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WIKIPEDIA:

Usage of terminology is not uniform across the English-speaking world (see below). In more modern usage, the playback device is often called a "turntable", "record player", or "", although each of these terms denote categorically distinct items. When used in conjunction with a as part of a setup, turntables are often colloquially called "decks". In later electric phonographs (more often known since the 1940s as record players or turntables), the motions of the stylus are converted into an by a , then converted back into sound by a .

Close up of the mechanism of an Edison Amberola, circa 1915

The term phonograph ("sound writing") was derived from the words φωνή (phonē, 'sound' or 'voice') and γραφή (graphē, 'writing'). The similar related terms gramophone (from the Greek γράμμα gramma 'letter' and φωνή phōnē 'voice') and graphophone have similar root meanings.

In , "gramophone" may refer to any sound-reproducing machine using , which were introduced and popularized in the UK by the . Originally, "gramophone" was a proprietary of that company and any use of the name by competing makers of disc records was vigorously prosecuted in the courts, but in 1910 an English court decision decreed that it had become a generic term;

United States Early phonograph at Deaf Smith County Historical Museum in ,

In , "phonograph", properly specific to machines made by Edison, was sometimes used in a generic sense as early as the 1890s to include cylinder-playing machines made by others. But it was then considered strictly incorrect to apply it to 's upstart Gramophone, a very different machine which played nonrecordable discs (although Edison's original Phonograph patent included the use of discs.)

Australia Wood engraving published in , depicting a public demonstration of new technology at the Royal Society of Victoria (Melbourne, Australia) on 8 August 1878.

In , "record player" was the term; "turntable" was a more technical term; "gramophone" was restricted to the old mechanical (i.e., wind-up) players; and "phonograph" was used as in . The "phonograph" was first demonstrated in Australia on 14 June 1878 to a meeting of the by the Society's Honorary Secretary, who published "The Sounds of the Consonants, as Indicated by the Phonograph" in the Society's journal in November that year. On 8 August 1878 the phonograph was publicly demonstrated at the Society's annual conversazione, along with a range of other new inventions, including the .

Early history Dictionary illustration of a . This version uses a barrel made of . Phonautograph Main article:

The phonautograph was invented on March 25, 1857 by Frenchman Édouard-Léon Scott de Martinville, an editor and typographer of manuscripts at a scientific publishing house in Paris. One day while editing Professor Longet's Traité de Physiologie, he happened upon that customer’s engraved illustration of the anatomy of the human ear, and conceived of "the imprudent idea of photographing the word." In 1853 or 1854 (Scott cited both years) he began working on "le problème de la parole s'écrivant elle-même" ("the problem of speech writing itself"), aiming to build a device that could replicate the function of the human ear.

Scott coated a plate of glass with a thin layer of . He then took an acoustic trumpet, and at its tapered end affixed a thin membrane that served as the analog to the . At the center of that membrane, he attached a rigid boar's bristle approximately a centimeter long, placed so that it just grazed the lampblack. As the glass plate was slid horizontally in a well formed groove at a speed of one meter per second, a person would speak into the trumpet, causing the membrane to vibrate and the stylus to trace figures that were scratched into the lampblack. On March 25, 1857, Scott received the French patent #17,897/31,470 for his device, which he called a phonautograph. The earliest known surviving recorded sound of a human voice was conducted on April 9, 1860 when Scott recorded someone singing the song "" ("By the Light of the Moon") on the device. However, the device was not designed to play back sounds, as Scott intended for people to read back the tracings, which he called phonautograms. This was not the first time someone had used a device to create direct tracings of the vibrations of sound-producing objects, as had been used in this way by English physicist in 1807. By late 1857, with support from the Société d'encouragement pour l'industrie nationale, Scott’s phonautograph was recording sounds with sufficient precision to be adopted by the scientific community, paving the way for the nascent science of acoustics.

The device’s true significance in the history of recorded sound was not fully realized prior to March 2008, when it was discovered and resurrected in a Paris patent office by First Sounds, an informal collaborative of American audio historians, recording engineers, and sound archivists founded to make the earliest sound recordings available to the public. The phonautograms were then digitally converted by scientists at the in California, who were able to play back the recorded sounds, something Scott had never conceived of. Prior to this point, the earliest known record of a human voice was thought to be an 1877 phonograph recording by . The phonautograph would play a role in the development of the , whose inventor, Emile Berliner, worked with the phonautograph in the course of developing his own device.

Paleophone

, a French poet and amateur scientist, is the first person known to have made the conceptual leap from recording sound as a traced line to the theoretical possibility of reproducing the sound from the tracing and then to devising a definite method for accomplishing the reproduction. On April 30, 1877, he deposited a sealed envelope containing a summary of his ideas with the , a standard procedure used by scientists and inventors to establish of unpublished ideas in the event of any later dispute.

An account of his invention was published on October 10, 1877, by which date Cros had devised a more direct procedure: the recording stylus could scribe its tracing through a thin coating of acid-resistant material on a metal surface and the surface could then be etched in an acid bath, producing the desired groove without the complication of an intermediate photographic procedure. The author of this article called the device a phonographe, but Cros himself favored the word paleophone, sometimes rendered in French as voix du passé ('voice of the past').[]

Cros was a poet of meager means, not in a position to pay a machinist to build a working model, and largely content to bequeath his ideas to the free of charge and let others reduce them to practice, but after the earliest reports of Edison's presumably independent invention crossed the Atlantic he had his sealed letter of April 30 opened and read at the December 3, 1877 meeting of the French Academy of Sciences, claiming due scientific credit for priority of conception.

Throughout the first decade (1890–1900) of commercial production of the earliest crude disc records, the direct acid-etch method first invented by Cros was used to create the metal master discs, but Cros was not around to claim any credit or to witness the humble beginnings of the eventually rich phonographic library he had foreseen. He had died in 1888 at the age of 45.

The early phonographs for Edison's phonograph, May 18, 1880

conceived the principle of recording and reproducing sound between May and July 1877 as a byproduct of his efforts to "play back" recorded messages and to automate speech sounds for transmission by . His first experiments were with waxed paper. He announced his invention of the first phonograph, a device for recording and replaying sound, on November 21, 1877 (early reports appear in and several newspapers in the beginning of November, and an even earlier announcement of Edison working on a 'talking-machine' can be found in the on May 9), and he demonstrated the device for the first time on November 29 (it was on February 19, 1878, as US Patent 200,521). "In December, 1877, a young man came into the office of the Scientific American, and placed before the editors a small, simple machine about which very few preliminary remarks were offered. The visitor without any ceremony whatever turned the crank, and to the astonishment of all present the machine said: 'Good morning. How do you do? How do you like the phonograph?' The machine thus spoke for itself, and made known the fact that it was the phonograph..."

The music critic attended an early demonstration (1881–2) of a similar machine. On the early phonograph's reproductive capabilities he writes "It sounded to my ear like someone singing about half a mile away, or talking at the other end of a big hall; but the effect was rather pleasant, save for a peculiar nasal quality wholly due to the mechanism, though there was little of the scratching which later was a prominent feature of the flat disc. Recording for that primitive machine was a comparatively simple matter. I had to keep my mouth about six inches away from the horn and remember not to make my voice too loud if I wanted anything approximating to a clear reproduction; that was all. When it was played over to me and I heard my own voice for the first time, one or two friends who were present said that it sounded rather like mine; others declared that they would never have recognised it. I daresay both opinions were correct."

newspaper from Melbourne, Australia, reported on an 1878 demonstration at the , writing "There was a large attendance of ladies and gentlemen, who appeared greatly interested in the various scientific instruments exhibited. Among these the most interesting, perhaps, was the trial made by Mr. Sutherland with the phonograph, which was most amusing. Several trials were made, and were all more or less successful. "Rule Britannia" was distinctly repeated, but great laughter was caused by the repetition of the convivial song of "He's a jolly good fellow," which sounded as if it was being sung by an old man of 80 with a very cracked voice."

Early machines Phonograph cabinet built with , 1912. The clockwork portion of the phonograph is concealed in the base beneath the statue; the amplifying horn is the shell behind the human figure.

Edison's early phonographs recorded onto a thin sheet of metal, normally , which was temporarily wrapped around a grooved mounted on a correspondingly supported by plain and threaded . While the cylinder was rotated and slowly progressed along its , the airborne vibrated a connected to a that indented the foil into the cylinder's groove, thereby recording the vibrations as "hill-and-dale" variations of the depth of the indentation.

Introduction of the disc record 2:24 This 1906 recording (with the character being voiced by ) enticed store customers with the wonders of the invention.
2 minutes, 23 seconds. Problems playing this file? See .

By 1890, record manufacturers had begun using a rudimentary duplication process to mass-produce their product. While the live performers recorded the master phonograph, up to ten tubes led to blank cylinders in other phonographs. Until this development, each record had to be custom-made. Before long, a more advanced -based process made it possible to simultaneously produce 90–150 copies of each record. However, as demand for certain records grew, popular artists still needed to re-record and re-re-record their songs. Reportedly, the medium's first major African-American star was obliged to perform his "The Laughing Song" (or the separate "The Whistling Coon") literally thousands of times in a studio during his recording career. Sometimes he would sing "The Laughing Song" more than fifty times in a day, at twenty cents per rendition. (The average price of a single cylinder in the mid-1890s was about fifty cents.)[]

Oldest surviving recordings

's cylinder recording for an experimental talking clock is often identified as the oldest surviving playable sound recording, although the evidence advanced for its early date is controversial. Wax recordings of 's choral music made on June 29, 1888, at in London were thought to be the oldest-known surviving musical recordings, until the recent playback by a group of American historians of a recording of made on April 9, 1860.

The 1860 phonautogram had not until then been played, as it was only a transcription of sound waves into graphic form on paper for visual study. Recently developed optical scanning and image processing techniques have given new life to early recordings by making it possible to play unusually delicate or physically unplayable media without physical contact.

A recording made on a sheet of tinfoil at an 1878 demonstration of Edison's phonograph in St. Louis, Missouri has been played back by optical scanning and digital analysis. A few other early tinfoil recordings are known to survive, including a slightly earlier one which is believed to preserve the voice of U.S. President , but as of May 2014 they have not yet been scanned.[] These antique tinfoil recordings, which have typically been stored folded, are too fragile to be played back with a stylus without seriously damaging them. Edison's 1877 tinfoil recording of Mary Had a Little Lamb, not preserved, has been called the first instance of .

On the occasion of the 50th anniversary of the phonograph, Edison recounted reciting Mary Had a Little Lamb to test his first machine. The 1927 event was filmed by an early camera, and an audio clip from that film's soundtrack is sometimes mistakenly presented as the original 1877 recording. Wax cylinder recordings made by 19th century media legends such as and Shakespearean actor are amongst the earliest verified recordings by the famous that have survived to the present.

Improvements at the Volta Laboratory Main article:

and his two associates took Edison's phonograph and modified it considerably to make it reproduce sound from wax instead of tinfoil. They began their work at Bell's in Washington, D. C., in 1879, and continued until they were granted basic patents in 1886 for recording in wax.

Although Edison had in 1877, the fame bestowed on him for this invention was not due to its efficiency. Recording with his tinfoil phonograph was too difficult to be practical, as the tinfoil tore easily, and even when the was properly adjusted, its reproduction of sound was distorted, and good for only a few playbacks; nevertheless Edison had discovered the idea of . However immediately after his discovery he did not improve it, allegedly because of an agreement to spend the next five years developing the system.

Volta's early challenge

Meanwhile, Bell, a and experimenter at heart, was looking for new worlds to conquer after having patented the . According to , it was through that Bell took up the phonograph challenge. Bell had married in 1879 while Hubbard was president of the Edison Speaking Phonograph Co., and his organization, which had purchased the Edison patent, was financially troubled because people did not want to buy a machine which seldom worked well and proved difficult for the average person to operate.

Volta Graphophone See also: A 'G' (Graham Bell) model Graphophone being played back by a typist after its cylinder had recorded dictation.

The sound vibrations had been indented in the wax which had been applied to the Edison phonograph. The following was the text of one of their recordings: "There are more things in heaven and earth, Horatio, than are dreamed of in your philosophy. I am a Graphophone and my mother was a phonograph." Most of the disc machines designed at the Volta Lab had their disc mounted on vertical turntables. The explanation is that in the early experiments, the turntable, with disc, was mounted on the shop lathe, along with the recording and reproducing heads. Later, when the complete models were built, most of them featured vertical turntables.

One interesting exception was a horizontal seven inch turntable. The machine, although made in 1886, was a duplicate of one made earlier but taken to Europe by . Tainter was granted on July 10, 1888. The playing arm is rigid, except for a pivoted vertical motion of 90 degrees to allow removal of the record or a return to starting position. While recording or playing, the record not only rotated, but moved laterally under the stylus, which thus described a spiral, recording 150 grooves to the inch.

The basic distinction between the Edison's first phonograph patent and the Bell and Tainter patent of 1886 was the method of recording. Edison's method was to indent the sound waves on a piece of tin foil, while Bell and Tainter's invention called for cutting, or "engraving", the sound waves into a wax record with a sharp recording stylus.

Graphophone commercialization A later-model Columbia Graphophone of 1901 3:52 Edison-Phonograph playing: Iola by the Edison Military Band (video, 3 min 51 s)

In 1885, when the Volta Associates were sure that they had a number of practical inventions, they filed applications and began to seek out investors. The of Alexandria, Virginia, was created on January 6, 1886, and incorporated on February 3, 1886. It was formed to control the patents and to handle the commercial development of their sound recording and reproduction inventions, one of which became the first .

After the Volta Associates gave several demonstrations in the City of Washington, businessmen from created the on March 28, 1887, in order to produce and sell the machines for the budding phonograph marketplace. The Volta Graphophone Company then merged with American Graphophone, which itself later evolved into .

A coin-operated version of the Graphophone, , was developed by Tainter in 1893 to compete with nickel-in-the-slot entertainment phonograph demonstrated in 1889 by Louis T. Glass, manager of the Pacific Phonograph Company.

The work of the Volta Associates laid the foundation for the successful use of in business, because their wax recording process was practical and their machines were durable. But it would take several more years and the renewed efforts of Edison and the further improvements of and many others, before the became a major factor in .

Disc vs. cylinder as a recording medium

Discs (that aren't re-recordable) are not inherently better than cylinders at providing audio fidelity. Rather, the advantages of the format are seen in the manufacturing process: discs can be stamped, and the matrixes to stamp disc can be shipped to other printing plants for a global distribution of recordings; cylinders could not be stamped until 1901–1902, when the gold moulding process was introduced by Edison.

A Victor V phonograph, circa 1907

Through experimentation, in 1892 Berliner began commercial production of his disc records, and "gramophones". His "" was the first disc record to be offered to the public. They were five inches (12.7 cm) in diameter and recorded on one side only. Seven-inch (17.5 cm) records followed in 1895. Also in 1895 Berliner replaced the hard rubber used to make the discs with a shellac compound. Berliner's early records had very poor sound quality, however. Work by eventually improved the sound fidelity to a point where it was as good as the cylinder.

Williams was born near and was raised on the family farm in . His father and grandfather were players, which was the instrument Williams himself took up. Williams was given the name "Dock" because he was a seventh son and a tradition held that seventh sons became doctors.

Around 1940 Williams debuted with a band named The Santa Fe Trail Riders on in . In December 1942 the band was invited to join the cast of the . Because was already well-known performing as "Doc Williams" with his band The Border Riders, suggested that Williams change his first-name from Dock to Curley, for his curly hair. Hay also suggested that the band become the Georgia Peach Pickers as most of its members were from Georgia (including Williams' brothers Joseph and Sanford on rhythm guitar, and on bass and comedy respectively). The Georgia Peach Pickers brought the first Steel Guitar to the Opry stage. The Georgia Peach Pickers agreed a recording contract with in 1943 and remained associated with Columbia into the 1950s. Some of their best known songs, such as "Jealous Lady", "Georgia Steel Guitar", "Southern Belle (from Nashville Tennessee)", and "Georgia Boogie" of which there is a video of on YouTube. They also provided backing for other Columbia artists such as and . During a tour of California they appeared in the 1947 film "Riders of the Lone Star" starring .

Williams' best-known song, "" was written in 1950 while he and his band were working with the radio station, which broadcast to the Alabama cities of , , and . Reputedly, Williams wrote and recorded a demo of "Half as Much" very quickly, in about an hour, at WHMA in Dothan. But it was a big hit for , to whom it is sometimes credited because the writing credit to "C. Williams" on Hank Williams' record was often taken to be a typo. It was also a hit for , and has been recorded by many artists, including , , , and . George Bush also loved this song and appreciated this song very much.[]

Williams moved to WSFA in Montgomery in 1953. He stayed in Montgomery until he died in 1970. For a couple of years he also had a show on , and he ran a country night club called "The Spur".

References