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Acetate disc

An acetate disc, also known as a lacquer disc or instantaneous disc, is a type of phonograph record featuring a rigid base—typically aluminum, but sometimes glass or cardboard—coated with a thin layer of nitrocellulose lacquer plasticized with castor oil, allowing sound to be engraved directly onto its surface using a stylus for immediate playback.^[1]^[2] These discs, which generally measured 10 to 16 inches in diameter and played at speeds of 33⅓ or 78 rpm, were designed for short-term use rather than mass production, offering high-fidelity audio capture before the widespread adoption of magnetic tape.^[1]^[3] Acetate discs emerged in the early 1930s as an advancement over earlier shellac and wax recordings, with major broadcasters like NBC adopting them in 1935 to enable the preservation of live radio programs and performances.^[4] Their development coincided with the rise of electrical recording technology, which improved sound quality by etching finer grooves into the soft lacquer surface compared to the harder materials of previous eras.^[1] By the late 1930s and into the 1940s, production scaled up during wartime shortages, sometimes substituting glass or paper bases for aluminum, though these variants increased fragility.^[2]^[5] Primarily used in broadcasting, radio production, and the music industry, acetate discs served as reference copies for live events, test pressings for evaluating masters before vinyl pressing, and archival recordings of speeches, music, and oral histories.^[5]^[3] In radio contexts, such as Yiddish programming or migrant worker folklore collections, they captured unique cultural content with relatively good fidelity for the time, often featuring multiple centering holes for precise synchronization during editing or playback.^[6]^[5] Their versatility made them essential for immediate duplication and airing, but limited playback—typically only a few dozen times before wear—restricted them to professional rather than consumer applications.^[1] The dominance of acetate discs waned in the 1950s with the introduction of stable magnetic tape, which offered easier editing, longer duration, and better durability, rendering lacquer-based recording obsolete for most purposes by the late 1950s.^[3] Today, surviving acetates face significant preservation challenges due to inherent instability: the castor oil plasticizer migrates to the surface, forming a greasy residue that leads to shrinkage, cracking, and delamination, exacerbated by humidity, heat, or fungal growth.^[1]^[5] Archival efforts, such as those by the Library of Congress, involve careful digitization to mitigate these issues, ensuring that these fragile artifacts continue to provide insights into mid-20th-century audio history.^[2]

History

Origins and early development

The development of acetate discs emerged in the late 1920s amid advancements in electrical sound recording technology, providing a more practical medium for capturing and reproducing audio. Engineers at Bell Laboratories contributed to experimental stereo recordings, such as the 1931-1932 sessions with the Philadelphia Orchestra conducted by Leopold Stokowski, which utilized wax masters pressed to cellulose acetate discs and demonstrated a frequency response from 50 Hz to 10,000 Hz.^[7]^[8] These efforts focused on overcoming the limitations of acoustic recording methods, enabling direct cutting of grooves with greater precision and reduced surface noise compared to traditional materials. A key aspect of this innovation involved the work of engineers such as Arthur Keller and Alexander G. Russell, who developed vertical-cut ("hill and dale") disc-cutting systems with magnetic moving coil pickups and sapphire styluses. This allowed for instantaneous recording and playback, a breakthrough that eliminated the need for intermediate processing steps common in earlier wax-based systems. Although specific patents for the acetate disc itself are not prominently documented in early records, the underlying electrical recording techniques stemmed from Bell Labs' broader patents on sound transduction, licensed to industry leaders like RCA Victor in the mid-1920s. These advancements laid the groundwork for acetate's role in professional audio, emphasizing its suitability for experimental and archival purposes. Commercially, direct-cut discs with cellulose acetate coatings appeared before 1934, when the Pyral company in France introduced nitrocellulose lacquer coatings on aluminum bases, standardizing the format for high-fidelity use. In the early 1930s, acetate discs saw rapid adoption by radio broadcasters seeking reliable methods to preserve live transmissions prior to the widespread availability of magnetic tape. The National Broadcasting Company (NBC) exemplified this trend, establishing its dedicated radio recording division in 1935 to utilize "acetate" discs for capturing programs, which offered immediate playback without the fragility of wax alternatives. This marked a pivotal shift in broadcast preservation, allowing stations to archive content like speeches, music, and dramas for later review or rebroadcast. The introduction of acetate discs also facilitated the broader transition from wax cylinders—dominant since Thomas Edison's 1877 phonograph—to flat disc formats, which had gained prominence with Emile Berliner's gramophone in 1888. Acetate's advantages included superior durability, resistance to cracking under handling, and the capacity for multiple playbacks without significant degradation, unlike the brittle wax cylinders that often wore out after a few uses. This evolution not only improved storage and distribution but also supported the growing demand for electrical recordings in the interwar period.^[9]^[10]

Peak usage and decline

During World War II in the 1940s, acetate disc usage experienced a significant surge as aluminum shortages prompted the adoption of glass-based variants to conserve metal resources for the war effort. These glass-backed lacquer discs, though more fragile, enabled continued production for critical applications such as radio broadcasting and military communications. A notable example is the U.S. Armed Forces Radio Service (AFRS), which from 1943 produced hundreds of thousands of 16-inch, 33⅓ rpm transcription discs to distribute programs to troops overseas, facilitating morale-boosting entertainment and news dissemination.^[11]^[12] In the postwar era, acetate discs saw a boom in adoption for home recording and radio archiving, driven by increased consumer access to portable disc recorders and the need to preserve broadcasts amid expanding media production. This period marked the height of their versatility, with smaller 7- to 12-inch formats popular for personal use and larger transcriptions essential for radio libraries.^[12]^[13] The decline of acetate discs began with the introduction of magnetic tape recording in 1947 by Ampex, whose Model 200A recorder offered superior advantages including easier editing, reusability, and higher fidelity without the physical wear of lacquer surfaces. By the late 1950s, magnetic tape had dominated professional recording studios and broadcasting, rendering acetate discs obsolete for most new applications due to their degradation issues like delamination and limited lifespan.^[14]^[12] Acetate discs persisted in last major uses for broadcasting into the early 1960s, particularly for transcription services, before being fully supplanted by tape; for instance, the BBC continued employing them at some facilities well into the 1960s, after which tape became the standard medium.^[15]^[12]

Physical Characteristics

Materials and construction

Acetate discs are constructed with a rigid base substrate coated in a thin layer of nitrocellulose lacquer, which serves as the recording surface despite the misnomer "acetate" in their name, as they contain no actual acetate material.^[16]^[17] The primary base is an aluminum disc, providing structural stability and a specific gravity of approximately 2.7 g/cm³, which contrasts with the flexibility and lower density of finished vinyl records.^[3] The nitrocellulose lacquer is plasticized with castor oil to achieve a soft, groove-accepting consistency suitable for direct cutting.^[17]^[1] The lacquer coating is applied thinly over the polished aluminum base, typically measuring 0.006 to 0.012 inches (0.15 to 0.3 mm) in depth, to ensure a smooth, even surface for audio engraving while maintaining overall disc rigidity.^[18] Structural features include a central spindle hole of 0.281 to 0.287 inches (7.14 to 7.29 mm) in diameter for mounting on playback equipment, along with optional smaller drive holes in the label area to secure the disc during lathe operations and enhance stability.^[19]^[17] During World War II, aluminum shortages led to the temporary use of glass bases, which were heavier and more brittle but similarly coated in nitrocellulose lacquer, and occasionally cardboard, paper, or steel.^[17]^[1] Regarding durability, acetate discs are highly susceptible to scratching on the soft lacquer surface and warping of the base if exposed to improper storage conditions like high humidity or temperature fluctuations, leading to delamination and acidic decomposition over time.^[20]^[1] Their playback life is limited, typically to a few dozen plays before noticeable groove wear and audio degradation occur, making them unsuitable for repeated use compared to pressed vinyl.^[1]

Dimensions and formats

Acetate discs were manufactured in several standard diameters tailored to specific recording applications. The 10-inch (25 cm) size was commonly used for singles, providing a compact format suitable for shorter tracks. For long-playing references akin to LPs, 12-inch (30 cm) discs were standard, while larger 14- to 16-inch (35- to 40 cm) diameters prevailed for transcription discs in broadcasting, enabling extended program durations on larger surfaces.^[3]^[21]^[22] Rotational speeds for acetate discs varied by era and purpose to balance fidelity and capacity. Early formats primarily rotated at 78 rpm, aligning with shellac disc standards for commercial and home recordings. In broadcasting, 33⅓ rpm became the norm for transcription discs, particularly on 16-inch sizes, to accommodate up to 15-20 minutes per side; 45 rpm variants appeared rarely for specialized short-form uses.^[21]^[22]^[23] Groove characteristics emphasized durability and efficiency, with variable pitch allowing 70-200 grooves per inch to maximize playtime while preventing overlap during loud passages. These discs used monaural lateral grooves, typically 0.002-0.003 inches (2-3 mils) wide—wider than modern microgroove vinyl—to suit the softer lacquer surface. For playback compatibility with phonographs, a lighter stylus pressure of 1-2 grams was essential to minimize wear on the delicate coating, compared to the 2-3 grams standard for pressed vinyl.^[24]^[25]^[22]

Production

Manufacturing process

The manufacturing process of acetate discs starts with the preparation of blank discs, consisting of an aluminum, glass, cardboard, or paper base coated with a thin layer of nitrocellulose lacquer mixed with plasticizers to form a smooth, playable surface.^[1] The coating is applied by passing the base through nitrocellulose solution via a conveyor system or by spraying in dedicated booths, ensuring even coverage without bubbles or imperfections. Following application, the discs are dried in controlled environments to harden the lacquer, allowing it to form a durable yet etchable layer suitable for recording.^[26]^[18]^[27] In the cutting stage, the prepared blank is mounted on a recording lathe, where the audio signal from a source such as a microphone or tape is fed into the cutting head. This modulates a sapphire stylus—chosen for its hardness relative to the soft lacquer—which vibrates to etch a continuous spiral groove into the surface, capturing variations in amplitude and frequency as lateral undulations. The process concludes with the stylus carving a runout groove at the record's end to prevent the playback needle from skipping back into the final track.^[28]^[29]^[30] Post-cutting, the disc undergoes minimal processing to ensure playability: debris from the etched lacquer shavings is removed via the lathe's integrated vacuum system during operation. Unlike lacquer masters destined for vinyl pressing, acetate discs receive no electroplating, as they are intended for direct playback rather than mass replication.^[31] This workflow supports small-batch production, typically yielding 1 to 10 copies per session through sequential cutting of multiple blanks, emphasizing immediacy over high-volume output. Pre-1950 U.S. facilities, such as those operated by Presto Recording Corporation, supplied broadcasters, studios, and home recordists with blanks.^[32]^[33]

Equipment and techniques

The production of acetate discs relied on specialized recording lathes, such as the Presto 8D model introduced in the 1930s, which featured a vacuum turntable to maintain disc stability and prevent slippage during the cutting process.^[34] These lathes were typically powered by standard 110V AC electrical systems, common in U.S. broadcast and studio environments of the era.^[35] The cutting head employed a heated sapphire stylus, with the tip warmed to 400°–600°F via an integrated coil to soften the nitrocellulose lacquer coating on the aluminum base, enabling precise groove formation while minimizing surface noise and high-frequency distortion.^[36] Recording techniques involved real-time analog cutting, where audio signals from live sources or pre-recorded tapes drove the stylus to etch a continuous spiral groove into the rotating disc at speeds like 33⅓ or 78 rpm.^[37] Operators manually adjusted pitch—varying the grooves per inch from 90 to 500—to optimize playback duration, such as by tightening grooves in low-amplitude sections to accommodate longer content without exceeding the disc's radial limits.^[38] This variable pitch control was essential for fitting variable-density audio onto the limited surface area of 10- or 12-inch discs. Quality control during cutting included auditory monitoring to detect mechanical defects or irregularities in groove formation, such as vibrations or uneven cutting. Error correction was rudimentary; any audible flaw, like a skip or distortion, required immediately stopping the lathe and restarting the cut on a fresh blank, as digital editing was unavailable and splicing was impractical for lacquer discs.^[39] Safety protocols emphasized dust extraction systems to remove cutting swarf and airborne particles, preventing contamination of the soft lacquer surface that could embed debris in the groove and degrade playback fidelity.^[40] These measures, combined with controlled studio environments, minimized risks of lacquer degradation during the instantaneous recording process.

Uses

Disc mastering for vinyl production

In the vinyl record production workflow, acetate discs, also known as lacquer masters, serve as the initial master from which metal parts are electroplated to create durable stampers for mass replication. The process begins with cutting the audio signal—either from an analog tape or digital master—into the soft lacquer coating on an aluminum base disc using a precision lathe, forming the groove pattern that encodes the sound. This acetate is then prepared for electroplating by applying a thin conductive silver layer, followed by deposition of nickel to form a negative metal master (or "father"), which is separated from the lacquer. Subsequent electroforming produces positive "mother" discs, and finally, negative stampers are created for pressing thousands of vinyl copies.^[41]^[42] For long-playing (LP) records, acetate discs are typically cut at 33⅓ revolutions per minute (RPM) on 12-inch diameters to achieve high-fidelity grooves that allow up to 45 minutes of playback per side, enabling the extended format that revolutionized album production. Once the acetate is cut, a test pressing can be made from an early stamper derived from it, allowing engineers to preview the analog sound quality, adjust equalization, and verify groove integrity before committing to full production runs. Cutting techniques involve variable pitch and depth modulation to optimize space and fidelity, often referenced in standard lathe operations for vinyl.^[41]^[43] The primary advantage of using acetate discs lies in their ability to provide an immediate, playable analog reference for quality control prior to mass production, minimizing costly errors in the metal part fabrication. This method was the standard approach for the majority of vinyl records produced in the analog era, ensuring consistent replication from a single high-quality master. A notable example is the 1948 introduction of Columbia Records' long-playing LPs, where 12-inch acetate discs were cut at 33⅓ RPM and electroplated into stampers to produce the first commercially successful microgroove vinyl albums, such as those featuring classical symphonies spanning 45 minutes.^[41]^[43]^[44]

Direct recording applications

Acetate discs found primary application in direct recording for preserving live audio events, particularly in broadcasting and amateur settings from the 1930s to the 1950s, where they served as a medium for immediate playback without the need for chemical processing.^[45] These "instantaneous" recordings, so named due to their ability to be played back right after cutting the groove, were essential for capturing non-replicable moments like performances and speeches.^[46] In radio broadcasting, acetate discs were widely used to archive live programs and pre-record content for later transmission, with 16-inch discs recorded at 33⅓ rpm accommodating up to 30 minutes of audio suitable for half-hour shows.^[45] During World War II, the Armed Forces Radio Service (AFRS) relied heavily on these lacquer-coated aluminum discs to distribute programming to troops, producing electrical transcription discs in large quantities for overseas broadcasts, often featuring entertainment and news tailored to military audiences.^[47] For instance, AFRS collections include thousands of such 16-inch recordings from 1943 onward, pressed from acetate masters to enable flexible scheduling at remote stations.^[48] For home and portable use, acetate discs enabled individuals to capture personal events such as weddings, family speeches, and gatherings using compact recorders like the Rek-O-Kut RC-20, which became available in the early 1940s.^[49] These devices allowed amateurs to record directly onto 12-inch or smaller acetate blanks, providing a simple way to document everyday audio before the widespread adoption of magnetic tape.^[50] The technical setup for direct recording typically involved connecting a microphone—positioned 12 to 20 inches from the sound source—to an amplifier and cutter head on a turntable lathe, with the audio signal modulating the stylus to etch grooves into the soft lacquer surface.^[45] Capacities ranged up to 15 minutes per side for 16-inch formats at 33⅓ rpm for extended broadcasts or less for smaller discs and higher speeds for brief home clips.^[45] This configuration, often powered by a 10-12 watt push-pull amplifier with negative feedback for clarity, supported both professional radio archiving and portable field recordings.^[45] Despite their utility, acetate discs had significant limitations, including the inability to edit recordings once cut, as the groove was permanent and any errors required starting over.^[45] They were also prone to rapid degradation, with surface noise and wear increasing after just a few playbacks due to the soft nitrocellulose lacquer, which contributed to their "instantaneous" designation as one-time-use media rather than durable formats.^[46] Over time, chemical decomposition further risked flaking or crazing, limiting long-term viability without careful handling.^[1]

Specialized uses in music genres

In the Jamaican sound system culture of the 1940s through the 1970s, acetate discs known as dubplates were essential for creating exclusive recordings that gave DJs a competitive edge in dancehall clashes.^[51] Pioneers like Duke Reid, a prominent sound system operator and producer, commissioned custom acetates featuring unique toasts—spoken improvisations—over instrumental riddims, allowing systems to play material unavailable to rivals.^[52] These 10-inch format discs were particularly common due to their portability and suitability for the mobile setups of sound systems, enabling quick playback in outdoor events across Kingston.^[53] Production of these dubplates often occurred in specialized studios, such as King Tubby's in Waterhouse, where engineer Osbourne "King Tubby" Ruddock installed a disc-cutting lathe to produce one-off acetates directly from mixes.^[54] Limited to small runs of 25 to 50 copies, these discs featured bespoke versions with altered instrumentation or exclusive vocals, emphasizing their ephemeral nature as tools for immediate cultural dominance rather than mass distribution.^[55] This practice not only fostered innovation in reggae and dub but also allowed sound systems to respond rapidly to emerging trends, such as the shift toward deejay toasting in the 1960s. The tradition of custom acetates extended to the UK dance music scene in the 1980s and 1990s, particularly within drum and bass and jungle genres, where they served as pre-release test pressings for club play and pirate radio.^[56] Producers cut exclusive mixes onto acetates for DJs to gauge audience reactions in underground raves before committing to vinyl runs, mirroring Jamaican exclusivity but adapted to the fast-evolving rave culture.^[57] In the 1990s, these dubplates became staples on pirate stations like Rinse FM, offering unreleased tracks that built hype and influenced genre progression, such as the transition from hardcore to jungle's breakbeat-driven sound.^[56] Overall, acetate discs in these genres facilitated a dynamic subculture of rivalry and creativity, enabling swift adaptation to listener preferences and solidifying sound systems' role in shaping global electronic music evolution from Jamaican roots to UK innovations.^[58]

Modern Context

Current production challenges

In 2020, a devastating fire at the Apollo Masters facility in Banning, California, destroyed approximately 80% of the global supply of lacquer blanks used for acetate discs, leaving the industry reliant on the sole remaining producer, MDC in Japan, which was already operating at full capacity. Prior to the incident, only two facilities worldwide manufactured these essential blanks: Apollo in the United States and MDC in Japan. The blaze not only halted Apollo's operations permanently but also highlighted the fragility of the supply chain for this niche material critical to vinyl record mastering.^[26]^[59]^[60] Recovery efforts have been gradual, with new entrants emerging by 2023 to address the shortage, though none have fully restored pre-fire scale. For instance, Audiolac in Switzerland began supplying pre-mixed liquid lacquer for in-house disc production at facilities like Austrovinyl in 2025, while a new vinyl pressing plant in Iceland incorporates lacquer cutting capabilities to support local manufacturing. Other initiatives include Prodigal Audio in Australia and Meyer Media in the US, which started delivering test batches of alternative lacquers in late 2024. As of mid-2025, global production capacity has partially rebounded but remains limited, contributing to ongoing lead times of several months for blanks.^[61]^[62]^[63] Persistent challenges include elevated costs, with lacquer blanks now priced at $100–200 per disc due to scarcity and increased production expenses, representing a 20–40% rise since 2020. Environmental regulations surrounding nitrocellulose, the primary coating material, pose additional hurdles; its high flammability—evident in the Apollo fire—has intensified scrutiny and compliance requirements, complicating new facility setups in regions with strict safety and emissions standards. As a result, many studios have shifted toward direct-to-metal (DMM) cutting as a viable alternative, bypassing traditional acetate lacquers to reduce risks and streamline workflows.^[63]^[26] By 2025, the vinyl boom—fueled by surging demand for physical media—has amplified these strains, with global record production reportedly surpassing 100 million units annually and requiring thousands of unique masters each year. This has led to significant backlogs, exemplified by delays of several months in reissues and new releases as mastering studios wait for blanks, underscoring the need for further diversification in supply.^[64]^[63]

Collectibility and market value

Acetate discs hold significant appeal among collectors due to their inherent rarity, as they were typically produced in very limited quantities—often just one or a few copies—for purposes such as test pressings, artist prototypes, or pre-production demos by major labels like Decca or Sun Records.^[32] These items frequently feature unreleased or alternate versions of tracks, enhancing their value for enthusiasts seeking unique artifacts from recording history.^[32] Notable auction sales underscore the high market value of exceptional acetates. For instance, a 1962 10-inch acetate containing The Beatles' "Till There Was You" and "Hello Little Girl," inscribed by manager Brian Epstein, sold for £77,500 at Omega Auctions in 2016.^[65] Similarly, Elvis Presley's 1953 acetate of "My Happiness," his first recording made at the Memphis Recording Service, fetched $300,000 at a Graceland auction in 2015.^[66] The resurgence of vinyl records in the 2020s, with U.S. sales reaching $1.4 billion in 2024, has amplified demand for acetate discs as part of the broader analog revival, driving up prices for both common and rare examples.^[67] While everyday radio or promotional acetates from lesser-known artists typically sell for $500 to $5,000 depending on condition and provenance, rarities with historical significance can exceed $100,000.^[32] Authentication of acetate discs relies on examining handwritten labels for studio notations or engineer details, analyzing groove characteristics for lathe-cut signatures, and verifying provenance through documentation or chain of custody.^[68] Platforms like Discogs provide sales histories and community-verified listings to help collectors assess authenticity and market trends.^[69]

Preservation and archival importance

Acetate discs are highly susceptible to degradation due to their composite structure, consisting of a nitrocellulose lacquer coating on an aluminum or glass base. Common issues include cracking and crazing of the lacquer surface from environmental fluctuations or mechanical stress, delamination where the coating separates from the base, and exudation of plasticizers like palmitic or stearic acid, manifesting as a white, greasy powder that accelerates brittleness and flaking.^[70]^[12] The aluminum base can corrode under high humidity or exposure to acidic off-gassing from the lacquer, leading to further structural weakening and potential fungal growth.^[3] Without proper care, these discs typically exhibit significant deterioration within 20 to 50 years, as the loss of plasticizers and autocatalytic reactions render them brittle and prone to catastrophic failure.^[20] Maintaining relative humidity below 40% is essential to mitigate moisture-induced plasticizer loss and corrosion, with ideal levels at 25-35% RH for long-term stability.^[12]^[3] Preservation techniques emphasize minimal handling and environmental control to extend the discs' viability. Storage should occur in a cool environment of 15-20°C (59-68°F) with stable conditions to prevent warpage or delamination, using inert polyethylene or polyester sleeves within acid-free paperboard enclosures to isolate off-gassing and avoid acidic contaminants.^[71]^[12] Discs must be stored upright or flat with spacers to reduce flexing, separated from other materials, and protected from light, dust, and magnetic fields.^[3] Digitization is a cornerstone of conservation, employing high-resolution optical scanning such as the IRENE system at the Library of Congress, which creates non-contact 2D or 3D groove images converted to uncompressed digital files, preserving content without further physical wear on fragile originals.^[72] This approach allows for virtual restoration of damaged surfaces while generating archival-quality Broadcast WAV files compliant with standards like those from the Federal Agencies Digitization Guidelines Initiative.^[12] The archival value of acetate discs lies in their role as carriers of irreplaceable audio heritage, particularly live radio broadcasts, field recordings, and non-commercial content from the 1930s to 1950s, when magnetic tape was not yet widespread.^[12] These instantaneous recordings capture unique historical moments, such as educational programs or cultural performances, that would otherwise be lost due to the format's ephemerality.^[73] Institutions like the Smithsonian Institution hold collections exceeding 4,000 acetate discs, underscoring their significance in documenting mid-20th-century audio culture through preserved broadcasts and transcriptions.^[74] In the 2020s, preservation initiatives continue to advance through institutional projects and standardized guidelines, such as the Association for Recorded Sound Collections (ARSC) recommendations for transfer and the ongoing National Recording Preservation Plan, which prioritize digitization to mitigate physical risks.^[12] Digital backups, including multiple geographically dispersed copies on stable media like data tapes, ensure redundancy and accessibility, while efforts like the Smithsonian's 2018 stabilization project—rehousing discs in buffered enclosures—demonstrate practical applications that prepare collections for future scanning and analysis.^[73] These strategies, aligned with International Association of Sound and Audiovisual Archives (IASA) protocols, facilitate the long-term safeguarding of acetate content against inevitable degradation.^[12]

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Presto History Page 1 - Large Recorders
Presto Model-B, discontinued in early 1941. Consists of 2 8D recorders. 1941 price $2354. Consists of 2 6D recorders. Price $1535. Model-A from 1941 through ...
[38]
[PDF] Heated Stylus Recording Techniques - Audio Engineering Society
The coil is wound. on the sapphire and is impregnated with refractory cement. The motive is to get the heat directly to the disc. If we ...Missing: acetate | Show results with:acetate
[39]
Disc-cutting lathes - Stereo Lab from Pspatial Audio
Blue sapphire is usually considered the best material for the record-cutting as these gems may be manufactured without grains or impurities and can by shaped ...
[40]
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[41]
02 [Assembly] Main unit — Quantify and precisely control all ...
This technique is still used today, and a stethoscope is sometimes applied to a machine to diagnose the sound of rotation. ... 01 [Machining] CNC Lathe ...
[42]
Mastering Direct to Acetate Recordings - Gearspace
Sep 5, 2007 · Many earlier direct to acetate recordings were done with a single ribbon mic going to tube amps driving the cutter head running on a lathe with ...
[43]
Cleaning Lacquer Discs - NEDCC
1% Ammonium Hydroxide in water is used. The ammonia breaks down the fatty acids of the exudate without harming the nitrocellulose lacquer.Missing: blank | Show results with:blank<|separator|>
[44]
Stereo Lab - Manufacture of gramophone records
The manufacture of gramophone records commences in a process known as cutting the master lacquer. Technologically, this is a precision machining process.
[45]
[PDF] Electroplating for Vinyl Record Production
Oct 10, 2022 · Electroplating is a vital step in vinyl production, replicating recorded content into many records. It involves a gold seed layer and copper ...
[46]
Columbia Records Manufacturing Process: 1946
and in this very plant — Columbia would begin producing the first commercially viable Long-Playing, 33 1/3 RPM, 12 inch records ( ...
[47]
Mastering Music: A Century Of History - Sonarworks Blog
Nov 2, 2022 · The band was balanced in the room and the result was cut directly into a wax or acetate disc, which was then used to create a stamper for 10- ...
[48]
None
Summary of each segment:
[49]
acetate or Lacquer Coated Records - Smolian Sound Studios
Acetate or lacquer coated records were used for recording from 1934-1948, with a lacquer surface on aluminum or glass. They are prone to damage and wear.
[50]
Start of AFRS
Recordings of the programs used 16" lacquer coated aluminum disks. Masters used the normal record making techniques. Pressings were of vinyl. Because the ...<|separator|>
[51]
[PDF] Armed Forces Radio and Television Service Collection
The Armed Forces Radio Service (AFRS) formed in 1942 as a part of the Morale Services Division of the War Department. The AFRS established with the mission to ...Missing: transcription | Show results with:transcription
[52]
Direct-to-Disk Recorders - RVG Legacy
One of Rudy Van Gelder's first semi-professional disk recording units was the portable Rek-O-Kut RC-20, which he brought with him to college in the early 1940s.Missing: acetate | Show results with:acetate
[53]
The Dawn of Home Recording: A Look At Phono-O-Cords and ...
Oct 19, 2015 · There were home disc recorders dating back to the 1930s. Yes, disc recorders! These things recorded on thin acetate type discs that were made of a core of ( ...
[54]
Sweet Reggae Music Pon di Attack: A History of Soundclash
Oct 12, 2016 · The sound clash is like the Formula 1 of automobile culture. The desire to win – to triumph – pushed all involved in clash culture to innovate and improve.
[55]
[PDF] SWITCH Dubwise - SJSU ScholarWorks
May 15, 2001 · In 1967 a Jamaican sound system owner by the name of Rudolph "Ruddy" Redwood often played exclusive acetate versions of. Duke Reid's songs.
[56]
https://djmag.com/longreads/how-dubplates-fuelled-rise-drum-bass-90s
[57]
https://djmag.com/features/rise-fall-and-revival-uk-dubplate-culture
[58]
Dubplates | AGGROSHOP.COM
Dubplates are cutted in very small numbers (mostly 25-50 copies) and often include exclusive mixes. All dubplates are handmate cuts and stocked in very ...
[59]
How dubplates fuelled the rise of drum & bass in the '90s - DJ Mag
Sep 13, 2021 · An acetate pressing of unreleased music, produced especially for DJs and soundsystems, the dubplate was the secret weapon with which top ...
[60]
The rise, fall and revival of UK dubplate culture - DJ Mag
Apr 19, 2023 · Dubplates were once at the heart of UK dance music: specially cut, exclusive records drove the evolution of genres from jungle to dubstep and grime.
[61]
How Jamaican soundsystem culture changed dance music forever
Mar 20, 2025 · Jamaica's soundsystem culture laid the foundation for many of the most significant developments in electronic music culture around the world.
[62]
How the Vinyl Industry Is Responding to the Apollo Masters Fire
Feb 18, 2020 · The fire obliterated the Banning, California, facility responsible for, by most estimates, 70 to 85 percent of the lacquer plates used in vinyl production.Missing: acetate | Show results with:acetate
[63]
Out Of The Apollo Masters Fire Emerges The Vinyl Record ... - Forbes
Mar 6, 2020 · The Apollo Masters Fire destroyed one of two lacquer manufacturing plants globally that produce vinyl records. Out of the rubble has emerged ...Missing: acetate | Show results with:acetate
[64]
the project - Audiolac
Sep 10, 2025 · A record pressing plant (Austrovinyl) has started to use our pre-mixed liquid lacquer to coat and cut their own 14“ lacquer discs as a basis for ...
[65]
Audiolac - Vinyl Record Press Media
Oct 1, 2025 · After years of development, Austrovinyl have started using lacquer from Audiolac for their in-house production of 14-inch master discs. They are ...Missing: acetate | Show results with:acetate
[66]
Apollo Masters Fire: How One Blaze Shook the Vinyl Industry
Jul 25, 2025 · Apollo Masters confirmed they would not rebuild or resume lacquer production after the fire. ... Expect variation in pressings from 2020 - 2023.Missing: acetate | Show results with:acetate
[67]
Vinyl Records Market Analysis, Size, and Forecast 2025-2029
Vinyl Records Market Size 2025-2029 The vinyl records market size is forecast to increase by USD 857.2 million, at a CAGR of 9.3% between 2024 and 2029.
[68]
'Holy Grail' Beatles record sold for £77,500 at auction - BBC News
Mar 22, 2016 · An extremely rare Beatles record found languishing in a loft has sold for £77,500 at auction. The 10-inch acetate of Till There Was You and ...
[69]
Elvis Presley's First Recording Sells for $300,000 - Rolling Stone
Jan 9, 2015 · Elvis Presley's first recording, an acetate disc featuring "My Happiness," sold at a Graceland for $300000 on Thursday.Missing: demo | Show results with:demo
[70]
Increased Vinyl Sales and the Vinyl Records Revival
Oct 14, 2025 · By 2024, vinyl music sales of $1.4 billion on 43.6 million units easily outpaced sales of CDs at $541 million on 33 million units. 4. What is ...Missing: acetate | Show results with:acetate
[71]
Acetate forensics - The Secret Society of Lathe Trolls
May 22, 2025 · The pitch of this spiral can be adjusted so there might be more grooves in the lead-in or less. Each lathe even at the same facility might be ...Missing: density | Show results with:density
[72]
https://www.nedcc.org/audio-preservation/irene
[73]
Fundamentals of AV Preservation - Chapter 1 — NEDCC
Shellac discs were used in the earliest days of recording. Discs were originally recorded using an acoustic-mechanical method. Think here of the pictures you ...
[74]
Care, Handling, and Storage of Audio Visual Materials
For cleaning grooved and optical discs (i.e., acetate, lacquer, shellac, and vinyl records; CDs; DVDs), use canned air to blow away dust. See Cleaning ...
[75]
Audio Preservation with IRENE - NEDCC
The IRENE audio preservation service at NEDCC is the culmination of a decade of research and development at the Lawrence Berkeley National Laboratory and the ...
[76]
Stabilizing Lacquer Transcription Discs
Oct 18, 2018 · Lacquer transcription discs are one of the most at-risk formats due to deterioration, inappropriate storage conditions, and poor handling techniques.
[77]
[PDF] HIGHLIGHTS OF SMITHSONIAN COLLECTIONS
The collection includes 62,000 audio tapes, 12,000 commercial discs, 4,000 acetate discs, 1,000 compact discs,. 2,000 videotapes, 1 million still images, and ...