In addition, if the over-all maximum modulation was lowered 10%, it would allow significantly more music. 'Hey Jude' timed at 7:11, and for a high energy modulated record, that IS about the maximum time allowed however, an extra 10 to 20 seconds (at least) could be made available if the run-out and/or start grooves were was made thinner. In addition, stereo grooves move the stylus in three dimensions, and an elliptical stylus often proves better than a conical stylus when tracking more complex groove modulations. The elliptical shape allows more accurate reproduction of higher frequencies and more complex groove configurations. 07 mil (width) -some stylus are elliptical, e.g.07 x. The standard 'microgroove playback stylus began at 1.0 mil and gradually was reduced to. Such records naturally allowed more music. 07 mil cutting head stylus was generally used, along with a better grade of vinyl (more vinyl to plastic ratio). The standard size (circa 1950s- 1960s) being about 1.0 mil, which is a little larger than the microgroove size on a 33-1/3 RPM. In addition, the 45 RPM allows for slight, but useful variation in the groove size. Alas, this is why it is impossible to give an exact figure for the maximum possible time permitted on any phonograph format. This is called, variable groove spacing and all records have employed this technique since the middle 1950s. E.g., if the cutting head knows that the modulation coming up over the next two, or more disc revolution will be low then the lathing apparatus can move the next two (or more) revolutions of physical grooves closer together, thus allowing for more recorded time on the record. The analogue computer is able to search ahead on the master tape and determine the level and location of the upcoming modulation (or velocity'), -relative to the physical disc. Master tapes have traditionally moved at 15 inches/second (ips) & occasionally at 30 ips. I believe Scullay developed this technology along with the great feed-back lathe that greatly improved bass response. This is not as easy at its sounds for late 1950's technology, but it worked splendidly. Modern lathing heads have long been driven by a type of analogue computer that looks ahead on the master tape and charts the modulation levels in units of physical revolutions of the phonograph disc. a quiet classical piece, Debussy's 'Clair de' Lune' would be able to extend the maximum possible time limit as the modulation is generally much less than on a pop record like 'Hey Jude'. The maximum length of time that any record format can reasonably contain depends upon the dynamic range of the music, e.g. Gift of Dick Clark See more items in Culture and the Arts: Entertainment Popular Entertainment American Enterprise Exhibition American Enterprise Exhibition Location National Museum of American History Data SourceĪ 45 RPM, microgroove, 7' phonograph record CAN contain more than 7 minutes and 11 seconds of music. LocationĬurrently not on view (sleeve) Object Name This record is the Capitol Records rerelease from 1978 with catalog number 2276 and matrix number X46434. Technical limitation of records used to limit singles length to 3 minutes, but Bob Dylan’s six minute long “Like a Rolling Stone” changed this convention and extended the single format on both vinyl and radio. This is the 45 rpm 7 inch vinyl single containing the Beatle’s song “Hey Jude” and the B-side “Revolution.” Originally released in August of 1968 on the Beatle’s Apple Records label, “Hey Jude” was over 7 minutes long, the longest single ever to hit number 1 in the United States.

33 rpm acetate master