TG: formatos operacionais (disco sonoro analog.)(por)
UP (é traduzido por): disco de transcripción(spa)
UP (é traduzido por): transcription disc(eng)
UP (variação de): broadcast transcription (sound disc)(eng)
UP (variação de): radio transcription (sound disc)(eng)
UP (variação de): platter (sound disc)(eng)
UP (variação de): electrical transcription disc (ETD)(eng)
UP (variação de): electronic transcription disc (ETD)(eng)
UP (variação de): broadcast transcription disc(eng)
TR (características do produto): disco sonoro(por)
UP (é traduzido por): disco de transcripción(spa)
UP (é traduzido por): transcription disc(eng)
UP (variação de): broadcast transcription (sound disc)(eng)
UP (variação de): radio transcription (sound disc)(eng)
UP (variação de): platter (sound disc)(eng)
UP (variação de): electrical transcription disc (ETD)(eng)
UP (variação de): electronic transcription disc (ETD)(eng)
UP (variação de): broadcast transcription disc(eng)
TR (características do produto): disco sonoro(por)
Definição do conceito
[POR] disco de transcrição : Um disco de acetato (também conhecido como laca, acetato de teste, dubplate ou disco de transcrição) é um tipo de registro fonográfico geralmente usado da década de 1930 até o final da década de 1950 para fins de gravação e transmissão e ainda em uso limitado hoje. para a produção de discos. | Ao contrário dos discos de vinil comuns, que são rapidamente formados a partir de pedaços de plástico por um processo de moldagem de produção em massa, um disco de acetato é criado usando um torno de gravação para cortar um sulco modulado por sinal de áudio na superfície de um disco em branco revestido de laca , uma operação em tempo real que exige equipamentos caros e delicados e habilidade especializada para bons resultados. | O disco é então revestido em metal, que é então descascado para formar um negativo que mais tarde será galvanizado e descascado para criar uma mãe (cópia positiva) que é novamente galvanizada e descascada para criar negativos chamados carimbos, que são então usados ??como moldes em uma prensa de discos. | Além de seu uso na criação de masters, eles foram amplamente utilizados para muitos propósitos antes que os gravadores de fita magnética se tornassem comuns e, na era moderna, são usados ??por DJs de dance music. | Eles foram usados ??na transmissão de rádio para arquivar transmissões ao vivo, pré-gravar programação local, atrasar feeds de rede para transmissão posterior e fornecer programação "de casa" na Rede de Rádio das Forças Armadas. | Eles foram usados ??extensivamente na Jamaica por operadores de sistemas de som no final dos anos 1940 e 1950. | Acetatos eram frequentemente usados ??como "demos" de novas gravações de artistas e gravadoras. | Alguns acetatos são altamente valorizados por sua raridade, especialmente quando contêm material inédito. | CARACTERISTICAS FÍSICAS : Apesar do nome, os discos de "acetato" de nível profissional não contêm acetato. Eles consistem em um disco de alumínio com um revestimento de verniz nitrocelulósico. | O vidro foi frequentemente usado para o substrato durante a Segunda Guerra Mundial, quando o alumínio estava em falta. | O processo de produção resulta em um disco que difere em vários aspectos dos discos de vinil .../... | Mais notavelmente, os discos de vinil são comparativamente leves e flexíveis, enquanto os acetatos são geralmente rígidos e consideravelmente mais pesados ??por causa de seus núcleos de metal. | Os acetatos geralmente vêm em dois tamanhos: discos de 10 polegadas (25 cm) para singles e discos de 14 polegadas (36 cm) para álbuns. | FONTE : Disco de acetato (Acetate disc) Disponível em : https://artigos.wiki/blog/en/Acetate_disc Acessado em : 10 set. 2022.
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[SPA] disco de transcripción : discos de transcripción de radio | La programación de radio bajo licencia a diferentes estaciones se distribuyó en discos de 78 rpm a partir de 1928. La conveniencia de un tiempo de reproducción continua más largo pronto condujo a la adopción del formato de disco del sistema Vitaphone. Aproximadamente en 1930, comenzaron a ser utilizados discos de 16 pulgadas a 33 1?3 rpm para la mayoría de estas "transcripciones eléctricas" que reproducían unos 15 minutos por cada lado. Los discos eran grabados desde el borde interno al externo como en los discos de banda sonora o en sentido inverso. | Las piezas musicales más largas transmitidas en vivo que se extendían a lo largo de varios discos, se registraron en los lados impares (Lado "A") de adentro hacia afuera y los lados de número par (Lado "B") de afuera hacia adentro. | Algunos discos de transcripciones fueron grabados con surcos modulados de forma vertical, ya que se encontró que esto permitía no solo un sonido de bajo más profundo, sino también una extensión de la respuesta de frecuencia de gama alta, ninguno de los cuales era necesariamente una gran ventaja en la práctica debido a las limitaciones de la radiodifusión de AM. Sin embargo, hoy en día es posible disfrutar de los beneficios de esas grabaciones de mayor fidelidad, a diferencia de las audiencias de radio originales. | Inicialmente, los discos de transcripción fueron prensados solo en goma laca, pero hacia el año 1932 fueron apareciendo discos prensados por RCA Victor en un plástico denominado "Victrolac" basado en acetato de vinilo. Se utilizaron a veces otros plásticos para realizar estos prensajes. A finales de la década de 1930, el vinilo era estándar para casi todo tipo de discos prensados excepto los discos de 78 rpm comerciales ordinarios, que continuaron siendo fabricados de goma laca. | A partir de mediados de la década de 1930, los discos de acetato de 16 pulgadas grabados a 33 1?3 rpm fueron utilizados por las redes de radio para archivar grabaciones de sus emisiones en vivo, y por las estaciones locales estadounidenses para retrasar la emisión de la programación de las redes a las que estaban afiliadas o para pregrabar sus propias producciones. A fines de los años 1940, grabadoras magnéticas fueron adoptadas por las redes radiales y emisoras independientes para grabar espectáculos o repetirlos para ser emitidos en diferentes zonas horarias, pero los prensajes en vinilo de 16 pulgadas se siguieron utilizando en la década de 1960 para su distribución fuera de la red de la programación pregrabada. El estándar del LP de microsurco comenzó a ser incorporado a finales de la década de 1950, y en la década siguiente los discos se redujeron a 12 pulgadas de diámetro, haciéndose físicamente indistinguibles de los LP ordinarios. | A menos que la cantidad requerida fuera muy pequeña, el prensado de discos era un medio más económico para la distribución de audio de alta calidad que la cinta magnética, y la masterización de CDs fue, en los primeros años de esa tecnología, muy cara, por lo que el uso de discos de transcripción en formato de LP continuó hasta la década de 1990. | FUENTE : LP. in: Wikipedia Disponible en : https://es.wikipedia.org/wiki/LP Acceso en : 17 set. 2022
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[ENG] A transcription disc is a special phonograph record intended for, or recorded from, a radio broadcast. Sometimes called a broadcast transcription or radio transcription or nicknamed a platter, it is also sometimes just referred to as an electrical transcription, usually abbreviated to E.T. among radio professionals. | Transcription discs are most commonly 16 inches (40 cm) in diameter and recorded at 33+1?3 rpm. That format was standard from approximately 1930 to 1960 and physically distinguishes most transcriptions from records intended for home use, which were rarely more than 12 inches (30 cm) in diameter and until 1948 were nearly all recorded at approximately 78 rpm. However, some very early (circa 1928-1931) radio programs were on sets of 12-inch or even 10-inch (25 cm) 78 rpm discs, and some later (circa 1960-1990) syndicated radio programs were distributed on 12-inch 33+1?3 rpm microgroove vinyl discs visually indistinguishable from ordinary records except by their label information. | Some unusual records which are not broadcast-related are sometimes mistakenly described as "transcription discs" because they were recorded on the so-called acetate recording blanks used for broadcast transcriptions or share some other physical characteristic with them. Transcription discs should not be confused with the 16-inch 33+1?3 rpm shellac soundtrack discs used from 1926 into the early 1930s to provide the audio for some motion picture sound systems. Also a potential source of confusion are RCA Victor´s "Program Transcription" discs, 10- or 12-inch 33+1?3 rpm records pressed in shellac and "Victrolac" vinyl in the early 1930s. Despite their suggestive name, they were not recorded from broadcasts or intended for broadcast use, but were an early and unsuccessful attempt to introduce longer-playing records at the 33+1?3 rpm speed for home use. | Disc types: Transcription discs are of two basic types: pressings and instantaneous discs. | SOURCE: https://en.wikipedia.org/wiki/Electrical_transcription#Transcription_discs
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Definição do conceito
outras formas de denominação
[ENG] lacquer disc | Synonyms: Laminate disc, Transcription disc, Instantaneous disc, "Acetate" disc, Direct-cut disc | Dates : Late 1920s – 1970s | Common Size(s) : 7"; 8"; 10"; 12"; 13"; 16" (diameter) | DESCRIPTION : Lacquer discs are a grooved recorded sound format composed of either cellulose nitrate or acetate cellulose lacquer on a core made of aluminum, steel, glass, or fiber (cardboard). The most common sizes include: 10-inch, 12-inch, 13-inch, or 16-inch. Although atypical, smaller and larger disc sizes can be found in collections. Multiple spindle holes in the center are typical for transcription discs. In the home recording market, there were many bold trademark colors and label graphics. | COMPOSITION : Disc core/substrate (aluminum, steel, glass, fiberboard) laminated with a lacquer (cellulose nitrate or acetate cellulose) | SOURCE : PSAP - Preservation Self-Assessment Program. Title: Phonograph Record - Lacquer Disc. Available https://psap.library.illinois.edu/collection-id-guide/phonodisc#lacquerdisc Accessed : 10 set. 2022
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[ENG] pressing disc : transcription disc (pressing disc) : Pressings were created in the same way as ordinary records. A master recording was cut into a blank wax or acetate disc. This was electroplated to produce a metal stamper from which a number of identical discs were pressed in shellac or vinyl in a record press. Although the earliest transcription discs were pressed in shellac, in the mid-1930s quieter vinyl compounds were substituted. These discs were used to distribute syndicated programming to individual radio stations. Their use for this purpose persisted long after the advent of magnetic tape recording because it was cheaper to cut and plate a master disc and press 100 identical high-quality discs than to make 100 equally high-quality tape dubs. | SOURCE: https://en.wikipedia.org/wiki/Electrical_transcription#Transcription_discs
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[ENG] instantaneous disc : transcriprion disc (instantaneous disc): Instantaneous discs are so called because they can be played immediately after recording without any further processing, unlike the delicate wax master discs which had to be plated and replicated as pressings before they could be played non-destructively. By late 1929, instantaneous recordings were being made by indenting, as opposed to engraving, a groove into the surface of a bare aluminum disc. The sound quality of these discs was inadequate for broadcast purposes, but they were made for sponsors and performers who wanted to have recordings of their broadcasts, a luxury which was impractically expensive to provide by the wax mastering, plating and pressing procedure. Only a very few pre-1930 live broadcasts were deemed important enough to preserve as pressings, and many of the bare aluminum discs perished in the scrap metal drives of World War II, so that these early years of radio are mostly known today by the syndicated programs on pressed discs, typically recorded in a small studio without an audience, rather than by recordings of live network and local broadcasts. | In late 1934, a new type of instantaneous disc was commercially introduced. It consisted of an aluminum core disc coated with black cellulose nitrate lacquer, although for reasons which are unclear it soon came to be called an "acetate" disc by radio professionals. Later, during World War II, when aluminum was a critical war material, glass core discs were used. A recording lathe and chisel-like cutting stylus like those used to record in wax would be used to engrave the groove into this lacquer surface instead. Given a top-quality blank disc, cutting stylus, lathe, electronics and recording engineer, the result was a virtually noiseless broadcast-quality recording which could be played several times before the effects of wear started to become apparent. The new medium was soon applied to a number of purposes by local stations, but not by the networks, which had a policy against broadcasting prerecorded material and mainly used the discs for archiving "reference recordings" of their broadcasts. | Standard 16-inch transcription discs of the 1930s and 1940s usually held about 15 minutes of audio on each side, but this was occasionally pushed to as much as 20 minutes. Unlike ordinary records, some were recorded inside out, with the start of the recording near the label and the end near the edge of the disc. The label usually noted whether the disc was "outside start" or "inside start". If there was no such notation, an outside start was assumed. Beginning in the mid-1950s, some transcription discs started employing the "microgroove" groove dimensions used by the 12- and 10-inch 33+1?3 rpm vinyl LP records introduced for home use in 1948. This allowed 30 minutes to fit comfortably on each side of a 16-inch disc. These later discs can be played with an ordinary modern stylus or a vintage "LP" stylus. The earlier discs used a larger groove, nearer in size to the groove of a typical 78 rpm shellac record. Using a "78" stylus to play these "standard groove" discs usually produces much better results, and also insures against the groove damage that can be caused by the point of a too-small stylus skating around in the groove and scoring its surface. Some specialist audio transfer engineers keep a series of custom-ground styli of intermediate sizes and briefly test-play the disc with each in order to find the one that produces the best possible results. | SOURCE: https://en.wikipedia.org/wiki/Electrical_transcription#Transcription_discs
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[ENG] electrical transcription disc : Electrical transcriptions are special phonograph recordings made exclusively for radio broadcasting, which were widely used during the "Golden Age of Radio". They provided material—from station-identification jingles and commercials to full-length programs—for use by local stations, which were affiliates of one of the radio networks. Physically, electrical transcriptions look much like long-playing records that were popular for decades. They differ from consumer-oriented recordings, however, in that they were "distributed to radio stations for the purpose of broadcast, and not for sale to the public. The ET had higher quality audio than was available on consumer records"[2] largely because they had less surface noise than commercial recordings. | TRANSCRIPTION DISCS : Electrical transcriptions are special phonograph recordings made exclusively for radio broadcasting,[1] which were widely used during the "Golden Age of Radio". They provided material—from station-identification jingles and commercials to full-length programs—for use by local stations, which were affiliates of one of the radio networks. | Physically, electrical transcriptions look much like long-playing records that were popular for decades. They differ from consumer-oriented recordings, however, in that they were "distributed to radio stations for the purpose of broadcast, and not for sale to the public. The ET had higher quality audio than was available on consumer records"[2] largely because they had less surface noise than commercial recordings. | DISC TYPES : Transcription discs are of two basic types: pressings and instantaneous discs. | Pressings were created in the same way as ordinary records. A master recording was cut into a blank wax or acetate disc.[37] This was electroplated to produce a metal stamper from which a number of identical discs were pressed in shellac or vinyl in a record press. Although the earliest transcription discs were pressed in shellac, in the mid-1930s quieter vinyl compounds were substituted. These discs were used to distribute syndicated programming to individual radio stations. Their use for this purpose persisted long after the advent of magnetic tape recording because it was cheaper to cut and plate a master disc and press 100 identical high-quality discs than to make 100 equally high-quality tape dubs. || Instantaneous discs are so called because they can be played immediately after recording without any further processing, unlike the delicate wax master discs which had to be plated and replicated as pressings before they could be played non-destructively. By late 1929, instantaneous recordings were being made by indenting, as opposed to engraving, a groove into the surface of a bare aluminum disc. The sound quality of these discs was inadequate for broadcast purposes, but they were made for sponsors and performers who wanted to have recordings of their broadcasts, a luxury which was impractically expensive to provide by the wax mastering, plating and pressing procedure. Only a very few pre-1930 live broadcasts were deemed important enough to preserve as pressings, and many of the bare aluminum discs perished in the scrap metal drives of World War II, so that these early years of radio are mostly known today by the syndicated programs on pressed discs, typically recorded in a small studio without an audience, rather than by recordings of live network and local broadcasts. || In late 1934, a new type of instantaneous disc was commercially introduced. It consisted of an aluminum core disc coated with black cellulose nitrate lacquer, although for reasons which are unclear it soon came to be called an "acetate" disc by radio professionals. Later, during World War II, when aluminum was a critical war material, glass core discs were used. A recording lathe and chisel-like cutting stylus like those used to record in wax would be used to engrave the groove into this lacquer surface instead. Given a top-quality blank disc, cutting stylus, lathe, electronics and recording engineer, the result was a virtually noiseless broadcast-quality recording which could be played several times before the effects of wear started to become apparent. The new medium was soon applied to a number of purposes by local stations, but not by the networks, which had a policy against broadcasting prerecorded material and mainly used the discs for archiving "reference recordings" of their broadcasts. || Standard 16-inch transcription discs of the 1930s and 1940s usually held about 15 minutes of audio on each side, but this was occasionally pushed to as much as 20 minutes. Unlike ordinary records, some were recorded inside out, with the start of the recording near the label and the end near the edge of the disc. The label usually noted whether the disc was "outside start" or "inside start". If there was no such notation, an outside start was assumed. Beginning in the mid-1950s, some transcription discs started employing the "microgroove" groove dimensions used by the 12- and 10-inch 33+1?3 rpm vinyl LP records introduced for home use in 1948. This allowed 30 minutes to fit comfortably on each side of a 16-inch disc. These later discs can be played with an ordinary modern stylus or a vintage "LP" stylus. The earlier discs used a larger groove, nearer in size to the groove of a typical 78 rpm shellac record. Using a "78" stylus to play these "standard groove" discs usually produces much better results, and also insures against the groove damage that can be caused by the point of a too-small stylus skating around in the groove and scoring its surface. Some specialist audio transfer engineers keep a series of custom-ground styli of intermediate sizes and briefly test-play the disc with each in order to find the one that produces the best possible results. | SOURCE : Electrical transcription in: Wikipedia. Available at : https://en.wikipedia.org/wiki/Electrical_transcription Accessed : 10 set. 2022.
[ENG] electronic transcription disc ; ET ; ETD : E.T.s in the Archives (Electronic Transcription Discs, That Is) | They are commonly one-inch in diameter and won´t fit on any standard turntable. They spin at 33 1/3 revolutions per minute (rpm) rather than the more common 78 rpm, and sometimes play from the inner hub outwards. They are made of aluminum, tin, or glass- sometimes even paper-and are most often coated with cellulose nitrate plastic. In short, they aren´t the kind of albums you´re likely to find in a vintage record store-but you might find them in your archives. They are electrical transcription discs. Electrical transcription discs, or "ETs," are recordings made from radio broadcasts or intended for broadcast use. In use from the late 1920s into the early 1960s, ETs are also called "broadcast" or "radio" transcription discs, or simply "platters," in the vernacular of early radio. The use of the word "electrical" to describe these unique sound documents signifies a special place in the history of sound recording: ETs were one of the first to employ electromag netic, instead of mechanical, recording devices (such as microphones and amplifying devices). This resulted in much higher fidelity in recording and playback. | SOURCE: EISLOEFFEL, Paul. E.T.s in the Archives (Electronic Transcription Discs, That Is) Iowa State University, Digital Repository, vol 40, n. 3, Article 10 Available at https://core.ac.uk/download/pdf/212813387.pdf Accessed : 10 set. 2022
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[ENG] broadcast transcription disc : Archival Transfers | Another aspect of an archivist´s job involves transferring recordings between formats. While anyone with some simple computer software can download and burn digital audio files these days, copying the contents of an historic format —and retaining as much of the original signal as possible— is a far more complex process. It involves cleaning, stylus selection, and the proper playback equalization settings. The resulting preservation transfer is then a baseline from which all subsequent copies are made. | .../... | Sometimes an engineer may decide that a singer will sound better if the frequencies on the high end of her voice receive less emphasis while the frequencies on the low end of her voice are given more emphasis. By altering specific frequencies, the engineer is said to be applying equalization. Before the Recording Industry Association of America (RIAA) adopted the RCA Victor standard for disc recording in 1956, studio engineers often equalized or modified the original recording signals to fit within a standard set by the individual record label or broadcast transcription disc cutter. Sometimes these standards vary from year to year even within the same company. | SOURCE : WNYC Archive and Preservation Process. Archival Transfers. Available at : https://www.wnyc.org/preservation/process/ Accessed : 10 set. 2022.
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Nota de escopo / nota de aplicação
termos / material / partes / suporte
[POR] discos de transcrição : Por volta dos anos 1920, ficou extremamente comum as rádios passarem a utilizar discos de transcrição para gravar programas. Primeiramente, isso era feito com álbuns de 78 rpm, no qual cabiam trechos dos programas, um anúncio e mais nada. Depois, as rádios passaram a usar LPs para isso e… Depois passaram a usar maravilhosos LPzões com 16 polegadas (contra as 12 polegadas de um LP normal). Estes discos precisavam de um aparelho especial para serem tocados e não iriam caber num toca-discos caseiro comum, por mais profissional que fosse. | FONTE : POP FAMTASMA. Discos de transcrição: um LPzão de 16 polegadas. Dispoível em : https://popfantasma.com.br/discos-de-transcricao/ Acessado em : 10 set. 2022.
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