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Speaker 1: Hey, everybody, big special announcement at long last, we are

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Speaker 1: going back on the road to do live shows. And

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Speaker 1: I could not be more excited. I too, am fairly excited.

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Speaker 1: I could tell it's gonna be great. Chuck. We're gonna

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Speaker 1: be back live on stage for the first time in

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Speaker 1: to three years. Uh. We were on stage in but

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Speaker 1: at the very beginning of and we're going to yeah three, Yeah,

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Speaker 1: three years since we've trod the boards and we're about

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Speaker 1: to trod them boards again, Chuck. On February first, second,

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Speaker 1: and third, we're going to Seattle in Portland, or Portland

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Speaker 1: and Seattle, and then for sure on February three, we're

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Speaker 1: going to wind the whole thing up in San Francisco. Right,

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Speaker 1: that's right, We're going back to sketch Fest are usually

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Speaker 1: January home, but early February home this year, for my money,

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Speaker 1: the best uh comedy festival in the world, and we're

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Speaker 1: gonna be going to sketch Us. And again, we're not

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Speaker 1: sure the order yet. We don't have ticket links yet,

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Speaker 1: but we do have a little bit more information. We

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Speaker 1: just couldn't wait to tell you guys. So tickets are

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Speaker 1: actually going to be on sale very soon. October six,

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Speaker 1: there's going to be a pre sale with a password

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Speaker 1: UH and we will probably put those out on our

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Speaker 1: social links. I'm not sure how you'll find out, but

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Speaker 1: you'll find out, and then on October seven there will

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Speaker 1: be general sale. We'll give you more information as we

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Speaker 1: get it. But again, we just couldn't wait to tell you, guys,

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Speaker 1: because we're too excited. That's right, and you know what

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Speaker 1: we're doing. We've got a great uh working with some

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Speaker 1: great new people with our social media stuff. So you

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Speaker 1: might have noticed that our Instagram and our Facebook have

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Speaker 1: some new and exciting things happening. So that's a great

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Speaker 1: place to find information about the tours. Very nice. So

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Speaker 1: we'll see you guys in the Northwest coast this February

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Speaker 1: and the rest of you, who knows, could be a

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Speaker 1: wild year. Welcome to Stuff you should know, a production

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Speaker 1: of I Heart Radio. Y hey, and welcome to the podcast.

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Speaker 1: I'm Josh, There's Chuck, Jerry's here, and Jack Black's lurking around,

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Speaker 1: which makes this stuff you should know. We got the

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Speaker 1: facts on wax w s y s K. That's pretty great. Sorry,

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Speaker 1: pretty you should have been a radio personality. I used

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Speaker 1: to want to be I wanted to be a DJ.

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Speaker 1: You came awfully close. Man. I have to say that

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Speaker 1: was a pretty pretty close to a realized dream if

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Speaker 1: you ask me. Uh well, and what's funny is is

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Speaker 1: the saying wax and like are one of our local

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Speaker 1: record stores. Here's wax and facts and old DJ saying wax.

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Speaker 1: In this episode you will find out why they say wax. Yeah,

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Speaker 1: it's hopelessly outdated, but yeah, it's still still applies to

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Speaker 1: us the next time. Let's do this. This is pretty fun.

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Speaker 1: I'm excited. Do you collect final, Lenny? I think you

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Speaker 1: do a little bit right, Yeah, a little bit. Um.

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Speaker 1: I don't like collected. I just buy stuff that I want.

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Speaker 1: But you know, I'm vinyl, but I'm not just like, look, everybody,

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Speaker 1: check out my collection. I just have a selection of records.

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Speaker 1: How about that? Yeah? My deal is I have my records,

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Speaker 1: most of my records that I had growing up. Never

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Speaker 1: got rid of him, moved him every time like a dummy.

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Speaker 1: I got uh inherited while still alive my um stepfather's

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Speaker 1: record collection. He didn't pass away, but he just said here,

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Speaker 1: I'm done with these. I'm so sick of music. It's ridiculous.

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Speaker 1: But that's where I got all that good Like he

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Speaker 1: has all the all that prog rock from the seventies.

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Speaker 1: He was way into that stuff. Uh. And then I

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Speaker 1: started buying just sort of classic favorites of mine, basically

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Speaker 1: kind of filling out newer classic favorites from when I

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Speaker 1: stopped buying records up to this point. So I'm kind

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Speaker 1: of running out of room on my little three banger shelf,

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Speaker 1: so I'm slowing down the rate of purchase. But it's

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Speaker 1: it's good, and through the miracle of modern technology, I

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Speaker 1: can play a record through a Bluetooth set of Bluetooth speakers.

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Speaker 1: That is amazing, but it's also a tragedy. Well, yeah,

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Speaker 1: I wish I had a plugged in what hi fi

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Speaker 1: system I've got them. I've got some like just Rockford

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Speaker 1: or rock File or whatever shelf speakers that are plugged

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Speaker 1: into an UM I guess a post amp or preamp,

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Speaker 1: I don't know, one of the amps, but it's not

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Speaker 1: part of the record player and the record players plugged

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Speaker 1: into that. And it seems clugy enough that I'm like, Okay,

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Speaker 1: this seems pretty authentic. Yeah, I mean, you can tell

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Speaker 1: we're experts here with our use of Rockford Files and

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Speaker 1: pre post SAMP, right, so, I but I mean still,

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Speaker 1: you don't have to be a total expert to to

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Speaker 1: talk about vinyl, although there will certainly be um record

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Speaker 1: store guys, the music equivalent of com book guy, who

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Speaker 1: will right in and tell us how how much we

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Speaker 1: just totally suck forever and like just got every single

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Speaker 1: thing wrong. But this is not for those people. It's

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Speaker 1: for everybody else who just wants to know how vinyl

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Speaker 1: records work. How about that? I think that's great? Uh,

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Speaker 1: And I think a few of these stats before we

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Speaker 1: dive into the history or in order thanks to Dave

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Speaker 1: Rouse who pointed out that obviously in the uh fifties, sixties, seventies,

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Speaker 1: and into the eighties some um, certainly into the eighties,

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Speaker 1: vinyl records were sort of the thing, uh, and their

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Speaker 1: peak in the seventies there were more than fifth, sorry

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Speaker 1: and thirty million records bought each year each year, which

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Speaker 1: is about six with eight track making up for the rest.

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Speaker 1: Because of course you had to play something in your

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Speaker 1: conversion van, right, you couldn't really, most most cars weren't

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Speaker 1: outfitted with record players, that's right. But then the cassette

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Speaker 1: came along and the c D and all but killed Vinyl. Uh.

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Speaker 1: They accounted for point one percent of music sales at

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Speaker 1: some point in the nineties, which is a pretty big drop,

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Speaker 1: I would say, but then made a comeback in the

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Speaker 1: two thousand's because of nostalgia and because of hipsters and

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Speaker 1: audio files and certain movies and Record Store Day and

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Speaker 1: all other reasons. Yes, But I mean like if you

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Speaker 1: if you could rewind back to seven and you asked

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Speaker 1: somebody if if they would ever, you know, see Vinyl

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Speaker 1: albums again, they would just laugh in your face like

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Speaker 1: they were done. They were goners, right, And so the

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Speaker 1: idea that it came back is pretty it's pretty remarkable

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Speaker 1: as far as comebacks go. And then in twenty I

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Speaker 1: believe Vinyl Records outsold CDs for the first time since

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Speaker 1: Night six. That's a check of a comeback. And that's

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Speaker 1: not even to say that CDs were doing that poorly.

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Speaker 1: CDs actually had increased in sales over the past few

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Speaker 1: years as well, So it wasn't like CDs were just

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Speaker 1: tumbling downward while Vinyl was kind of slowly creeping upward.

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Speaker 1: They were both creeping up and Vinyl just overtook CDs.

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Speaker 1: I think in the year that vinyl overtook CDs UM,

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Speaker 1: twenty seven and a half million Vinyl records were sold

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Speaker 1: around the world. One it jumped up to forty one

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Speaker 1: point seven million. Yeah, baby, So yeah, Vinyl is definitely back,

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Speaker 1: and there's a lot of reasons why it's back, And um,

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Speaker 1: I say we start with the history of the whole

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Speaker 1: thing to maybe explain why people like vinyl. I think

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Speaker 1: that's where you kind of find the birth of the

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Speaker 1: whole thing. Uh, totally some other good news by the way,

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Speaker 1: just to drag that out a bit, is that cool

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Speaker 1: video I sent you from how It's made? Uh? They

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Speaker 1: went to that music record that record pressing plant in Nashville,

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Speaker 1: which is, as thinks, still one of the biggest ones,

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Speaker 1: and they had to re expand and they were like, hey, everybody,

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Speaker 1: remember when we shut down almost Well we're we have

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Speaker 1: open up a bigger place now, which is awesome and

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Speaker 1: it's a great comeback story. Yeah. And I would guess

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Speaker 1: the people who were buying the point one percent of

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Speaker 1: music sales as vinyl in the eighties and nineties, I

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Speaker 1: had to just be exclusively DJs, right, Oh No, I

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Speaker 1: mean there were always Vinyl collectors. Um, they were just

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Speaker 1: not nearly as many. For a while. It wasn't exclusively

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Speaker 1: DJs because did DJ and they didn't even use records anymore,

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Speaker 1: did they. I mean, that's a pretty recent phenomenon. They

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Speaker 1: were using vinyl like throughout the eighties and nineties for sure.

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Speaker 1: When I guess we should look into that, like when

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Speaker 1: they switched to the carts, Um, I would say in

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Speaker 1: the tens maybe, really, I'm just guessing. But if it

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Speaker 1: gets a response like that out if you all guess

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Speaker 1: every time, I don't think so. I think they've had

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Speaker 1: the carts for a while. So the two thousand odds,

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Speaker 1: I mean, I think before that someone will know and

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Speaker 1: tell us. Whatever I do work for a major radio company,

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Speaker 1: we should just ask somebody. We'll ask somebody, We'll get

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Speaker 1: him on the phone, we'll call in will be the caller.

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Speaker 1: I love it. So we're talking the history now, Chuck,

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Speaker 1: I'd say, um, and we're talking vinyl records. But you

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Speaker 1: can't really talk about vinyl records without like the beginning

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Speaker 1: of records a recorded sound in general. Um, And most

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Speaker 1: people say, who came up with recorded and played back sound?

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Speaker 1: Thomas Edison, Of course it was you know, the last

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Speaker 1: quarter of the nineteenth century, I think, And you're right, like, yes,

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Speaker 1: Thomas Edison definitely gave us what we kind of understand

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Speaker 1: is recorded and played back sound. But um, there was

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Speaker 1: a guy who came a good twenty years before him,

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Speaker 1: although apparently Edison wasn't aware of his work. But he

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Speaker 1: was a guy from France, Edward Leon Scott de martin Ville. Yes,

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Speaker 1: and um, I've seen him referred to as Scott apparently

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Speaker 1: that's his last name, and I guess he's from Martinville.

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Speaker 1: Frank Okay, oh, that would makes sense. So, um, Scott

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Speaker 1: was tinkering around with something called a phone autograph and

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Speaker 1: if you um look into it and we'll talk about

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Speaker 1: how how vinyl records are made later, but like he

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Speaker 1: basically said, here's how we're going to make records from

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Speaker 1: here on out. Here's the at least the rough contours

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Speaker 1: of the whole thing. Yeah, and it's it's very rudimentary.

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Speaker 1: But as you will see when we describe it compared

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Speaker 1: to what they did later on, it's sort of the

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Speaker 1: same idea, which is, and we'll get into how he

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Speaker 1: did it, but which is basically using a vibrating tool

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Speaker 1: to cut and it vibrates because of sound, and it

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Speaker 1: makes a vibrating representation of whatever sound you're making and

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Speaker 1: cuts that into something. Yeah, what's astounding. This is the

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Speaker 1: most astounding thing that I've learned in a really long time,

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Speaker 1: is what is captured on record is a natural language

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Speaker 1: of sound that humans stumbled upon. And one of the

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Speaker 1: first people, possibly the first person to stumble upon it

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Speaker 1: is is edwardley On Scott to Martinville and like, like,

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Speaker 1: this is this has always existed, we just never tried

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Speaker 1: to capture it. It It just didn't occur to us. But

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Speaker 1: when you look at a record, you are you are

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Speaker 1: holding in your hands a captured, encoded representation of a

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Speaker 1: sound that was made at some point in time. And

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Speaker 1: Scott was the first person to figure out how to

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Speaker 1: capture this. Yeah, And it's funny, even after having learned this,

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Speaker 1: watched all the videos, being able to regurgitate how it's done,

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Speaker 1: it's still a bit like black magic to me. How

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Speaker 1: you say something into a microphone and it ends up

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Speaker 1: being cut into a vinyl record and a needle can

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Speaker 1: bring that sound back out. It's it's still just sort

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Speaker 1: of mind blowing to me. Yeah, there is like definitely

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Speaker 1: a certain amount of black magic to it. And it's

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Speaker 1: pretty cool. Like it's the cool kind, you know what

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Speaker 1: I'm saying. It's not the kind where like somebody breaks

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Speaker 1: a leg because of it. All right, So should we

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Speaker 1: talk about the phone autograph? Yeah, So what Scott did

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Speaker 1: was he took a um and I'm not quite sure

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Speaker 1: what inspired him to do this, but he took an

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Speaker 1: acoustic trumpet, you know, like the old gramphone the crank

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Speaker 1: record players that had like the big horn coming out

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Speaker 1: of it. Why did you say, Sonny? Exactly, that's an

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Speaker 1: acoustic trumpet. And he put a little membrane over the

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Speaker 1: small and the narrow end of it, and he attached

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Speaker 1: a boar's hair, one single boar's hair to that membrane,

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Speaker 1: and then, uh, the boar's hair was touching a glass plate,

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Speaker 1: i think. And on the glass plate he had put

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Speaker 1: something called um lampblack, which is like soot basically, just

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Speaker 1: put a nice coating of it. And then he spoke

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Speaker 1: into the large end of that acoustic trumpet and that

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Speaker 1: black magic started, That's right. And so what happened is

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Speaker 1: that boar's hair bristle would uh wiggle and vibrate along,

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Speaker 1: you know, to match whatever sound he was making, and

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Speaker 1: it drew basically what Dave refers to I think astuteley

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Speaker 1: as a sonic fingerprint. Uh. Through that soot, it drew

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Speaker 1: sort of the visual representation of sound for the first time. Um.

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Speaker 1: At the time, I think he called it a natural stenography,

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Speaker 1: is what Scott called it. But at the time he

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Speaker 1: was like so great. Um, I promised that this thing

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Speaker 1: maybe one day we'll be able to make a sound,

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Speaker 1: but we don't know how to do that, and everyone went,

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Speaker 1: what are you even talking about, dude? Um. But through

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Speaker 1: the miracle of science, they actually got a computer to

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Speaker 1: uh virtually play virtually as in you know, not like

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Speaker 1: virtually like it actually did, but they use a virtual

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Speaker 1: digital stylists to actually be able to play these early

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Speaker 1: recordings of this dude like singing French songs and saying things,

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Speaker 1: oh yeah frera jacka and all that. It wasn't far

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Speaker 1: a jacka, it was well then who cares? Now I've

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Speaker 1: got the song in here somewhere. But uh, I mean,

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Speaker 1: you know, it's kind of creepy sounding, but it is.

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Speaker 1: And then some of it is just sort of hums

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Speaker 1: and noises, but it is a human being. Uh, it's

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Speaker 1: all Claire de la loun. Uh. It is a actual

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Speaker 1: human being speaking words and singing words. And long before

245
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Speaker 1: Edison did so. Yeah, it's a good twenty years before Edison.

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Speaker 1: And there was one other thing that Scott figured out,

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Speaker 1: UM that was really important, and he figured it out

248
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Speaker 1: right out of the gate. Is that when you um

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Speaker 1: are are etching on that um, that glass plate covered

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Speaker 1: in lamp black with the boar's hair, the boar's hair

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Speaker 1: is just kind of wiggling right. The sound vibrations are

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Speaker 1: making it wiggle, and that wiggle is transferring acoustic waves

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Speaker 1: into mechanical energy that's being captured in those etchings. But

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Speaker 1: since the boy as um the boar's hair is just

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Speaker 1: in one place, you have to move that glass plate

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00:15:07,040 --> 00:15:09,120
Speaker 1: and you can't just move it at any rate. It

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Speaker 1: has to be a specified rate. And he figured out

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Speaker 1: how to move that glass plate and I think one

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Speaker 1: m a second, which is really fast, UM. And that

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Speaker 1: means that if you read, if you put that thing

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Speaker 1: the other direction, UM at one m a second, then

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Speaker 1: it would play. And what he figured out was that

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00:15:29,040 --> 00:15:32,320
Speaker 1: RPMs rotations per minute what would come to to be

264
00:15:32,480 --> 00:15:35,880
Speaker 1: a huge part of record playing was essential because if

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Speaker 1: you do it too fast, you have the same amount

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Speaker 1: of information, it's just compressed time wise, because you're moving

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Speaker 1: that glass plate faster than one meter a second, so

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Speaker 1: it comes out sounding like Alvin and the Chipmunks. If

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Speaker 1: you move it too slow, less than one meter a second,

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Speaker 1: it's that same amount of information, but it takes up

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Speaker 1: a longer amount of time and you come out sounding

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Speaker 1: like us on you know, half speed or something like that,

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Speaker 1: which people like to do when they marijuana cigarettes. I here,

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Speaker 1: although to be clear, he was not using revolutions because

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Speaker 1: it wasn't spinning yet know what as RPMs, But it

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00:16:10,200 --> 00:16:13,320
Speaker 1: has to do with adjusting like a set frequency. It's

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00:16:13,360 --> 00:16:16,600
Speaker 1: extraordinarily important that the playback and the recording are done

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Speaker 1: at the same frequency. And Scott figured that out out

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Speaker 1: of the gate. That's right, so put a pin in that. Uh.

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Speaker 1: Edison comes along and um wasn't really working from Scott's work,

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Speaker 1: but was arrival of Alexander Graham Bell and was working

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Speaker 1: on telephone products and decided to try and record phone calls.

283
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Speaker 1: And he had a big breakthrough when he attached the

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Speaker 1: stylust to a diaphragm, a lot like Scott did. And

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Speaker 1: I keep wanting to call him Martinville. I know Scott

286
00:16:48,960 --> 00:16:53,920
Speaker 1: from Martinville. Sure, um, And then the you know, exactly

287
00:16:53,920 --> 00:16:56,840
Speaker 1: in the same way the vibrations of the diaphragm were

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Speaker 1: etched in this case onto a sheet of paraffin wax

289
00:17:00,760 --> 00:17:04,440
Speaker 1: with a needle. And he was basically like, wait a minute,

290
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Speaker 1: we can record. It doesn't just have to be phone calls.

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Speaker 1: We can record all kinds of things, like one day

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Speaker 1: there shall be rock and roll. And he figured that out.

293
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Speaker 1: He was like, yeah, no, forget the phone. I'm doing

294
00:17:15,000 --> 00:17:18,280
Speaker 1: something else with this. So he moved from that paraffin

295
00:17:18,320 --> 00:17:22,760
Speaker 1: wax sheet to metal cylinders wrapped in aluminum floor right. Yeah.

296
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Speaker 1: And it's it's almost like the I mean sort of

297
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Speaker 1: in a way, it's almost like the inverse of how

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Speaker 1: a music box works. Like it's a metal cylinder, but

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Speaker 1: with a music box they're little nubs that uh prick

300
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Speaker 1: metal combs of different pitches. In this case, you're you're

301
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Speaker 1: cutting a groove. Uh. And you know, if you had

302
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Speaker 1: a sheet of tinfoil at home and got a toothpick,

303
00:17:44,760 --> 00:17:47,639
Speaker 1: you know you can drag it along and make an impression.

304
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Speaker 1: That's essentially what he was doing, right, So the fact

305
00:17:51,080 --> 00:17:54,480
Speaker 1: that he moved over to cylinders was pretty progressive. That

306
00:17:54,560 --> 00:17:59,199
Speaker 1: actually was um, the way that music was captured and

307
00:17:59,240 --> 00:18:02,800
Speaker 1: played back for a while, UM was on these cylinders.

308
00:18:03,280 --> 00:18:06,840
Speaker 1: And Alexander Graham Bell was the one who took these

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Speaker 1: cylinders and changed them from aluminum foil into wax. Yeah,

310
00:18:12,680 --> 00:18:16,040
Speaker 1: so wax cylinders were really popular. That was how you

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00:18:16,119 --> 00:18:18,560
Speaker 1: listen to music back then, how you recorded music and

312
00:18:18,600 --> 00:18:21,680
Speaker 1: listened to it. And UM, I have a little anecdote

313
00:18:21,720 --> 00:18:25,040
Speaker 1: from you me. Actually she found out that when she's

314
00:18:26,840 --> 00:18:29,280
Speaker 1: she I'm gonna tell it on her behalf, but I'll

315
00:18:29,280 --> 00:18:31,040
Speaker 1: put on a wig and try to tell him a

316
00:18:31,119 --> 00:18:35,960
Speaker 1: higher pitch before. So, Um, she found out that this

317
00:18:36,240 --> 00:18:38,800
Speaker 1: some guy who had like the best record collection in

318
00:18:38,960 --> 00:18:42,359
Speaker 1: the country, possibly the world, lived like thirty minutes away

319
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Speaker 1: from her. So she and some friends went and visited.

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Speaker 1: This guy's name is Joe Bussard, and he's still around

321
00:18:47,720 --> 00:18:51,679
Speaker 1: and he still has this fantastic record collection, um, and

322
00:18:51,760 --> 00:18:54,960
Speaker 1: most of it is pre nineteen fifties stuff, but he

323
00:18:55,080 --> 00:18:59,080
Speaker 1: has original whax cylinders, like from the nineteenth century that

324
00:18:59,160 --> 00:19:01,520
Speaker 1: he played for them, and she said they were like

325
00:19:01,800 --> 00:19:05,240
Speaker 1: African American spiritual. She's like, it was clearly people sitting

326
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Speaker 1: on a porch singing this stuff. And it was like,

327
00:19:08,520 --> 00:19:11,840
Speaker 1: did they these people had sung this in one take

328
00:19:12,160 --> 00:19:15,080
Speaker 1: on a porch in like the eighteen nineties or something

329
00:19:15,160 --> 00:19:17,560
Speaker 1: like that. And there she wasn't you know, two thousand

330
00:19:17,640 --> 00:19:20,600
Speaker 1: whatever listening to it played back, which is pretty sweet,

331
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Speaker 1: and she said, this is lame. I want to hear

332
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Speaker 1: some rock indoor rule. Uh, that's an awesome story we had.

333
00:19:28,400 --> 00:19:30,920
Speaker 1: It made me think, or remember rather that we had

334
00:19:30,960 --> 00:19:36,080
Speaker 1: a a hand crank phonograph growing up in my house.

335
00:19:36,200 --> 00:19:38,720
Speaker 1: My I guess my dad got it at some point

336
00:19:39,440 --> 00:19:41,560
Speaker 1: and it was cool. You know, we had old records

337
00:19:41,600 --> 00:19:44,280
Speaker 1: and we didn't sit around and listen to him, but

338
00:19:44,359 --> 00:19:46,000
Speaker 1: my brother and I would put on one of those

339
00:19:46,000 --> 00:19:47,800
Speaker 1: old records and crank it up every now and then,

340
00:19:47,840 --> 00:19:52,080
Speaker 1: and uh, you know, it's cool. It sounds kind of

341
00:19:52,119 --> 00:19:55,200
Speaker 1: like a horror movie, but it's like it's just it's

342
00:19:55,200 --> 00:19:57,720
Speaker 1: a neat experience to see sort of the early technology

343
00:19:57,760 --> 00:20:01,760
Speaker 1: at work. There is something really unsettling about a nineteen

344
00:20:01,840 --> 00:20:05,840
Speaker 1: twenties record being played. There's just something about it. It's like,

345
00:20:06,000 --> 00:20:08,800
Speaker 1: for some reason, it always seems like the singer wants

346
00:20:08,840 --> 00:20:12,199
Speaker 1: to harm you, but it's pretending they don't, I know,

347
00:20:12,320 --> 00:20:16,879
Speaker 1: even especially because they're they're always singing about times a

348
00:20:16,960 --> 00:20:18,639
Speaker 1: little like warble and you're like, no, no no, no, you

349
00:20:18,680 --> 00:20:22,360
Speaker 1: got a knife in your hand exactly, slick back hair

350
00:20:22,440 --> 00:20:27,800
Speaker 1: and some crazy huge smile. Um. Alright, so Edison uh

351
00:20:27,840 --> 00:20:30,960
Speaker 1: and Bell are both working on this stuff. Bell has

352
00:20:30,960 --> 00:20:34,720
Speaker 1: got his wax cylinder going. Um. He played it back

353
00:20:34,760 --> 00:20:38,959
Speaker 1: on something called a graphophone. This was an eight seven.

354
00:20:39,400 --> 00:20:42,960
Speaker 1: You crank that handle, it rotates that wax cylinder and

355
00:20:43,080 --> 00:20:46,840
Speaker 1: it plays it back through an acoustic trumpet um which

356
00:20:47,240 --> 00:20:49,439
Speaker 1: I think we had one on ours. That was just

357
00:20:49,560 --> 00:20:52,399
Speaker 1: for show, but there was an actual kind of rudimentary

358
00:20:52,400 --> 00:20:56,440
Speaker 1: speaker underneath, and that's what amplified the sound. And then

359
00:20:56,560 --> 00:20:58,879
Speaker 1: of course later on the hand crank was replaced with

360
00:20:58,920 --> 00:21:01,639
Speaker 1: a motor. And just to explain the hand crank too,

361
00:21:01,680 --> 00:21:04,520
Speaker 1: you don't have to keep cranking it. You would crank

362
00:21:04,560 --> 00:21:06,919
Speaker 1: it a bunch and then kind of hit go and

363
00:21:06,920 --> 00:21:10,159
Speaker 1: then it would store up that mechanical energy and rotate

364
00:21:10,240 --> 00:21:14,879
Speaker 1: the player. Right, But that was still cylinder, right, That

365
00:21:14,960 --> 00:21:17,440
Speaker 1: was still the wax cylinder. Not obviously at my house,

366
00:21:17,480 --> 00:21:19,919
Speaker 1: we didn't have those but yeah, but still we're working

367
00:21:20,040 --> 00:21:22,800
Speaker 1: not even necessarily just wax, but we're working with cylinder.

368
00:21:22,880 --> 00:21:25,960
Speaker 1: That was how you played back or recorded sound. And

369
00:21:26,520 --> 00:21:28,480
Speaker 1: it was like that until a guy came along, I

370
00:21:28,480 --> 00:21:31,399
Speaker 1: think in the eight nineties named Emil Berliner. He was

371
00:21:31,480 --> 00:21:34,440
Speaker 1: German American and he came up with the gramma phone,

372
00:21:34,840 --> 00:21:40,320
Speaker 1: which probably sounds familiar because Berlinard's invention, which was shellac records,

373
00:21:40,320 --> 00:21:42,520
Speaker 1: he was the first one to say, forget these cylinders,

374
00:21:42,880 --> 00:21:45,920
Speaker 1: let's put let's put the stuff on disks and come

375
00:21:46,000 --> 00:21:48,360
Speaker 1: up with rotations per minute and just he made all

376
00:21:48,359 --> 00:21:53,880
Speaker 1: these innovations. Um, his invention was the standard from the

377
00:21:54,320 --> 00:21:57,200
Speaker 1: nineties to nineteen fifty. That was how you listen to music.

378
00:21:57,320 --> 00:22:00,919
Speaker 1: Was this guy's invention, the gramaphone, Yeah, which you know.

379
00:22:01,240 --> 00:22:03,360
Speaker 1: The main reason why is because you could actually reproduce

380
00:22:03,400 --> 00:22:06,840
Speaker 1: these on mass You could create like thousands of copies

381
00:22:07,320 --> 00:22:10,640
Speaker 1: of disc records, which was not something you could really

382
00:22:10,680 --> 00:22:13,119
Speaker 1: do with the wax cylinders. It was very expensive, it

383
00:22:13,160 --> 00:22:15,960
Speaker 1: took a lot of time to reproduce them. Uh. He

384
00:22:16,080 --> 00:22:19,359
Speaker 1: figured out how to make these molds of a master

385
00:22:19,440 --> 00:22:23,080
Speaker 1: recording and press them into records. Which is it really

386
00:22:23,119 --> 00:22:25,080
Speaker 1: set the stage. I mean things have changed a little bit,

387
00:22:25,119 --> 00:22:27,160
Speaker 1: but it really set the stage for how we still

388
00:22:27,160 --> 00:22:30,720
Speaker 1: do it today. Yeah, I mean it's it's virtually the same.

389
00:22:30,760 --> 00:22:32,639
Speaker 1: It's just you know, a little more advanced today. But

390
00:22:32,680 --> 00:22:36,320
Speaker 1: the principles are were certainly the same. The big difference though,

391
00:22:36,840 --> 00:22:39,119
Speaker 1: is this was not vinyl that this guy was making.

392
00:22:39,119 --> 00:22:42,159
Speaker 1: Like I said, it's shelack, and shelac is a natural substance.

393
00:22:42,520 --> 00:22:45,720
Speaker 1: That was basically, uh, it's a natural polymer. It's like

394
00:22:45,800 --> 00:22:49,080
Speaker 1: natural plastic. Basically it comes out of the lack bug,

395
00:22:49,119 --> 00:22:51,840
Speaker 1: which I think is native to Southeast Asia, if I'm

396
00:22:51,880 --> 00:22:55,479
Speaker 1: not mistaken. So it was expensive to produce to shelack

397
00:22:55,640 --> 00:22:58,000
Speaker 1: enough shellack to make a record, because again, the stuff's

398
00:22:58,000 --> 00:23:01,520
Speaker 1: coming out of a bug, not gen on that it

399
00:23:01,560 --> 00:23:03,640
Speaker 1: was from the female lack. Is that why it's called

400
00:23:03,680 --> 00:23:08,840
Speaker 1: she lack? Maybe? I think it is. That's pretty great.

401
00:23:08,960 --> 00:23:11,720
Speaker 1: If it is, that's wonderful. That's a great old timey

402
00:23:11,760 --> 00:23:15,280
Speaker 1: play on words. Well I'm gonna say that's fact. Okay,

403
00:23:15,640 --> 00:23:17,159
Speaker 1: that's all you have to do these days, right, just

404
00:23:17,200 --> 00:23:20,080
Speaker 1: say something. Yeah. Anybody who could contradict that as long

405
00:23:20,160 --> 00:23:23,879
Speaker 1: dead anyway, So it's all good. Well, I think you know,

406
00:23:23,880 --> 00:23:26,040
Speaker 1: we put a pin in this whole revolutions per minute?

407
00:23:26,119 --> 00:23:30,240
Speaker 1: Should we go ahead and explain that, yes, because Scott

408
00:23:30,280 --> 00:23:32,960
Speaker 1: was the one who figured that out, and uh it

409
00:23:33,480 --> 00:23:38,040
Speaker 1: just became a it's it's essential to reproducing or recording sound,

410
00:23:38,160 --> 00:23:41,679
Speaker 1: right like you have to have it um recorded at

411
00:23:41,680 --> 00:23:44,760
Speaker 1: a set frequency because the frequency effects is that the

412
00:23:44,800 --> 00:23:47,520
Speaker 1: pitch where it goes really high or really low? Is

413
00:23:47,520 --> 00:23:54,760
Speaker 1: that pitch? Sure? Okay, all right, I forgot yourself taught. Yeah, okay,

414
00:23:54,840 --> 00:23:58,959
Speaker 1: So it affects somehow because again, the like a sound

415
00:23:59,000 --> 00:24:02,160
Speaker 1: wave makes a way, even if you compress it, it's

416
00:24:02,160 --> 00:24:04,800
Speaker 1: still the same amount of information, it's just over a

417
00:24:04,800 --> 00:24:07,320
Speaker 1: shorter amount of time, and that makes it again sound

418
00:24:07,359 --> 00:24:11,160
Speaker 1: like Alvin and the Chipmunks. That's right. Uh So what

419
00:24:11,240 --> 00:24:15,560
Speaker 1: the old records from kind of up into the nineteen

420
00:24:15,640 --> 00:24:18,679
Speaker 1: fifties I think, or maybe it was later than that.

421
00:24:18,720 --> 00:24:20,800
Speaker 1: When did they changed, you know, from seventy eight to

422
00:24:20,880 --> 00:24:23,760
Speaker 1: thirty three and the third uh well, the first one

423
00:24:23,760 --> 00:24:27,239
Speaker 1: came out in like nineteen so okay, I'm sure they

424
00:24:27,240 --> 00:24:30,320
Speaker 1: were still selling those shellac seventy eight into the fifties.

425
00:24:30,680 --> 00:24:33,040
Speaker 1: All right, So seventy eight RPMs was the standard for

426
00:24:33,080 --> 00:24:35,879
Speaker 1: a while, and if you're wondering how they came up

427
00:24:35,920 --> 00:24:39,880
Speaker 1: with this RPMs, It's very easy. It's because the motors

428
00:24:39,920 --> 00:24:43,440
Speaker 1: that they used at the time ran at thirty six

429
00:24:43,520 --> 00:24:47,480
Speaker 1: hundred revolutions per minute. If you tried to think about

430
00:24:47,760 --> 00:24:52,520
Speaker 1: either manufacturing a record or playing a record at thirty

431
00:24:52,560 --> 00:24:56,639
Speaker 1: six d revolutions per minute, that's pretty funny to think about.

432
00:24:56,960 --> 00:25:00,080
Speaker 1: It's impossible, basically. So that's where gears, your old and

433
00:25:00,119 --> 00:25:02,720
Speaker 1: gears come in because the purpose of a gear is

434
00:25:02,760 --> 00:25:06,399
Speaker 1: to step down the speed of a motor. Uh and

435
00:25:06,440 --> 00:25:10,520
Speaker 1: in this case, they had a gear with So when

436
00:25:10,520 --> 00:25:15,359
Speaker 1: you divide those revolutions, you step it down with a gear,

437
00:25:15,920 --> 00:25:20,479
Speaker 1: and you eventually get down to uh eight technically seventy

438
00:25:20,480 --> 00:25:23,680
Speaker 1: eight point to six rpm. S. Yeah, I still don't

439
00:25:23,760 --> 00:25:27,240
Speaker 1: understand all that, but I accepted as as real. Well,

440
00:25:27,240 --> 00:25:30,280
Speaker 1: I mean, yeah, it's it's what we should do something. No,

441
00:25:30,560 --> 00:25:32,200
Speaker 1: never mind, I don't want to do how gears work

442
00:25:32,240 --> 00:25:36,320
Speaker 1: because it's way more complicated than it seems on the surface. Okay,

443
00:25:36,400 --> 00:25:39,160
Speaker 1: well that sounds like right up our alley. We can

444
00:25:39,320 --> 00:25:42,600
Speaker 1: we can confuse everyone further with that one. But at

445
00:25:42,600 --> 00:25:46,080
Speaker 1: any rate, it steps down that motor via a gear,

446
00:25:46,400 --> 00:25:49,280
Speaker 1: and we just do simple division and that's how you

447
00:25:49,320 --> 00:25:52,320
Speaker 1: got the seventy eight. So seventy eight is pretty fast.

448
00:25:52,359 --> 00:25:54,399
Speaker 1: I mean it's more than twice as fast as a

449
00:25:54,560 --> 00:25:59,760
Speaker 1: normal like uh LP album today spins and it's shell

450
00:26:00,680 --> 00:26:03,320
Speaker 1: which is pretty hard and brittle. So you can imagine

451
00:26:03,800 --> 00:26:06,400
Speaker 1: if that thing flew off, it could take great Aunt

452
00:26:06,520 --> 00:26:11,399
Speaker 1: Edgar's head clean off in the in the conservatory. Sure

453
00:26:11,880 --> 00:26:15,800
Speaker 1: like the recording artist intended, right, that was an abandoned clue,

454
00:26:16,119 --> 00:26:20,560
Speaker 1: uh murder weapon. Yeah, he did it. He did it

455
00:26:20,560 --> 00:26:25,080
Speaker 1: with a record, right, So the RPM is really important,

456
00:26:25,160 --> 00:26:28,560
Speaker 1: Chuck um for a couple of reasons. One, Um, it

457
00:26:28,640 --> 00:26:30,560
Speaker 1: was really fast in it, so it was dangerous at

458
00:26:30,600 --> 00:26:33,639
Speaker 1: least in my opinion. But more importantly, because they were

459
00:26:33,680 --> 00:26:36,080
Speaker 1: spending so fast, you had less time to get the

460
00:26:36,200 --> 00:26:39,639
Speaker 1: information across. So that meant that you had you know,

461
00:26:39,720 --> 00:26:42,800
Speaker 1: maybe I think a twelve inch record could hold four

462
00:26:42,840 --> 00:26:48,000
Speaker 1: to five minutes of music or of sound on each side. Right,

463
00:26:48,000 --> 00:26:52,600
Speaker 1: it's only like nine songs back then, right, So, um,

464
00:26:52,640 --> 00:26:55,800
Speaker 1: there were a lot of problems with these shellack seventy

465
00:26:55,880 --> 00:26:59,919
Speaker 1: eight but um, they were a huge advance, hugely forward.

466
00:27:00,000 --> 00:27:02,440
Speaker 1: But when vinyl came along, it changed everything and Chuck

467
00:27:02,800 --> 00:27:05,280
Speaker 1: we are almost thirty minutes into this episode. I say,

468
00:27:05,280 --> 00:27:08,200
Speaker 1: we take our first commercial break. Wow wa wow, let's

469
00:27:08,200 --> 00:27:30,600
Speaker 1: do it, okays skul Alright, So we are moving into

470
00:27:30,680 --> 00:27:35,600
Speaker 1: the twentieth century and finally vinyl comes along. Um. It

471
00:27:35,760 --> 00:27:40,679
Speaker 1: is called polyvinyl chloride or PBC. So those white PBC

472
00:27:40,840 --> 00:27:44,760
Speaker 1: pipes you see in the big box, uh hardware store,

473
00:27:44,760 --> 00:27:47,119
Speaker 1: it's the same same thing. It's a type of plastic.

474
00:27:47,840 --> 00:27:50,560
Speaker 1: And in the nineteen thirties is when record companies started

475
00:27:50,600 --> 00:27:53,960
Speaker 1: to kind of experiment with this because I'll the aforementioned

476
00:27:54,000 --> 00:27:57,760
Speaker 1: problems with shellac being very breakable and being very brittle.

477
00:27:58,520 --> 00:28:02,719
Speaker 1: And I believe Victor, which was a division of our

478
00:28:02,760 --> 00:28:06,320
Speaker 1: c A, was the first producer of vinyl records in

479
00:28:06,440 --> 00:28:10,840
Speaker 1: nineteen thirty. But it did not go well because it

480
00:28:10,880 --> 00:28:12,760
Speaker 1: took a little while before they had they had all

481
00:28:12,840 --> 00:28:16,920
Speaker 1: the playback equipment sort of SYNCD up working well together.

482
00:28:17,000 --> 00:28:20,560
Speaker 1: So in this case, uh, the pickups used to amplify

483
00:28:20,880 --> 00:28:23,960
Speaker 1: to send the signal to the amplifier. It's sort of

484
00:28:23,960 --> 00:28:26,480
Speaker 1: like a guitar pickup. They were too heavy and it

485
00:28:26,560 --> 00:28:29,960
Speaker 1: cut through the vinyl because it was uh not shelack.

486
00:28:30,040 --> 00:28:32,880
Speaker 1: It was used as shelack, so they had to sort

487
00:28:32,920 --> 00:28:35,560
Speaker 1: of rejigger everything, and it wasn't until after World War

488
00:28:35,600 --> 00:28:39,120
Speaker 1: Two that they really put in like a kind of

489
00:28:39,160 --> 00:28:41,920
Speaker 1: all their efforts stored making vinyl work. Yeah, because there

490
00:28:42,000 --> 00:28:45,520
Speaker 1: was a shelak shortage during World War two, so everybody's like, Okay,

491
00:28:45,520 --> 00:28:47,720
Speaker 1: we need to figure out this vinyl stuff for a

492
00:28:47,760 --> 00:28:50,600
Speaker 1: bunch of different reasons. But one of those things that

493
00:28:50,680 --> 00:28:53,160
Speaker 1: came out of it was the vinyl record. And most

494
00:28:53,160 --> 00:28:57,280
Speaker 1: people credit a guy at CBS named Peter Goldmark for

495
00:28:57,360 --> 00:29:00,800
Speaker 1: inventing the vinyl record that we know and love today.

496
00:29:01,760 --> 00:29:05,600
Speaker 1: That's right. Uh, He basically said, he figured out how

497
00:29:05,600 --> 00:29:08,080
Speaker 1: to make it stronger. Uh, he figured out how to

498
00:29:08,120 --> 00:29:10,720
Speaker 1: etch the grooves smaller so you could fit more stuff.

499
00:29:11,520 --> 00:29:14,880
Speaker 1: So he got it down to point zero zero three inches.

500
00:29:15,800 --> 00:29:18,600
Speaker 1: I think she lax maxed out at point o one inches,

501
00:29:19,320 --> 00:29:23,360
Speaker 1: so a lot more music basically per record. Yeah, because

502
00:29:23,400 --> 00:29:26,840
Speaker 1: in addition to more grooves, which means more information, which

503
00:29:26,880 --> 00:29:30,640
Speaker 1: means more length of time of recorded sound on one side,

504
00:29:31,080 --> 00:29:34,520
Speaker 1: it also played at a slower RPM, so it had

505
00:29:34,560 --> 00:29:37,800
Speaker 1: more time to play all that information too, So you

506
00:29:37,800 --> 00:29:40,120
Speaker 1: could just pack I think twenty two and a half

507
00:29:40,240 --> 00:29:43,320
Speaker 1: minutes per side on a on a thirty three and

508
00:29:43,360 --> 00:29:47,280
Speaker 1: a third RPM UM LP, which is what they're called

509
00:29:47,320 --> 00:29:51,960
Speaker 1: long play albums, the basically the vinyl record that gold

510
00:29:52,000 --> 00:29:55,160
Speaker 1: Mark invented. That's right. And here's a fun little tidbit

511
00:29:55,280 --> 00:29:59,680
Speaker 1: that Day found. I never realized, but UM album actually

512
00:29:59,720 --> 00:30:03,560
Speaker 1: pre dates the invention of the vinyl LP because when

513
00:30:03,560 --> 00:30:07,320
Speaker 1: people only had the seventy eights, they stored them in

514
00:30:07,880 --> 00:30:12,320
Speaker 1: sleeves called albums, and I think when the LPs finally

515
00:30:12,360 --> 00:30:15,080
Speaker 1: came out, it held about the same amount as an

516
00:30:15,080 --> 00:30:18,920
Speaker 1: album worth of seventy eight, so they called them albums. Yeah,

517
00:30:18,960 --> 00:30:21,680
Speaker 1: like one record, one vinyl record could hold probably five

518
00:30:21,760 --> 00:30:26,200
Speaker 1: or six UM shellac records worth. Yeah, so that's kind

519
00:30:26,200 --> 00:30:29,400
Speaker 1: of a boast. I guess this this one records an album,

520
00:30:29,560 --> 00:30:33,800
Speaker 1: you sucker. But now we get to UM. You know,

521
00:30:33,960 --> 00:30:36,920
Speaker 1: basically what Dave called the War of speeds. Uh. You

522
00:30:36,960 --> 00:30:40,680
Speaker 1: mentioned the UM seventy eights finally came down to thirty

523
00:30:40,720 --> 00:30:44,320
Speaker 1: three and the third. Uh So Columbia Records reduces the

524
00:30:44,360 --> 00:30:49,440
Speaker 1: first LP and UM and our Cia is who released

525
00:30:49,440 --> 00:30:52,840
Speaker 1: the forty five, which you know people collect forty five two.

526
00:30:52,840 --> 00:30:55,239
Speaker 1: They're the smaller ones that only have a song on

527
00:30:55,240 --> 00:30:57,880
Speaker 1: each side. It's like thick a single. Yeah, that's just

528
00:30:58,000 --> 00:31:00,920
Speaker 1: exactly what it is. So our c a victor in Columbia,

529
00:31:01,000 --> 00:31:03,600
Speaker 1: had that that war of the speeds that you mentioned

530
00:31:03,840 --> 00:31:06,240
Speaker 1: to try to say, you know, the thirty three LP

531
00:31:06,520 --> 00:31:09,120
Speaker 1: is um our p MLP is better. No, the forty

532
00:31:09,120 --> 00:31:13,440
Speaker 1: five RPM single is better, and the public just said

533
00:31:13,600 --> 00:31:17,760
Speaker 1: peace everyone piece, Well, let's let's have them all. Yeah.

534
00:31:17,800 --> 00:31:19,640
Speaker 1: I mean all you needed to do was have a

535
00:31:19,720 --> 00:31:24,040
Speaker 1: machine that can vary its playback speed, and you can't

536
00:31:24,040 --> 00:31:25,760
Speaker 1: have both. There didn't need to be one of the other.

537
00:31:25,840 --> 00:31:28,440
Speaker 1: And they they did realize that there are some people

538
00:31:28,480 --> 00:31:32,840
Speaker 1: who who just want the single version. Like I guess

539
00:31:32,840 --> 00:31:35,800
Speaker 1: since there's been music, there have been people that like singles.

540
00:31:36,560 --> 00:31:38,680
Speaker 1: I remember my first forty five? Do you remember what

541
00:31:38,760 --> 00:31:44,000
Speaker 1: yours was? I didn't collect forty five, so I actually

542
00:31:44,040 --> 00:31:46,280
Speaker 1: got into forty five. I was never a big time

543
00:31:46,280 --> 00:31:48,920
Speaker 1: into them, but I got into him because I just

544
00:31:48,960 --> 00:31:53,320
Speaker 1: wanted one single song. Uh. It was Sweet Georgia Brown

545
00:31:54,080 --> 00:31:57,239
Speaker 1: because my family had gone to a Globetrotters game and

546
00:31:57,320 --> 00:31:59,880
Speaker 1: I was like, I really like that song. So my

547
00:32:00,200 --> 00:32:03,080
Speaker 1: parents took me to Peaches Records and I got Sweet

548
00:32:03,080 --> 00:32:05,880
Speaker 1: George Brown, and I must have driven my family crazy

549
00:32:05,920 --> 00:32:08,760
Speaker 1: without realizing it played Sweet Georgia Brown over and over.

550
00:32:09,200 --> 00:32:11,920
Speaker 1: That's adorable. And then do you remember what your first

551
00:32:12,040 --> 00:32:17,200
Speaker 1: LP was? Absolutely Billy Joel's Glasshouses. Oh that's a good one.

552
00:32:17,800 --> 00:32:21,120
Speaker 1: How old were you? Well, it was whenever that came out.

553
00:32:21,720 --> 00:32:24,800
Speaker 1: I feel like I was tennish, but I'd have to

554
00:32:24,800 --> 00:32:28,000
Speaker 1: look at the date. My brother and I adorably split

555
00:32:28,040 --> 00:32:31,760
Speaker 1: the cost, so it was like five bucks and each

556
00:32:31,760 --> 00:32:35,040
Speaker 1: threw into fifty and got glass houses. That's awesome. Um

557
00:32:35,080 --> 00:32:37,960
Speaker 1: My first LP was seven in The Ragged Tiger, the

558
00:32:38,080 --> 00:32:42,040
Speaker 1: Duran Duran right, good record. Um, I think I got

559
00:32:42,040 --> 00:32:45,080
Speaker 1: it around second grade. I was always I think I

560
00:32:45,160 --> 00:32:48,160
Speaker 1: mentioned this too. I was always a late adopter, so

561
00:32:48,280 --> 00:32:51,239
Speaker 1: I was buying records long into the cassette run. I

562
00:32:51,280 --> 00:32:54,160
Speaker 1: was always like no, I didn't want to believe it.

563
00:32:54,160 --> 00:32:56,640
Speaker 1: It was like taking over. And then I was buying

564
00:32:56,680 --> 00:33:00,600
Speaker 1: cassettes far into c d s, and I was buying CDs.

565
00:33:00,960 --> 00:33:02,560
Speaker 1: I mean I have CDs that are four or five

566
00:33:02,640 --> 00:33:06,520
Speaker 1: years old. Wow, from now, I didn't even know you

567
00:33:06,520 --> 00:33:09,920
Speaker 1: could get those anymore. Yeah. Well the problem was to

568
00:33:10,000 --> 00:33:14,000
Speaker 1: have a probably older than that, because my pickup truck

569
00:33:14,520 --> 00:33:16,680
Speaker 1: that I will never sell is now just sort of

570
00:33:16,680 --> 00:33:20,120
Speaker 1: our work in camping truck. It has a CD player

571
00:33:20,120 --> 00:33:22,760
Speaker 1: in it, So yeah, I was buying CDs for that. Yeah,

572
00:33:22,840 --> 00:33:25,240
Speaker 1: I can see like not giving up the ghost because

573
00:33:25,320 --> 00:33:27,520
Speaker 1: number one, you're very loyal person, so I could see

574
00:33:27,560 --> 00:33:30,480
Speaker 1: you being loyal to records. And then also at the time,

575
00:33:30,720 --> 00:33:32,480
Speaker 1: you didn't know you were ever going to have a

576
00:33:32,560 --> 00:33:35,400
Speaker 1: choice again, so you were fighting against the death of

577
00:33:35,560 --> 00:33:39,040
Speaker 1: the LP vinyl record because that's what it seemed like

578
00:33:39,080 --> 00:33:41,920
Speaker 1: when cassettes and then CDs came out. Yeah, I have

579
00:33:42,000 --> 00:33:44,680
Speaker 1: no cassettes and in fact made my switch to CD

580
00:33:44,840 --> 00:33:51,080
Speaker 1: s because someone stole my one cassette carrier out of

581
00:33:51,120 --> 00:33:53,400
Speaker 1: my friends trunk of my car and little five points

582
00:33:53,400 --> 00:33:56,160
Speaker 1: when I went to a show at the Variety Playhouse

583
00:33:56,160 --> 00:33:58,520
Speaker 1: where you and I performed, yeah and sold out. If

584
00:33:58,520 --> 00:34:00,960
Speaker 1: I'm not mistaken, that's right. So they stole that and

585
00:34:01,000 --> 00:34:02,800
Speaker 1: I was like, all right, I guess I gotta buy

586
00:34:02,800 --> 00:34:07,120
Speaker 1: CDs now. So yeah, that's it for me, everybody, I'm

587
00:34:07,120 --> 00:34:09,960
Speaker 1: done with his sense. So one other thing that kind

588
00:34:09,960 --> 00:34:12,680
Speaker 1: of came out of vinyl records too, is because you

589
00:34:12,719 --> 00:34:16,319
Speaker 1: could put more information into one, they figured out how

590
00:34:16,400 --> 00:34:21,399
Speaker 1: to actually create stereo records starting in ninety and I

591
00:34:21,480 --> 00:34:25,279
Speaker 1: can't imagine what this must have seemed like to the

592
00:34:25,320 --> 00:34:28,680
Speaker 1: people back in ninety eight, because up to that point

593
00:34:28,760 --> 00:34:31,719
Speaker 1: everything was mono. It was one channel, so all of

594
00:34:31,760 --> 00:34:33,759
Speaker 1: the sound came through one channel, and you could have

595
00:34:33,760 --> 00:34:36,719
Speaker 1: two speakers, five speakers, ten speakers, it wouldn't matter because

596
00:34:36,760 --> 00:34:40,600
Speaker 1: they were all playing the exact same information, and it

597
00:34:40,640 --> 00:34:42,960
Speaker 1: didn't it just what You could just sit in front

598
00:34:42,960 --> 00:34:46,200
Speaker 1: of one speaker and get the same experience. With stereo,

599
00:34:46,320 --> 00:34:49,560
Speaker 1: you have two different channels coming out, usually right and left,

600
00:34:50,239 --> 00:34:52,560
Speaker 1: and rights going to the right speaker, less going to

601
00:34:52,600 --> 00:34:56,480
Speaker 1: the left speaker, and when you sit between them, you

602
00:34:56,560 --> 00:34:59,239
Speaker 1: don't get the sensation that the sound is coming out

603
00:34:59,239 --> 00:35:01,279
Speaker 1: of either speaker. It seems to be coming out of

604
00:35:01,320 --> 00:35:04,000
Speaker 1: the space between the speaker in front of you and

605
00:35:04,080 --> 00:35:07,160
Speaker 1: gives you this much more immersive, rich experience. And they

606
00:35:07,160 --> 00:35:09,680
Speaker 1: figured out how to do that on a vinyl record, which,

607
00:35:09,719 --> 00:35:12,799
Speaker 1: if you're talking about black magic to begin with, just

608
00:35:12,800 --> 00:35:16,120
Speaker 1: just for creating a record, creating a stereo record is

609
00:35:16,160 --> 00:35:19,319
Speaker 1: even more impressive if you ask me, Yeah, they did it.

610
00:35:19,320 --> 00:35:21,880
Speaker 1: They figured out how to etch the walls of the groove.

611
00:35:23,000 --> 00:35:25,360
Speaker 1: One side of the wall, the outside wall was the

612
00:35:25,440 --> 00:35:28,680
Speaker 1: right channel, the inside wall was the left and when

613
00:35:28,719 --> 00:35:31,160
Speaker 1: you play it back, that needle reads both sides at once.

614
00:35:32,239 --> 00:35:36,319
Speaker 1: The Beatles were one of the first Uh well, yeah,

615
00:35:36,360 --> 00:35:38,200
Speaker 1: I could safely say one of the first bands to

616
00:35:38,280 --> 00:35:41,640
Speaker 1: really experiment with stereo recording. And all of a sudden

617
00:35:41,680 --> 00:35:45,000
Speaker 1: you had like Paul in one ear, John and the

618
00:35:45,040 --> 00:35:49,640
Speaker 1: other singing harmonies. Um, and you know when headphones became

619
00:35:49,680 --> 00:35:52,279
Speaker 1: more and more the norm. This is when this really

620
00:35:52,280 --> 00:35:56,520
Speaker 1: paid dividends. Yeah, like Mitch Kramer listening to music in

621
00:35:56,560 --> 00:35:59,080
Speaker 1: his room at the end of the night and dazed

622
00:35:59,120 --> 00:36:02,680
Speaker 1: and confused that guy Wiley Wiggins works in podcasts some

623
00:36:03,280 --> 00:36:06,279
Speaker 1: Oh yeah, hey, Wiley Wiggins, how are you doing? I know.

624
00:36:06,400 --> 00:36:08,600
Speaker 1: I was listening to the Great Great podcast you must

625
00:36:08,600 --> 00:36:12,200
Speaker 1: remember this from Karina Longworth the movie podcast and at

626
00:36:12,200 --> 00:36:14,839
Speaker 1: the end of one of the episodes, actually sat through

627
00:36:14,840 --> 00:36:18,759
Speaker 1: the credits and it said additional research and transcription by

628
00:36:18,800 --> 00:36:22,319
Speaker 1: Wiley Wiggins. That's awesome, man, that's super cool. I don't

629
00:36:22,320 --> 00:36:25,279
Speaker 1: know if he's still doing that, but hello to both

630
00:36:25,280 --> 00:36:28,560
Speaker 1: of you. It's so um. I watched yeah for real,

631
00:36:28,640 --> 00:36:34,000
Speaker 1: I watched. Um have you ever seen Waking Life? Yeah? Yeah,

632
00:36:34,200 --> 00:36:36,719
Speaker 1: he started now that was he did creating that, but

633
00:36:36,760 --> 00:36:38,719
Speaker 1: also just in Days and Confused, He's always going to

634
00:36:38,760 --> 00:36:40,800
Speaker 1: be much Cramer to me. But I watched Days and

635
00:36:40,880 --> 00:36:43,640
Speaker 1: Confused the other day I was like, this movie still

636
00:36:43,680 --> 00:36:46,560
Speaker 1: holds up. And then I was like, there was no

637
00:36:46,640 --> 00:36:50,239
Speaker 1: reason for Matthew McConaughey to do any other character ever,

638
00:36:50,719 --> 00:36:55,080
Speaker 1: because everything he does is Waterson. Is Waterson in space

639
00:36:55,160 --> 00:36:58,400
Speaker 1: for Interstellar, it's Waterson, like as a lawyer and the

640
00:36:58,440 --> 00:37:02,399
Speaker 1: Lincoln lawyer. Like it just Waterson all the time. And

641
00:37:02,440 --> 00:37:04,600
Speaker 1: like you, if you go back and watch Stays and Confused,

642
00:37:04,600 --> 00:37:06,799
Speaker 1: you're like, yeah, he and Waterson are one and the

643
00:37:06,880 --> 00:37:10,880
Speaker 1: same person. Basically, it's Waterson selling Cadillacs or whatever that is,

644
00:37:11,800 --> 00:37:15,160
Speaker 1: which one doesn't he Is it Cadillacs or is it

645
00:37:15,239 --> 00:37:18,160
Speaker 1: Lincoln that he does the commercials for. Oh yeah, yeah,

646
00:37:18,200 --> 00:37:23,680
Speaker 1: Lincoln where he just drives around and waxes philosophical exactly. Totally.

647
00:37:23,719 --> 00:37:25,879
Speaker 1: I forgot about the ag campaign. That was all right,

648
00:37:26,440 --> 00:37:30,520
Speaker 1: it was alright, alright, alright, alright, well let's take our

649
00:37:30,520 --> 00:37:33,240
Speaker 1: final break and we're gonna come back and no doubt

650
00:37:33,920 --> 00:37:37,640
Speaker 1: stumble through how records are actually made. Right after this

651
00:37:46,840 --> 00:37:59,560
Speaker 1: that's watched, sk should know. Okay, record store guys, this

652
00:37:59,640 --> 00:38:01,920
Speaker 1: is the point where you can just leave us and

653
00:38:01,960 --> 00:38:06,160
Speaker 1: we'll say thank you for listening up to this point. Yeah,

654
00:38:06,239 --> 00:38:08,280
Speaker 1: I mean this is gonna be a little clumsy because

655
00:38:08,320 --> 00:38:11,759
Speaker 1: it's a little black magic e and it's um. They're

656
00:38:11,800 --> 00:38:15,360
Speaker 1: also made different ways depending on who's producing the record.

657
00:38:15,360 --> 00:38:18,879
Speaker 1: It's generally the same process, but uh, you know every

658
00:38:18,920 --> 00:38:24,239
Speaker 1: cook has their own recipe. Yeah, so the essential process,

659
00:38:24,280 --> 00:38:29,480
Speaker 1: I guess is you you it's ridiculously similar to what

660
00:38:29,680 --> 00:38:33,120
Speaker 1: Scott and Edison and Alexander Graham Bell were doing, which

661
00:38:33,200 --> 00:38:38,080
Speaker 1: is you basically put sound or music into some sort

662
00:38:38,120 --> 00:38:43,520
Speaker 1: of amplifying device, no longer an acoustic trumpet instead some

663
00:38:43,960 --> 00:38:49,759
Speaker 1: again amplifier that that makes a little needle wiggle. And

664
00:38:49,840 --> 00:38:54,560
Speaker 1: as that needle wiggles, it's etching that transcription of that

665
00:38:54,640 --> 00:38:57,759
Speaker 1: sound wave into a mechanical record of it. That's why

666
00:38:57,760 --> 00:39:00,280
Speaker 1: records are called records. It's a record of that sound ound.

667
00:39:01,120 --> 00:39:05,239
Speaker 1: And they do this with basically a turntable called the

668
00:39:05,280 --> 00:39:08,040
Speaker 1: cutting lathe. And that now I understand why they call

669
00:39:08,080 --> 00:39:10,600
Speaker 1: it cutting a record. I had no idea until I

670
00:39:10,600 --> 00:39:14,640
Speaker 1: guess yesterday, Um, why they call it that. Yes, Impressing

671
00:39:14,680 --> 00:39:16,520
Speaker 1: makes sense too, and it will in a second. But

672
00:39:16,640 --> 00:39:18,960
Speaker 1: it's just like this turntable, but it looks like a

673
00:39:19,000 --> 00:39:23,359
Speaker 1: turntable and like an industrial, an industrial turntable, and that's

674
00:39:23,400 --> 00:39:28,359
Speaker 1: exactly what it is. Yeah, it's just a a large machine. Uh.

675
00:39:28,960 --> 00:39:31,120
Speaker 1: The one that the video I saw was the one

676
00:39:31,160 --> 00:39:35,560
Speaker 1: in Nashville. I don't know if they're different chisels, but

677
00:39:35,640 --> 00:39:41,080
Speaker 1: they use an actual ruby gemstone chisel at their factory. Uh,

678
00:39:41,120 --> 00:39:45,799
Speaker 1: and that vibrating ruby chisel cuts that groove and a uh.

679
00:39:45,840 --> 00:39:47,719
Speaker 1: They still use lacquer, at least at this place, and

680
00:39:47,800 --> 00:39:52,320
Speaker 1: use a lacquer disc and this is called the mother disc. Um.

681
00:39:52,360 --> 00:39:54,200
Speaker 1: It's kind of cool. In the end you end up

682
00:39:54,239 --> 00:39:57,319
Speaker 1: with or you can end up with as much as

683
00:39:58,880 --> 00:40:02,960
Speaker 1: feet of groove lines, which is seven football fields. I

684
00:40:03,000 --> 00:40:05,799
Speaker 1: don't know how many big max. But if you took

685
00:40:05,840 --> 00:40:09,000
Speaker 1: like the lines of an LP, uh and I don't

686
00:40:09,040 --> 00:40:11,160
Speaker 1: I don't know if that's both sides or one side,

687
00:40:11,880 --> 00:40:14,640
Speaker 1: is that just one side, that would be seven football

688
00:40:14,680 --> 00:40:17,560
Speaker 1: fields long, which is pretty amazing. Okay, So so no,

689
00:40:17,719 --> 00:40:20,400
Speaker 1: for some reason, on the Shellac record, the mother record,

690
00:40:20,440 --> 00:40:23,080
Speaker 1: they fit way more information. And from what I saw,

691
00:40:23,440 --> 00:40:26,520
Speaker 1: I saw that an LP, the average LP like twenty

692
00:40:26,560 --> 00:40:29,359
Speaker 1: two minutes is like um about one and a half

693
00:40:29,400 --> 00:40:33,040
Speaker 1: football fields long. Really, that's what I saw. But I

694
00:40:33,080 --> 00:40:35,120
Speaker 1: saw what you were talking about in that video, and

695
00:40:35,120 --> 00:40:37,320
Speaker 1: I'm like, where's the distinction here? And I couldn't figure

696
00:40:37,320 --> 00:40:39,520
Speaker 1: it out. So anywhere between one and a half to

697
00:40:39,600 --> 00:40:42,760
Speaker 1: seven football fields that one groove. And by the way,

698
00:40:42,920 --> 00:40:45,760
Speaker 1: if you look at a record those grooves, that's one long,

699
00:40:46,480 --> 00:40:50,520
Speaker 1: concentric groove that you could stretch out as a single line.

700
00:40:50,760 --> 00:40:55,320
Speaker 1: Had never occurred to me. Did you realize that before? Yeah? Sure,

701
00:40:55,480 --> 00:40:58,960
Speaker 1: because where would it end? It's a spiral. I don't know.

702
00:40:59,080 --> 00:41:01,479
Speaker 1: I hadn't really thought it through. But that's a great

703
00:41:01,520 --> 00:41:03,480
Speaker 1: trivia question. Then you could get a lot of people

704
00:41:03,480 --> 00:41:06,560
Speaker 1: on how many grooves are on the average LP record

705
00:41:06,840 --> 00:41:10,200
Speaker 1: and the answers to one for each side. Yeah, although

706
00:41:10,280 --> 00:41:13,200
Speaker 1: what about the little space? I didn't really look up

707
00:41:13,200 --> 00:41:15,160
Speaker 1: how they did that, the little space between the songs.

708
00:41:15,920 --> 00:41:19,720
Speaker 1: It's still yes, but it must have just a blank.

709
00:41:20,160 --> 00:41:22,520
Speaker 1: There must not be any etchings in that groove. It's

710
00:41:22,520 --> 00:41:27,839
Speaker 1: still tell all the musicians like, shut up, Yeah, what's

711
00:41:27,840 --> 00:41:30,799
Speaker 1: it called room tone? Yeah? Room tone? And by the way,

712
00:41:30,840 --> 00:41:33,319
Speaker 1: this is this is how records are mass produced. Like

713
00:41:33,360 --> 00:41:36,120
Speaker 1: if you go to Third Man Records in Nashville, and

714
00:41:36,160 --> 00:41:39,120
Speaker 1: sit in the little booth like it literally cuts the

715
00:41:39,160 --> 00:41:41,560
Speaker 1: sound you make directly onto a record that you take home.

716
00:41:41,760 --> 00:41:44,040
Speaker 1: Yeah yeah, I think that guy that you me visited

717
00:41:44,040 --> 00:41:46,720
Speaker 1: head is on like you could if you have dollars

718
00:41:46,800 --> 00:41:49,520
Speaker 1: to spend to mess around with, like you can get

719
00:41:49,560 --> 00:41:52,239
Speaker 1: yourself a cutting life. But so you've got that mother

720
00:41:52,320 --> 00:41:56,360
Speaker 1: record that's made from shellac, you said, right, right, And

721
00:41:56,400 --> 00:41:58,640
Speaker 1: then they take that and they coat it with some

722
00:41:58,680 --> 00:42:00,560
Speaker 1: sort of metal. I don't know if it's platinum. I

723
00:42:00,560 --> 00:42:04,000
Speaker 1: think they said Nickel was involved, but they use electrolysis

724
00:42:04,320 --> 00:42:07,200
Speaker 1: and they make a negative of that record, so they

725
00:42:07,200 --> 00:42:09,279
Speaker 1: get the metal in all of the grooves. And when

726
00:42:09,280 --> 00:42:12,520
Speaker 1: they pop the metal off of that mother shellac record

727
00:42:13,120 --> 00:42:16,759
Speaker 1: they have they have the mirror no, yeah, a mirror

728
00:42:16,800 --> 00:42:20,280
Speaker 1: opposite image of it. Rather than grooves and and etchings

729
00:42:20,280 --> 00:42:24,360
Speaker 1: and valleys, it's bumps and ridges and mountains. And that's

730
00:42:24,360 --> 00:42:28,279
Speaker 1: what they use to press records from. Right. Yeah, that's

731
00:42:28,280 --> 00:42:31,640
Speaker 1: called the master stamp. Uh. And that master stamp can

732
00:42:31,680 --> 00:42:35,520
Speaker 1: make about a hundred thousand records. I think it is

733
00:42:35,640 --> 00:42:37,960
Speaker 1: Nickel or at least what they use it. This one

734
00:42:38,360 --> 00:42:41,359
Speaker 1: company that I saw, the largest one, uh, and that

735
00:42:41,400 --> 00:42:44,280
Speaker 1: will harden up into silver, and you peel it away

736
00:42:44,400 --> 00:42:46,000
Speaker 1: and then you kind of cut it and trim it

737
00:42:46,080 --> 00:42:48,400
Speaker 1: up so it's actually round. And then when you go

738
00:42:48,440 --> 00:42:51,520
Speaker 1: to press the actual vinyl, they dump and we'll get

739
00:42:51,560 --> 00:42:53,840
Speaker 1: to why they're black in a second, because that's super interesting.

740
00:42:53,880 --> 00:42:57,399
Speaker 1: But you get these black polyvinyl pellets, you melt them down,

741
00:42:58,200 --> 00:43:02,000
Speaker 1: uh in a hopper basically, and what plops out is

742
00:43:02,040 --> 00:43:07,440
Speaker 1: a little puck shaped like a little biscuit basically of vinyl. Uh.

743
00:43:07,560 --> 00:43:09,479
Speaker 1: You put the label on it because that helps center

744
00:43:09,520 --> 00:43:12,879
Speaker 1: things apparently, and then you have, you know, the one

745
00:43:12,920 --> 00:43:14,719
Speaker 1: side of the record on top and the other side

746
00:43:14,719 --> 00:43:18,960
Speaker 1: on the bottom these silver stamps and you apply about

747
00:43:18,960 --> 00:43:21,880
Speaker 1: sixty tons of pressure and it just squishes it out

748
00:43:22,200 --> 00:43:25,120
Speaker 1: and presses it into thin vinyl. Uh. If you think

749
00:43:25,160 --> 00:43:26,759
Speaker 1: it might be a little messy around the edges, you

750
00:43:26,800 --> 00:43:29,960
Speaker 1: were absolutely right. Um. They trim that off with a

751
00:43:30,040 --> 00:43:33,759
Speaker 1: machine so it's perfectly round, and that excess stuff is

752
00:43:33,800 --> 00:43:36,680
Speaker 1: called flash, and they actually just throw that back to

753
00:43:36,800 --> 00:43:39,560
Speaker 1: use later on it's recentled They re melt it right,

754
00:43:40,280 --> 00:43:44,600
Speaker 1: which is awesome. Totally. There are I saw I saw

755
00:43:44,719 --> 00:43:49,520
Speaker 1: people online who say that records made from that reused

756
00:43:49,560 --> 00:43:53,680
Speaker 1: flashing do not sound as good as other records. I'm like, dude, really,

757
00:43:54,040 --> 00:43:59,160
Speaker 1: yes on man, you need another a second hobby. It

758
00:43:59,239 --> 00:44:02,360
Speaker 1: doesn't just w record collection. And they didn't use the

759
00:44:02,360 --> 00:44:06,000
Speaker 1: word actually at all, right, no, not at all. They

760
00:44:06,000 --> 00:44:09,200
Speaker 1: were just daring you to say something. So um, so

761
00:44:09,239 --> 00:44:11,719
Speaker 1: that's it, like that's what, that's how one record is made.

762
00:44:11,760 --> 00:44:13,759
Speaker 1: And you said you can use one of those um

763
00:44:14,239 --> 00:44:18,640
Speaker 1: uh master uh negatives for a hundred thousand records. So

764
00:44:18,840 --> 00:44:20,719
Speaker 1: I guess they make a few of those and they

765
00:44:20,719 --> 00:44:23,080
Speaker 1: have a run and that's that you have your your

766
00:44:23,080 --> 00:44:27,160
Speaker 1: whole run of records created. Um. And you mentioned something

767
00:44:27,160 --> 00:44:30,520
Speaker 1: about records being black, like they don't have to be black.

768
00:44:30,560 --> 00:44:32,160
Speaker 1: I think I have at least one or two that

769
00:44:32,200 --> 00:44:37,319
Speaker 1: are colored um like red. Yeah, yeah, it is cool.

770
00:44:37,480 --> 00:44:41,480
Speaker 1: It's definitely different. But um black is the color of

771
00:44:41,560 --> 00:44:46,120
Speaker 1: choice for a couple of reasons. One PVC uh is

772
00:44:46,400 --> 00:44:50,399
Speaker 1: some is like a natural insulator, so static electricity can

773
00:44:50,400 --> 00:44:53,240
Speaker 1: build up in it, which is nay good because static

774
00:44:53,239 --> 00:44:56,680
Speaker 1: electricity attracts dust, and dust messes up your records. It

775
00:44:56,719 --> 00:44:58,400
Speaker 1: can cause them to skip and do all sorts of

776
00:44:58,560 --> 00:45:01,640
Speaker 1: terrible stuff. It can clug up your needle. Um. And

777
00:45:01,680 --> 00:45:04,560
Speaker 1: then so they add this stuff called carbon black. I

778
00:45:04,600 --> 00:45:07,320
Speaker 1: think half of a percent of your records material is

779
00:45:07,360 --> 00:45:10,359
Speaker 1: carbon black, and that actually makes it a little better

780
00:45:10,400 --> 00:45:13,800
Speaker 1: of a conductor, so it repels dust a little better. Yeah,

781
00:45:13,960 --> 00:45:15,960
Speaker 1: so that'll that'll help him. And apparently and I never

782
00:45:16,000 --> 00:45:18,920
Speaker 1: thought of this either, but you just you see dust

783
00:45:19,000 --> 00:45:21,839
Speaker 1: better on a black record. Uh, so you're you know,

784
00:45:21,880 --> 00:45:25,239
Speaker 1: you're more apt to keep your records cleaner probably, uh

785
00:45:25,280 --> 00:45:27,400
Speaker 1: And I never really noticed that. But yeah, on my

786
00:45:27,440 --> 00:45:30,839
Speaker 1: clear records, I can't see any dust. I have to say. Um,

787
00:45:30,880 --> 00:45:33,040
Speaker 1: some of the records that I have, I I got

788
00:45:33,080 --> 00:45:37,480
Speaker 1: from our buddy. Van Nostrin has always been very in

789
00:45:37,560 --> 00:45:41,520
Speaker 1: sending records that most people would not want to hear. Um,

790
00:45:41,560 --> 00:45:45,600
Speaker 1: Engelbert Humperdink I have thanks to him. Um, I've got

791
00:45:45,760 --> 00:45:50,840
Speaker 1: a one about Jimmy Carter, a comedy record, Um the

792
00:45:51,680 --> 00:45:56,280
Speaker 1: disco duck. But get this, there's no disco duck anywhere,

793
00:45:56,280 --> 00:45:59,480
Speaker 1: and it's just like a kind of a jazzy upbeat

794
00:46:00,080 --> 00:46:03,160
Speaker 1: um covers of disco songs without the duck. I don't

795
00:46:03,200 --> 00:46:06,120
Speaker 1: know where Van Nostrom found this, but it's pretty astounding.

796
00:46:06,120 --> 00:46:09,000
Speaker 1: Where the records that he comes up with in sinse

797
00:46:09,239 --> 00:46:12,279
Speaker 1: So thanks. I used to listen to comedy records going

798
00:46:12,360 --> 00:46:15,920
Speaker 1: up to as a kid, I would get George Carlin's

799
00:46:15,920 --> 00:46:18,839
Speaker 1: class Clown or how I and I'm still not good

800
00:46:18,840 --> 00:46:22,160
Speaker 1: at impressions, but how I got interested was the rich

801
00:46:22,239 --> 00:46:25,799
Speaker 1: little records The First Family Rides again, and you know,

802
00:46:25,840 --> 00:46:28,359
Speaker 1: it was a big thing, like comedy albums, And some

803
00:46:28,400 --> 00:46:31,640
Speaker 1: comedians today are are getting vinyl pressed of their specials

804
00:46:31,640 --> 00:46:33,560
Speaker 1: and stuff, which is kind of cool. It is cool

805
00:46:34,000 --> 00:46:36,839
Speaker 1: because those comedians are flushed with Netflix money, so all

806
00:46:36,840 --> 00:46:40,680
Speaker 1: of them can afford a fifty dollar cuttingly. So we

807
00:46:40,800 --> 00:46:43,359
Speaker 1: kind of explained, I think, in our own way, how

808
00:46:43,400 --> 00:46:46,680
Speaker 1: they're made. But then there's the black magic of actually

809
00:46:47,120 --> 00:46:50,400
Speaker 1: hearing these things. Uh, you sit around and look at

810
00:46:50,440 --> 00:46:52,440
Speaker 1: those grooves all day, but you wanted what you want

811
00:46:52,440 --> 00:46:55,279
Speaker 1: to do, get up and dance right pretty much, and

812
00:46:55,320 --> 00:46:58,800
Speaker 1: that's that, and that's records, um chuck. If you could

813
00:46:58,840 --> 00:47:03,640
Speaker 1: also afford not to to cutting lathe but an electron microscope, um,

814
00:47:03,680 --> 00:47:06,640
Speaker 1: you could do worse than putting a record underneath it,

815
00:47:06,680 --> 00:47:09,759
Speaker 1: because you would see some freaky stuff going on in

816
00:47:09,760 --> 00:47:14,560
Speaker 1: those grooves. That groove itself holds a bunch of different

817
00:47:14,600 --> 00:47:18,120
Speaker 1: little etchings and each sound has its own etching. In

818
00:47:18,200 --> 00:47:20,879
Speaker 1: this groove. And again these grooves are sometimes like an

819
00:47:20,880 --> 00:47:24,840
Speaker 1: eighth of a millimeter UM thick, like they've gotten way

820
00:47:24,880 --> 00:47:28,560
Speaker 1: thinner than when Peter Goldmark first invented vinyl records, and

821
00:47:28,640 --> 00:47:31,600
Speaker 1: they hold so much information that you can actually physically

822
00:47:31,600 --> 00:47:36,040
Speaker 1: see just like Um Edward ley On Scott of Martinville

823
00:47:36,440 --> 00:47:39,479
Speaker 1: Um saw himself on that class plate. If you look

824
00:47:39,560 --> 00:47:42,719
Speaker 1: really really closely through an electron microscope, you can see

825
00:47:42,760 --> 00:47:45,480
Speaker 1: the same thing, and you are literally looking at a

826
00:47:45,640 --> 00:47:50,600
Speaker 1: physical encoding of sound. The sound wave has been transferred

827
00:47:50,600 --> 00:47:54,600
Speaker 1: mechanically through that that ruby, um what do you call it,

828
00:47:54,880 --> 00:47:59,680
Speaker 1: the carving thing chisel onto a record. And now if

829
00:47:59,680 --> 00:48:02,439
Speaker 1: you put your record on your turntable, play it back

830
00:48:02,480 --> 00:48:06,560
Speaker 1: at the appropriate rotations per minute, very important, and you

831
00:48:06,600 --> 00:48:09,600
Speaker 1: put the arm down. What you're doing is you're putting

832
00:48:09,640 --> 00:48:12,160
Speaker 1: down a needle or a stylus that is a very

833
00:48:12,239 --> 00:48:16,920
Speaker 1: sensitive usually industrial gemstone like sapphire maybe ruby I saw

834
00:48:16,960 --> 00:48:21,280
Speaker 1: a diamond most most frequently, and that that actually reads

835
00:48:21,320 --> 00:48:24,480
Speaker 1: every single one of those little tiny squiggles in that

836
00:48:24,680 --> 00:48:29,080
Speaker 1: in those grooves from start to finish, and it retranslates

837
00:48:29,120 --> 00:48:33,799
Speaker 1: that mechanical encoding through to the cartridge, which translates that

838
00:48:33,840 --> 00:48:38,120
Speaker 1: into electricity, which creates an audible sound that has to

839
00:48:38,160 --> 00:48:40,600
Speaker 1: be amplified and run through speakers. And when you do

840
00:48:40,640 --> 00:48:43,520
Speaker 1: all that, you're listening to a record. That's right, And

841
00:48:43,920 --> 00:48:45,719
Speaker 1: I kind of compared it to a guitar pick up

842
00:48:45,760 --> 00:48:48,719
Speaker 1: if uh, which one do we explain that? And was

843
00:48:48,719 --> 00:48:51,759
Speaker 1: that in the les Paul, Yeah, it had to be.

844
00:48:51,920 --> 00:48:54,319
Speaker 1: But it's just sort of the same idea as a

845
00:48:54,360 --> 00:48:58,760
Speaker 1: guitar pickup. It's it uses copper wire and magnets um

846
00:48:58,840 --> 00:49:02,640
Speaker 1: to create this, you know, electric current, and in this

847
00:49:02,680 --> 00:49:05,440
Speaker 1: case it's induced at the same frequency as that little

848
00:49:06,239 --> 00:49:09,920
Speaker 1: needle wiggling through the grooves. And then you have to

849
00:49:10,000 --> 00:49:12,399
Speaker 1: obviously that you still don't hear anything unless you feed

850
00:49:12,400 --> 00:49:15,480
Speaker 1: that through an amplifier and then eventually speakers. If you

851
00:49:15,560 --> 00:49:18,359
Speaker 1: listen really closely, you can hear the faintest bit of it,

852
00:49:18,400 --> 00:49:21,480
Speaker 1: but it's nothing to dance to your right, um. Dave,

853
00:49:21,640 --> 00:49:24,799
Speaker 1: Dave helped us with us, right, this was a Dave jam.

854
00:49:24,880 --> 00:49:28,160
Speaker 1: It was Dave. So Dave kind of drove something home

855
00:49:28,200 --> 00:49:30,560
Speaker 1: for me when he talked about how the middle c

856
00:49:31,280 --> 00:49:35,840
Speaker 1: on a piano is um vibrates at an amplitude of

857
00:49:36,160 --> 00:49:39,359
Speaker 1: two hundred and sixty one point six three hurts, which

858
00:49:39,440 --> 00:49:42,520
Speaker 1: means that that it vibrates to create that sound that

859
00:49:42,560 --> 00:49:45,680
Speaker 1: middle cyano piano. It vibrates a two hundred and sixty

860
00:49:45,680 --> 00:49:49,320
Speaker 1: one point six three vibrations per second. That's just one

861
00:49:49,600 --> 00:49:53,000
Speaker 1: note on a piano, and that is encoded in a record.

862
00:49:53,000 --> 00:49:55,040
Speaker 1: When you play a middle C on a piano and

863
00:49:55,080 --> 00:49:58,319
Speaker 1: you capture it on a record. Um, you, that's just

864
00:49:58,400 --> 00:50:01,480
Speaker 1: one thing. Now consider all of the different notes, all

865
00:50:01,480 --> 00:50:04,959
Speaker 1: the different sounds, all the different instruments that are are

866
00:50:05,560 --> 00:50:08,400
Speaker 1: encoded onto a record, and it's there. Each one is

867
00:50:08,480 --> 00:50:12,200
Speaker 1: physically encoded in the right proper time, the right spot

868
00:50:12,360 --> 00:50:16,919
Speaker 1: on that groove in that record, playback on that particular RPM.

869
00:50:17,000 --> 00:50:19,480
Speaker 1: And when you start to put all this together and

870
00:50:19,520 --> 00:50:23,000
Speaker 1: realize how complicated it is, it really gives you an

871
00:50:23,000 --> 00:50:26,720
Speaker 1: appreciation for what's going on with vinyl and why people

872
00:50:26,800 --> 00:50:29,799
Speaker 1: love it so much. Yeah, I mean, it's it's sort

873
00:50:29,800 --> 00:50:33,440
Speaker 1: of easy to wrap your head around someone plucking a

874
00:50:33,480 --> 00:50:38,640
Speaker 1: piano string or loot rather hammering a piano string that

875
00:50:38,640 --> 00:50:40,880
Speaker 1: would be a harpsichord if it was plucked in a

876
00:50:40,920 --> 00:50:43,239
Speaker 1: middle C like ding ding ding ding, and how that

877
00:50:43,320 --> 00:50:45,720
Speaker 1: might be translated. But when you think about a groove

878
00:50:45,800 --> 00:50:50,560
Speaker 1: being cut that represents like guitar feedback from Jimmy Hendrix,

879
00:50:51,320 --> 00:50:54,200
Speaker 1: which is a sound, but it's not like a U.

880
00:50:54,480 --> 00:50:56,600
Speaker 1: It's not like you think of a familiar note being

881
00:50:56,600 --> 00:51:00,280
Speaker 1: plucked or something, or the sound of distorted guitar. It's

882
00:51:00,360 --> 00:51:04,799
Speaker 1: just it's amazing. It is black magic. I'm with you. So.

883
00:51:04,920 --> 00:51:07,200
Speaker 1: Um A lot of people chuck say vinyl is the

884
00:51:07,239 --> 00:51:09,839
Speaker 1: only way to go, and other people say take your

885
00:51:09,920 --> 00:51:13,480
Speaker 1: vinyl and shove it because digital music is the only

886
00:51:13,520 --> 00:51:16,440
Speaker 1: way to go. And there's apparently a pretty big argument

887
00:51:16,440 --> 00:51:19,560
Speaker 1: about all this. Yeah, I mean, you know, your vinyl

888
00:51:19,640 --> 00:51:22,919
Speaker 1: enthusiasts will say it has a warmer sound. Uh, they'll

889
00:51:22,920 --> 00:51:26,279
Speaker 1: say that's as close to the original way form as

890
00:51:26,320 --> 00:51:29,719
Speaker 1: you can get because it's directly from a master recording

891
00:51:30,280 --> 00:51:35,279
Speaker 1: and it's not digitized and compressed. Um I and Day

892
00:51:35,280 --> 00:51:37,080
Speaker 1: points out, and I fully agree that part of this.

893
00:51:37,200 --> 00:51:39,480
Speaker 1: You know, I'm sure there are audio files who have

894
00:51:39,600 --> 00:51:45,080
Speaker 1: an ear that can really differentiate, differentiate um sounds on

895
00:51:45,280 --> 00:51:49,120
Speaker 1: a really minute level. I'm not one of them. Um

896
00:51:49,239 --> 00:51:52,040
Speaker 1: So for me, part of it is the the ritual

897
00:51:52,080 --> 00:51:56,560
Speaker 1: of the record album. Aren't liner notes? Holding an album

898
00:51:56,640 --> 00:51:59,120
Speaker 1: and looking at it while you're playing it, Like all

899
00:51:59,160 --> 00:52:02,600
Speaker 1: the stuff that was Law Austwin records shrunk to cassettes

900
00:52:02,640 --> 00:52:04,560
Speaker 1: and you could still sort of do it then, and

901
00:52:04,600 --> 00:52:06,799
Speaker 1: you can kind of do it with CD cases and

902
00:52:07,120 --> 00:52:10,400
Speaker 1: liner notes. But the record was really like it was.

903
00:52:10,480 --> 00:52:12,920
Speaker 1: It was a part of the whole experience large format art.

904
00:52:14,239 --> 00:52:16,960
Speaker 1: But there are people who say that, you know, like

905
00:52:16,960 --> 00:52:20,600
Speaker 1: you said that digital gets rid of those pops and

906
00:52:20,640 --> 00:52:24,040
Speaker 1: clicks that a lot of people like from records. Um

907
00:52:24,080 --> 00:52:27,080
Speaker 1: it has a wider frequency range than vinyl does, so

908
00:52:27,880 --> 00:52:30,400
Speaker 1: it can hit the highs and the lows more accurately.

909
00:52:30,760 --> 00:52:33,399
Speaker 1: UM I mean, I like it all. I don't think

910
00:52:33,400 --> 00:52:35,759
Speaker 1: you have to choose. I don't think you have to

911
00:52:35,840 --> 00:52:38,399
Speaker 1: choose either. But um I I saw a really good

912
00:52:38,440 --> 00:52:43,080
Speaker 1: description of the difference between digital recordings and analog recordings,

913
00:52:43,080 --> 00:52:45,720
Speaker 1: which is what is meant to be captured on a record.

914
00:52:46,080 --> 00:52:48,840
Speaker 1: There was a guy, a recording engineer named Michael Connolly

915
00:52:49,280 --> 00:52:52,160
Speaker 1: who um said, Let's say that you want to measure

916
00:52:52,239 --> 00:52:55,440
Speaker 1: your height, and you stand next to a door jam,

917
00:52:55,520 --> 00:52:57,520
Speaker 1: and you put a pencil along the top of your

918
00:52:57,520 --> 00:52:59,920
Speaker 1: head and you mark the door jam. What you've just

919
00:53:00,120 --> 00:53:04,200
Speaker 1: done is created an analog of your height that mark

920
00:53:04,400 --> 00:53:07,480
Speaker 1: stands in for your height. Right. Another way you could

921
00:53:07,480 --> 00:53:10,200
Speaker 1: do it is stand still and hold the measuring tape

922
00:53:10,719 --> 00:53:13,359
Speaker 1: and then see what your height actually is. And then

923
00:53:13,400 --> 00:53:16,160
Speaker 1: you take that measurement and you transcribe it to another medium,

924
00:53:16,360 --> 00:53:18,799
Speaker 1: like you write it down in a notebook. And the

925
00:53:18,800 --> 00:53:22,680
Speaker 1: thing is is your analog is truer, it's more faithful

926
00:53:22,960 --> 00:53:27,960
Speaker 1: because it's an actual representation of your actual height. But um,

927
00:53:28,120 --> 00:53:32,080
Speaker 1: the measurement can be reproduced much more easily. You can

928
00:53:32,160 --> 00:53:34,440
Speaker 1: go from notebook to notebook and just write down that

929
00:53:34,520 --> 00:53:37,920
Speaker 1: same measurement every time without any loss of information. And

930
00:53:38,000 --> 00:53:41,120
Speaker 1: that's not true from that door jam pencil mark, because

931
00:53:41,200 --> 00:53:42,919
Speaker 1: let's say you move, you want to take a door

932
00:53:42,960 --> 00:53:45,600
Speaker 1: jam with you to remember how tall you were, and

933
00:53:45,640 --> 00:53:47,960
Speaker 1: you install it at your next house, it might not

934
00:53:48,040 --> 00:53:51,000
Speaker 1: be quite the same, you know, height off the floor

935
00:53:51,000 --> 00:53:53,480
Speaker 1: as it was before. So those are those pops and

936
00:53:53,480 --> 00:53:57,120
Speaker 1: clicks that get added into it when you reproduce a sound,

937
00:53:57,440 --> 00:54:00,719
Speaker 1: an analog sound, whereas with digital, yes, it's not the

938
00:54:00,920 --> 00:54:03,960
Speaker 1: entire waveform of the whole thing, it's measurements of it.

939
00:54:04,120 --> 00:54:07,360
Speaker 1: But it's such a mind boggling number of measurements with

940
00:54:07,440 --> 00:54:11,200
Speaker 1: a mind boggling amount of information that most people say,

941
00:54:11,280 --> 00:54:13,759
Speaker 1: not only can you not tell what's lost in a

942
00:54:13,800 --> 00:54:18,399
Speaker 1: digital recording, some people say digital recordings are actually better, right,

943
00:54:18,480 --> 00:54:20,760
Speaker 1: But to be clear, we are talking about a digital

944
00:54:20,800 --> 00:54:25,080
Speaker 1: recording as in a c D, which has about for

945
00:54:25,400 --> 00:54:28,640
Speaker 1: a little more than four kill a bits per second

946
00:54:29,560 --> 00:54:33,279
Speaker 1: UH worth of information, which is super high. UM. If

947
00:54:33,320 --> 00:54:37,080
Speaker 1: you're talking, you know, streaming something from a streaming service,

948
00:54:37,760 --> 00:54:39,319
Speaker 1: there is a difference, and you don't have to be

949
00:54:39,360 --> 00:54:42,480
Speaker 1: an audio file to tell UH it is a thinner sound.

950
00:54:42,600 --> 00:54:45,880
Speaker 1: It's ten ear UH. It is compressed down from the

951
00:54:45,920 --> 00:54:48,680
Speaker 1: CD size, which is a little over fourteen hundred two

952
00:54:48,760 --> 00:54:52,080
Speaker 1: between ninety and a hundred and sixty uh kill a

953
00:54:52,120 --> 00:54:55,759
Speaker 1: bits per second. So that's a lot of compression going on.

954
00:54:56,000 --> 00:55:00,600
Speaker 1: And Dave points out that you um like you're probably

955
00:55:00,600 --> 00:55:04,239
Speaker 1: playing that through like in a bluetooth speaker maybe or earbuds,

956
00:55:05,000 --> 00:55:08,080
Speaker 1: not very good quality. If you if you do think

957
00:55:08,080 --> 00:55:10,440
Speaker 1: the records sound better, it's probably because you're at your

958
00:55:10,440 --> 00:55:14,160
Speaker 1: audio file friend's house who collects records and who also

959
00:55:14,200 --> 00:55:18,400
Speaker 1: places it through a really high quality amplifier instead of speakers.

960
00:55:18,440 --> 00:55:21,920
Speaker 1: So you know the sound between the difference between that

961
00:55:22,000 --> 00:55:25,239
Speaker 1: and UH streaming something through a bluetooth speaker earbuds is

962
00:55:25,280 --> 00:55:28,400
Speaker 1: just nine and day. Yeah, because so that the the stamp,

963
00:55:28,480 --> 00:55:31,239
Speaker 1: the bit rate is just the number of measurements taken, right,

964
00:55:31,320 --> 00:55:33,239
Speaker 1: and measurements are not exact. It's the kind of a

965
00:55:33,280 --> 00:55:36,319
Speaker 1: snapshot of the thing. It's not the whole thing, like

966
00:55:36,360 --> 00:55:39,239
Speaker 1: a record is the whole sound wave. But I ran

967
00:55:39,280 --> 00:55:41,239
Speaker 1: across something, Chuck that just kind of puts the whole

968
00:55:41,360 --> 00:55:44,480
Speaker 1: argument to bed. And I noticed it in that video

969
00:55:44,560 --> 00:55:46,960
Speaker 1: you said about how records are made at that record

970
00:55:47,320 --> 00:55:51,240
Speaker 1: Um manufacturer in Nashville. Did you notice that they started

971
00:55:51,239 --> 00:55:56,200
Speaker 1: out with a digital file. Well, yeah, I mean yeah,

972
00:55:56,280 --> 00:55:59,239
Speaker 1: it was a pro tools file. It was so they

973
00:55:59,280 --> 00:56:03,520
Speaker 1: transferred a digital file onto a record. So the whole

974
00:56:03,520 --> 00:56:06,400
Speaker 1: difference for anything that's ever been put to a record

975
00:56:06,400 --> 00:56:08,840
Speaker 1: from a digital file is out the window. Your arguments

976
00:56:08,880 --> 00:56:12,839
Speaker 1: just totally moot because you started out with a digital file. Yeah,

977
00:56:12,840 --> 00:56:17,040
Speaker 1: but it's a huge digital file, but it's still digital,

978
00:56:17,080 --> 00:56:21,000
Speaker 1: which means it's not in precise representation of the exact same,

979
00:56:21,280 --> 00:56:23,799
Speaker 1: same thing. But other people say, well a records not neither.

980
00:56:23,840 --> 00:56:25,799
Speaker 1: There's just too many, too much room for air, it

981
00:56:25,840 --> 00:56:28,239
Speaker 1: can't possibly be precise. But I think you said it

982
00:56:28,239 --> 00:56:31,600
Speaker 1: you don't have to choose. Yeah, I agreed you got

983
00:56:31,600 --> 00:56:34,319
Speaker 1: anything else about Vinyl records because I could keep going. Man,

984
00:56:34,360 --> 00:56:38,680
Speaker 1: this is fun. Uh A little fun tidbit about my mom.

985
00:56:38,680 --> 00:56:41,680
Speaker 1: When she was little living in Memphis, Tennessee. She my

986
00:56:41,719 --> 00:56:44,160
Speaker 1: granddad took her into I think it was called the

987
00:56:44,200 --> 00:56:48,480
Speaker 1: Memphis Recording Studio that's pretty on the nose and recorded

988
00:56:48,480 --> 00:56:53,239
Speaker 1: her playing um, the clarinet or something and left with

989
00:56:53,280 --> 00:56:57,440
Speaker 1: a record and that later became Sun Records. So technically

990
00:56:57,560 --> 00:57:01,480
Speaker 1: my mom recorded where a wasp pressly recorded. That is

991
00:57:01,520 --> 00:57:04,319
Speaker 1: pretty amazing, man, I think that's true. That's a story

992
00:57:04,360 --> 00:57:06,640
Speaker 1: I got. I'm sticking to it. I think there's a

993
00:57:06,760 --> 00:57:09,839
Speaker 1: very charming story to end on Charles. So let's go

994
00:57:09,920 --> 00:57:14,719
Speaker 1: instead to listener mail. How about that? Ah? Yeah, this

995
00:57:14,760 --> 00:57:18,440
Speaker 1: is a quickie about de farting a lot after colonoscopies,

996
00:57:18,480 --> 00:57:21,840
Speaker 1: which we talked about the vine. Hey, guys, I am

997
00:57:22,000 --> 00:57:26,880
Speaker 1: Chuck the gastro and grology technician, huge fan of the

998
00:57:26,880 --> 00:57:29,960
Speaker 1: show and I don't think I missed a single episode.

999
00:57:30,000 --> 00:57:33,920
Speaker 1: I was regarding your different experiences after colonoscopies because I

1000
00:57:33,960 --> 00:57:36,880
Speaker 1: was super farty and you don't remember being super party, right,

1001
00:57:36,920 --> 00:57:41,760
Speaker 1: I was super high. That's right. Uh. Air is injected

1002
00:57:41,840 --> 00:57:45,040
Speaker 1: during the procedure to purposefully distend the colon for a

1003
00:57:45,040 --> 00:57:48,320
Speaker 1: better view of all the walls and easier passages to

1004
00:57:48,400 --> 00:57:51,200
Speaker 1: the holy land. And it makes your hands puff up

1005
00:57:51,200 --> 00:57:53,720
Speaker 1: like a cabbage patch kid, which everybody likes to see.

1006
00:57:54,440 --> 00:57:58,320
Speaker 1: Some facilities use air, which will result in the fart party.

1007
00:57:58,800 --> 00:58:02,680
Speaker 1: Some facilities use the more expensive carbon dioxide, which is

1008
00:58:02,680 --> 00:58:05,920
Speaker 1: absorbed by your colon breathe out your lungs and results

1009
00:58:05,920 --> 00:58:09,000
Speaker 1: in a more comfortable experience. This is a possible cause

1010
00:58:09,000 --> 00:58:13,120
Speaker 1: for the difference between your experiences. You may still get

1011
00:58:13,160 --> 00:58:15,760
Speaker 1: a little gassy after CEO two, um, but I can

1012
00:58:15,800 --> 00:58:19,280
Speaker 1: assure you that recovery rooms in the CEO two facility

1013
00:58:19,360 --> 00:58:21,960
Speaker 1: are not full of farts and is a more pleasant

1014
00:58:21,960 --> 00:58:24,800
Speaker 1: experience for the patient in general. Did you go to

1015
00:58:24,840 --> 00:58:29,800
Speaker 1: Bargain Bargain Barn Hospital for yours when cold to colon ascopes?

1016
00:58:29,800 --> 00:58:35,320
Speaker 1: Are us spatulous city or the colon Barn? I guess

1017
00:58:35,360 --> 00:58:38,760
Speaker 1: so it was pretty fun. I enjoyed the fart barn Um.

1018
00:58:38,800 --> 00:58:41,560
Speaker 1: And this is from Chuck and he says, ps g

1019
00:58:41,800 --> 00:58:44,640
Speaker 1: I is the best department butts in guts for the wind.

1020
00:58:45,160 --> 00:58:48,880
Speaker 1: Nice nice work. Chuck. Nice work you two, Chuck. Uh.

1021
00:58:49,800 --> 00:58:52,280
Speaker 1: Thanks man. If you want to be like Chuck, either

1022
00:58:52,320 --> 00:58:54,560
Speaker 1: one well, no really, the one that just wrote in.

1023
00:58:54,800 --> 00:58:57,200
Speaker 1: You can write into us too and send us an

1024
00:58:57,200 --> 00:59:04,520
Speaker 1: email to Stuff Podcasts and i art radio dot com.

1025
00:59:04,560 --> 00:59:06,880
Speaker 1: Stuff you Should Know is a production of I heart Radio.

1026
00:59:07,360 --> 00:59:09,919
Speaker 1: For more podcasts My heart Radio, visit the i heart

1027
00:59:09,960 --> 00:59:12,880
Speaker 1: Radio app, Apple Podcasts, or wherever you listen to your

1028
00:59:12,880 --> 00:59:16,520
Speaker 1: favorite shows. H