There are three ways record changers get triggered
2) increased acceleration towards the center
3) outward motion of the arm
What we need to determine the necessity of the introduction and the
change of lead-outs is a chronological listing of record changers and
juke box mechanisms and which method or methods would trigger them. For
example, there is a reason why eccentric leadouts disappeared from LPs
around 1954. There is also a reason why most record labels were reduced
in size in the mid to late 20s. And there was a reason why eccentric
leadouts were used in the first place. Although I think I have the
necessary literature on changers and the records at hand, I don't have
the time to do such as study. But it might make a good ARSC presentation.
Mike Biel [log in to unmask]
David Lennick wrote:
> Michael Biel wrote:
>> Dick Spottswood wrote:
>>> Sometimes you can spot altered lead -out grooves on pressings from
>>> original metals.
>> I've seen some of them that show both the original and altered lead
>> out grooves in a mish-mosh, but the needle will follow the new groove
>> even if your eyes can't.
>> Mike Biel [log in to unmask]
> Okay, what about those double lead-outs on Columbia and Brunswick LA
> masters? Why was this done on virtually all of them? (Not all..I found
> a pressing of "Stealin' Apples" that didn't have the extra lead-out
> and thus didn't chop off the end of the last note. I think it was
> "Stealin' Apples"..I'll stand corrected if it was another BG side.)
> Was it because the original locked groove didn't come close enough to
> the label to trip some shut-offs? In which case, why didn't it matter
> that Decca stayed far from the label till about 1946? Canadian Deccas
> had large labels right through that period, although the odd one had
> the trip groove ending under the label.