And with Neil Young, Joni Mitchell, India.Arie and other musicians pulling their catalogs from Spotify, vinyl offers another way to listen to their tracks offline. That’s because audio engineers often master for vinyl differently than for digital (including lossless formats like Tidal) or CD, and some listeners prefer that more dynamic sound quality. Therein lies the appeal of vinyl - the ability to listen to a full album, front to back with more richness, warmth and depth than you might get on your laptop speakers. While all of those artists are available at the click of a button via streaming services, some music lovers might crave a more hands-on listening experience. Sydney Sweeney, Camila Mendes Inspired Power Stylist Molly Dickson's New Madewell Denim Collab And at the Grammys in April, Jon Batiste’s We Are took home a golden gramophone for album of the year, Silk Sonic‘s “Leave the Door Open” won song and record of the year, Olivia Rodrigo won best new artist and best pop solo performance and Doja Cat and SZA won best pop duo/group performance for “Kiss Me More.” Blige was presented with the Billboard Icon Award, Doja Cat was named best new artist and won best R&B album for Planet Her, Megan Thee Stallion won top female rap artist and Glass Animals took home the top rock artist award. Harry Styles took home the MTV VMA album of the year award for Harry’s House, winning over Adele’s 30, Bad Bunny’s Un Verano Si Ti, Billie Eilish’s Happier Than Ever and Drake’s Certified Lover Boy. Whether you’re inspired by the 2022 MTV VMAs winners or you’re catching up on new artists ahead of this year’s fall festivals, there’s no shortage of new music to add to your playlist - and some of the best record players can deliver every note, melody and bass line exactly as the artists intended. Their influence would cast a long shadow 20 years later with the rise of turntablism and artists such as Mix Master Mike and DJ Spooky, while DJ Marky’s famous upside-down mixing routine surely owes them a debt.If you purchase an independently reviewed product or service through a link on our website, The Hollywood Reporter may receive an affiliate commission. At the same time, art-based avant-garde-ists such as Japan’s Otomo Yoshihide and Swiss-American Christian Marclay were abusing turntables in their performances, playing them upside down, adapting them, forcing new noises from them. For the next quarter century, despite the appearance of many turntables that boasted advances in one area or another, Technics were the industry standard. They could also handle a new concept that had entered turntable culture – scratching - creatively utilizing the noise made when a record was swiftly moved back and forth at speed. They were an improvement on the original 1200s, built to absorb more bounce, with a faster start-up speed and a pitch control fader. DJs from Paradise Garage proto-house original Larry Levan to hip hop’s Bronx inventor, Kool Herc, initially stuck with expensive, high-end Thorens equipment but in 1979 Technics 1200MK2s arrived, advertised as “tough enough to take the disco beat - and accurate enough to keep it,” and specifically geared towards clubland. Technics decks were tough, powerfully-motored and had accurate timing gauges. Technics SL-1100 and SL-1200 turntables, from 19, respectively, were designed for home use but the latter gained purchase in the blossoming US disco scene, and later in the hip hop community (alongside the 12” single). In the north of England mobile “disc jockeys” such as Bertrand Thorpe, Ron Diggins and Jimmy Savile (yes, that one, unfortunately) premiered the idea of public dances with no band but music instead provided by cutting between two turntables on an amplified sound system. The result of his labours, the 33.3 RPM 12” album on a plastic compound called vinylite (or ‘vinyl’) rather than shellac, debuted in 1948, while rival company RCA Victor jumped in with the alternative 45 RPM 7” disc the following year.īoth became standard speeds and sizes, for albums and singles, respectively, but three speed record-players (including the 78 RPM option) remained popular for a couple more decades, as did mechanized systems that changed records automatically on long central stacking spindles. Alongside this he introduced the lightweight tone arm and sapphire needle to turntables. Peter Goldmark, head of research at CBS-Columbia in the US, worked on 33.3 RPM 12” records with microgrooves that offered much better sound quality. The Royal Navy had invented wider frequency recording to track submarines, and 16” 33 RPM ‘V-Discs’ were a step closer to records. Technological innovations during World War II led to a leap forward.
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