By the 1920s, 10” records were virtually all three minutes or under. Initially, these brittle discs were limited to about two minutes of playing time. The reason pop songs were so short, early on at least, stems from the fact that when 78 rpm were the standard records for pop music, there was a limit to what could physically be put onto a shellac record. The 78 comes in two sizes: the most popular and recognizable is a 10-inch that holds three minutes of music and a 12-inch that holds four. The 78 disc severely limits the length that a song can be, because only so much music can fit onto the disc. It's called that because the record spins at 78 revolutions per minute. The 78 RPM RecordĪ flat record made between 1858 and the late 1950s is called a "78" by vinyl enthusiasts and collectors.
These three-dimensional grooves cut in the vinyl record are a recording of how the sound waves behave as they move through the air. The concept of loudness and waves are essential to understanding why the groves you can see on a vinyl record are actually sound waves or more like a type of fingerprint of the sound waves captured in a lacquer disc that we call a vinyl record.
A really key concept here is that the bigger the vibrations the louder the sound. Your ear detects sound waves when vibrating air particles cause your eardrum to vibrate. The waves transfer energy from the source of the sound out to its surroundings. Sounds are produced by vibrations and travel through the air as waves, which are vibrating particles. To understand the genius behind vinyl you first need to remember the basic of physics' classes we took in High School about how sound waves work.
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