Learning Yacht Design

Back Issues for Sale All these free boat plans can be built by anyone with a modicum of common sense design your own boat online class a few basic woodworking skills and tools.

However, if you haven't got the skills and tools yet, this is a great way to acquire. Back Issues for Sale One of the beauties of building yourself is that you don't have to buy everything at once, just get what you need when you can afford it.

While some of the instructions suggest using exterior plywood, I would recommend always to use marine grade. If you need help with lofting out the plans click here for an article here which should help. Combining the features of both kayak and canoe, "Blue Bill" is for those out-of-doors-men who hunt or the sportsmen who need an ultra-light-weight portable boat for use upon any waters.

Besides being usable to build a double-end paddling model, a few changes permit the plans to be used for making a canoe that will accommodate outboard design your own boat online class up to 6 hp. Click Design your own boat online class for the Plans. This kayak is the answer for young people who want to build an inexpensive boat for summer fun.

A shop full of power tools isn't necessary. All the work can be done with ordinary hand tools and a few C clamps. This Free Boat Plan will carry one adult but it's handiest when paddled by a youngster. The boat is stable in the water and, even though it can be turned over, it won't sink.

It's also light enough to be carried with ease. Building is so simple that the 'Jig' consists of only two blocks and a few bricks.

For many years a favourite of hunters, trappers and traders the kayak now is as popular with Europeans as the outboard boat is with Americans.

Although this boat was designed to carry two people, it will accommodate three in a pinch and gear may be stowed under fore and after decks. A few strokes with the double paddle will send it gliding across the water with the minimum of effort on your.

Kayaks are surprisingly seaworthy, too�more stable than a canoe, in fact, because the occupants sit on the bottom of the hull which lowers the center of gravity.

This one is being built by Greg Allore. If you have ever struggled with the oars of a heavy, slow-moving rowboat and then paddled a swift, design your own boat online class manoeuvrable canoe you can appreciate why many true sportsmen prefer canoes.

But, too often, the multi-ribbed conventional canoe is not only hard to build but too thin-skinned for hard usage. This Free Boat Plan teams up plywood and fiberglass to produce a tough, scrape-proof canoe you can build in one-tenth the time it would take you to turn out a conventional canoe. The use of only one frame offsets the extra weight of using plywood, so that this canoe is still light enough for comfortable portage.

Canoes are not easy to build, but here is one Free Boat Plan that can be made of ordinary materials for a fraction of the cost of conventional canoes. It has attractive molded lines and may be built either as a paddling model or, with slight changes, adapted for use with small outboard motors. In all countries of the world, particularly the United States, the kayak is enjoying newfound popularity.

Here's a nimble, lightweight craft that has its roots in the Arctic as a basic instrument of survival, yet is branching out as a modern outdoor sport on our own rivers and lakes. When he's laced into his whale-bone and walrus-hide craft, he's ready for anything in the way of water or weather. It's perfect for poking around uninhabited Islands, exploring the bends of a lazy, winding river, or just breaking the peaceful surface of a placid lake at sunset.

You can build this 74lb, 16 foot canoe using redwood strips, an old boat-building technique. Two persons can sit side by side in the center with one person at each end and plenty of room for gear. You lay up the strips, remove the form, and the canoe is complete, except for fiberglassing and putting in the seats. The plans can also be used to build a foot version of this strip planked canoe.

This means that while she can accommodate two in outrageous comfort, she can easily take design your own boat online class family of four on an extended vacation and be entirely self-contained. The dining table, in the rear section of the cabin, seats four and then drops down to convert into an extra bunk 6 ft.

Cabin headroom is 6 ft. Bayou Belle is a 25' scow that can be built as a sports utility, a fishing boat, or a houseboat, depending on your requirements for pleasure offshore.

As a sports utility, she can be design your own boat online class for towing water skiers and for cruising, as a fishing boat, she offers a stable platform with plenty of elbow room design your own boat online class stowage space.

Construction of Bayou Belle makes use of prefabricated sections, which means that much of the work can be done indoors in the average garage during the cold winter months, and the boat completed outdoors in time for launching in late spring.

A houseboat is a unique water craft in that it combines most of the comforts of home with the mobility of a boat. Of course, use is limited to sheltered waters, and speeds are slow in comparison to more sea worthy vessels. An extremely simple houseboat to build, the free boat plans feature a strong hull with a heavy keel and close-spaced framing.

Click Here for the free Plans. It was only 8 feet long and I clocked it at 33 mph with a 9. Build time about hrs. Register your interest �.

Woodboat building questions a Forum for wooden boat building, plans, lumber, caulking compounds and other boat building problems. A Worm Shoe is a non structural piece of wood whose 'sole' purpose is to protect the underwater wooden parts of a wooden boat keel, they need checking and replacing regularly.

Ring Nails sometimes call Gripfast or ring shank, silicon bronze boat nails are renowned for their holding power. Wood Screws are the most widely used and versatile fasteners used on wooden boats. Which type to use and how to use.

A brief description of the most common Timber used for building Wooden Boats how to choose wood for your project boat. A brief guide to timber properties and wood, characteristics such as strength, stiffness and elasticity for choosing lumber for wooden boat building and restoration. Air conditioning. Water maker. New kitchen Bow thruster. Hi my name is Sarah. My dad Robert Spinks loved boats and sailing on the Norfolk broads and at sea, he spent many months blood sweat and tears restoring.

Does anybody have pictures of original look for a Elgin 14ft deluxe runabout? Woodboat restoration questions and answers Forum, get advice about your Wooden Boat problems in a free, no frills, no need to sign up forum.

Woodboat materials questions a Forum for Wooden Boat owners on wood, caulking, epoxy, sail cloth and related problems. Don't allow Design your own boat online class Your Wooden Boat to become a chore, make a list, spread the jobs and visit her regularly, a wooden boat is not just for summer.

The ultimate bottom repair for design your own boat online class vintage wood boat, when re-caulking the planking on your classic antique wooden runabout is no longer sufficient to make her watertight. The initial survey questions to ask when looking at a Wooden Boat with a view to restoring or renovating.

Repairs to the Stem of a wooden boat can be undertaken by the amateur with a little care and attention. Privacy Policy. Advertising Policy. Cookie Policy. I am perfectly aware that the majority of Wooden Boat aficionados design your own boat online class sensible folk.

However, I need to point out that I am an amateur wooden boat enthusiast simply writing in order to try to help other amateur wooden boat enthusiasts. DIY Wood Boat. Home Free Boat Plans. Back Issues for Sale. This canoe is formed around plywood templates using redwood strips glued edge to edge.

Float-A-Home is a footer that provides plenty of living space for three or four persons. This, coupled with a relatively low design your own boat online class, makes it a very stable craft. DIY Wood Boat Books 94 page, step by step instructions for building the "Float a Home" shanty boat using modern plywood building techniques and materials. Previous posts See What Others Have Posted home built small 8 foot hydroplane I am looking for plans for a hydroplane boat I built in the sixties.

DIY Woodboat Building Questions Woodboat building questions a Forum for wooden boat building, plans, lumber, caulking compounds and other boat building problems.

Worm shoe Sacrificial Protection for Wooden Boats A Worm Shoe is a non structural piece of wood whose 'sole' purpose is to protect the underwater wooden parts of a wooden boat keel, they need checking and replacing regularly.

Ring Nails for Marine Fastening. How to use Copper Rivets and Roves construction guide to fasteners on your wooden boat. How to use Clench Nails, these provide a fast reliable method for fastening small wooden boats. Wood Screws for Boat Building and Repair. Make sure that the Wood that you buy and use is sustainably grown and harvested.

Timber, Lumber for Boat Building. Timber Properties A brief guide to timber properties and wood, characteristics such as strength, stiffness and elasticity for choosing lumber for wooden boat building and restoration.

Taking up, how a Design your own boat online class Boat Becomes Watertight. Recent Articles. You might like. DIY Woodboat Restoration Questions Woodboat restoration questions design your own boat online class answers Forum, get advice about your Wooden Boat problems in a free, no frills, no need to sign up forum.

Wood Rot Repair and Treatment Wood rot in wooden boats, how to treat, repair and replace rotten timbers in a wooden boat. Winterizing Your Wooden Boat Don't allow Winterizing Your Wooden Boat to become a chore, make a list, spread the jobs and visit her regularly, a wooden boat is not just for summer.

Vintage wood Boat Bottom Replacement The ultimate bottom repair for a vintage wood boat, when re-caulking the planking on your classic antique wooden runabout is no longer sufficient to make her watertight. Surveying a wood boat The problem areas to look out for when surveying an old wooden boat. Initial Boat Survey Checklist The initial survey questions to ask when looking at a Wooden Boat with a view to restoring or renovating.

Stem and Stern Post Rebuilding Repairs to the Stem of a wooden boat can be undertaken by the amateur with a little care and attention.


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Because the surface speed of the record is lower at the end, the relative speed error from the same absolute distance error is higher at the end, and the increase in tempo is more notable towards the end than the decrease towards the middle. This can be somewhat reduced by a curved arm pivoted so that the end point of the arc stays farther from the linear path than the starting point, or by a long straight arm that pivots perpendicularly to the linear path in the middle of the record.

However the tempo droop at the middle can only be completely avoided by a linear tracking arm. If the arm is not pivoted, but instead carries the stylus along a radius of the disc, there is no skating force and little to no cartridge angle error.

Such arms are known as linear tracking or tangential arms. These are driven along a track by various means, from strings and pulleys, to worm gears or electromagnets. The cartridge's position is usually regulated by an electronic servomechanism or mechanical interface, moving the stylus properly over the groove as the record plays, or for song selection.

There are long-armed and short-armed linear arm designs. On a perfectly flat record a short arm will do, but once the record is even slightly warped, a short arm will be troublesome. Any vertical motion of the record surface at the stylus contact point will cause the stylus to considerably move longitudinally in the groove.

This will cause the stylus to ride non-tangentially in the groove and cause a stereo phase error as well as pitch error every time the stylus rides over the warp. Also the arm track can come into touch with the record. A long arm will not completely eliminate this problem but will tolerate warped records much better. These were eclipsed by more successful implementations of the concept from the late s through the early s.

These models positioned the track outside the platter's edge, as did turntables by Harman Kardon, Mitsubishi, Pioneer, Yamaha, Sony, etc. A s design from Revox harkened back to the s attempts and, record lathes , positioning the track directly over the record.

An enclosed bridge-like assembly is swung into place from the platter's right edge to its middle. Once in place, a short tonearm under this "bridge" plays the record, driven across laterally by a motor.

The Technics SL , introduced in , was the first direct drive linear tracking turntable, and placed the track and arm on the underside of the rear-hinged dust cover, to fold down over the record, similar to the SL-Q6 pictured. The earliest Edison phonographs used horizontal, spring-powered drives to carry the stylus across the recording at a pre-determined rate.

The resources it takes to produce one incredible linear turntable could produce several excellent ones. Some of the most sophisticated and expensive tonearms and turntable units ever made are linear trackers, from companies such as Rockport and Clearaudio. In theory, it seems nearly ideal; a stylus replicating the motion of the recording lathe used to cut the "master" record could result in minimal wear and maximum sound reproduction.

In practice, in vinyl's heyday it was generally too much too late. Since the early s, an elegant solution has been the near-frictionless air bearing linear arm that requires no tracking drive mechanism other than the record groove.

This provides a similar benefit as the electronic linear tonearm without the complexity and necessity of servo-motor correction for tracking error. In this case the trade-off is the introduction of pneumatics in the form of audible pumps and tubing.

A more elegant solution is the mechanically driven low-friction design, also driven by the groove. Examples include Souther Engineering U. This design places an exceeding demand upon precision engineering due to the lack of pneumatics.

Historically, most high-fidelity "component" systems preamplifiers or receivers that accepted input from a phonograph turntable had separate inputs for both ceramic and magnetic cartridges typically labeled "CER" and "MAG". One piece systems often had no additional phono inputs at all, regardless of type. Most systems today, if they accept input from a turntable at all, are configured for use only with magnetic cartridges. Manufacturers of high-end systems often have in-built moving coil amplifier circuitry, or outboard head-amplifiers supporting either moving magnet or moving coil cartridges that can be plugged into the line stage.

Additionally, cartridges may contain styli or needles that can be separated according to their tip: Spherical styli, and elliptical styli.

Spherical styli have their tip shaped like one half of a sphere, and elliptical styli have their tip shaped like one end of an ellipse. Spherical styli preserve more of the groove of the record than elliptical styli, while elliptical styli offer higher sound quality.

Early electronic phonographs used a piezo-electric crystal for pickup though the earliest electronic phonographs used crude magnetic pick-ups , where the mechanical movement of the stylus in the groove generates a proportional electrical voltage by creating stress within a crystal typically Rochelle salt.

Crystal pickups are relatively robust, and produce a substantial signal level which requires only a modest amount of further amplification. The output is not very linear however, introducing unwanted distortion. It is difficult to make a crystal pickup suitable for quality stereo reproduction, as the stiff coupling between the crystal and the long stylus prevents close tracking of the needle to the groove modulations.

This tends to increase wear on the record, and introduces more distortion. Another problem is the hygroscopic nature of the crystal itself: it absorbs moisture from the air and may dissolve. The crystal was protected by embedding it in other materials, without hindering the movement of the pickup mechanism itself. After a number of years, the protective jelly often deteriorated or leaked from the cartridge case and the full unit needed replacement.

The next development was the ceramic cartridge, a piezoelectric device that used newer and better materials. These were more sensitive, and offered greater compliance , that is, lack of resistance to movement and so increased ability to follow the undulations of the groove without gross distorting or jumping out of the groove.

Higher compliance meant lower tracking forces and reduced wear to both the disc and stylus. It also allowed ceramic stereo cartridges to be made. Between the s and s, ceramic cartridges became common in low-quality phonographs, but better high-fidelity or "hi-fi" systems used magnetic cartridges.

The availability of low-cost magnetic cartridges from the s onwards made ceramic cartridges obsolete for essentially all purposes. The result, a much smoother frequency curve extended the lifetime for this popular and very cheap type.

There are two common designs for magnetic cartridges, moving magnet MM and moving coil MC originally called dynamic. Both operate on the same physics principle of electromagnetic induction. The moving magnet type was by far the most common and more robust of the two, though audiophiles often claim that the moving coil system yields higher fidelity sound. In either type, the stylus itself, usually of diamond, is mounted on a tiny metal strut called a cantilever, which is suspended using a collar of highly compliant plastic.

This gives the stylus the freedom to move in any direction. On the other end of the cantilever is mounted a tiny permanent magnet moving magnet type or a set of tiny wound coils moving coil type. The magnet is close to a set of fixed pick-up coils, or the moving coils are held within a magnetic field generated by fixed permanent magnets.

In either case, the movement of the stylus as it tracks the grooves of a record causes a fluctuating magnetic field, which causes a small electric current to be induced in the coils. This current closely follows the sound waveform cut into the record, and may be transmitted by wires to an electronic amplifier where it is processed and amplified in order to drive a loudspeaker.

Depending upon the amplifier design, a phono-preamplifier may be necessary. In most moving magnet designs, the stylus itself is detachable from the rest of the cartridge so it can easily be replaced. There are three primary types of cartridge mounts. The most common type is attached using two small screws to a headshell that then plugs into the tonearm, while another is a standardized "P-mount" or "T4P" cartridge invented by Technics in and adopted by other manufacturers that plugs directly into the tonearm.

Many P-mount cartridges come with adapters to allow them to be mounted to a headshell. The third type is used mainly in cartridges designed for DJ use and it has a standard round headshell connector. Some mass market turntables use a proprietary integrated cartridge that cannot be upgraded. In these units, the magnet itself sits behind the four coils and magnetises the cores of all four coils. The moving iron cross at the other end of the coils varies the gaps between itself and each of these cores, according to its movements.

These variations lead to voltage variations as described above. Strain gauge or "semiconductor" cartridges do not generate a voltage, but act like a variable resistor, whose resistance directly depends on the movement of the stylus.

Thus, the cartridge "modulates" an external voltage supplied by the special preamplifier. The main disadvantage is the need of a special preamplifier that supplies a steady current typically 5mA to the semiconductor elements and handles a special equalization than the one needed for magnetic cartridges.

A high-end strain-gauge cartridge is currently sold by an audiophile company, with special preamplifiers available. Electrostatic cartridges [54] were marketed by Stax in the and years. They needed individual operating electronics or preamplifiers. A few specialist laser turntables read the groove optically using a laser pickup.

Since there is no physical contact with the record, no wear is incurred. However, this "no wear" advantage is debatable, since vinyl records have been tested to withstand even plays with no significant audio degradation, provided that it is played with a high quality cartridge and that the surfaces are clean.

An alternative approach is to take a high-resolution photograph or scan of each side of the record and interpret the image of the grooves using computer software. An amateur attempt using a flatbed scanner lacked satisfactory fidelity. A smooth-tipped stylus in popular usage often called a needle due to the former use of steel needles for the purpose is used to play the recorded groove.

A special chisel-like stylus is used to engrave the groove into the master record. The stylus is subject to hard wear as it is the only small part that comes into direct contact with the spinning record. In terms of the pressure imposed on its minute areas of actual contact, the forces it must bear are enormous. There are three desired qualities in a stylus: first, that it faithfully follows the contours of the recorded groove and transmits its vibrations to the next part in the chain; second, that it does not damage the recorded disc; and third, that it is resistant to wear.

A worn-out, damaged or defective stylus tip will degrade audio quality and injure the groove. Different materials for the stylus have been used over time. Thomas Edison introduced the use of sapphire in and the use of diamond in for his cylinder phonographs.

The Edison Diamond Disc players � , when properly played, hardly ever required the stylus to be changed. The styli for vinyl records were also made out of sapphire or diamond. It uses a sapphire stem on which a diamond tip is fixed by a special adhesive. A stylus tip mass as low as 0. Maximum distortion 2nd harmonic fell below 0. The most common material was steel, although other materials such as copper, tungsten , bamboo and cactus were used.

Steel needles needed to be replaced frequently, preferably after each use, due to their very rapid wear from bearing down heavily on the mildly abrasive shellac record. Rapid wear was an essential feature so that their imprecisely formed tips would be quickly worn into compliance with the groove's contours.

Advertisements implored customers to replace their steel needles after each record side. Steel needles were inexpensive, e. They were available in different thicknesses and lengths.

Thick, short needles produced strong, loud tones while thinner, longer needles produces softer, muted tones. In , in the face of a wartime steel shortage, Victor introduced their "Tungs-Tone" brand extra-long-playing needle, which was advertised to play between and records. It consisted of a brass shank into which a very hard and strong tungsten wire, somewhat narrower than the standard record groove, had been fitted.

The protruding wire wore down, but not out, until it was worn too short to use. Later in the 78 rpm era, hardened steel and chrome-plated needles came on the market, some of which were claimed to play 10 to 20 record sides each. When sapphires were introduced for the 78 rpm disc and the LP, they were made by tapering a stem and polishing the tip to a sphere with a radius of around 70 and 25 micrometers respectively. A sphere is not equal to the form of the cutting stylus and by the time diamond needles came to the market, a whole discussion was started on the effect of circular forms moving through a non-circular cut groove.

It can be easily shown that vertical, so called "pinching" movements were a result and when stereophonic LPs were introduced, unwanted vertical modulation was recognized as a problem. Also, the needle started its life touching the groove on a very small surface, giving extra wear on the walls. Another problem is in the tapering along a straight line, while the side of the groove is far from straight.

Both problems were attacked together: by polishing the diamond in a certain way that it could be made doubly elliptic. With this approach a number of irregularities were eliminated. Furthermore, the angle of the stylus, which used to be always sloping backwards, was changed into the forward direction, in line with the slope the original cutting stylus possessed.

These styli were expensive to produce, but the costs were effectively offset by their extended lifespans. The next development in stylus form came about by the attention to the CD-4 quadraphonic sound modulation process, which requires up to 50 kHz frequency response, with cartridges like Technics EPCCMK4 capable of playback on frequencies up to kHz. A narrow-profile elliptical stylus is able to read the higher frequencies greater than 20 kHz , but at an increased wear, since the contact surface is narrower.

For overcoming this problem, the Shibata stylus was invented around in Japan by Norio Shibata of JVC, [58] fitted as standard on quadraphonic cartridges, and marketed as an extra on some high-end cartridges. The Shibata-designed stylus offers a greater contact surface with the groove, which in turn means less pressure over the vinyl surface and thus less wear.

A positive side effect is that the greater contact surface also means the stylus will read sections of the vinyl that were not touched or "worn" by the common spherical stylus. In a demonstration by JVC [59] records "worn" after plays at a relatively very high 4. Other advanced stylus shapes appeared following the same goal of increasing contact surface, improving on the Shibata.

A keel-shaped diamond stylus appeared as a byproduct of the invention of the CED Videodisc. This, together with laser-diamond-cutting technologies, made possible the "ridge" shaped stylus, such as the Namiki [64] design, and Fritz Gyger [65] design.

It is important to point out that most of those stylus profiles are still being manufactured and sold, together with the more common spherical and elliptical profiles. This is despite the fact that production of CD-4 quadraphonic records ended by the late s. Early materials in the 19th century were hardened rubber, wax, and celluloid, but early in the 20th century a shellac compound became the standard. Since shellac is not hard enough to withstand the wear of steel needles on heavy tone arms, filler made of pulverized shale was added.

Shellac was also fragile, and records often shattered or cracked. This was a problem for home records, but it became a bigger problem in the late s with the Vitaphone sound-on-disc motion picture "talkie" system, developed in To solve this problem, in , RCA Victor made unbreakable records by mixing polyvinyl chloride with plasticisers, in a proprietary formula they called Victrolac, which was first used in , in motion picture discs, [66] and experimentally, in home records, the same year.

However, with Sound-on-film achieving supremacy over sound-on-disc by , the need for unbreakable records diminished and the production of vinyl home recordings was dropped as well, for the time being.

The Victrolac formula improved throughout the s, and by the late 30s the material, by then called vinylite, was being used in records sent to radio stations for radio program records, radio commercials, and later, DJ copies of phonograph records, because vinyl records could be sent through the mail to radio stations without breaking.

Vinylite was made domestically, though, and was being used for V-discs during the war. Record company engineers took a much closer look at the possibilities of vinyl, possibly that it might even replace shellac as the basic record material.

For a few years thereafter, however, 78 RPM records continued to be made in shellac until that format was phased out around Early "acoustical" record players used the stylus to vibrate a diaphragm that radiated the sound through a horn. Several serious problems resulted from this:. The introduction of electronic amplification allowed these issues to be addressed.

Records are made with boosted high frequencies and reduced low frequencies, which allow for different ranges of sound to be produced. This reduces the effect of background noise, including clicks or pops, and also conserves the amount of physical space needed for each groove, by reducing the size of the low-frequency undulations. During playback, the high frequencies must be rescaled to their original, flat frequency response�known as "equalization"�as well as being amplified.

A phono input of an amplifier incorporates such equalization as well as amplification to suit the very low level output from a modern cartridge. Most hi-fi amplifiers made between the s and the s and virtually all DJ mixers are so equipped. The widespread adoption of digital music formats, such as CD or satellite radio, has displaced phonograph records and resulted in phono inputs being omitted in most modern amplifiers.

Some newer turntables include built-in preamplifiers to produce line-level outputs. Inexpensive and moderate performance discrete phono preamplifiers with RIAA equalization are available, while high-end audiophile units costing thousands of dollars continue to be available in very small numbers. Phono inputs are starting to reappear on amplifiers in the s due to the vinyl revival.

Since the late s, almost all phono input stages have used the RIAA equalization standard. Recordings made using these other equalization schemes will typically sound odd if they are played through a RIAA-equalized preamplifier.

High-performance so-called "multicurve disc" preamplifiers, which include multiple, selectable equalizations, are no longer commonly available. However, some vintage preamplifiers, such as the LEAK varislope series, are still obtainable and can be refurbished. Turntables continue to be manufactured and sold in the s, although in small numbers. While some audiophiles still prefer the sound of vinyl records over that of digital music sources mainly compact discs , they represent a minority of listeners.

Vinyl enthusiasts are often committed to the refurbishment and sometimes tweaking of vintage systems. Updated versions of the s era Technics SL production ceased in [70] have remained an industry standard for DJs to the present day. Turntables and vinyl records remain popular in mixing mostly dance-oriented forms of electronic music, where they allow great latitude for physical manipulation of the music by the DJ.

In hip hop music and occasionally in other genres, the turntable is used as a musical instrument by DJs , who use turntables along with a DJ mixer to create unique rhythmic sounds. Manipulation of a record as part of the music, rather than for normal playback or mixing, is called turntablism. The basis of turntablism, and its best known technique, is scratching , pioneered by Grand Wizzard Theodore.

It was not until Herbie Hancock 's " Rockit " in that the turntablism movement was recognized in popular music outside of a hip hop context. In the s, many hip hop DJs use DJ CD players or digital record emulator devices to create scratching sounds; nevertheless, some DJs still scratch with vinyl records. The laser turntable uses a laser as the pickup instead of a stylus in physical contact with the disk.

It was conceived of in the late s, although early prototypes were not of usable audio quality. Practical laser turntables are now being manufactured by ELPJ. They are favoured by record libraries and some audiophiles since they eliminate physical wear completely. Experimentation is in progress in retrieving the audio from old records by scanning the disc and analysing the scanned image, rather than using any sort of turntable.

Although largely replaced since the introduction of the compact disc in , record albums still sell in small numbers and are available through numerous sources. USB turntables have a built-in audio interface, which transfers the sound directly to the connected computer. There are also many turntables on the market designed to be plugged into a computer via a USB port for needle dropping purposes.

Responding to longtime calls by fans and disc jockeys, Panasonic Corp. The new analog turntable, which would come with new direct-drive motor technologies that Panasonic says would improve the quality of sound, would be released sometime between April and March , the Japanese electronics company announced on September 2, From Wikipedia, the free encyclopedia.

For its use as a musical instrument, see Turntablism. For other uses, see Turntable disambiguation. For other uses, see Gramophone disambiguation. Not to be confused with Phonogram.

Device for playback of acoustic sounds stored as deviations on a disk or cylinder. This section needs additional citations for verification.

Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. July Learn how and when to remove this template message. Main article: Phonautograph. This recording enticed store customers with the wonders of the invention.

See also: Graphophone. Play media. This section does not cite any sources. Please help improve this section by adding citations to reliable sources. November Learn how and when to remove this template message. Main article: Belt-drive turntable. Main article: Direct-drive turntable. See also: Turntablism. For the musician, see Tonearm musician. Main article: Magnetic cartridge.

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