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History of the Turntable |
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Written by Audible
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THE DESIGN
OF THE
TURNTABLE AS AN INSTRUMENT
- 11/16/02 -
A brief history of the turntable
and the musical art form known as turntablism
It all began with the phonograph in 1877, and it had little to do with music. Thomas Edison patented the phonograph calling it a “sound writing machine” with intent of using it for dictation in offices. The machine, at the time, consisted of a tin foil cylinder that rotated against a needle. The vibrations made by sounds would record upon the foil which then could be played back amplified by a conical horn. Edison proved succession of his phonograph among others by recording the words, “Mary had a little lamb.” But this was a far cry from what we know now as the record player or, to put in more modern and simplified terms, the turntable. A closer representation came about when a German American named Emile Berliner, in 1887, began developing the means for recording music by doing away with the non durable cylinders and using a flat-disk made of hard shellac, allowing for higher amplitudes of sound to be recorded by deeper grooves. The gramophone disc, as he called it, made recording and mass production a reality for many artists using the method of creating a master disc which allowed easier reproduction of copies. The gramophone player, sold through the Victor Talking Machine company (now known as RCA), was also sold cheaper than Edison and Columbia’s players gaining a wider audience. In the beginning of the 20th century, Victorian parlors began showcasing beautifully made oak and mahogany phonographs bearing bell-shaped and morning-glory horns. From these ornate funnels, the popular music of the era began to crackle forth. The next major development happened in 1948, when Columbia and RCA introduced fine groove records of clear vinylite. The Columbia version was 12 inch in diameter record rotated at 33 1/3 rpm (rounds per minute) that had a maximum playing time of 30 minutes. The RCA version was a 7 inch disc in diameter and had a playing time of about 8 minutes. Each of these new records offered many advantages in cost, convenience, and performance over the older 10-12 inch records. These vinyl records set the standard of what that the modern turntable design is based around today.
Basic Modern Turntable Construction
The actual turntable piece, what we now refer to as the platter, is a flat circular platform upon which the record is placed. An electric motor rotates the platter at constant speed, usually at 33 1/3, 45, or 78 rpm. The tonearm is a rod that holds a stylus, or needle, at one end and a counter weight on the other. The stylus moves along the undulating groove of the revolving disk moving inward towards the center of the record vibrating. These vibrations are converted into equivalent electrical impulses by the cartridge on the tonearm, usually connected to the stylus. These impulses are conducted by wire leads to an electronic amplifier and then to one or more loudspeakers.
A Brief Introduction to Turntablism
The art of using the turntable as an instrument, now known as turntablism, was developed in the early 1970s. When Technics 1200s were released in the 70s, the new direct drive turntable design (which will be discussed further later) allowed for movement along the surface of the record player as well as a backwards movement without slow down of the record. This haphazardly created the musical movement knows as the scratch. The scratch consists of the action of moving a record back and forth against the stylus making a unique percussion noise. This technique is credited to Grand Wizard Theodore in 1975 when he, as a teenager, would touch push his record down to stop it when his mother yelled at him for creating too much noise. Eventually, he developed this sound further and incorporated it into early Hip Hop music. Another scene a part of turntablism was the art form of mixing. Developed by Kool Herc, turntable mixing consisted of 2 turntables plugged into a mixer. Through the mixer, pieces of music were stitched together to make a new sound focusing on hard beats. This was the beginning of Hip Hop music. Both of these movements would have not been possible if the not of the innovation of the direct drive in the Technics 1200 series of turntables.
Turntable design has stayed generally the same until recently, when the art form had already spread globally and prominent turntable artists had begun to prove to the music world that the turntable could indeed be used as an instrument. Examples of this are DJ Radar (right), a classical music writer who created the first turntable concerto, and DJ Q-Bert (below), whom proved the turntable was an instrument by playing it like a piano, ironically playing the tune of “Mary had a little Lamb” using the pitch control of the turntable. Although the concept may seem very foreign, the turntable is very much just another percussion instrument where, with a use of a record of samples, a sound is repeated in unique patterns making a melody or beat. Since its introduction as an instrument and increasing market, vinyl production has shifted back up and older phonographic turntable companies such as Technics and Stanton have come up with newer designs to accommodate the new turntable artists and DJs. This paper will discuss major examples in classic design, recent innovation, and budget production of the turntable unit and how the DJs use of the turntable has and will influence its design.
Technics SL1200 series
In 1969, Technics introduced the direct drive system called the SP-10. Unlike the traditional belt drive system, that used a belt to transfer torque from the motor to the platter, the motor was directly coupled to the platter so that it turned at the same rate. Basically, the direct drive motor was driven purely by magnets, reducing the amount of parts needed. Since it was a non-mechanical drive, the turntable design allowed one to manipulate or touch the platter without slow down, wearing of the engine, and without any real existing rumble that would affect the sound. Because of their solid design and seemingly perfected direct drive, Technics turntables have become a favorite for the majority of the DJ community. While many other turntables are listed as direct drive, the Technics' patented engine has proven to be the most reliable, accurate, and powerful among most of its competitors.
In the early 70's, Technics released the first SL1200 as a hi-fi turntable, thus introducing the direct drive. Around 1978-79, Technics further improved the design by fine-tuning the motor, redesigning the casing, and adding a separate ground wire among other minor adjustments and released the SL-1200MK2, which is the model the majority of DJs use today. When the International Museum of Science held an exhibition of 250 Technological Devices that have had a strong impact and influence on the 20th century, the Technics SL1200MK2 was featured among them, and with good reason. The 1200 is arguably one of the most rugged electronic pieces ever created. The overall appearance is a timeless, clean, and functionally honest design. The 1200’s frame and faceplate are constructed of anodized metal with a base molded from high density rubber (to prevent vibration). The power switch is located atop a cylinder that also served as a red strobe light for platter speed measurement done by reading the dots on the side of the plate (left). Centered below it are a set of square buttons embossed upon the surface controlling the start/stop and 33 1/3 to 45 rpm speeds. Across from it sits a popup light for working in the dark. The tonearm on the 1200 (right) was designed to accommodate vibrations making record playing fairly skip resistant. This was done with a fully adjustable weighting system, tonearm height, and anti-skating. The "s" shape of the tonearm was actually a sound feature. The S-tonearm, as its now called, basically helped pull inward the tonearm when moving along the record so the stylus will play the full extent of the vinyl’s groove. Pitch control (left) was another unique and important feature of the time. Located under the tonearm, it simply controlled the speed of the motor to the platter by a slider commonly known as a fader that was designed conforming to the shape of pinching fingers for comfortable movement. This was a very technical and delicate feature. It allowed the DJ to “beat match” vinyl records by adjusting the speed with each other to create a seamless transition of music. A green light indicates the 0 pitch in the middle of the control. All the main components are formed from high grade steel giving the 1200s the nickname, “Wheels of steel” as well as a clean shining finish. Overall design colors were kept to black and silver that interchanged across the surface of the turntable along with simple small font instructional text and branding, although in Japan and Europe, a completely black version was made available to the public as well as a special solid gold SL1200 that was often given away at various DJ competitions around the world.
Resale value for the turntable is amazingly high because of its solid design and many DJs will refuse to use anything else than the 1200. Because Technics seemly did it right the first time, it is safe to say it aided in its mass production. More recent additions to the series design, like in the 1200MK3D pictured here, were a sunken start and stop button due to the complaint of accidentally switching off the table when manipulating the vinyl record and a pitch reset button (left) that had become a popular feature among other more recent turntables. These minimal adjustments show how much care to not mess with the classic formula was taken into consideration, and most DJs do agree that the turntable was made so beautifully that, “the first months you have them you'll stare at them before you go to sleep.” (Turn(L)able, NY)
Gemini PT series
Established in 1974, Gemini's founder saw that his son enjoyed playing records for his friends in the basement of their home. Eventually, he came to realize that DJs like his son required professional, user-friendly equipment to master their craft at prices that almost anyone could afford. Gemini brand turntables have been widely known for being an attempted copy of the Technics in every possible way. By the 90s, the Technics patent had become more loosely enforced and companies jumped at the chance to copy as much of the direct drive design as they could. While never being able to copy the perfected design of the direct drive, Gemini was the closest in its field at the time and provided extra incentives in its design. Because the Technics 1200 sold so very well, the company hardly touched its design. This gave Gemini an opportunity to provide more current DJ features such as an added amount of pitch control, slots to hold lights and cartridges, and a reverse platter function for mixing. Gemini also introduced new major features like the quartz lock (a button that sets the pitch to 0), that were eventually put on the more recent editions of the 1200s, but not before Gemini had already done so. Another ideology the Gemini research team took upon themselves when developing the PT line was the use of cheaper materials to drop the costs. Being cost effective, they opted to use plastics for the body and aluminum for the major parts such as the platter and tonearm. This may have helped in going into the Technics dominated market but also resulted in a loss of overall quality. People would complain of the fake plastic feel of the buttons and how the aluminum platter was not as solid in weight as steel during playback, but otherwise, the Gemini achieved a rather successful clone at the time.
On aesthetic side, the plastic did not give a clean feel and look like the metal body of the 1200s, but did allow for different color versions of the turntable to be produced easier. Most of the design principles such as the button placements and shapes used were from looking at the Technics 1200s. In the end, Gemini’s PT line of turntables only became a “decent turntable for those who could not afford a Technics turntable.” But there is no denying the contributions Gemini had made trying to modernize the use of the turntable and set the grounds for future innovations to be made to cater specifically to DJ use.
Vestax PVT-E2
In 1999, the Vestax research and development team moved away from the conventional tonearm and introduced ASTS, Anti Skip Tonearm System. The problem it addressed was simple; the main reason for skipping was that the S-tonearm was not made to handling the pulling backwards of the vinyl records, but was designed to be pulled inward, and thusly skipped if the vinyl record was pulled in a reverse in direction. Since turntablism relied on swift and often harsh movements backwards and forwards upon the platter during performance, skipping was a very apparent issue. To equalize the movement of the tonearm, Vestax made the tonearm straight and shorter. The result was a no longer need for any of the old skip prevention factors and a nearly flawless grip of a record that could play vertically if needed as demonstrated by the PVT-E2 model pictured above with a included stand. This deviation in design is not purely for show, but also reduces the footprint space of the turntable and allows more experimental turntablism to be explored. The only apparent negative effect of the ASTS tonearm is that the stylus now hit heavily in the center of the grooves while playing, eventually wearing the records faster than usual. Another side effect would be a minimal loss of playback quality due to the fact the stylus would no longer reach the extent of the groove while being played (records were not designed for performance use, they were designed for sound quality which the S-tonearm achieved.) But the Vestax turntable line prided itself in being more of a performance instrument rather than a normal record player.
Other than the ASTS tonearm, Vestax took further steps forward in overall turntable design. The PVT is considerably lighter than most other turntables, making it more mobile. In the past, weight meant stability and durability, but times have changed. Durability is now achieved by a high density plastic that also serves to cancel vibration, and stability was created by a unique base that concentrated the weight of the unit towards the center. This gave the turntable a unique look apart from the Technics’ rectangular shape, appearing to float above the table and reducing the space needed to set the turntable upon. In another deviation from the classic Technics layout, the power switch was moved to the back so it could not accidentally be pressed nor get in the way any longer, and RCA wires were removable instead of attached in case of damage or preference (left). Other buttons were recessed into the body of the unit to prevent being pressed on accident during operation. The platter also underwent a bit of change, no longer having dots for measuring speed and being raised higher above the base. Vestax represents the newer standard for performance style turntable design that has grabbed many turntable designers’ attention.
Stanton STR-8 Series
Stanton has been in the DJ industry for a fairly long while, but mainly as a phonographic cartridge provider. Only recently we have seen them jump into turntable manufacturing, probably due to its growth as a market. Taking on a very consumer friendly approach in being cheaper, by going the Gemini route with plastic parts, it has become a new leading alternative to the Technics and Vestax market since Gemini. In their design they’ve enlisted some of the top DJs in country to create and promote their line of products. The result is a turntable designed for a wide range of DJ needs, but more affordable. All tables in the series are fitted with a straight tone arm, deviating from the typical S-shaped arm, which eliminates the need for height adjustment and anti-skate features to prevent from skipping. This was previously proven by the Vestax line of turntables, but with Stanton we see the technology made available for a cheaper price.
Stanton made its staple in the line by releasing the Str-8 80 around 2001. Its significance is more purely technical than it is design wise. The table is one of the first to be digital internally. It updates the format so that digital devices can be used with the turntable, instead of converting the analog sound externally, the output would be purely digital straight to any device. This means that there is no longer an analog output within the unit. This also allows for some new technology to be used internally such as key correction which will allow for better DJ mixes as an alternative to just moving the pitch. One strong aesthetic appeal of this turntable is actually made by a small change. Instead of the classic red strobe light on almost every turntable out there, the Stanton Str-8 line comes with blue lights as a standard. It appears that Stanton made the right choice, since more recently people have been taking apart their Technics 1200s just to put in blue lights to capture the same feel. A reason for this change could be how the blue light compliment the silver as another cool color, but a simpler more obvious answer would also be it was just for something more different from the norm. The body of the turntable remains square, but with rounded edges creating a sleeker appearance. The traditional square buttons are all replaced with circular ones, completing the motif of circles consistent in its surface. But placement of the buttons stays relatively the same as the Technics 1200s, and buttons remain plastic. Because of the use of plastic, certain longevity in appearance and feel was lost. Further deviating from the Technics formula, but still making itself more accessible to the public, Stanton has come to replace Gemini as a leading budget brand.
Numark TTX1 Premium Turntable
In a truly bold move from its previous ventures in the turntable industry, Numark had enlisted an extensive research and development to obtain the specs to satisfy almost any kind of DJ in their new model, the TTX1. In the past, Numark was very much like Gemini, making budget turntables and copying the design of the classic Technics 1200s, but with no real avail. The TTX1, released in 2002, brings the turntable look up to date with its more modern rounded edge design and clearly visible big blue LCD display that switches depending on the direction the DJ wishes to use it. The design looks more borrowed from Vestax than the Technics, with its raised platter and clean curved surface design, but also has a style of its own. The TTX1 features a sleek, modern, asymmetrical design reminiscent of a sports car. The large rounded Start/Stop controls are mounted in a curved, contoured surface on the left side while the tonearm, pitch fader, and control buttons are placed along straight edges on the right side. One problem found with this excessively curved design was when it was put alongside other DJ devices it would not sit flush, leaving a small gap between them.
Aesthetics aside, the TTX1 design is fairly intelligent, transcending the Technics 1200 in every regard: features, performance and construction. The body was developed to shut off exterior noise by absorbing vibrations by being coated in several layers consisting of silicon, rubber, and powder coated steel exterior. The features on the turntable, for the first time in turntable history, are also customizable. The pitch fader can be interchanged with the start and speed buttons by simply unlocking and replacing them. This feature also allows the possibility for future upgrades to be developed and added. The tonearm is also interchangeable, but no longer by the need for tools, so that a DJ can have the superior sound of a traditional S-tonearm or the stability of a straight tonearm when needed depending on use instantly. Numark claims the direct drive motor also outperforms any other on the market, providing more torque to the platter. This is one of many another technological developments showcased in this piece. The blue display stays with the circular motif used with all the buttons and displays a multitude of useful DJ information such as beats per minute and pitch amount. The blue glow of the display was a design feature for visibility in the nightclub scene which takes place mostly in the dark. Also included is the wider range of pitch and the key correction that could also be found on the Stanton digital turntable. In many people’s opinions, this is what people have been waiting for in a turntable to replace the Technics 1200s.
The Future design of the Turntable
Until recently, no recognition was given to the laser turntable, a concept dreamt up by a young American engineer, Robert E. Stoddard. The system, now fully developed named ELP (top left) and sold in Japan, consists of 5 lasers that scan the entire groove to get the most accurate sound production. The result is no more vinyl wear on the grooves with the intent on preserving and valuing the past. This technology could lead to a transition to a digital vinyl reader until better replacement to the hands-on DJ becomes a reality. The design leaves still much to be desired due to it’s almost CD player like function, very unlike the turntable of old and thus discarding its function as so. Currently its only use is for archival purposes and is mainly sold to libraries.
As of yet, CDs are unable to achieve the same feel of records with their inability to be maneuvered and manipulated instantly on the spot, one of the main reasons why vinyl is still used today over CDs by DJs. Various attempts proved less than desirable with very little freedom that analog turntable DJs are used to, but one company has just developed a technology that may be the right bridge to gap between the analog vinyl to the digital medium. Finalscratch (top right) developed by Stanton, consists of using encoded vinyl records to transmit a signal to analog to digital device then on to a computer via a wire which can then manipulate a digital sound or CD. The result is that the feel of vinyl manipulation (pitch, movement, tonearm placement) is saved and turntables no longer have to go away or be replaced by CD players. Vinyl on one hand is saved, but on the other is no longer needed for playing (sans the encoded records sold with the kit), but this is good news to collectors of records who still want to share the sounds with everyone.
Sooner or later, DJs will have to make a move into the digital world medium like everything else. Many people are forgetting the beauty in the design of the vinyl record player and often labeled as dead. The art form of turntablism has brought new life into the medium, not only introducing a new sound, but also paying homage to the old music of the past. Forgotten tunes find their way into the hands of modern DJs who bring them back to life upon the turntables of today for the newer generation to learn from, share, and enjoy. The longevity of turntables brought about by innovations like the direct drive shows that there still are limitations to that the digital world has yet to conquer in the coming years and that you can teach an old dog new tricks.
Works citied/ Sources
All turntable images provided by www.Turntablelab.com and turntable manuals. Reviews based on personal turntable use and experience as a DJ for over 4 years.
Read, Oliver. From tin foil to stereo: Evolution of the phonograph. 1st edition.
Indianapolis, H. W. Sams. 1959.
Jenkins, Sacha. Ego Trip's Book of Rap Lists. Griffin Trade Paperback. Nov 1999.
"Turntable." Encarta Online. 2001-02. Microsoft Corporation. 10 Nov. 2002
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