More lengthier tracks could be accommodated on each side of the 12-inch disc, or shorter but more numerous tracks per side. Intriguingly, although there is a scientific basis behind 45 rpm being an ideal speed for sound quality which was touted by RCA, conveniently the 45 rpm number is also derived by subtracting the then common 78 rpm speed from the then newly introduced 33 rpm LP speed. Vinyl as a material for records sold to the public was reintroduced after World War II but with a narrower 'microgroove', first for 78s in 1945 ('Bolshoi Theatre Orchestra and Chorus - Prince Igor' 12-inch 5-record set, Asch Recordings), with 12-inch 33 1⁄ 3 rpm LPs and 7-inch 45 rpm singles being marketed by Columbia Records and RCA Victor respectively in 19. Wax or lacquered discs, similar to the masters used to press records and sometimes referred to as acetates or reference (ref) discs, were at this time made to create one-time promotional product such as songs or jingles used by radio stations, as well as archiving. However, the technology continued to be used, notably with broadcasters, on larger 16-inch radio transcription discs, and later with the V-Disc program that sent records overseas to US troops during World War II to help boost morale. Because of financial hardships that plagued the recording industry during that period (and RCA's own parched revenues), Victor's long-playing records were discontinued for public sale by early 1933. RCA's early introduction of a long-play disc was a commercial failure for several reasons including the lack of affordable, reliable consumer playback equipment and consumer wariness during the Great Depression. 5 In C Minor by the Philadelphia Orchestra conducted by Leopold Stokowski. The first twelve-inch LP (containing only one track per side), was Beethoven's Symphony No. It was marketed initially as being more robust than shellac, with a duration of up to twenty minutes playing time per side. These revolutionary discs were designed for playback at 33 1⁄ 3 rpm (the speed first used on 16-inch Vitaphone soundtrack discs from 1926) and pressed on ten and twelve-inch diameter flexible 'Victrolac' discs, using a polyvinyl chloride (PVC) compound called vinylite which was licensed from Union Carbide. In August 1931, RCA Victor launched the first commercially available vinyl long-playing record, marketed under their 'Program Transcription' series. Main articles: LP Record § RCA Victor, and Single (music) § 7-inch format These brittle shellac discs remained a popular medium through the first attempt to introduce vinyl records in 1931, the subsequent move towards microgroove formats from 1948, and would survive until the early 1960s. An album would consist of several of these single discs packaged together. During the 1910s discs became the standard sound reproduction format, although the speeds used could vary between manufacturers until 78 rpm became the norm from around 1925. These first twelve-inch releases were all by the Victor Grand Concert Band, led by Frederick W. In 1903 12-inch discs were introduced by Victor, on their Deluxe label, these able to play for up to four minutes, so increasing what were non-achievable times of the length of a song or speech on the earlier formats.
Johnson merged their efforts within the industry to form the Victor Talking Machine Company in New Jersey, USA and perfected the use of 5 and 7-inch rotating shellac discs for sound replay from 1889, with 10-inch records appearing in 1901.
Gramophone records had been introduced in the latter portion of the 19th century, with several pioneers involved in sound reproduction development such as Thomas Edison and Emilie Berliner. Many record companies in the 1970s began producing 12-inch (30 cm) singles at 33 + 1⁄ 3 rpm, although 45 rpm gives better treble response and was used on many twelve-inch singles, especially in the UK. This extra space permits a broader dynamic range or louder recording level as the grooves' excursions (i.e., the width of the groove waves and distance traveled from side to side by the turntable stylus) can be much greater in amplitude, especially in the bass frequencies important for dance music.
Twelve-inch singles typically have much shorter playing time than full-length LPs, and thus require fewer grooves per inch.
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