Solo , Extreme NA. VIBE feat. JP miles. Don't You Forget About Me. Solo Dream On Dreamer. The Brand New Heavies. SuperNova , Universe. Scotty D. SuperNova 2 JP. Originally from Para Para Paradise. U1 High-Speed. U1 Overground. GB Disney Mix. Engine Sentai Go-onger. Entry of the Gladiators Kaz Mix. Julius Fucik. SuperNova 2 NA , Universe 2. Original artist: Robert Knight. Everybody Dance.
Original artist: Tommy february 6. Everytime We Touch. Universe , X2 Arcade. Paul Oakenfold feat. Brittany Murphy. Feels Just Like It Should. DS Unleashed 3 , Universe. Mutsuhiko Izumi. Originally from GuitarFreaks 1stMix. Extreme NA , Ultramix 3. Winnie the Pooh. Chel Y. Blue October. Hello Kitty , Dear Daniel. Funk Kid feat.
Original artist: Christina Aguilera. Technotronic feat. Ya Kid K. Ultramix 4 , SuperNova 2. Girls Just Wanna Have Fun. Original artist: Michael Fortunati. Michael a la mode. Gotta Dance. BIG-O feat. Gypsy woman. Techno remix of Night on Bald Mountain.
Original artist: Olivia Newton-John. Hiro feat. Sweet little 30's. Originally from BeatStream. X , X2 Arcade. He's the Greatest Dancer. Hey Boy, Hey Girl.
Black Eyed Peas. Winx Club , A. Originally appeared in ParaParaParadise. EuroMix , 3rdMix , GB3. Original artist: Madonna. Super Mario World. James Rowand. John Desire. Universe , Music Fit. Original artist: TM Revolution. Remade with permission by High and Mighty Color [ dubious — discuss ]. This is the long version of the song. Hot Stuff. Togo Project feat. Original artist: The Jackson Sisters. Original artist: The Four Tops.
Solo , GB3. Jason Nevins vs. Eric B. I Like To Move It. The Spinners. I'll Be There. Originally appeared in beatmania IIDX 20 tricoro. I'll Make Love To You. In turn samples Human Nature , by Michael Jackson. I'm Yours. Mayumi Morinaga. Supa Fova feat. Extreme 2 , Universe. Ultramix , Extreme 2 , SuperNova. Extreme 2 , SuperNova. In The Whirlpool. Original artist: A Flock of Seagulls. I Think We're Alone Now. Original artist: The Sherman Brothers. It's Like That. I Want You To Know.
Selena Gomez. Les Rythmes Digitales. Ulramix , DDR Festival. Kids In America. Kiss Kiss. Original artists: Stella Soleil , Holly Valance. La libertad. Last Thing On My Mind. La Senorita Virtual. Let's Dance. Let's Get It Started.
The Black Eyed Peas. The speed regulator was furnished with an indicator that showed the speed when the machine was running so that the records, on reproduction, could be revolved at exactly the same speed Early recordings were made entirely acoustically, the sound being collected by a horn and piped to a diaphragm , which vibrated the cutting stylus.
Sensitivity and frequency range were poor, and frequency response was very irregular, giving acoustic recordings an instantly recognizable tonal quality. A singer almost had to put his or her face in the recording horn. A way of reducing resonance was to wrap the recording horn with tape. Lower-pitched orchestral instruments such as cellos and double basses were often doubled or replaced by louder instruments, such as tubas.
Standard violins in orchestral ensembles were commonly replaced by Stroh violins , which became popular with recording studios. Even drums, if planned and placed properly, could be effectively recorded and heard on even the earliest jazz and military band recordings. The loudest instruments such as the drums and trumpets were positioned the farthest away from the collecting horn.
Lillian Hardin Armstrong , a member of King Oliver's Creole Jazz Band , which recorded at Gennett Records in , remembered that at first Oliver and his young second trumpet, Louis Armstrong , stood next to each other and Oliver's horn could not be heard.
During the first half of the s, engineers at Western Electric , as well as independent inventors such as Orlando Marsh , developed technology for capturing sound with a microphone , amplifying it with vacuum tubes , then using the amplified signal to drive an electromechanical recording head.
Western Electric's innovations resulted in a broader and smoother frequency response, which produced a dramatically fuller, clearer and more natural-sounding recording. Soft or distant sounds that were previously impossible to record could now be captured. Volume was now limited only by the groove spacing on the record and the amplification of the playback device. Victor and Columbia licensed the new electrical system from Western Electric and began recording discs during the Spring of To claim that the records have succeeded in exact and complete reproduction of all details of symphonic or operatic performances Electrical recording and reproduction have combined to retain vitality and color in recitals by proxy.
Electrically amplified record players were initially expensive and slow to be adopted. In , the Victor company introduced both the Orthophonic Victrola , an acoustical record player that was designed to play electrically recorded discs, and the electrically amplified Electrola. The Orthophonic had an interior folded exponential horn, a sophisticated design informed by impedance-matching and transmission-line theory, and designed to provide a relatively flat frequency response.
Its first public demonstration was front-page news in The New York Times , which reported:. The audience broke into applause John Philip Sousa [said]: '[Gentlemen], that is a band. This is the first time I have ever heard music with any soul to it produced by a mechanical talking machine' The new instrument is a feat of mathematics and physics. It is not the result of innumerable experiments, but was worked out on paper in advance of being built in the laboratory The new machine has a range of from to 5, [cycles], or five and a half octaves The 'phonograph tone' is eliminated by the new recording and reproducing process.
Gradually, electrical reproduction entered the home. The spring motor was replaced by an electric motor. The old sound box with its needle-linked diaphragm was replaced by an electromagnetic pickup that converted the needle vibrations into an electrical signal.
The tone arm now served to conduct a pair of wires, not sound waves, into the cabinet. The exponential horn was replaced by an amplifier and a loudspeaker. Sales of records declined precipitously during the Great Depression of the s.
According to Edward Wallerstein the general manager of RCA's Victor division , this device was "instrumental in revitalizing the industry". The earliest disc records — were made of variety of materials including hard rubber. Around , a shellac -based material was introduced and became standard. Formulas for the mixture varied by manufacturer over time, but it was typically about one-third shellac and two-thirds mineral filler finely pulverized slate or limestone , with cotton fibers to add tensile strength, carbon black for color without which it tended to be an unattractive "dirty" gray or brown color , and a very small amount of a lubricant to facilitate release from the manufacturing press.
Columbia Records used a laminated disc with a core of coarser material or fiber. Less abrasive formulations were developed during its waning years and very late examples in like-new condition can have noise levels as low as vinyl. Beginning in , Nicole Records of the UK coated celluloid or a similar substance onto a cardboard core disc for a few years, but they were noisy.
In the United States, Columbia Records introduced flexible, fiber-cored "Marconi Velvet Tone Record" pressings in , but their longevity and relatively quiet surfaces depended on the use of special gold-plated Marconi Needles and the product was not successful. Thin, flexible plastic records such as the German Phonycord and the British Filmophone and Goodson records appeared around but not for long.
In the US, Hit of the Week records were introduced in early They were made of a patented translucent plastic called Durium coated on a heavy brown paper base. A new issue debuted weekly, sold at newsstands like a magazine. Although inexpensive and commercially successful at first, they fell victim to the Great Depression and US production ended in Durium records continued to be made in the UK and as late as in Italy, where the name "Durium" survived into the LP era as a brand of vinyl records.
In , RCA Victor introduced vinyl plastic-based Victrolac as a material for unusual-format and special-purpose records. In , RCA began using Victrolac in a home recording system. By the end of the s vinyl's light weight, strength, and low surface noise had made it the preferred material for prerecorded radio programming and other critical applications. Later, Decca Records introduced vinyl Deccalite 78s, while other record companies used vinyl formulations trademarked as Metrolite, Merco Plastic, and Sav-o-flex, but these were mainly used to produce "unbreakable" children's records and special thin vinyl DJ pressings for shipment to radio stations.
In the s, the diameter of the earliest toy discs was generally By the mids, discs were usually 7 inches nominally Victor , Brunswick and Columbia also issued inch popular medleys, usually spotlighting a Broadway show score.
Fewer than fifty titles were issued, and the series was dropped in , due to poor sales. The playing time of a phonograph record depends on the available groove length divided by the turntable speed.
Total groove length in turn depends on how closely the grooves are spaced, in addition to the record diameter. At the beginning of the 20th century, the early discs played for two minutes, the same as cylinder records.
In January , Milt Gabler started recording for Commodore Records , and to allow for longer continuous performances, he recorded some inch discs. Eddie Condon explained: "Gabler realized that a jam session needs room for development. Vaudeville stars Gallagher and Shean recorded "Mr. Gallagher and Mr.
Shean", written by themselves or, allegedly, by Bryan Foy, as two sides of a inch 78 in for Victor. The limited duration of recordings persisted from their advent until the introduction of the LP record in In the 78 era, classical-music and spoken-word items generally were released on the longer inch 78s, about 4—5 minutes per side.
For example, on June 10, , four months after the February 12 premier of Rhapsody in Blue , George Gershwin recorded an abridged version of the seventeen-minute work with Paul Whiteman and His Orchestra.
Generally the sleeves had a circular cut-out exposing the record label to view. Records could be laid on a shelf horizontally or stood on an edge, but because of their fragility, breakage was common.
German record company Odeon pioneered the album in when it released the Nutcracker Suite by Tchaikovsky on 4 double-sided discs in a specially designed package. The practice of issuing albums was not adopted by other record companies for many years. By about , [note 1] bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records the term "record album" was printed on some covers.
These albums came in both inch and inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. Most albums included three or four records, with two sides each, making six or eight tunes per album. When the inch vinyl LP era began in , each disc could hold a similar number of tunes as a typical album of 78s, so they were still referred to as an "album", as they are today.
This series came in heavy manilla envelopes and began with a jazz album AP-1 and was soon followed by other AP numbers up through about AP These vinyl Rhino 78's were softer and would be destroyed by old juke boxes and old record players, but play very well on newer capable turntables with modern lightweight tone arms and jewel needles.
In , RCA Victor launched the first commercially available vinyl long-playing record, marketed as program-transcription discs. RCA Victor's early introduction of a long-play disc was a commercial failure for several reasons including the lack of affordable, reliable consumer playback equipment and consumer wariness during the Great Depression.
There were also a couple of longer-playing records issued on ARC for release on their Banner, Perfect, and Oriole labels and on the Crown label. All of these were phased out in mid Vinyl's lower surface noise level than shellac was not forgotten, nor was its durability. In the late s, radio commercials and pre-recorded radio programs being sent to disc jockeys started being pressed in vinyl, so they would not break in the mail.
In the mids, special DJ copies of records started being made of vinyl also, for the same reason. Beginning in , Dr.
Peter Goldmark and his staff at Columbia Records and at CBS Laboratories undertook efforts to address problems of recording and playing back narrow grooves and developing an inexpensive, reliable consumer playback system.
It took about eight years of study, except when it was suspended because of World War II. Another size and format was that of radio transcription discs beginning in the s. No home record player could accommodate such large records, and they were used mainly by radio stations. They were on average 15 minutes per side and contained several songs or radio program material. These records became less common in the United States when tape recorders began being used for radio transcriptions around In the UK, analog discs continued to be the preferred medium for the licence of BBC transcriptions to overseas broadcasters until the use of CDs became a practical alternative.
On a few early phonograph systems and radio transcription discs, as well as some entire albums, the direction of the groove is reversed, beginning near the center of the disc and leading to the outside. The earliest rotation speeds varied considerably, but from to most records were recorded at 74—82 revolutions per minute rpm.
At least one attempt to lengthen playing time was made in the early s. World Records produced records that played at a constant linear velocity , controlled by Noel Pemberton Billing 's patented add-on speed governor.
This behavior is similar to the modern compact disc and the CLV version of its predecessor, the analog encoded Philips LaserDisc , but is reversed from inside to outside.
In the s, Earlier they were just called records , or when there was a need to distinguish them from cylinders , disc records. The older 78 rpm format continued to be mass-produced alongside the newer formats using new materials in decreasing numbers until the summer of in the U.
Some of Elvis Presley 's early singles on Sun Records may have sold more copies on 78 than on In the mids all record companies agreed to a common frequency response standard, called RIAA equalization. Before the establishment of the standard each company used its own preferred equalization, requiring discriminating listeners to use pre-amplifiers with selectable equalization curves.
Prestige Records released jazz records in this format in the late s; for example, two of their Miles Davis albums were paired together in this format. Each record held 40 minutes of music per side, recorded at grooves per inch. For a two-year period from to , record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds".
See also format war. By , million 45s had been sold. The large center hole on 45s allows for easier handling by jukebox mechanisms. EPs were generally discontinued by the late s in the U. In the late s and early s, rpm-only players that lacked speakers and plugged into a jack on the back of a radio were widely available. Eventually, they were replaced by the three-speed record player. From the mids through the s, in the U.
The adapter could be a small solid circle that fit onto the bottom of the spindle meaning only one 45 could be played at a time or a larger adaptor that fit over the entire spindle, permitting a stack of 45s to be played. RCA Victor 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a " spider ". In countries outside the U. During the vinyl era, various developments were introduced. Stereo finally lost its previous experimental status, and eventually became standard internationally.
Quadraphonic sound effectively had to wait for digital formats before finding a permanent position in the market place. The term "high fidelity" was coined in the s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction.
After a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available in , gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players.
Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. EMI cut the first stereo test discs using the system in see Bell Labs Stereo Experiments of although the system was not exploited commercially until much later.
In this system, each of two stereo channels is carried independently by a separate groove wall, each wall face moving at 45 degrees to the plane of the record surface hence the system's name in correspondence with the signal level of that channel. By convention, the inner wall carries the left-hand channel and the outer wall carries the right-hand channel.
While the stylus only moves horizontally when reproducing a monophonic disk recording, on stereo records the stylus moves vertically as well as horizontally. During playback, the movement of a single stylus tracking the groove is sensed independently, e.
The combined stylus motion can be represented in terms of the vector sum and difference of the two stereo channels. In the first commercial stereo two-channel records were issued first by Audio Fidelity followed by a translucent blue vinyl on Bel Canto Records , the first of which was a multi-colored-vinyl sampler featuring A Stereo Tour of Los Angeles narrated by Jack Wagner on one side, and a collection of tracks from various Bel Canto albums on the back.
However, it was not until the mid-to-late s that the sales of stereophonic LPs overtook those of their monophonic equivalents, and became the dominant record type. The development of quadraphonic records was announced in These recorded four separate sound signals.
This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. They proved commercially unsuccessful, but were an important precursor to later surround sound systems, as seen in SACD and home cinema today.
This system encoded the front-rear difference information on an ultrasonic carrier. CD-4 was less successful than matrix formats. A further problem was that no cutting heads were available that could handle the high frequency information.
This was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get wider frequency response in stereo with reduced distortion and greater headroom.
Under the direction of recording engineer C. Robert Fine, Mercury Records initiated a minimalist single microphone monaural recording technique in The first record, a Chicago Symphony Orchestra performance of Pictures at an Exhibition , conducted by Rafael Kubelik , was described as "being in the living presence of the orchestra" by The New York Times music critic. The series of records was then named Mercury Living Presence. In , Mercury began three-channel stereo recordings, still based on the principle of the single microphone.
The center single microphone was of paramount importance, with the two side mics adding depth and space. Record masters were cut directly from a three-track to two-track mixdown console, with all editing of the master tapes done on the original three-tracks.
The Mercury Living Presence recordings were remastered to CD in the s by the original producer, Wilma Cozart Fine, using the same method of three-to-two mix directly to the master recorder. Through the s, s, and s, various methods to improve the dynamic range of mass-produced records involved highly advanced disc cutting equipment.
RCA Victor introduced another system to reduce dynamic range and achieve a groove with less surface noise under the commercial name of Dynagroove.
Two main elements were combined: another disk material with less surface noise in the groove and dynamic compression for masking background noise. Sometimes this was called "diaphragming" the source material and not favoured by some music lovers for its unnatural side effects.
Both elements were reflected in the brandname of Dynagroove, described elsewhere in more detail. Secret , Sep 4, Pat likes this. Is there a reason some of these have the album version on them and some don't? It has me secondguessing myself if it's really the album version or there's some subtle difference I'm missing.. Mvnl , Sep 4, Jacques likes this. Didn't wanna leave it left out. Take your bags and go boo!
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Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Add links.Guardians of the Galaxy Deluxe Vinyl Edition Tyler Bates $ $ 73 (2,) The Greatest Showman Original Motion Picture Soundtrack (Vinyl w/Digital Download) Hugh Jackman $ $ 51 (10,) Gold - Greatest Hits [2 LP] ABBA $ $ 94 (3,) Coming Home Leon Bridges $ $ 67 (1,).