thing, mainly used for non-commercial purposes (advertising, promos, etc.). 45s got louder and then went stereo, which meant the longer ones had even more of a contrast, sound-quality-wise. Songs BITD were shorter so it usually wasn't pushing things much to put 2 to a side, but even back then, going longer than 5 minutes did require some compromises in sound quality.Ĭolumbia, BTW, DID make small hole 7" 33 1/3 singles for a few years in there, but once the 3-speed players and 45 adapters started appearing (which was, like, almost immediately), they fizzled out in favor of the 45s, which were cooler, and which had those cute little changers that you got with your TV in 1950. It was sort of an inexpensive alternative. 7" had been a standard record size since the acoustical 78 days, and RCA was figuring that at 45 RPM, they could comfortably get 5 minutes (the length of a 12" 78) on a 7" side without any significant compromise in sound quality - based on the groove pitch and audio level they initially settled on when developing the format.Ĥ5 EPs (with 2 songs per 7" side) appeared a few years later when it looked like LPs had the lead in the format war. The linear velocity - and with it the sound quality - drops as you approach the center of the record, so you need faster rotational speed to overcome it. The reason you want a faster speed on the smaller format is our old pal inner groove distortion. RCA's clever marketing ploy was to give away an RCA 45 changer player (45s only!) with every TV they sold in 1950, and TVs were the big family splurge Christmas gift in 1950. The big selling point for LPs was longer playing time, and the big selling point for 45s was that you could stack them on a changer and make your own "playlist" (and also that they were hella cheaper if you were only after one hit song). quality is a tale as old as time.īut the fundamental historical fact you need to know is that LPs (Columbia) and 45s (RCA Victor) were originally competing formats.
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