Gramaphone records

In 1969, It began as a selection of house 12-inch records behind the counter that patrons could ask the friendly staff to play on the record player behind the counter. If you liked it, it was yours—unless someone wanted to fight you for the last copy. Soon enough, as the scene and its subgenres grew, locally and globally (they still have UK jungle and dubstep sections), dance records came to dominate the space. It has occupied a larger—yet still intimate and inviting—space since 2005, under current owner Michael Serafini. As you walk across its black-and-white checkered floors, you can dig through records meticulously organized by dance genres and subgenres, with a small section for other music. The 53-year-old beloved Chicago intuition is known for having friendly and knowledgeable staff to help you find exactly the sound you're craving and to discover something new. It truly is a DJ's record store. Legendary Chicago DJs, back when they were carving out a name for themselves in the growing local scene, including Derrick Carter, DJ Heather, Collette, Mark Farina, and DJ Sneak, worked there during the golden era of Chicago house in the late '80s through mid-90s. Ravers and fellow DJs would come in to find out what records they'd played last night, like an analog Shazam. And long before you could enjoy them on SoundCloud, artists would sell their mixes at Gramaphone. "If you came in there in the '80s and '90s, you would see some of the hottest DJs on the scene actually worki...

In a Gramaphone has employed a shocking number of Chicago house DJs over the years. De La Pena is one of them. “There [have] been many artists [and] DJs that have worked there: everybody from Derrick Carter to Ralphi Rosario, DJ Sneak, Psycho-B,” he says. “It was a fun little job that a lot of us worked part-time, before a lot of those DJs were touring and making a living from it.” De La Pena interviews Gramaphone owner Michael Serafini. Way back in 2008, The future, ready or not, is now. Gramaphone survived the pandemic, as it’s survived countless recessions and technological shocks. But the world is different on the other side, and so is the record business. For one, the opening of clubs hasn’t actually lead to more local DJs trudging into the shop. “There hasn’t necessarily been an uptick in them coming to the shop,” Serafini told De La Pena. “The clubs are opening up now, but the clubs are digital. That’s not really a vinyl scene… Definitely there [are] still people who buy 12-inch singles and guys who are DJing with vinyl, but it definitely is not like it was back in the day for sure.” Records that are being made with long intros and long outros — records made specifically for DJs — are not necessarily being sold to DJs. “We see with electronic music that people are pressing compilations on vinyl more now than before,” Serafini notes, “People are listening, not just DJing with those.” As the customers have changed, so has the role of the record shop. “I’ve become Prof...

Music plays an outsized role in the cultural lifeblood of Chicago. It’s a city that has served as a bassinet for the electrified delta blues, modern gospel music, creative jazz music, alt-country and house music (among countless other sub-genres.) And two long-standing cathedrals of Chicago’s music culture are record stores and clubs, places where lovers of sound can connect and build. Vocalo Radio in Chicago lets us in on how one such cathedral, Gramaphone Records, has fared in a rapidly evolving retail climate. Chicago’s Gramaphone Records is a pillar of the city’s electronic and dance music community. Morgan Ciocca As was the case in many cities, the pandemic put an end to in-person shopping and club-going in Chicago for months at a time, threatening the livelihoods of musicians, DJs, and proprietors alike. A collective of small Chicago venues organized to Vocalo DJ Jesse De La Pena dug into the cultural significance of Vocalo Radio 91.1 FM onYouTube Jesse De La Pena had a front row seat to the cultural impact of Gramaphone as an employee back in the 1990s making his way through Chicago’s club scene. “There [have] been many artists [and] DJs that have worked there: everybody from Derrick Carter to Ralphi Rosario, DJ Sneak, Psycho-B,” he says. “It was a fun little job that a lot of us worked part-time, before a lot of those DJs were touring and making a living from it.” “If you came in there in the ’80s and ’90s, you would see some of the hottest DJs on the scene actuall...

In the early 1890s, Berliner attempted to found his first American company, the American Gramophone Company, in New York City, but it fell apart before issuing a single machine or disc. Master recordings were made onto zinc plates, which were then electroplated and a negative-image "mother" made from them to stamp discs. A major reversal of Berliner's fortunes occurred when the mastering plant in Washington, D.C. burned down on September 29, 1897, destroying a hundred unissued masters and all of his record manufacturing equipment. Berliner records were short-playing. Only about two minutes could comfortably fit on each single-sided 7-inch disc. The absolute maximum depended on the speed, which was not standardized and ranged from about 75 rpm to a more typical 70 rpm down to as slow as 60 rpm. During most of the 1890s, the competing small-diameter brown wax As the popularity of the gramophone began to pick up, Berliner found himself having to deal with infringers on his patents. In 1898, Berliner shut down at least two firms that were leeching off his business models and, in the first case, products. In 1899, Berliner discovered that Frank Seaman was behind a machine called the Berliner transferred his patents to Eldridge Johnson, who then changed the name over the door to his own, though Berliner retained a share in the new company. In March 1901, Johnson registered the name Foreign Interests [ ] In 1895, comic E. Berliner Gramophone of Canada was established in 1899. It ...

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The interest in creating a music-playing and recording device that would make music commercialized started in 1877. While Thomas Edison immediately heeded the call and made the phonograph, his device did not produce quality sounds and playback and record could only be done once. It was followed by new innovations from various inventors but in 1887, a German immigrant who settled then in Washington DC invented the gramophone; the prototype of the turntables and record players that we know today. Table of Contents • • • • • • • • Why is it called a gramophone? The history of the name gramophone is directly associated with the change it underwent from its predecessor called the phonograph. The gramophone as the name of the most advanced music player, sound recorder and playback device of 1887 was coined and patented by its inventor to refer to the sound device which plays on flat discs on disc record players, running through the groove out to the periphery instead of the conventional one play cylindrical phonographs which was invented by Thomas Edison and later on was known as the phonautograph by Alexander Graham Bell. Who invented the gramophone? There is much fuss on who invented the gramophone because the phonograph, phonautograph and gramophone are now used interchangeably to mean the same thing. But in so far as the music industry timeline is concerned, the credit in successfully coining the term gramophone and patenting it as then one of the most widely used and celebr...

This article's may be too short to adequately Please consider expanding the lead to ( April 2023) ( The overwhelming majority of records manufactured have been of certain sizes (7, 10, or 12inches), playback speeds (33 1⁄ 3, 45, or 78 RPM), and appearance (round black discs). However, since the commercial adoption of the Size Uses 2in (5.1cm) • Peabrain zine released a 2" compilation - the ADHD EP - which includes 6 bands from Southampton and Portsmouth (The Shorts, Joythief, Shooting Fish, Black Anchor, Chemical Threat, and Baby Jugglers) who recorded a 10-second song each. It was pressed on green vinyl and limited to 300 copies, each wrapped in a 24-page cover. [ citation needed] • Hardcore punk band 2Minute Minor released a 20-second song called Soda Tax on a single-sided 2" lathe cut record, limited to 50 copies. This song is in response to the 3in (7.6cm; 76mm) • Also known as "8ban," (for "8cm Bandai") these were developed in Japan by record pressing company Toyokasei and released in "blind-bag" format by toy company 4.7in (12cm; 120mm) • 120 mm records. Techno artist 5-inch record, to be usable in most compact disc players, the record can be no bigger than 120mm or about 4.7". 5in (13cm) • In 1980, the British band 1⁄ 3 RPM vinyl recording of "If I Didn't Love You", backed with "Another Nail In My Heart" (A&M Records AM-1616 / SP-4802). Due to space restrictions of the grooves, both songs were mixed as [ citation needed] • Underground hardcore [ citation needed] • C...

Gramophone records Today's crossword puzzle clue is a quick one: Gramophone records. We will try to find the right answer to this particular crossword clue. Here are the possible solutions for "Gramophone records" clue. It was last seen in The Guardian quick crossword. We have 1 possible answer in our database.

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