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data-event-name="pinnable-header.vector-toc.pin">move to sidebar</button> <button class="vector-pinnable-header-toggle-button vector-pinnable-header-unpin-button" data-event-name="pinnable-header.vector-toc.unpin">hide</button> </div> <ul class="vector-toc-contents" id="mw-panel-toc-list"> <li id="toc-mw-content-text" class="vector-toc-list-item vector-toc-level-1"> <a href="#" class="vector-toc-link"> <div class="vector-toc-text">(Top)</div> </a> </li> <li id="toc-Emergence_of_electrical_transcriptions" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Emergence_of_electrical_transcriptions"> <div class="vector-toc-text"> <span class="vector-toc-numb">1</span> <span>Emergence of electrical transcriptions</span> </div> </a> <ul id="toc-Emergence_of_electrical_transcriptions-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Transcription_services" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Transcription_services"> <div class="vector-toc-text"> <span class="vector-toc-numb">2</span> <span>Transcription services</span> </div> </a> <ul id="toc-Transcription_services-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Use_by_advertisers" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Use_by_advertisers"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Use by advertisers</span> </div> </a> <ul id="toc-Use_by_advertisers-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Benefits_for_performers" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Benefits_for_performers"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Benefits for performers</span> </div> </a> <ul id="toc-Benefits_for_performers-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Government_use_of_transcriptions" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Government_use_of_transcriptions"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>Government use of transcriptions</span> </div> </a> <ul id="toc-Government_use_of_transcriptions-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Other_notable_uses" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Other_notable_uses"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>Other notable uses</span> </div> </a> <ul id="toc-Other_notable_uses-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Transcription_discs" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Transcription_discs"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>Transcription discs</span> </div> </a> <button aria-controls="toc-Transcription_discs-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Transcription discs subsection</span> </button> <ul id="toc-Transcription_discs-sublist" class="vector-toc-list"> <li id="toc-Disc_types" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Disc_types"> <div class="vector-toc-text"> <span class="vector-toc-numb">7.1</span> <span>Disc types</span> </div> </a> <ul id="toc-Disc_types-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-The_demise_of_transcriptions" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#The_demise_of_transcriptions"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>The demise of transcriptions</span> </div> </a> <ul id="toc-The_demise_of_transcriptions-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> <span class="vector-toc-numb">9</span> <span>See also</span> </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Notes" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Notes"> <div class="vector-toc-text"> <span class="vector-toc-numb">10</span> <span>Notes</span> </div> </a> <ul id="toc-Notes-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span 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src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5b/War_of_the_Worlds_ET.jpg/220px-War_of_the_Worlds_ET.jpg" decoding="async" width="220" height="275" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5b/War_of_the_Worlds_ET.jpg/330px-War_of_the_Worlds_ET.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5b/War_of_the_Worlds_ET.jpg/440px-War_of_the_Worlds_ET.jpg 2x" data-file-width="1024" data-file-height="1280" /></a><figcaption>Electrical transcription disc of <i><a href="/wiki/The_War_of_the_Worlds_(1938_radio_drama)" title="The War of the Worlds (1938 radio drama)">The War of the Worlds</a></i> radio broadcast by Orson Welles with this "dubbed" copy created ten years after the original broadcast</figcaption></figure> <p><b>Electrical transcriptions</b> are special <a href="/wiki/Phonograph_record" title="Phonograph record">phonograph recordings</a> made exclusively for radio <a href="/wiki/Broadcasting" title="Broadcasting">broadcasting</a>,<sup id="cite_ref-guide_1-0" class="reference"><a href="#cite_note-guide-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> which were widely used during the "<a href="/wiki/Golden_Age_of_Radio" title="Golden Age of Radio">Golden Age of Radio</a>". They provided material—from station-identification <a href="/wiki/Jingles" class="mw-redirect" title="Jingles">jingles</a> and commercials to full-length programs—for use by local stations, which were affiliates of one of the radio networks. </p><p>Physically, electrical transcriptions look much like <a href="/wiki/LP_record" title="LP record">long-playing records</a>, but differ from consumer-oriented recordings in two major respects which gave longer playing time and reduced likelihood of diversion to private use: they are usually larger than 12 inches (300 mm) diameter (often <style data-mw-deduplicate="TemplateStyles:r1154941027">.mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}</style>16 or <span class="frac">17<span class="sr-only">+</span><span class="num">1</span>⁄<span class="den">4</span></span> inches [410 or 440 mm]) so did not fit on consumer playback equipment, and were recorded in a hill-and-dale, or <a href="/wiki/Vertical_cut_recording" title="Vertical cut recording">vertical</a> cutting action, as distinct from lateral modulation as in ordinary monophonic discs. They were distributed only to <a href="/wiki/Radio_broadcasting" title="Radio broadcasting">radio stations</a> for the purpose of broadcast, and not for sale to the public. The ET had higher quality audio than was available on consumer records,<sup id="cite_ref-musicbiz_2-0" class="reference"><a href="#cite_note-musicbiz-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> largely because they had less <a href="/wiki/Surface_noise" class="mw-redirect" title="Surface noise">surface noise</a> than commercial recordings.<sup id="cite_ref-beaupre_3-0" class="reference"><a href="#cite_note-beaupre-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> Electrical transcriptions were often pressed on <a href="/wiki/Vinylite" class="mw-redirect" title="Vinylite">vinylite</a>, instead of the more common <a href="/wiki/Shellac" title="Shellac">shellac</a>. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Emergence_of_electrical_transcriptions">Emergence of electrical transcriptions</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Electrical_transcription&action=edit&section=1" title="Edit section: Emergence of electrical transcriptions"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Electrical transcriptions were made practical by the development of <a href="/wiki/Sound_recording_and_reproduction#Electrical" title="Sound recording and reproduction">electrical recording</a>, which superseded <a href="/wiki/Thomas_Edison" title="Thomas Edison">Thomas Edison</a>'s original purely mechanical recording method in the mid-1920s. <a href="/wiki/Orlando_R._Marsh" title="Orlando R. Marsh">Marsh Laboratories</a> in Chicago began issuing electrical recordings on its obscure <a href="/wiki/Autograph_Records" title="Autograph Records">Autograph</a> label in 1924,<sup id="cite_ref-routledge_4-0" class="reference"><a href="#cite_note-routledge-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> but it was <a href="/wiki/Western_Electric" title="Western Electric">Western Electric</a>'s superior technology, adopted by the leading labels <a href="/wiki/Victor_Talking_Machine_Company" title="Victor Talking Machine Company">Victor</a> and <a href="/wiki/Columbia_Phonograph_Company" class="mw-redirect" title="Columbia Phonograph Company">Columbia</a> in 1925, which launched the then-new microphone-based method into general use in the recording industry.<sup id="cite_ref-mystery_5-0" class="reference"><a href="#cite_note-mystery-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> </p><p>Electrical transcriptions were often used for recording programs of genres which would come to be known later as old-time radio.<sup id="cite_ref-mrm_6-0" class="reference"><a href="#cite_note-mrm-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p><p>Although the earliest transcriptions ran at 78.26 rpm or 80 rpm if it was recorded on a <a href="/wiki/Three-phase_power" class="mw-redirect" title="Three-phase power">three-phase power</a> lathe, some of which were also 12 inches across and laterally recorded with a conventional 3-mil standard-groove stylus, which carried a maximum of 6 minutes per side, the format gave way very quickly to the <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1154941027"><span class="frac">33<span class="sr-only">+</span><span class="num">1</span>⁄<span class="den">3</span></span> rpm speed that would come to be used for <a href="/wiki/Vitaphone" title="Vitaphone">Vitaphone</a> talking pictures two years later, which could carry a maximum of 15 minutes per side.<sup id="cite_ref-stay_7-0" class="reference"><a href="#cite_note-stay-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </p><p>Later ETs would have their groove size reduced first to 2.7 mil and then to the then-standard 1-mil monaural groove used in LPs of the period to squeeze 30 minutes per side onto a transcription.<sup id="cite_ref-recorded_8-0" class="reference"><a href="#cite_note-recorded-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/Freeman_Gosden" title="Freeman Gosden">Freeman Gosden</a> and <a href="/wiki/Charles_Correll" title="Charles Correll">Charles Correll</a> are credited with being the first to produce electrical transcriptions. In 1928, they began distributing their <i><a href="/wiki/Amos_%27n%27_Andy" title="Amos 'n' Andy">Amos 'n' Andy</a></i> program to stations other than their 'home' station, <a href="/wiki/WMAQ_(AM)" class="mw-redirect" title="WMAQ (AM)">WMAQ</a> in Chicago,<sup id="cite_ref-secrets_9-0" class="reference"><a href="#cite_note-secrets-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> by using 12-inch 78 rpm discs that provided two five-minute segments with a commercial break between.<sup id="cite_ref-america_10-0" class="reference"><a href="#cite_note-america-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p><p>One audio historian wrote: "new methods of electronic reproduction and improved record material that produced very little background noise were developed ... by the end of the decade, the use of old phonograph music had largely been replaced by the new electrical transcription ... with the fidelity available, it was difficult to tell a transcription from the original artist."<sup id="cite_ref-davis_11-0" class="reference"><a href="#cite_note-davis-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> A 1948 ad for a disc manufacturer touted the use of transcriptions on the <a href="/wiki/Voice_of_America" title="Voice of America">Voice of America</a>, saying; "a substantial part of these daily programs is recorded and, due to the excellent quality of these transcriptions, such recorded portions cannot be distinguished from the <i>live</i> transmissions."<sup id="cite_ref-bc041948_12-0" class="reference"><a href="#cite_note-bc041948-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/WOR_(AM)" title="WOR (AM)">WOR</a> in New York City was one of the first radio stations to broadcast transcriptions, starting in 1929. Other stations followed, until more than 100 were doing so, largely because "this new kind of recording made <a href="/wiki/Radio_programming" title="Radio programming">programming</a> more flexible and improved sound."<sup id="cite_ref-stay_7-1" class="reference"><a href="#cite_note-stay-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> <a href="/wiki/John_R._Brinkley" title="John R. Brinkley">John R. Brinkley</a> is generally credited with being the first performer to provide electrical transcriptions to radio stations.<sup id="cite_ref-encyclopedia_13-0" class="reference"><a href="#cite_note-encyclopedia-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-louisiana_14-0" class="reference"><a href="#cite_note-louisiana-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> Brinkley's use of the then-new technology arose out of necessity when agencies of the federal government prevented him from crossing from Mexico into the United States to use telephone lines to connect to U.S. stations remotely. "Brinkley began recording ... onto electrical transcription discs and sending them across the border for later broadcast."<sup id="cite_ref-louisiana_14-1" class="reference"><a href="#cite_note-louisiana-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p><p>WOR used transcriptions for repeat broadcasts of programs. In 1940, for example, the station repeated episodes of Glenn Miller's and Kay Kyser's orchestras, <i>The Goldbergs</i> and <i>Sherlock Holmes</i>.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p><p>"Electrical transcriptions were indispensable from the mid '30s to the late '40s," wrote Walter J. Beaupre, who worked in radio before moving into academia.<sup id="cite_ref-beaupre_3-1" class="reference"><a href="#cite_note-beaupre-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Transcription_services">Transcription services</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Electrical_transcription&action=edit&section=2" title="Edit section: Transcription services"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>As radio stations' demand for transcriptions grew, companies specializing in transcriptions grew to meet those demands. In October 1933, 33 companies competed in producing transcriptions.<sup id="cite_ref-points_16-0" class="reference"><a href="#cite_note-points-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> Such companies included <a href="/wiki/Langlois_%26_Wentworth,_Inc." title="Langlois & Wentworth, Inc.">Langlois & Wentworth, Inc.</a>, <a href="/wiki/RCA_Thesaurus" title="RCA Thesaurus">RCA Thesaurus</a>, <a href="/wiki/SESAC" title="SESAC">SESAC</a>, <a href="/wiki/World_Broadcasting_System" title="World Broadcasting System">World Broadcasting System</a> and <a href="/wiki/Ziv_Company" title="Ziv Company">Ziv Company</a>. Associated Broadcasting Company transcription service, a former division of the <a href="/wiki/Muzak_Holdings" class="mw-redirect" title="Muzak Holdings">Muzak Corporation</a> (Muzak sold its Manhattan studios, but not transcription service, to <a href="/wiki/RCA_Victor" class="mw-redirect" title="RCA Victor">RCA Victor</a> in 1951)<sup id="cite_ref-Billboard_1951_17-0" class="reference"><a href="#cite_note-Billboard_1951-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> Subscribing to a major transcription service meant a station received an initial group of transcriptions plus periodically issued new discs and a license, which allowed use of the material on-air. Typically, a station did not own the discs; "they were leased for as long as [the] station paid the necessary fees."<sup id="cite_ref-beaupre_3-2" class="reference"><a href="#cite_note-beaupre-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> Those fees typically ranged from $40 to $150 per week for eight 15-minute programs.<sup id="cite_ref-amerpop_18-0" class="reference"><a href="#cite_note-amerpop-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p><p>Customers for transcriptions were primarily smaller stations. Brewster and Broughton, in their book <i>Last Night a DJ Saved My Life,</i> wrote; (transcriptions) "lessened the reliance on the announcer/disc jockey and, because [a transcription] was made specifically for broadcast, it avoided record company litigation." They quoted Ben Selvin, who worked for a transcription company, as saying, "Most stations could not afford the orchestras and productions that went into the network radio shows, and so we supplied nearly 300 stations with transcriptions that frequently – but not always – featured the most popular bands and vocalists."<sup id="cite_ref-brewster_19-0" class="reference"><a href="#cite_note-brewster-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> A slogan used in an advertisement for one transcription service might well have been applied to the industry as a whole, "TRANSCRIBED ... so that advertisers everywhere may have 'radio at its commercial best.'"<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p><p>A 1948 ad for the transcription service World Broadcasting System contained a letter which praised the company. S.A. Vetter, assistant to the owner of WWPB, AM and FM stations in Miami, Florida, wrote: "you will be interested in knowing that I consider the purchase of the World Feature Library as the best 'buy' I have made in my twenty-one years in Miami radio."<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> The popularity of at least one library was indicated in another 1948 ad. One for Standard Radio Transcription Services, Inc. ad boasted of its Standard Program Library as: "now serving over 700 stations."<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> That same year, an ad for another transcription service, World Broadcasting System, said, "over 640 stations now use this great world library."<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> Another supply company, Associated Program Service, advertised its transcription library as being "not the usual one-shot recording date ... not the routine disc or two ... but real continuity of performance ... a dependable, steady supply of fresh music ... great depth of titles."<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> </p><p>Among the companies providing transcription services were radio networks. <a href="/wiki/NBC" title="NBC">NBC</a> began its electrical transcription service in 1934. Lloyd C. Egner, manager of electrical transcriptions at NBC wrote that with the NBC Syndicated Recorded Program Service (later named the RCA/NBC Thesaurus Library<sup id="cite_ref-america_10-1" class="reference"><a href="#cite_note-america-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup>) the company sought "to make available to stations associated with NBC our extensive programming resources to help in the sale of their facilities to local advertisers."<sup id="cite_ref-nbc_25-0" class="reference"><a href="#cite_note-nbc-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> He added: "each program series ... will be as completely programmed as if it were to be for a network client. In other words they will be designed to sell a sponsor's product or service."<sup id="cite_ref-nbc_25-1" class="reference"><a href="#cite_note-nbc-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> A 1948 ad for NBC's service touted: "now 25 better shows tailored for better programming at lower cost," adding that the company's material was "programmed and proven over 1000 radio stations."<sup id="cite_ref-nbcad_26-0" class="reference"><a href="#cite_note-nbcad-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> <a href="/wiki/CBS" title="CBS">CBS</a> also had a transcription division, called Columbia Recording Corporation.<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/Capitol_Records" title="Capitol Records">Capitol Records</a>, better known for its popular recordings, also had a transcription service. An ad in the trade publication <i><a href="/wiki/Broadcasting_%26_Cable" title="Broadcasting & Cable">Broadcasting</a></i> asked in a headline if the reader was "finding it tough to sell time?" The ad's text promoted 3,000 selections – with more added monthly – from <a href="/wiki/Peggy_Lee" title="Peggy Lee">Peggy Lee</a>, <a href="/wiki/Jan_Garber" title="Jan Garber">Jan Garber</a>, <a href="/wiki/Johnny_Mercer" title="Johnny Mercer">Johnny Mercer</a> and other "top stars", adding, "more than 300 stations already use it."<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> </p><p>One source estimated: "by the end of the 1930s, [transcription] services had built up a market of $10 million."<sup id="cite_ref-america_10-2" class="reference"><a href="#cite_note-america-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p><p>Transcription services' programming was not limited to music. Mystery, drama and other genres of programming were distributed via transcription. At least two transcribed dramas, <i><a href="/wiki/I_Was_a_Communist_for_the_FBI" title="I Was a Communist for the FBI">I Was a Communist for the FBI</a></i> and <i><a href="/wiki/Bold_Venture" title="Bold Venture">Bold Venture</a></i>, were distributed to more than 500 stations each.<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> NBC's transcription offerings included <i><a href="/wiki/Aunt_Mary_(radio)" class="mw-redirect" title="Aunt Mary (radio)">Aunt Mary</a></i> (a soap opera), <i>The Haunting Hour</i> (a psychological mystery), <i>The Playhouse of Favorites</i> (a drama) and <i>Modern Romances</i>.<sup id="cite_ref-nbcad_26-1" class="reference"><a href="#cite_note-nbcad-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Use_by_advertisers">Use by advertisers</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Electrical_transcription&action=edit&section=3" title="Edit section: Use by advertisers"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Advertisers found electrical transcriptions useful for distributing their messages to local stations. <a href="/wiki/Radio_advertisement" title="Radio advertisement">Spot advertising</a> is said to have begun in the 1930s. "The spot announcements were easily produced and distributed throughout the country via electrical transcription" as an alternative to network advertising.<sup id="cite_ref-histdict_30-0" class="reference"><a href="#cite_note-histdict-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> In 1944, the spot <a href="/wiki/Jingle" title="Jingle">jingle</a> segment of transcriptions was estimated to have an annual value of $10 million.<sup id="cite_ref-mj_31-0" class="reference"><a href="#cite_note-mj-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Benefits_for_performers">Benefits for performers</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Electrical_transcription&action=edit&section=4" title="Edit section: Benefits for performers"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Transcriptions proved advantageous for performers, especially musicians in the <a href="/wiki/Big_band" title="Big band">Big-Band Era</a>. Using transcriptions helped them reach one audience via radio while making personal appearances in front of other audiences.<sup id="cite_ref-louisiana_14-2" class="reference"><a href="#cite_note-louisiana-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> Additionally, if more stations used their transcriptions, that increased the audience for their music even more.<sup id="cite_ref-southern_32-0" class="reference"><a href="#cite_note-southern-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> An item in a 1946 issue of <i><a href="/wiki/Macfadden_Communications_Group" title="Macfadden Communications Group">Radio Mirror</a></i> magazine noted: "<a href="/wiki/Bing_Crosby" title="Bing Crosby">Bing Crosby</a>'s transcription deal with <a href="/wiki/Philco_Radio_Time" title="Philco Radio Time">Philco</a> has started a rush of other sought-after radio performers for deals of a similar nature. Their advantages from such a setup include more free time and corporate setups to relieve their tax costs."<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> </p><p>Recording commercial jingles for spot announcements was a source of income for performers and writers. In 1944, <a href="/wiki/Cliff_Edwards" title="Cliff Edwards">Cliff Edwards</a> received $1,500 for recording a 30-second gum jingle.<sup id="cite_ref-mj_31-1" class="reference"><a href="#cite_note-mj-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Government_use_of_transcriptions">Government use of transcriptions</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Electrical_transcription&action=edit&section=5" title="Edit section: Government use of transcriptions"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><a href="/wiki/World_War_II" title="World War II">World War II</a> brought a new use for electrical transcriptions—storage of audio material for broadcasting to people in the military. The <a href="/wiki/Armed_Forces_Radio_Service" class="mw-redirect" title="Armed Forces Radio Service">American Forces Network</a> began using ETs during that war and continued using them through 1998. More than 300,000 AFRTS electrical transcription discs are stored in a collection at the <a href="/wiki/Library_of_Congress" title="Library of Congress">Library of Congress</a>.<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p><p>Transcriptions "were often used for ... government-issued programs which were sent to the individual stations for broadcast on designated dates. Recruiting shows for the branches of military service arrived on such discs ... the <a href="/wiki/Federal_government_of_the_United_States" title="Federal government of the United States">United States Government</a> shipped many programs during wartime as transcriptions."<sup id="cite_ref-beaupre_3-3" class="reference"><a href="#cite_note-beaupre-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p><p>During the war, the federal government, in conjunction with the <a href="/wiki/Intercollegiate_Broadcasting_System" title="Intercollegiate Broadcasting System">Intercollegiate Broadcasting System</a>, provided "approximately eight 15-minute transcribed programs every week to each of ... 35 college stations."<sup id="cite_ref-ibs_35-0" class="reference"><a href="#cite_note-ibs-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> The <a href="/wiki/United_States_Department_of_War" title="United States Department of War">United States Department of War</a>, <a href="/wiki/United_States_Department_of_the_Navy" title="United States Department of the Navy">United States Department of the Navy</a>, <a href="/wiki/United_States_Department_of_the_Treasury" title="United States Department of the Treasury">United States Department of the Treasury</a> and <a href="/wiki/United_States_Office_of_Education" title="United States Office of Education">United States Office of Education</a> contributed to production of programs related to the war effort, such as <i>The Treasury Star Parade</i> and <i>You Can't Do Business with Hitler</i>.<sup id="cite_ref-ibs_35-1" class="reference"><a href="#cite_note-ibs-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> </p><p>The <a href="/wiki/Voice_of_America" title="Voice of America">Voice of America</a> also used transcriptions, with one disc manufacturer noting in an ad, "A substantial part of these daily programs is recorded ..."<sup id="cite_ref-bc041948_12-1" class="reference"><a href="#cite_note-bc041948-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Other_notable_uses">Other notable uses</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Electrical_transcription&action=edit&section=6" title="Edit section: Other notable uses"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1251242444">.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output 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.mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}</style><table class="box-More_citations_needed plainlinks metadata ambox ambox-content ambox-Refimprove" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><span typeof="mw:File"><a href="/wiki/File:Question_book-new.svg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50px-Question_book-new.svg.png" decoding="async" width="50" height="39" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/75px-Question_book-new.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/100px-Question_book-new.svg.png 2x" data-file-width="512" data-file-height="399" /></a></span></div></td><td class="mbox-text"><div class="mbox-text-span">This section <b>needs additional citations for <a href="/wiki/Wikipedia:Verifiability" title="Wikipedia:Verifiability">verification</a></b>.<span class="hide-when-compact"> Please help <a href="/wiki/Special:EditPage/Electrical_transcription" title="Special:EditPage/Electrical transcription">improve this article</a> by <a href="/wiki/Help:Referencing_for_beginners" title="Help:Referencing for beginners">adding citations to reliable sources</a> in this section. Unsourced material may be challenged and removed.<br /><small><span class="plainlinks"><i>Find sources:</i> <a rel="nofollow" class="external text" href="https://www.google.com/search?as_eq=wikipedia&q=%22Electrical+transcription%22">"Electrical transcription"</a> – <a rel="nofollow" class="external text" href="https://www.google.com/search?tbm=nws&q=%22Electrical+transcription%22+-wikipedia&tbs=ar:1">news</a> <b>·</b> <a rel="nofollow" class="external text" href="https://www.google.com/search?&q=%22Electrical+transcription%22&tbs=bkt:s&tbm=bks">newspapers</a> <b>·</b> <a rel="nofollow" class="external text" href="https://www.google.com/search?tbs=bks:1&q=%22Electrical+transcription%22+-wikipedia">books</a> <b>·</b> <a rel="nofollow" class="external text" href="https://scholar.google.com/scholar?q=%22Electrical+transcription%22">scholar</a> <b>·</b> <a rel="nofollow" class="external text" href="https://www.jstor.org/action/doBasicSearch?Query=%22Electrical+transcription%22&acc=on&wc=on">JSTOR</a></span></small></span> <span class="date-container"><i>(<span class="date">November 2024</span>)</i></span><span class="hide-when-compact"><i> (<small><a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a></small>)</i></span></div></td></tr></tbody></table> <p>The network ban on prerecorded material was temporarily lifted on the occasion of the crash of the airship <i><a href="/wiki/LZ_129_Hindenburg" title="LZ 129 Hindenburg">Hindenburg</a></i> in <a href="/wiki/Lakehurst,_New_Jersey" title="Lakehurst, New Jersey">Lakehurst, New Jersey</a>, on 6 May 1937. A recording of the crash made for <a href="/wiki/Chicago" title="Chicago">Chicago</a> radio station <a href="/wiki/WLS_(AM)" title="WLS (AM)">WLS</a> by announcer <a href="/wiki/Herbert_Morrison_(announcer)" class="mw-redirect" title="Herbert Morrison (announcer)">Herbert Morrison</a> was allowed to be broadcast over the network by <a href="/wiki/NBC" title="NBC">NBC</a>. This is the well-known "oh, the humanity!" recording, usually heard only as a brief excerpt and reproduced at a speed which differs significantly from the original recording speed, causing Morrison's voice to sound unnaturally high-pitched and excessively frantic. When heard in its entirety and at the correct speed, the report is still powerful. </p><p>Transcription recordings from major American radio networks became commonplace during <a href="/wiki/World_War_II" title="World War II">World War II</a> as pressed vinyl copies of them were distributed worldwide by the U.S. Armed Forces Radio Service for rebroadcast to troops in the field. Disc-to-disc editing procedures were used to delete the commercials included in the original broadcasts, and when a sponsor's name was attached to the name of the program, it was removed as well—<i>Lux Radio Theater</i>, for example, became <i>Your Radio Theater</i>. Although the discs were government property and were supposed to be destroyed after they had served their purpose, some were saved as souvenirs and countless thousands of them were simply dumped rather than actually destroyed. Many of the dumped discs ended up in the hands of scavengers and collectors. Often, these discs are the only form in which the broadcasts on them have survived, and they are one of the reasons why recordings of entertainment broadcasts from the 1940s still exist in abundance. </p><p>Many long classical works performed live onstage were captured in a succession of transcription discs. With only 15 minutes per side at <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1154941027"><span class="frac">33<span class="sr-only">+</span><span class="num">1</span>⁄<span class="den">3</span></span> rpm not only did it become necessary to change discs in the middle of a performance, but a careful track needed to be kept of whether sides were recorded in the conventional outside-in format or the reverse style of inside-out, starting near the label and finishing near the edge. </p><p>This was due to the large fidelity difference from the variation in circumference on revolutions near the edge of a disc compared to those in the center. Therefore, odd sided discs (1, 3, 5 etc.) were always recorded outside-in with the even-sided discs (2, 4, 6 etc.) were recorded inside-out. Producers would often work with engineers to ensure that loud, active, bombastic or selections requiring a wide dynamic range in order to be reproduced faithfully would always be either near the beginning of odd sides or near the ends of even sides. Often a small amount of overlap occurred which upon transfer to tape years later would have to be discarded except in the cases where the beginning of an even side or the end of an odd side or vice-versa had been damaged during the recording process or subsequent handling. This is why on some CD reissues of this material, a noticeable difference in quality can be ascertained between the two sections. </p><p>This practice is preserved for hours-long radio shows up until the 90s when multiple disc sets would be pressed in Radio Format to allow for rapid changing of sides. A) Manual Sequence –  Side 1 is backed by Side 2, Side 3 is backed by Side 4, Side 5 is backed by Side 6 etc. B) Automatic Sequence –  Side 1 is backed by Side 6, Side 2 is backed by Side 5 and Side 3 remains unchanged backed by Side 4 C) Radio Sequence –  Side 1 is backed by Side 4, Side 2 remains unchanged backed by Side 5 and Side 3 is backed by Side 6 to avoid having to turn a record over in the middle instead of being able to cue up the next side next to the one playing to be ready to go. </p><p>Well-known live broadcasts which were preserved on lacquer transcription discs include <i><a href="/wiki/The_War_of_the_Worlds_(1938_radio_drama)" title="The War of the Worlds (1938 radio drama)">The War of the Worlds</a></i> dramatized as breaking news by the <a href="/wiki/Orson_Welles" title="Orson Welles">Orson Welles</a> anthology program <i><a href="/wiki/The_Mercury_Theatre_on_the_Air" title="The Mercury Theatre on the Air">The Mercury Theatre on the Air</a></i>, heard over the <a href="/wiki/CBS" title="CBS">CBS</a> radio network on 30 October 1938. </p><p>Before <a href="/wiki/Magnetic_tape" title="Magnetic tape">magnetic tape</a> recorders became available in the U.S., <a href="/wiki/NBC_Symphony_Orchestra" title="NBC Symphony Orchestra">NBC Symphony Orchestra</a> concert broadcasts were preserved on transcription discs. After its conductor <a href="/wiki/Arturo_Toscanini" title="Arturo Toscanini">Arturo Toscanini</a> retired, he transferred many of these recordings to tape, with the assistance of his son Walter, and most were eventually released on LP or CD.<sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> </p><p>In the United States, NBC Radio continued to use the 16-inch disc format for archiving purposes into the early 1970s. </p> <div class="mw-heading mw-heading2"><h2 id="Transcription_discs">Transcription discs</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Electrical_transcription&action=edit&section=7" title="Edit section: Transcription discs"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1251242444"><table class="box-Unreferenced_section plainlinks metadata ambox ambox-content ambox-Unreferenced" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><span typeof="mw:File"><a href="/wiki/File:Question_book-new.svg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50px-Question_book-new.svg.png" decoding="async" width="50" height="39" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/75px-Question_book-new.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/100px-Question_book-new.svg.png 2x" data-file-width="512" data-file-height="399" /></a></span></div></td><td class="mbox-text"><div class="mbox-text-span">This section <b>does not <a href="/wiki/Wikipedia:Citing_sources" title="Wikipedia:Citing sources">cite</a> any <a href="/wiki/Wikipedia:Verifiability" title="Wikipedia:Verifiability">sources</a></b>.<span class="hide-when-compact"> Please help <a href="/wiki/Special:EditPage/Electrical_transcription" title="Special:EditPage/Electrical transcription">improve this section</a> by <a href="/wiki/Help:Referencing_for_beginners" title="Help:Referencing for beginners">adding citations to reliable sources</a>. Unsourced material may be challenged and <a href="/wiki/Wikipedia:Verifiability#Burden_of_evidence" title="Wikipedia:Verifiability">removed</a>.</span> <span class="date-container"><i>(<span class="date">November 2024</span>)</i></span><span class="hide-when-compact"><i> (<small><a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a></small>)</i></span></div></td></tr></tbody></table> <p>A <b>transcription disc</b> is a special phonograph record intended for, or recorded from, a radio broadcast. Sometimes called a <b>broadcast transcription</b> or <b>radio transcription</b> or nicknamed a <b>platter</b>, it is also sometimes just referred to as an <b>electrical transcription</b>, usually abbreviated to <b>E.T.</b> among radio professionals. </p><p>Transcription discs are most commonly 16 inches (40 cm) in diameter and recorded at <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1154941027"><span class="frac">33<span class="sr-only">+</span><span class="num">1</span>⁄<span class="den">3</span></span> <a href="/wiki/Revolutions_per_minute" title="Revolutions per minute">rpm</a>. 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 (c. 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 <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1154941027"><span class="frac">33<span class="sr-only">+</span><span class="num">1</span>⁄<span class="den">3</span></span> rpm microgroove vinyl discs visually indistinguishable from ordinary records except by their label information. </p><p>Some unusual records which are not broadcast-related are sometimes mistakenly described as "transcription discs" because they were recorded on the so-called <a href="/wiki/Acetate_disc" title="Acetate disc">acetate</a> recording blanks used for broadcast transcriptions or share some other physical characteristic with them. Transcription discs should not be confused with the 16-inch <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1154941027"><span class="frac">33<span class="sr-only">+</span><span class="num">1</span>⁄<span class="den">3</span></span> rpm shellac <a href="/wiki/Vitaphone" title="Vitaphone">soundtrack discs</a> used from 1926 into the early 1930s to provide the audio for some motion picture sound systems. Also a potential source of confusion are <a href="/wiki/RCA_Victor" class="mw-redirect" title="RCA Victor">RCA Victor</a>'s "Program Transcription" discs, 10- or 12-inch <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1154941027"><span class="frac">33<span class="sr-only">+</span><span class="num">1</span>⁄<span class="den">3</span></span> rpm records pressed in <a href="/wiki/Shellac" title="Shellac">shellac</a> and "Victrolac" <a href="/wiki/Gramophone_record" class="mw-redirect" title="Gramophone record">vinyl</a> 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 <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1154941027"><span class="frac">33<span class="sr-only">+</span><span class="num">1</span>⁄<span class="den">3</span></span> rpm speed for home use. </p> <div class="mw-heading mw-heading3"><h3 id="Disc_types">Disc types</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Electrical_transcription&action=edit&section=8" title="Edit section: Disc types"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Transcription discs are of two basic types: pressings and instantaneous discs. </p><p>Pressings were created in the same way as ordinary records. A master recording was cut into a blank wax or <a href="/wiki/Acetate_disc" title="Acetate disc">acetate disc</a>.<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>a<span class="cite-bracket">]</span></a></sup> 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 <a href="/wiki/Shellac" title="Shellac">shellac</a>, in the mid-1930s quieter <a href="/wiki/Gramophone_record" class="mw-redirect" title="Gramophone record">vinyl</a> 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. </p><p>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 <a href="/wiki/Aluminum_disc" title="Aluminum disc">aluminum disc</a>. 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. </p><p>In late 1934, a new type of instantaneous disc was commercially introduced. It consisted of an aluminum core disc coated with black <a href="/wiki/Cellulose_nitrate" class="mw-redirect" title="Cellulose nitrate">cellulose nitrate</a> 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 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. </p><p>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 <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1154941027"><span class="frac">33<span class="sr-only">+</span><span class="num">1</span>⁄<span class="den">3</span></span> rpm vinyl <a href="/wiki/LP_record" title="LP record">LP records</a> 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. </p> <div class="mw-heading mw-heading2"><h2 id="The_demise_of_transcriptions">The demise of transcriptions</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Electrical_transcription&action=edit&section=9" title="Edit section: The demise of transcriptions"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Beginning in the 1940s, two factors caused radio stations' use of transcriptions to diminish. After <a href="/wiki/World_War_II" title="World War II">World War II</a>, use of transcriptions diminished as <a href="/wiki/Disc_jockey" title="Disc jockey">disc jockeys</a> became more popular.<sup id="cite_ref-brewster_19-1" class="reference"><a href="#cite_note-brewster-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> That increased popularity meant that stations began to use commercial recordings more than they had in the past. The trade magazine <i><a href="/wiki/Billboard_(magazine)" title="Billboard (magazine)">Billboard</a></i> reported in a November 22, 1952, article, "Transcription libraries have come upon rough times, owing to the fact that records have largely taken the place of the old-fashioned E.T.'s."<sup id="cite_ref-bb110252_38-0" class="reference"><a href="#cite_note-bb110252-38"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> </p><p>In the 1940s, decreased demand caused transcription services to reduce the royalty they paid copyright owners from $15 per track per year to $10 per track per year. By 1952, still less demand resulted in negotiations for a percentage of gross sales to replace the flat fee.<sup id="cite_ref-bb110252_38-1" class="reference"><a href="#cite_note-bb110252-38"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> </p><p>By late 1959, at least two transcription service companies had gone out of business, selling their libraries to a company that provided recorded background music on tapes and discs. The purchaser acquired a total of approximately 12,000 selections from the two companies.<sup id="cite_ref-bb110959_39-0" class="reference"><a href="#cite_note-bb110959-39"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/Magnetic_tape" title="Magnetic tape">Magnetic tape</a> and tape recorders became popular at radio stations after World War II, taking over the functions that in-house transcription disc recording had served. Tape's advantages included lower cost, higher fidelity, more recording time, possibility of re-use after erasing, and ease of editing.<sup id="cite_ref-guide_1-1" class="reference"><a href="#cite_note-guide-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Electrical_transcription&action=edit&section=10" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1184024115">.mw-parser-output .div-col{margin-top:0.3em;column-width:30em}.mw-parser-output .div-col-small{font-size:90%}.mw-parser-output .div-col-rules{column-rule:1px solid #aaa}.mw-parser-output .div-col dl,.mw-parser-output .div-col ol,.mw-parser-output .div-col ul{margin-top:0}.mw-parser-output .div-col li,.mw-parser-output .div-col dd{page-break-inside:avoid;break-inside:avoid-column}</style><div class="div-col" style="column-width: 30em;"> <ul><li><a href="/wiki/Gramophone_record" class="mw-redirect" title="Gramophone record">Gramophone record</a></li> <li><a href="/wiki/List_of_old-time_radio_programs" title="List of old-time radio programs">List of old-time radio programs</a></li> <li><a href="/wiki/List_of_old-time_radio_people" class="mw-redirect" title="List of old-time radio people">List of old-time radio people</a></li> <li><a href="/wiki/List_of_U.S._radio_programs" title="List of U.S. radio programs">List of U.S. radio programs</a></li> <li><a href="/wiki/Antique_radio" title="Antique radio">Antique radio</a></li> <li><a href="/wiki/Audio_theater" class="mw-redirect" title="Audio theater">Audio theater</a></li> <li><a href="/wiki/American_Museum_of_Radio_and_Electricity" class="mw-redirect" title="American Museum of Radio and Electricity">American Museum of Radio and Electricity</a></li> <li><a href="/wiki/Broadcasting" title="Broadcasting">Broadcasting</a></li> <li><a href="/wiki/Museum_of_Television_%26_Radio" class="mw-redirect" title="Museum of Television & Radio">Museum of Television & Radio</a></li> <li><a href="/wiki/Music_radio" title="Music radio">Music radio</a></li> <li><a href="/wiki/Radio" title="Radio">Radio</a></li> <li><a href="/wiki/Radio_comedy" title="Radio comedy">Radio comedy</a></li> <li><a href="/wiki/Radio_drama" title="Radio drama">Radio drama</a></li> <li><a href="/wiki/Radio_programming" title="Radio programming">Radio programming</a></li> <li><a href="/wiki/Soap_opera" title="Soap opera">Soap opera</a></li> <li><a href="/wiki/When_Radio_Was" title="When Radio Was">When Radio Was</a></li></ul></div> <div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Electrical_transcription&action=edit&section=11" title="Edit section: Notes"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-lower-alpha"> <div class="mw-references-wrap"><ol class="references"> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text">Although the word "acetate" has long been standard in the broadcast industry and has come into general use, that term was and is abhorred as technically incorrect by engineers in the record industry, who refer to the discs as "lacquers", because the lacquer coating on them is actually <a href="/wiki/Cellulose_nitrate" class="mw-redirect" title="Cellulose nitrate">cellulose nitrate</a>, not <a href="/wiki/Cellulose_acetate" title="Cellulose acetate">cellulose acetate</a>.</span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Electrical_transcription&action=edit&section=12" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239543626"><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-guide-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-guide_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-guide_1-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Browne, Ray B. and Browne, Pat, eds. (2001). <i>The Guide to United States Popular Culture</i>. The University of Wisconsin Press. <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-87972-821-3" title="Special:BookSources/0-87972-821-3">0-87972-821-3</a>. P. 263.</span> </li> <li id="cite_note-musicbiz-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-musicbiz_2-0">^</a></b></span> <span class="reference-text">Hull, Geoffrey P. (2011). <i>The Music and Recording Business: Delivering Music in the 21st Century</i>. Routledge. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-415-87560-8" title="Special:BookSources/978-0-415-87560-8">978-0-415-87560-8</a>. P. 327.</span> </li> <li id="cite_note-beaupre-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-beaupre_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-beaupre_3-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-beaupre_3-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-beaupre_3-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBeaupre" class="citation web cs1">Beaupre, Walter J. <a rel="nofollow" class="external text" href="http://www.otrsite.com/articles/artwb006.html">"Music Electrically Transcribed!"</a>. <i>The Vintage Radio Place</i><span class="reference-accessdate">. Retrieved <span class="nowrap">8 November</span> 2014</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Vintage+Radio+Place&rft.atitle=Music+Electrically+Transcribed%21&rft.aulast=Beaupre&rft.aufirst=Walter+J.&rft_id=http%3A%2F%2Fwww.otrsite.com%2Farticles%2Fartwb006.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectrical+transcription" class="Z3988"></span></span> </li> <li id="cite_note-routledge-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-routledge_4-0">^</a></b></span> <span class="reference-text">Holmes, Thom, Ed. (2006). <i>The Routledge Guide to Music Technology</i>. Routledge <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-415-97323-6" title="Special:BookSources/0-415-97323-6">0-415-97323-6</a>. P. 189.</span> </li> <li id="cite_note-mystery-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-mystery_5-0">^</a></b></span> <span class="reference-text">Smith, William Ander (1990). <i>The Mystery of Leopold Stokowski</i>. Associated University Presses, Inc. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8386-3362-5" title="Special:BookSources/0-8386-3362-5">0-8386-3362-5</a>. P. 175.</span> </li> <li id="cite_note-mrm-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-mrm_6-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFybush" class="citation web cs1">Fybush, Scott. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20141103214654/http://www.modestoradiomuseum.org/et.html">"Electrical Transcriptions (ET's)"</a>. <i>Modesto Radio Museum</i>. Archived from <a rel="nofollow" class="external text" href="http://www.modestoradiomuseum.org/et.html">the original</a> on 3 November 2014<span class="reference-accessdate">. Retrieved <span class="nowrap">8 November</span> 2014</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Modesto+Radio+Museum&rft.atitle=Electrical+Transcriptions+%28ET%27s%29&rft.aulast=Fybush&rft.aufirst=Scott&rft_id=http%3A%2F%2Fwww.modestoradiomuseum.org%2Fet.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectrical+transcription" class="Z3988"></span></span> </li> <li id="cite_note-stay-7"><span class="mw-cite-backlink">^ <a href="#cite_ref-stay_7-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-stay_7-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Sterling, Christopher H. and Kittross, John Michael (2002). <i>Stay Tuned: A History of American Broadcasting</i>. Routledge. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8058-2624-6" title="Special:BookSources/0-8058-2624-6">0-8058-2624-6</a>. P. 109.</span> </li> <li id="cite_note-recorded-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-recorded_8-0">^</a></b></span> <span class="reference-text">Kenney, William Howland (1999). <i>Recorded Music in American Life: The Phonograph and Popular Memory, 1890–1945</i>. Oxford University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-510046-8" title="Special:BookSources/0-19-510046-8">0-19-510046-8</a>. P. 188.</span> </li> <li id="cite_note-secrets-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-secrets_9-0">^</a></b></span> <span class="reference-text">Baker, Joan (2005). <i>Secrets of Voice-over Success: Top Voice-over Artists Reveal How They Did It</i>. First Sentient Publications. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-59181-033-7" title="Special:BookSources/1-59181-033-7">1-59181-033-7</a>. P. 11.</span> </li> <li id="cite_note-america-10"><span class="mw-cite-backlink">^ <a href="#cite_ref-america_10-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-america_10-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-america_10-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Millard, Andre (2005). <i>America on Record: A History of Recorded Sound</i>. Cambridge University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-521-83515-1" title="Special:BookSources/0-521-83515-1">0-521-83515-1</a>. P. 173.</span> </li> <li id="cite_note-davis-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-davis_11-0">^</a></b></span> <span class="reference-text">Davis, Henry B. D. (1983). <i>Electrical and Electronic Technologies: A Chronology of Events and Inventors from 1900 to 1940.</i> Scarecrow Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8108-1590-2" title="Special:BookSources/978-0-8108-1590-2">978-0-8108-1590-2</a>. Pp. 73-74.</span> </li> <li id="cite_note-bc041948-12"><span class="mw-cite-backlink">^ <a href="#cite_ref-bc041948_12-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-bc041948_12-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="http://www.americanradiohistory.com/Archive-BC/BC-1948/1948-04-19-BC.pdf">"(Audio Devices, Inc. ad)"</a> <span class="cs1-format">(PDF)</span>. Broadcasting. April 19, 1948<span class="reference-accessdate">. Retrieved <span class="nowrap">8 December</span> 2014</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=%28Audio+Devices%2C+Inc.+ad%29&rft.date=1948-04-19&rft_id=http%3A%2F%2Fwww.americanradiohistory.com%2FArchive-BC%2FBC-1948%2F1948-04-19-BC.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectrical+transcription" class="Z3988"></span></span> </li> <li id="cite_note-encyclopedia-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-encyclopedia_13-0">^</a></b></span> <span class="reference-text">Kingsbury, Paul; McCall, Michael; and Rumble, John W. (2012). <i>The Encyclopedia of Country Music</i>. 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(2005). <i>Louisiana Hayride: Radio and Roots Music Along the Red River</i>. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-516751-1" title="Special:BookSources/0-19-516751-1">0-19-516751-1</a>. P. 70.</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation magazine cs1"><a rel="nofollow" class="external text" href="http://www.americanradiohistory.com/Archive-Billboard/40s/1940/Billboard-1939-02-10.pdf">"Chesterfield Repeating Glenn Miller Over WOR"</a> <span class="cs1-format">(PDF)</span>. <i>Billboard</i>. February 10, 1940. p. 6<span class="reference-accessdate">. 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Duke University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0822345329" title="Special:BookSources/978-0822345329">978-0822345329</a>. 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Grove Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0802146106" title="Special:BookSources/978-0802146106">978-0802146106</a>.</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="http://www.americanradiohistory.com/Archive-BC/BC-1948/1948-05-17-BC.pdf">"(Commodore Productions ad)"</a> <span class="cs1-format">(PDF)</span>. Broadcasting. May 17, 1948<span class="reference-accessdate">. Retrieved <span class="nowrap">10 December</span> 2014</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=%28Commodore+Productions+ad%29&rft.date=1948-05-17&rft_id=http%3A%2F%2Fwww.americanradiohistory.com%2FArchive-BC%2FBC-1948%2F1948-05-17-BC.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectrical+transcription" class="Z3988"></span></span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="http://www.americanradiohistory.com/Archive-BC/BC-1948/1948-05-03-BC.pdf">"(World Broadcasting System ad)"</a> <span class="cs1-format">(PDF)</span>. Broadcasting. May 3, 1948<span class="reference-accessdate">. Retrieved <span class="nowrap">8 December</span> 2014</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=%28World+Broadcasting+System+ad%29&rft.date=1948-05-03&rft_id=http%3A%2F%2Fwww.americanradiohistory.com%2FArchive-BC%2FBC-1948%2F1948-05-03-BC.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectrical+transcription" class="Z3988"></span></span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="http://www.americanradiohistory.com/Archive-BC/BC-1948/1948-05-17-BC.pdf">"(Standard Radio Transcription Services ad)"</a> <span class="cs1-format">(PDF)</span>. Broadcasting. May 17, 1948<span class="reference-accessdate">. Retrieved <span class="nowrap">9 December</span> 2014</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=%28Standard+Radio+Transcription+Services+ad%29&rft.date=1948-05-17&rft_id=http%3A%2F%2Fwww.americanradiohistory.com%2FArchive-BC%2FBC-1948%2F1948-05-17-BC.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectrical+transcription" class="Z3988"></span></span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="http://www.americanradiohistory.com/Archive-BC/BC-1948/1948-04-19-BC.pdf">"(World Broadcasting System ad)"</a> <span class="cs1-format">(PDF)</span>. Broadcasting. April 19, 1948<span class="reference-accessdate">. Retrieved <span class="nowrap">10 December</span> 2014</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=%28World+Broadcasting+System+ad%29&rft.date=1948-04-19&rft_id=http%3A%2F%2Fwww.americanradiohistory.com%2FArchive-BC%2FBC-1948%2F1948-04-19-BC.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectrical+transcription" class="Z3988"></span></span> </li> <li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://archive.org/stream/broadcastingtele42unse#page/n141/mode/1up">"(Associated Program Services ad)"</a>. Broadcasting. January 14, 1952<span class="reference-accessdate">. Retrieved <span class="nowrap">6 January</span> 2015</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=%28Associated+Program+Services+ad%29&rft.date=1952-01-14&rft_id=https%3A%2F%2Farchive.org%2Fstream%2Fbroadcastingtele42unse%23page%2Fn141%2Fmode%2F1up&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectrical+transcription" class="Z3988"></span></span> </li> <li id="cite_note-nbc-25"><span class="mw-cite-backlink">^ <a href="#cite_ref-nbc_25-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-nbc_25-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEgner1934" class="citation news cs1">Egner, Lloyd C. 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Broadcasting. August 23, 1948<span class="reference-accessdate">. Retrieved <span class="nowrap">6 January</span> 2015</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=%28NBC+Recorded+Program+ad%29&rft.date=1948-08-23&rft_id=http%3A%2F%2Fwww.americanradiohistory.com%2FArchive-BC%2FBC-1948%2F1948-08-23-BC.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectrical+transcription" class="Z3988"></span></span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="http://www.americanradiohistory.com/Archive-BC/BC-1942/1942-06-01-BC.pdf">"Schudt Returns to CBS June 8"</a> <span class="cs1-format">(PDF)</span>. Broadcasting. June 1, 1942<span class="reference-accessdate">. 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November 1946.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Radio+Mirror&rft.atitle=%28untitled+brief%29&rft.volume=26&rft.issue=6&rft.pages=90&rft.date=1946-11&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectrical+transcription" class="Z3988"></span></span> </li> <li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://memory.loc.gov/ammem/awhhtml/awrs9/afrts.html">"Recorded Sound Section--Motion Picture, Broadcasting and Recorded Sound Division"</a>. <i>Library of Congress</i><span class="reference-accessdate">. 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Billboard. November 22, 1952<span class="reference-accessdate">. Retrieved <span class="nowrap">7 December</span> 2014</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Seeks+New+Terms+With+ET+Companies&rft.date=1952-11-22&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DXB8EAAAAMBAJ%26q%3DStandard%2BRadio%2BTranscription%2BServices%26pg%3DPA20&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectrical+transcription" class="Z3988"></span></span> </li> <li id="cite_note-bb110959-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-bb110959_39-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://books.google.com/books?id=DAgEAAAAMBAJ&q=Standard+Radio+Transcription+Services&pg=PA18">"Conley Adds More Top Background Tape Fare"</a>. Billboard. November 9, 1959<span class="reference-accessdate">. Retrieved <span class="nowrap">8 December</span> 2014</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Conley+Adds+More+Top+Background+Tape+Fare&rft.date=1959-11-09&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DDAgEAAAAMBAJ%26q%3DStandard%2BRadio%2BTranscription%2BServices%26pg%3DPA18&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectrical+transcription" class="Z3988"></span></span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Electrical_transcription&action=edit&section=13" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a rel="nofollow" class="external text" href="http://www.californiahistoricalradio.com/et-project/Electrical">Transcriptions archive of the California Historical Radio Society</a><sup class="noprint Inline-Template"><span style="white-space: nowrap;">[<i><a href="/wiki/Wikipedia:Link_rot" title="Wikipedia:Link rot"><span title=" Dead link tagged November 2018">permanent dead link</span></a></i><span style="visibility:hidden; color:transparent; padding-left:2px">‍</span>]</span></sup></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20080414162816/http://www.midcoast.com/~lizmcl/links.html">Elizabeth McLeod's Broadcasting History</a></li> <li><a rel="nofollow" class="external text" href="http://www.otrsite.com/articles/artwb006.html">Music Electrically Transcribed!</a> Walter J. Beaupre</li> <li><a rel="nofollow" class="external text" href="http://www.broadcasting-history.ca/electrical-transcription">Electrical Transcription - Canadian Communication Foundation</a></li> <li><a rel="nofollow" class="external text" href="http://www.otrr.org/">Old Time Radio Researchers Group</a></li> <li><a rel="nofollow" class="external text" href="https://archive.org/details/oldtimeradio">Internet Archive's Old Time Radio Collection</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20170812070337/http://xroads.virginia.edu/~1930s2/radio/day/radio.html">A full day's broadcast on September 21, 1939 on the Washington, D.C. CBS affiliate station WJSV</a></li> <li><a rel="nofollow" class="external text" href="http://www.aladin.wrlc.org/dl/collection/hdr?hickman">The John R. Hickman Collection</a> from American University Library</li> <li>Fybush, Scott. <a rel="nofollow" class="external text" href="http://www.bostonradio.org/faq.html">Frequently-Asked Question</a>. The Archives@BostonRadio.org.</li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20070221191200/http://community.mcckc.edu/crosby/AFRS.htm">Armed Forces Radio Services broadcasts</a>. Bing Crosby Internet Museum.</li> <li>Bensman, Marvin R.. <a rel="nofollow" class="external text" href="https://umdrive.memphis.edu/mbensman/public/collectingarticle.html">A History of Radio Program Collecting</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20100618065554/https://umdrive.memphis.edu/mbensman/public/collectingarticle.html">Archived</a> 2010-06-18 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>. 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