Så tager du bare to grammofoner og sætter dem oven på hinanden og sætter den ene på 33 og den anden på 45 vupti 33+45=78

tubefreak skrev: Så tager du bare to grammofoner og sætter dem oven på hinanden og sætter den ene på 33 og den anden på 45 vupti 33+45=78

smart 

skal man have en helt anden afspiller før det kan lade sig gøre?

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mathias 2 skrev: Mange tak for alle tilbagemældingerne! Det vil sige, at det dybest set er lige meget, om jeg kalder dem for LP'er eller vinyl'er? De der 78 vinyler der, er i siger de skal afspilles med en hastighed på 78... min kan kun køre 33 og 45.

GRRRRR der er ikke noget der hedder 78 vinyler - 78 er lavet af LAK så de hedder 78 Lakker hvsi de endelig skal hedde noget!

Tilgengæld findes der LPer dvs 33 som er lavet af lak - tidlige udgaver før man fandt ud af det med vinyl.

Satte du en gammeldags "nål" til at afspille en 78 plade der var fremstille af Vinyl med de ca. 300 gram nåletryk der er på en tragtgramofon så få ordet PLEV en langt mere ordret betydning


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for tiden afspiller jeg meget musik - det lyder godt

r-l-b skrev: så få ordet PLEV en langt mere ordret betydning

Plev som i...?

busted - jeg må sq til at koncentrere mig lidt mere selvom det må stå klart for en hver at det er plev som plev i kultivator jeg mener - men jeg håber i øvrigt du vil give mig ret!

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for tiden afspiller jeg meget musik - det lyder godt

det er noget kompliceret hejs det hersens pladespiller tam tam

Jeg er så godt som altid enig med dig r-l-b!

r-l-b skrev: GRRRRR der er ikke noget der hedder 78 vinyler - 78 er lavet af LAK så de hedder 78 Lakker hvsi de endelig skal hedde noget!

Nu vil jeg ikke sidde her og spille rasmus modsat, men der er faktisk noget som hedder 78 vinyl plader! Jeg har 2 stk's med Artie Shaw, og en med Django Reinhardt, alle 3 udgivet på RCA Victor. Django anno 1936! Der er ganske vist tale om promo plader, men ikke desto mindre officielle tryk.

Jeg har selv en masse gamle swing lakplader,  og jeg mener selvfølgelig også at det hedder 78'ere, eller lakplader, men synes lige at jeg ville nævne mine 78 vinylere.  

Edit: Hvis disse plader fik en tur på rejsegrammofonen med 300g. nåletryk ville man nok kunne høre begge sider samtidigt bagefter.

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En Tandberg gi'r sig aldrig ud for mere end den er

Det synes jeg er interessant - jeg var slet ikke klar over vinylen eksisterede i 36 - dem må du passe rigtgt godt på 

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for tiden afspiller jeg meget musik - det lyder godt

Her lidt Vinyl Info fra Vintaeturntables - jeg high lightede noget af det jeg synes var interessant:

"Virgin" vinyl is manufactured from pure resin (an expensive petroleum
by-product) plus additives which are purpose-specific. In the case of
vinyl records the correct degrees of hardness/softness and density are
critical. Non-virgin ("recycled") vinyl is more often than not an
unspecified amount of vinyl plus the addition of other plastics, new and
second-hand.

(The sharp rise in petroleum prices in the mid- to late-70's saw the
wholesale usage of less ACTUAL quantity of vinyl-per-record as well as
more adulterated vinyl-per-record.)

The addition of plastics to vinyl often has a hardening effect
(which WILL accellerate wear) as well as creating bubbles which tend to
be the pop-and-crackle hallmark of most US pressings from 1977 onwards.
A greyish color is a giveaway - look for a gleaming deep black which
seems almost "oily" (as opposed to "polished plastic") to sight & touch.

Also, cartridges and styli are manufactured to comply with vinyl - not
hard plastics, and stylis wear and damage (from poor vinyl) could be
significant if your audio system is at the high end.

The whole concept of budget LP's was to sell them for much less and to
lower the costs in manufacturing. In addition to using a lower quality
vinyl (or in some cases, polystyrene)

, budget product often had fewer
tracks (10 instead of 12), and less money was generally spent on
graphics and liner notes. In some cases, record companies negotiated
lower artist royalty rates for budget and record club product.

Funny thing is that the one area where "penny-pinching" tactics
generally weren't applied was in the recording process. So for all of
those albums on exclusively budget labels (like Tops, Crown, etc.),
while the pressings were generally awful, the original master tapes are
wonderful. Some of these have been put out on CD and they really sound
great.

Another interesting manufacturing savings (though primarily with
singles) was the process I believe that originated in the polystyrene
manufacturing of Golden Records by a gentleman named Al Massler. I
think that Amy/Mala/Bell/DynoVoice and other distributed labels of that
company used this pressing plant for their singles. If you remember,
these singles did not have paper labels glued on. The record
information was printed directly onto the vinyl. I'm guessing this
saved at least a penny or two in the cost of manufacturing each '45.

Quality of injection mould pressings varied from pressing plant to
pressing plant but I believe nothing was ever as consistently good as
the commercial '45s pressed by Columbia's plants (though the DJ singles
of the 50's which were injection mould were infinitely better and lasted
much longer.)

While the Columbia Special Products division had different grades of
vinyl available to clients, the vinyl compounds used by Columbia and
Epic for frontline product was always the best quality. Occasionally
they did use polystrene for Harmony 12" albums and while the quality
wasn't as good as regular vinyl it was infinitely better than low
quality vinyl used by cheapo budget labels

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for tiden afspiller jeg meget musik - det lyder godt