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The phonograph, or gramophone, was the most common device for playing recorded sound from the 1870s through the 1980s.
The famous phonograph was the first device for recording and replaying sound. The term phonograph ("sound writer") is derived from the Greek words φωνή (meaning "sound" or "voice" and transliterated as phoné) and γραφή (meaning "writing" and transliterated as graphé). Similar related terms grams of fat and graphophone have similar root meanings. The coinage, particularly the use of the -graph root, may have been influenced by the then-existing words phonographic and phonography, which referred to a system of phonetic shorthand; in 1852 The New York Times carried an advertisement for "Professor Webster's phonographic class", and in 1859 the New York State Teachers' Association tabled a motion to "employ a phonographic recorder" to record its meetings.
F. B. Fenby was the original author of the word An inventor in Worcester, Massachusetts, he was granted a patent in 1863 for an unsuccessful device called the "Electro-Magnetic Phonograph". His concept detailed a system that would record a sequence of keyboard strokes onto paper tape. Although no model or workable device was ever made, it is often seen as a link to the concept of punched paper for player piano rolls (1880s), as well as Herman Hollerith's punch card tabulator (used in the 1890 United States census), a distant precursor of the modern computer.
Arguably, any device used to record sound or reproduce recorded sound could be called a type of "phonograph", but in common practice it has come to mean historic technologies of sound recording.
In the late 19th and early 20th century, the alternative term talking machine was sometimes used. This term was more in line with Thomas Edison's early view that his invention was better suited for spoken recordings such as dictation than for musical recordings.
Gramophone was a U.S. brand name, and as such in the same category as Victrola, Zon-o-phone, Graphophone and Graphonola referring to specific brands of sound reproducing machines. (Similarly, in German, das Grammophon (literally "the Gramophone") was the most common generic term for any sound reproducer using grooved records, hence the brand name Deutsche Grammophon.) Emile Berliner's Gramophone was considered a type of phonograph.
The brand name Gramophone was not used in the USA after 1901, and the word fell out of use there, though it has survived in its nickname form, Grammy, as the title of the Grammy Awards. The Grammy trophy itself is a small rendering of a gramophone,
Modern amplifier equipment still labels the input that accepts the output from a modern magnetic pickup cartridge as the 'phono' input (abbreviated from 'phonograph').
The earliest known invention of a phonographic recording device was the phonautograph, invented by Frenchman Édouard-Léon Scott de Martinville and patented on March 25 1857. It could transcribe sound to a visible medium, but had no means to play back the sound after it was recorded. In 2008, phonautograph recordings were for the first time played back as sound by American audio historians, using computers to decode the transcribed waveforms.
Charles Cros, a French scientist, produced a theory (April 18 1877) concerning a phonograph, but he did not manufacture a working model. His theory was submitted to the French Academy of Sciences, and was read to the public in December 1877, by which time Edison had produced a working model. Cros and Edison apparently discovered their theories independently.
Thomas Alva Edison conceived the principle of recording and reproducing sound between May and July 1877 as a byproduct of his efforts to "play back" recorded telegraph messages and to automate speech sounds for transmission by telephone. He announced his invention of the first phonograph, a device for recording and replaying sound, on November 21 1877, and he demonstrated the device for the first time on November 29 (it was patented on February 19 1878 as US Patent 200,521). Edison's early phonographs recorded onto a tinfoil sheet phonograph cylinder using an up-down ("hill-and-dale") motion of the stylus. The tinfoil sheet was wrapped around a grooved cylinder, and the sound was recorded as indentations into the foil. Edison's early patents show that he also considered the idea that sound could be recorded as a spiral onto a disc, but Edison concentrated his efforts on cylinders, since the groove on the outside of a rotating cylinder provides a constant velocity to the stylus in the groove, which Edison considered more "scientifically correct". Edison's patent specified that the audio recording be embossed, and it was not until 1886 that vertically modulated engraved recordings using wax coated cylinders were patented by Chichester Bell and Charles Sumner Tainter. They named their version the Graphophone. Emile Berliner patented his Gramophone in 1887. The Gramophone involved a system of recording using a lateral (back and forth) movement of the stylus as it traced a spiral onto a zinc disc coated with a compound of beeswax in a solution of benzine. The zinc disc was immersed in a bath of chromic acid; this etched the groove into the disc where the stylus had removed the coating, after which the recording could be played.
In May 1889, the first "phonograph parlor" opened in San Francisco. Customers would sit at a desk where they could speak through a tube, and order a selection for one nickel. Through a separate tube connected to a cylinder phonograph in the room below, the selection would then be played. By the mid-1890s, most American cities had at least one phonograph parlor. Another common type of phonograph parlor featured a machine that would start or would be windable when a coin would be inserted. This jukebox-like phonograph was invented by Louis T. Glass and William S. Arnold. Many early machines were of the Edison Class M or Class E type. The Class M had a battery that would break if it fell or was smashed with another object. Ths would cause dangerous battery acid to spill everywhere. The Class E sold for a lower price and ran on 120V DC.
By 1890, record manufacturers had begun using a rudimentary duplication process to mass-produce their product. While the live performers recorded the master phonograph, up to ten tubes led to blank cylinders in other phonographs. Until this development, each record had to be custom-made. Before long, a more advanced pantograph-based process made it possible to simultaneously produce 90-150 copies of each record. However, as demand for certain records grew, popular artists still needed to re-record and re-re-record their songs. Reportedly, the medium's first major African-American star George Washington Johnson was obliged to perform his "The Laughing Song" (or the separate "Laughing Coon" ) literally thousands of times in a studio during his recording career. Sometimes he would sing "The Laughing Song" more than fifty times in a day, at twenty cents per rendition. (The average price of a single cylinder in the mid-1890s was about fifty cents.)
"Instead of using a disk I designed a little machine using a cylinder provided with grooves around the surface. Over this was to be placed tinfoil, which easily received and recorded the movements of the diaphragm. A sketch was made, and the piece-work price, $18, was marked on the sketch. I was in the habit of marking the price I would pay on each sketch. If the workman lost, I would pay his regular wages; if he made more than the wages, he kept it. The workman who got the sketch was John Kruesi. I didn't have much faith that it would work, expecting that I might possibly hear a word or so that would give hope of a future for the idea. Kruesi, when he had nearly finished it, asked what it was for. I told him I was going to record talking, and then have the machine talk back. He thought it absurd. However, it was finished, the foil was put on; I then shouted ' Mary had a little lamb ,' etc. I adjusted the reproducer, and the machine reproduced it perfectly. I was never so taken aback in my life. Everybody was astonished. I was always afraid of things that worked the first time. Long experience proved that there were great drawbacks found generally before they could be got commercial; but here was something there was no doubt of."
Frank Lambert's lead cylinder recording for an experimental talking clock is often identified as the oldest surviving playable sound recording, although the evidence advanced for its early date is controversial. The phonograph cylinder recordings of Handel's choral music made on June 29 1888 at The Crystal Palace in London were thought to be the oldest known surviving musical recordings, until the recent playback by a group of American historians of a waveform of "Au Clair de la Lune", recorded on a phonautograph on April 9, 1860. The 1860 phonautogram had not until then been played, as it was only an attempt to transcribe audio waves onto paper.
Disc recording is inherently neither better nor worse than cylinder recording in potential audio fidelity.
Recordings made on a cylinder remain at a constant linear velocity for the entirety of the recording, while those made on a disc have a higher linear velocity at the outer portion of the groove compared to the inner portion.
Edison's patented recording method recorded with vertical modulations in a groove. Berliner utilized a laterally modulated groove.
Though Edison's recording technology was better than Berliner's, there were commercial advantages to a disc system:
Berliner successfully argued that his technology was different enough from Edison's that he did not need to pay royalties on it, which reduced his business expenses.
Through experimentation, in 1892 Berliner began commercial production of his disc records, and "gramophones" or "talking-machines". His "gramophone record" was the first disc record to be offered to the public. They were five inches (12.7 cm) in diameter and recorded on one side only. Seven-inch (17.5 cm) records followed in 1895. By 1901, ten-inch (25 cm) records were marketed by the Victor Talking Machine Company, and Berliner had sold his interests. By 1908, a majority of the public demanded double-sided disc recordings, and cylinders fell into disfavor. Edison felt the commercial pressure for disc records, and by 1912, though reluctant at first, his movement to disc records was in full swing.
From the mid-1890s until the early 1920s both phonograph cylinder and disc recordings and machines to play them on were widely mass-marketed and sold. The disc system gradually became more popular due to its cheaper price and better marketing by disc record companies. Edison ceased cylinder manufacture in the fall of 1929, and the history of disc and cylinder rivalry was concluded.
Berliner's lateral disc record was the ancestor of the 78 rpm, 45 rpm, 33⅓ rpm, and all other analogue disc records popular for use in sound recording through the 20th century. See gramophone record.
The 1920s brought improved radio technology and radio sales, bringing many phonograph dealers to near financial ruin. With efforts at improved audio fidelity, the big record companies succeeded in keeping business booming through the end of the decade, but the record sales plummeted during the Great Depression, with many companies merging or going out of business.
In 1940, vinyl was used as a record material. Victor apparently pressed some vinyl 78s.
Booms in record sales returned after World War II as standards changed from 78s to vinyl long play records, which could contain an entire symphony, and 45s which usually contained one hit popularized on the radio, plus another song on the back or "flip" side. An "extended play" version of the 45 was also available, designated 45 EP, which provided capacity for longer selections, or two regular-length songs per side.
By the 1960s, inexpensive portable record players and record changers which played stacks of records in wooden console cabinets were popular, usually with heavy and crude tone arms. Even drug stores stocked 45 rpm records at their front counters. Rock music played on 45s became the soundtrack to the 1960s as people bought the same songs that were played free of charge on the radio. Some record players were even tried in automobiles, but were quickly displaced by 8-track and cassette tapes.
High fidelity made great advances during the 1970s, as turntables became very precise instruments with belt or direct drive, jewel-balanced tonearms, some with electronically controlled linear tracking and magnetic cartridges. Some cartridges had frequency response above 30 kHz for use with CD-4 quadraphonic 4 channel sound. A high fidelity component system which cost under $1000 could do a very good job of reproducing very accurate frequency response across the human audible spectrum from 20 Hz to 20,000 Hz with a $200 turntable which would typically have less than .05% wow and flutter and very low rumble (low frequency noise). A well-maintained record would have very little surface noise, though it was difficult to keep records completely free from scratches, which produced popping noises. Another characteristic failure mode was groove lock, causing a section of music to repeat, separated by a popping noise. This was so common that a saying was coined: you sound like a broken record, referring to someone who is being annoyingly repetitious.
A novelty variation on the standard format was the use of multiple concentric spirals with different recordings. Thus when the record was played multiple times, different recordings would play seemingly at random.
Records themselves became an art form because of the large surface onto which graphics and books could be printed, and records could be molded into unusual shapes, colors, or with images (picture discs). The turntable remained a common element of home audio systems well after the introduction of other media such as audio tape and even the early years of the compact disc as a lower priced music format. However, even as the cost of producing CDs fell below that of records, CDs would remain a higher priced music format than cassettes or records. Thus, records were not uncommon in home audio systems into the early 1990s.
By the turn of the 21st century, the turntable had become a niche product, as the price of CD players, which reproduce music free from pops and scratches, fell far lower than high fidelity tape players or turntables. Nevertheless, there is some increase in interest as many big-box media stores stock turntables, as do professional DJ equipment stores. On the other hand, all but the most expensive stereo receivers now omit the phono input. The list price of first-run CDs remains above $15, while used records are very inexpensive, and some are rare and sought after. Some combination systems include turntables with a CD and radio in retro-styled cabinets, of much higher quality than the inexpensive record players common in the 1960s. Records also continue to be manufactured and sold today, albeit in very small quantities when compared to the disc phonograph's heyday.
Costlier turntables made from heavy aluminum castings have greater balanced mass and inertia, helping minimize vibration at the stylus, and maintaining constant speed without wow or flutter, even if the motor exhibits cogging effects. Like stamped steel turntables, they were topped with rubber. Due to the increased mass, they usually employed ball bearings or roller bearings in the spindle to reduce friction and noise. Most are belt or direct drive, but some use an idler wheel. A specific case was the Swiss "Lenco" drive, which possessed a very heavy turntable coupled via an idler wheel to a long, tapered motor drive shaft. This enabled stepless rotation or speed control on the drive. Because of this feature the Lenco became popular end of the 1950s with dancing schools, because the dancing instructor could lead the dancing exercises at different speeds.
Until the 1980s, the idler-wheel drive was the most common on turntables, except for higher-end audiophile models. However, even some higher-end turntables, such as the Lenco, Garrard "Zero" series and Dual turntables, used idler-wheel drive.
The design of the belt drive turntable allows for a less expensive motor than the direct-drive turntable to be used. Also, the elastomeric belt absorbs motor vibrations which would otherwise be picked up by the stylus. The Acoustical professional turntable (earlier marketed under Dutch "Jobo prof") of the 1960s however possessed an expensive German drive motor, the "Pabst Aussenläufer". As this motor name implied, the rotor was on the outside of the motor and acted as a flywheel ahead of the belt-driven turntable itself. In combination with a steel to nylon turntable bearing (with molybdeen sulfide material inside for lifelong lubrication) very low wow, flutter and rumble figures were achieved.
Although most high-quality turntables use a rubber belt to drive the rotating platter from an electric motor, the Rockport Sirius, for example, uses a linear induction motor with no physical connection to the platter. The direct-drive turntable, for example, the abovementioned Technics SL-1200, became popular in the late 1970s.
Many turntables, such as the Rega Planar series, use a fixed plinth with the motor and bearing attached to the same flat surface, usually constructed of wood, metal or acrylic, others use a "suspended sub-chassis" design, where the platform allows the stylus to track accurately relative to the surface of the record whilst being protected from external vibrations. The platter, sub-chassis, armboard and tonearm mechanically form a closed loop, and sit on top of dampers.
The evaluation of the "best" turntable design is very subjective and often based more on listening experience. Technical measurement is fraught with difficulties: first there is the difficulty of measuring small parameters, secondly there is disagreement about relevant parameters to measure.
Audiophile grade turntables start at a few hundred dollars and range upwards of $10,000, depending on the complexity and quality of design and manufacture. The common view would be that there are diminishing returns with an increase in price - a turntable costing $1,000 would not sound significantly better than a turntable costing $500; nevertheless, there exists a large choice of expensive turntables although the popularity of the vinyl replay medium has been surpassed for some time.
Historically, most high-fidelity component systems (preamplifiers or receivers) that accepted input from a phonograph turntable had separate inputs for both ceramic and magnetic cartridges (typically labeled "CER" and "MAG"). One piece systems often had no additional phono inputs at all, regardless of type.
Most systems today, if they accept input from a turntable at all, are configured for use only with magnetic cartridges, with high end systems often having both MM and MC settings.
Early electronic phonographs used a piezo-electric crystal for pickup, where the mechanical movement of the stylus in the groove generates a proportional electrical voltage by creating stress within a crystal (typically Rochelle salt). Crystal pickups are relatively robust, and produce a substantial signal level which requires only a modest amount of further amplification. The output is not very linear however, introducing unwanted distortion. It is difficult to make a crystal pickup suitable for quality stereo reproduction, as the stiff coupling between the crystal and the long styli used prevent close tracking of the needle to the groove modulations. This tends to increase wear on the record, and introduces more distortion. Another problem is with the nature of the crystal itself: it is hygroscopic and tries to absorb moisture from the air and dissolve in it. So it needed protection from the environment by embedding it in other materials, without hindering the movement of the pickup mechanism itself. After a number of years, the protective jelly often deteriorated or leaked from the cartridge case and the full unit needed replacement.
The next development was the ceramic cartridge, a piezoelectric device that used newer, and better, materials. These were more sensitive, and offered greater compliance, that is, lack of resistance to movement and so increased ability to follow the undulations of the groove without gross distorting or jumping out of the groove. Higher compliance meant lower tracking forces and reduced wear to both the disc and stylus. It also allowed ceramic stereo cartridges to be made.
During the 1950s to 1970s, ceramic cartridge became common in low quality phonographs, but better high-fidelity (or "hi-fi") systems used magnetic cartridges, and the availability of low cost magnetic cartridges from the 1970s onwards made ceramic cartridges obsolete for essentially all purposes. At the very end of the lifespan of ceramic cartridges, someone accidentally discovered that by terminating a specific ceramic mono cartridge (the Ronette TX88) not with the prescribed 47 kOhm resistance, but with approx. 10 kOhm, it could be connected to the moving magnet (MM) input too. The result, a much smoother frequency curve extended the lifetime for this popular and very cheap type.
Another popular ceramic stereo cartridge was the Audio Technica model AT66, which due to its price performance ratio was favoured by many as an alternative to more expensive magnetic cartridges.
There are two common designs for magnetic cartridges, moving magnet (MM) and moving coil (MC) (originally called dynamic). Both operate on the same physics principle of electromagnetic induction. The moving magnet type was by far the most common and more robust of the two, though audiophiles often claim that the moving coil system yields higher fidelity sound.
In either type, the stylus itself, usually of diamond, is mounted on a tiny metal strut called a cantilever, which is suspended using a collar of highly compliant plastic. This gives the stylus the freedom to move in any direction. On the other end of the cantilever is mounted a tiny permanent magnet (moving magnet type) or a set of tiny wound coils (moving coil type). The magnet is close to a set of fixed pick-up coils, or the moving coils are held within a magnetic field generated by fixed permanent magnets. In either case, the movement of the stylus as it tracks the grooves of a record causes a fluctuating magnetic field which causes a small electrical current to be induced in the coils. This current closely follows the sound waveform cut into the record, and may be transmitted by wires to an electronic amplifier where it is processed and amplified in order to drive a loudspeaker. Depending upon the amplifier design, a phono-preamp may be necessary.
In most moving magnet designs, the stylus itself is detachable from the rest of the cartridge so it can easily be replaced. There are two primary types of cartridge mounts. The older type is attached using small screws to a headshell which then plugs into the tonearm, while the other is a standardized "P-mount" cartridge that plugs directly into the tonearm. Some mass market turntables use a proprietary integrated cartridge which cannot be upgraded.
An alternative design is the moving iron variation on moving magnet used by Grado, Stanton Magnetics, and the MMC cartridge of Bang & Olufsen. In these units, the magnet itself sits behind the four coils and magnetises the cores of all four coils. The moving iron cross at the other end of the coils varies the gaps between itself and each of these cores, according to its movements. These variations lead to voltage variations as described above.
Famous brands for magnetic cartridges were the MM-brands mentioned above: Grado, Stanton (681EE/EEE), B&O (MM-types for its two, non-compatible generations of parallel arm design), but also Shure (V15 MK I-IV), Audio Technica and Nagaoka. Ortofon, a very expensive Danish design focused almost exclusively on moving coil technology and achieved leadership in this technology.
A few laser turntables have been announced (and some even appeared) which read the groove optically using a laser pickup. Since there is no physical contact with the record, no wear is incurred.
An alternative approach is to take a high-resolution photograph or scan of each side of the record and interpret the image of the grooves using computer software. An amateur attempt using a flatbed scanner lacked satisfactory fidelity. A professional system employed by the Library of Congress produces excellent quality.
In the sound recording industry, a stylus is a phonograph or gramophone needle used to play back sound on gramophone records, as well as to record the sound indentations on the master record.
It is a crucial part of the phonograph, as it is the one part of the system that actually contacts the recorded disc and transfers its vibrations to the rest of the system. It is the part which also suffers the greatest wear. There are two desired qualities in a stylus: first, that it faithfully follows the contours of the recorded groove and transfers the vibration to the system, and second, that it does not damage the recorded disc.
Several technologies were used to record the sounds, beginning with wax cylinders.Thomas Edison introduced the use of sapphire in 1892 and the use of diamond in 1910 for the cylinder phonograph. The Edison disc players (1912-1929) never required a stylus to be changed. The harder the material used, the harder the stylus had to be. The latter stylus for vinyl records were also made out of sapphire or diamond. A specific case is the specific stylus type of B&O's moving magnet cartridge MMC 20CL, mostly used in parallel arm type Bang & Olufsen turntables in the 4002/6000 series. It uses a sapphire stem on which a diamond tip is fixed by a special adhesive. A stylus tip mass as low as 0.3 milligram is the result and full tracking only requires 1 gram of stylus force, reducing record wear even further. Maximum distortion (2nd harmonic) fell below 0.6%.
A wholly different side of this is the shape of needles and styli. The first needles were made of copper or steel and with the extreme forces exerted on them quickly wore out (exchanging them after 2 sides 78 rpm 25 cm, or one side 30 cm were safe choices). Because of this wear, the exact form of the needle hardly received attention. Some needles were made with a bend so a stark backward sloping needle resulted, suggesting (but not offering) lower record and needle wear. Some people even used cactus thorns and accepted loss in high frequency for longer record life. (The Nimbus company also uses thorns when rerecording voices from older 78 rpm disks in their reproduction setup). At the end of acoustic 78 rpm, so-called longplay hardened steel needles came on the market, for 10 sides of a normal 25 cm disk.
When sapphires were introduced for the 78 rpm disk and the LP, they were made by tapering a stem and polishing the end into sphere of around 70 and 25 micrometers respectively. A sphere is not equal to the form of the cutting stylus and by the time diamond needles came to the market, a whole discussion was started on the effect of circular forms moving through a non-circular cut groove. It can be easily shown that vertical, so called "pinching" movements were a result and when the stereophonic LPs were introduced, unwanted vertical modulation was recognized as a problem. Also the needle started its life touching the groove on a very small surface, giving extra wear on the walls.
Another problem is in the tapering along a straight line, while the side of the groove is far from straight. Both problems were attacked together: by polishing the diamond in a certain way that it could be made doubly elliptic. 1) the side was made into one ellipse as seen from behind, meaning the groove touched along a short line and 2) the ellipse form was also polished as seen from above and curvature in the direction of the groove became much smaller than 25 micrometers e.g. 13 micrometers. With this approach a number of irregularities were eliminated. Furthermore, the angle of the stylus which used to be always sloping backwards, was changed into the forward direction, in line with the slope the original cutting stylus possessed. These styli were expensive to produce, but purists accepted these costs all the more, because by now stylus life was much higher than before.
The last development in stylus form came about by the attention to CD-4 quadraphonic sound with cartridges like Nagaoka capable of playback on frequencies up to 70 kHz. The so-called Shibata stylus was invented in Japan and marketed as an extra on some expensive cartridges, despite the fact that CD4 disk technology itself quickly disappeared. Yet another needle form was advocated by a certain Mr. A.J. van den Hul. His "van den Hul" styli were another, very expensive extra, offered on request for cartridges such as Shure V15 (types I-IV), Stanton (681EE and EEE) and Ortofon's MM-line. Probably to evade patent rights, B&O designed its own "contact line", non-elliptical MMC 20CL stylus.
To get the feel for the costs of these developments: for the price of a semi-professional turntable in the 1960s (€175,- equivalent), high-end ceramic cartridge included, one could just buy this MMC 20CL B&O cartridge end of the 1970s. The 4002 B&O turntable (with parallel arm) was €1000,- equivalent in the 1980s. For van den Hul styli, historical price levels are hard to find, but Ortofon elements alone started at €300,- and the van den Hul styli tended to double the high-end cartridge prices (of €450,-) up to €900,-. More recently, phonograph cartridges have ranged in price from about US$50 for a basic moving-magnet unit with elliptical stylus to stratospheric levels for audiophile moving-coil units with exotic stylus forms. For example, the May 1999 issue of Stereophile magazine shows a price of US$5000 (€3500,-) for the van den Hul Black Beauty phono cartridge.
Early "mechanical" gramophones used the stylus to vibrate a diaphragm radiating through a horn. Several serious problems resulted from this:
The introduction of electronic amplification allowed these issues to be addressed. Records are made with boosted high frequencies and/or reduced low frequencies. This reduces the effect of background noise, including clicks or pops, and also conserves the amount of physical space needed for each groove, by reducing the size of the low-frequency undulations.
During playback, the high frequencies must be rescaled to their original, flat frequency response—known as "equalization"—as well as being amplified. A phono input of an amplifier incorporates such equalization as well as amplification to suit the very low level output from a modern cartridge. Most hi-fi amplifiers made between the 1950s and the 1990s and virtually all DJ mixers are so equipped.
The widespread adoption of digital music formats, such as CD or satellite radio, has displaced phonograph records and resulted in phono inputs being omitted in most modern amplifiers. Some newer turntables include built-in preamplifiers to produce line-level outputs. Inexpensive and moderate performance discrete phono preamplifiers with RIAA equalization are available, while high-end audiophile units costing thousands of dollars continue to be available in very small numbers.
Since the late 1950s, almost all phono input stages have used the RIAA equalization standard. Before settling on that standard, there were many different equalizations in use, including EMI, HMV, Columbia, Decca FFRR, NAB, Ortho, BBC transcription, etc. Recordings made using these other equalization schemes will typically sound odd if they are played through a RIAA-equalized preamplifier. High-performance (so-called "multicurve disc") preamps, which include multiple, selectable equalizations, are no longer commonly available. However, some vintage preamps, such as the LEAK varislope series, are still obtainable and can be refurbished. Newer preamplifiers like the Esoteric Sound Re-Equalizer or the K-A-B MK2 Vintage Signal Processor are also available. These kinds of adjustable phono equalizers are used by consumers wishing to play vintage record collections (often the only available recordings of musicians of the time) with the equalization used to make them.
The tone arm (or tonearm) holds the pickup cartridge over the groove, the stylus tracking the groove with the desired force to give the optimal compromise between good tracking and minimizing wear of the stylus and record groove. At its simplest, a tone arm is a pivoted lever, free to move in two axes (vertical and horizontal) with a counterbalance to maintain tracking pressure.
However, the requirements of high-fidelity reproduction place more demands upon the arm design:
These demands are contradictory and impossible to realize (massless arms and zero-friction bearings do not exist in the real world), and consequently all tone arm designs are engineering compromises. Solutions vary, but all modern tonearms are at least relatively lightweight and stiff constructions with precision, very low friction pivot bearings in both vertical and horizontal axes. Most arms are made from some kind of alloy (the cheapest being aluminum), but some manufacturers use balsa wood, the lightest wood known to man, others use carbon fibers. The latter materials favour a straight arm design, while alloy is easier for producing S-type arms.
Prices vary largely: the well known and extremely popular high-end S-type SME-arm of the 1970-1980 era not only possessed a complicated design, but was also very costly. On the other hand a very cheap arm was made by the now defunct Dutch Jobo/Acoustical firm. This "All balance" arm was only €30,- equivalent. It was used in that period by all official radio stations using the Dutch Broadcast studio facilities of the NOS, as well as by the pirate radio station Veronica. Live disk jockeys lived on this radioship, meaning that the arm had to withstand sudden ship movements. Anecdotic information tells us, that this cheap arm was the only one capable of keeping the needle firmly in the groove, even during heavy storms at sea.
Basic arm design has changed relatively little. S-type tonearms can be found on even the early 1925 Victor Orthophonic Victrola. Though early electrical pickup tonearms were light, their full weight rested on the record. Through to the crystal pickup, this was required to create sufficient tracking force to follow the grooves adequately with relatively stiff styli. Record wear was high. With better technologies (magnetic cartridge), far-smaller tracking forces became possible, and the balanced arm came into use. Most use a counterweight to offset the weight of the arm, cartridge included. A separate spring or small weight provided for finetuning in tracking force. Often, a calibrated dial on the weight provides quick adjustment of stylus force. Stylus forces of 10 to 20 mN (1 to 2 "grams-force", frequently mis-labeled by manufacturers as simply "grams") are typical for modern high-fidelity turntables, while forces of up to 50 mN (5 "grams-force") are common for DJ use. Stanton cartridges of the 681EE(E) series had a small brush attached to it, the weight of which required compensation of both stylus force (1 gram-force extra needed) and anti-skating adjustement values (see next paragraph for its description).
Tonearms are prone to two types of tracking errors that affect the sound. As the tonearm tracks the groove, the stylus drags tangent to the disc surface and resistance by the arm creates a horizontal skating force towards the center of the disc. Modern arms provide an anti-skating mechanism, using springs, hanging weights, or magnets to offset this force, making the net horizontal force near zero. The second error occurs as the arm sweeps in an arc across the disc, causing the angle between the cartridge head and groove to change slightly. A change in angle, albeit small, will have a detrimental effect (especially in stereo) by creating different forces on the two groove walls. Making the arm longer to reduce this angle is a partial solution, but less than ideal, because longer arms weigh more, and because even a long arm won't be long enough since only an infinitely long arm would reduce this error to zero. Some arms (such as the Garrard "Zero" series) have been manufactured with a parallelogram arrangement which pivots the cartridge head on the arm to maintain a constant angle.
If the arm is not pivoted, but instead travels horizontally along a radius of the disc, there is no skating force and no cartridge angle error. Such arms are driven along a linear track using an electronic servomechanism, or a precise mechanical adjustment (the Rabco arm) to position it properly. Rabco developed the first zero tracking error tonearm, followed by Bang & Olufsen with its Beogram 4000 model in 1972. A later development was made by Revox, a Swiss company more widely known for his high end reel to reel tape recorders: they designed a parallel movement using a very short arm moving sideways across the disk under the influence of a special drive motor. The mechanism had to be turned over the disk after its placement and turned back after playing the disk. This was contrary to the B&O design which automatically returned its parallel arm after playing and even detected whether a smaller (and therefor 45 rpm) disk was present or a larger (and therefor 33 rpm) disk. Only for the by then rare smaller 33 rpm disks this system needed a manual speed override.
Early Edison phonographs had used similarly horizontal spring-powered drives to carry the stylus across the record at a pre-determined rate. In practice, the linear tracking system is not widely used today due to its complexity and related expense. However, some of the most sophisticated and expensive systems still employ this technique. It is nearly ideal, as the stylus replicates the motion of the recording lathe when the master recording was cut.
Turntables continue to be manufactured and sold into the 21st century, although in small numbers. While there are many audiophiles who still prefer vinyl records over digital music sources (primarily compact disc) for their perceived fidelity, they represent an enthusiastic minority of listeners. The quality of the available record players, tonearms, and cartridges has continued to improve, despite a diminishing market, allowing turntables to remain competitive on the high end audio systems market.
Updated versions of the 1970s era Technics SL-1200 have remained an industry standard for DJs to the present day. Turntables and vinyl records remain popular in mixing (mostly dance-oriented) forms of electronic music, where they allow great latitude for physical manipulation of the music by the DJ.
In hip hop music, the turntable is used as a musical instrument. Manipulation of a record as part of the music rather than for normal playback or mixing, is called turntablism. The basis of turntablism and its best known technique is scratching, pioneered by Grand Wizard Theodore. It was not until Herbie Hancock's "Rockit" in 1983 that the turntablism movement was recognized in popular music outside of a hip hop context. .
The laser turntable, which uses a laser as the pickup instead of a stylus in physical contact with the disk, was conceived of in the late 1980s, although early prototypes were not of usable audio quality. Practical laser turntables are now being manufactured by ELPJ. They are favoured by record libraries and some audiophiles since they eliminate physical wear completely. Experimentation is in progress in retrieving the audio from old records by scanning the disc and analysing the scanned image, rather than using any sort of turntable.
Notable turntables include: the Linn Sondek LP12, the Sota Cosmos, Roksan Audio Roksan Xerxes, the Immedia RPM-2, the VPI TNT, Michell Orbe SE and the SME Models 20 and 30.
Although largely replaced since the introduction of the compact disc in 1982, record albums still sell in small numbers and are available through numerous sources. In the late 2000s, LP sales grew by 50% compared with the start of the decade. Many audiophiles believe that all-analogue recordings made using a traditional tape recorder, simple microphone arrays and few overdubs have a more natural sound than digital recordings.

subset: commoncrawl


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News from WTOP
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Mike Causey
Shows & Panels
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Obama meets with Rice, signs Russian trade bill
Friday - 12/14/2012, 3:56am EST
WASHINGTON (AP) - President Barack Obama is meeting privately with U.N. Ambassador Susan Rice, a day after she withdrew her name from consideration to be the next secretary of state.
In a busy Friday schedule, the president also will sign into law a Russian trade and human rights bill.
The measure opens new export opportunities for American businesses. But a section that would punish Russian officials who allegedly commit human rights violations has antagonized Moscow.
The bill establishes permanent normal trade relations with Russia and eliminates a long-obsolete 1974 provision, called the Jackson-Vanik Amendment, that tied trade relations with the former Soviet Union to the emigration of Jews and other Soviet minorities.
The president also will likely work on trying to strike a deal with Republicans to avoid the so-called fiscal cliff.
(Copyright 2012 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.)


text:
Guild Updates
After a bit of time at the 10-mans, my guild has crawled back up to 25s. We transferred to Lightbringer, merged with another guild, and got some new recruits. Hopefully this has put us somewhat back in gear, in time for 4.3.
Also, in an amazing feat of RNG, Shannox managed to drop 4x [Scalp of the Bandit Prince] in a single kill. No one in the raid needed the helm.
A Shocking Nerf
Gentle readers, I regret that I must inform you of a most shocking nerf, a nerf that threatens the very foundation of our illustrious civilization. A nerf so disgraceful that it truly deserves the most outrageous appellation that we, as moral and decent gamers, can apply. Yes, dear readers, this nerf is a veritable slap in the face!
Lady Vashj's [Tainted Core] no longer roots you in place.
We ran an SSC/TK the other night to get some transmog gear. I went along for a shot at [Ashes of Al'ar]. When we got to P2 on Vashj, I killed a tainted elemental, got the core, and threw it to another party member who was jumping at the top of the stairs. That player threw it to another person standing by a pillar, and the pillar was disabled.
Just as God intended it to happen.
Then another player, who had never been to SSC before, killed a tainted elemental, looted the core, and ran up the stairs to the pillar!
I was shocked, appalled, and even horrified. Is nothing sacred in this world?
Wednesday, November 16, 2011
Guild Updates and a Shocking Nerf
Guild Updates
10 comments:
- Shayzani said...
I had a visceral reaction to the tainted core news. That kind of eye-twitching rage, however briefly it existed, was probably disproportionate to the offense.
But still, wtf.
- 11:46 PM, November 16, 2011
- flosch said...
I was thoroughly disillusioned when, about half a year ago or so, we did SSC for the achievement, and I realized this.
It was very disappointed. They had optimized away the defining mechanic of the fight. As if the level difference hadn't trivialized the DPS checks anyway (not that I'll complain about that part... that's just the way it is).
Sic transit gloria mundi.
- 1:10 AM, November 17, 2011
- Anonymous said...
so now you can solo that b*tch!! nice move in my eyes... she should die the second i enter the room... and even this wouldnt be enough for all the pain she caused me...
- 4:43 AM, November 17, 2011
- Jeremy said...
This literally made me LMAO!
- 6:41 AM, November 17, 2011
- Redbeard said...
Congrats on getting back to 25-mans! I'd not worry about whether you'll hit the ground running on 4.3 or not, because no matter what happens, ol' tentacle-dragon will still be waiting for you.
- 7:34 AM, November 17, 2011
- Anonymous said...
I'm not sure how fun this would be to solo. We took in 5 players and it still was tedious as hell.
I agree though, I'm not sure why they spent the time nerfing this encounter.
- 7:47 AM, November 17, 2011
- Rodos said...
It could actually be an incidental side-effect of some other change, and they just never bothered to go back and fix her.
I don't recall specifics, but I'm sure there have been cases before where seemingly unrelated class changes have broken boss abilities.
- 2:41 PM, November 17, 2011
- Rohan said...
Nah, it's probably deliberate. It makes it a lot easier for a small group, or even just 2 people, to do Vashj. This is important with transmog gear, as Vashj does drop T5.
It was just very surprising at first.
- 3:28 PM, November 17, 2011
- flosch said...
I'm not sure. The cores have been like that for a long time, at least for half a year now, possibly since Cataclysm.
I don't think they had planned that much in advance for the appearance system, at least not on such a level of detail.
- 1:16 AM, November 18, 2011
- Anonymous said...
Of course, this was made to make Vashj soloable. Well, at least striders still have AoE-fear.
- 5:26 AM, November 28, 2011


text:
Erik Highsmith took his first step toward fulfilling his dream of playing in the National Football League.
Highsmith, a former
The Shrine Bowl, in its 88th year, is a college football all-star game for some of the nation's best players.
Highsmith, playing for the East squad, snagged his only reception on a slant pattern from Heisman Trophy finalist Collin Klein, from
Highsmith also made a key block on a touchdown run by his East teammate and Army quarterback Trent Steelman.
The East All-Stars lost to the West All-Stars, 28-13.
"I always want to go up against the top players in the nation, and against some of the top cornerbacks and defensive backs," Highsmith said. "I wanted to run good routes, catch the ball and block downfield. I wanted to show the scouts what I do best."
The 6-foot-3 Highsmith spent the week practicing in front of NFL scouts, coaches and general managers.
"There were intense practices," Highsmith said. "There were one-on-one drills and 7-on-7s. I got to showcase that in front of the scouts.
"I just hope they saw I can play the ball in the air, that I can catch the ball consistently, and make plays when I get the opportunity."
More than 60 NFL Hall of Famers, and more than 50 current NFL players, have competed in the East-West Shrine Bowl.
Highsmith's East squad was coached by Jerry Glanville, a former coach of the NFL's Houston Oilers and Atlanta Falcons.
Highsmith plans to continue to training in
Highsmith is currently projected as the 38th best wide receiver prospect, according to CBSsports.com.
The NFL Draft runs from Apr. 25-27.
"I can move the chains, I can bring positive energy in the locker room and on the field, I can be very coachable and I can catch the ball consistently," Highsmith said. "Any spot I am in, I can thrive in."
Highsmith, a four-year player at UNC, caught 54 passes for 587 yards and five touchdowns this season.
He had 166 career receptions — third all-time among UNC wide receivers — for 2,048 yards and 15 touchdowns.
Adam Thompson can be reached at 252-635-5669 or at firstname.lastname@example.com. Follow Adam on Twitter @Adam_matic.


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Women's Basketball Falls To Washington State 57-51
SPOKANE, Wash. - The free line can be a team's savior or nemesis, for the Gonzaga University women's basketball team it was the later. The Bulldogs sank just 3-of-10 in the final six minutes and missed the front end of three one-and-ones in the final 3:22 of a four point game and ultimately fell to Washington State University 57-51 Saturday at the McCarthey Athletic Center.
Gonzaga had every chance down the stretch to take the lead but couldn't make the crucial free throws while Washington State did.
With the Cougars holding the 52-48 advantage at 3:22 after two made free throws by Mariah Cooks, redshirt freshman Shaniqua Nilles was fouled and sent to the line for the bonus. Nilles unfortunately missed the front end and the Cougars grabbed the defensive rebound.
Both teams missed their next two field goal opportunities, including a jumper by WSU's Tia Presley. Junior Haiden Palmer came down with the defensive rebound on Presley's shot and was fouled one second later but the guard, who was 3-of-6 before stepping up to the free throw line once again, missed the front end of the one-and-one like Nilles.
Washington State couldn't extend its lead though, missing yet another jumper which resulted in sophomore Sunny Greinacher bringing down the rebound and getting fouled with 1:52 left in the game. This time the Zags were in the double-bonus but Greinacher missed both shots.
The dagger came 1:13 later when WSU's Lia Galdeira drained a 3-pointer with the shot clock running down to extend the visiting team's lead to 55-48 with 40 ticks left in the game.
Sophomore Keani Albanez was able to hit a 3-pointer of her own with 22 seconds left to cut the lead back to four but two made free throws by Galdeira closed the door on any hope of the Zags making a comeback.
"They [WSU] gave us every chance to stay in the game," explained Gonzaga head coach Kelly Graves. "Ultimately we went 7-of-17 from the free throw line. If we make four of the six in a row that we missed there at the end and we lead. It was one of those games where the team that made the fewest mistakes was going to win. Unfortunately we made the most mistakes."
The first half was owned by Gonzaga as it built a nine point lead six minutes into the contest and held a 14-point advantage - 26-12 - with 5:57 remaining before intermission. The Bulldogs went into the locker room with the 32-28 lead and was led by both Palmer and redshirt freshman Shelby Cheslek who tallied eight points each.
Washington State opened the final 20 minutes on a 14-5 run and captured its first lead of the game - one it would not relinquish - since holding a 4-2 edge at the 18:44 mark of the first half on a 3-pointer by Sage Romberg which put the score at 40-37 with 14:00 left in the contest.
The closest Gonzaga got to the lead after Romberg's three was two points on three different occasions, the last coming at the 3:43 mark when Greinacher drained a jumper to put the score at 50-48.
The Bulldogs, who dropped to 10-4 on the year, were led by Palmer with 13 points. Greinacher added eight points and had a game and career-high 10 rebounds.
Washington State (4-7) was led by both Presley and Cooks with 15 and 12 points, respectively.
Gonzaga now focuses its attention on West Coast Conference action. The Bulldogs open league play Thursday hosting the University of San Diego at 6 p.m.


text:
Amir Mohammad MBBS, MPH
Assistant Clinical Professor of Medicine (Occupational Medicine); Staff Physician, Occupational Health Services, VA Connecticut Healthcare System; Medical Director, Compensation & Pension
Departments & Organizations
Internal Medicine: Occupational & Environmental Medicine
Research Interests
Active Surveillance of Occupational Injuries & Illnesses among VA Healthcare Workers (HCW). Healthcare Utilization among OIF/OEF Veterans. Risk factors associated with needle-stick injuries among residents more...
- M.P.H., University of Connecticut Graduate Program in Public Health, 05/2008
- M.B.B.S., Dow Medical College, 2001
Selected Publications
- Mohammad A. Needlestick and Sharps Injuries among Resident Physicians: An Institutional Review. Conn Med. 2014; 78(1): 5-11
- Mohammad A, Khan Y. Barriers to Timely Screening Colonoscopy: Role of Health Insurance. Conn Med. 2010; 74(4): 201-206
- Amir Mohammad, Thomas St. Louis, Albert DeLoreto (Poster) Enumerating Injuries & Illnesses among Healthcare workers (HCWs) in CT: What you count depends on where you look. American Occupational Health Conference (AOHC) April 2009, San Diego, CA.


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text:
As a freshman, Dylan Morris took his lumps when he hit the mat a year ago for injured Corey Detres.
But he learned his lessons well.
"He took his licks," Jacksonville coach Brandon Akins said after the Cardinals opened Coastal 3-A Conference play with an overwhelming 66-12 win over D.H. Conley on Tuesday night. "I kept telling him this is a tough sport, especially for a freshman.
"For anybody it's tough, but being a freshman coming in it's going to be tough. Now he's into his sophomore year. He worked hard in the offseason. He's working hard now. He's got some little things he's got to fix, some young mistakes. But he's going to be one to look for."
Morris had one of the more competitive matches of the night in defeating Montel Brown 9-3 at 138 pounds. Morris led 3-0 only to see Brown tie it at 3-3 with 45 seconds left. But Morris picked up a point when Brown was called for a technical violation for hammering Morris' arm, and Morris added 5 more points in the final seconds to win.
"It's hard, but you just got to push through," Morris said. "I noticed in most of my matches when you push through and you just don't care, you'll end up over the top and get your hand raised at the end.
"I'm just trying to push through (in the final seconds). My friend … always told me don't care about anything, just end the match, you just get the gold, get your hand raised."
Morris said he felt a "big responsibility" in taking over for the injured Detres, who wound up making state championships after recovering.
"He's a good wrestler. He taught me a lot," Morris said. "I feel good taking his spot this year and trying to hold up the team as he did."
There was no holding back either team at the start. The match, which began at 106, saw the first five matches before Morris' won on first-period pins. Of those, four were by the Cardinals, two in the first 34 seconds and the other two in the first 78 seconds.
Overall, Jacksonville (2-3, 1-0) won six matches by pins and four others by forfeit, including at 160 when D.H. Conley's coach pulled Shawn Peoples off the mat after he shoved Christian Heisey with 10 seconds left in the first period.
Peoples led 5-4 at the time for the Vikings, who fell to 1-8 and 0-1.
"We wrestled strong early in the season against Croatan, New Bern, Swansboro and we knew we had to step our game, especially seeing those guys so early out of the gate," Akins said. "The guys at practice have been doing phenomenal; they've been there every day on time ready to work.
"It's obvious they're going doing extra things on their own to keep working hard and get where they need to be. We have a long way to go. We did well tonight, but there's definitely some little things we need to fix and fine tune."
While that may be true, what's also true is the Cardinals have a full flock — and then some — of wrestlers. Akins said he has "40-something" wrestlers, which would rank among the largest squads around.
"The thing is all of them are great kids, and they're working hard," the third-year coach said. "There's definitely interest. The guys that have been coming back year after year … have been talking to the other guys, getting the freshmen coming out and getting them interested. It's a good problem."
Jacksonville 66, D.H. Conley 12
106 pounds:Sly (


text:
Labour Prophet
Vol. IV. — No. 43. JULY, 1895. Price One Penny.
By Caroline E. D. Martyn.
THE old agitation for "Women's Rights," as something separate and apart from all other rights — and wrongs — has passed, or has merged into, a healthier movement, which regards the true interests of men and women as identical, and their seeming difference as a result of false social and economic conditions.
A change of dress, of daily life, even of educational methods, will do little towards effecting the real freedom of women; the wrongs which they endure are inflicted on them as a class rather than a sex; they are shared by all who are weak and ignorant, all who are unable to take advantage of their fellow-men, and the only remedy lies in effecting a fundamental change in social relations. Hitherto the rule of life, or at any rate of business, which has come to be the principal part of life, has been competition, each for himself, with the inevitable result that the strong or the dishonest have triumphed, while the weak have been trampled upon and sacrificed to their interest. The work of our mothers and wives should be to point out a better way — the way of love, wherein the false law of competition will be superseded by the true order of organisation and co-operation.
For this purpose it is essential to have a clear perception of a means to attain our ideal. Alas! too many who have recognised the falsehood of society, and become imbued with a desire for better things, have allowed their impulse to become arrested at that stage, and failed to make any actual effort towards effecting an improvement. People, and especially women, are too idle to make themselves acquainted with facts, or to think out methods of reform, or even to study the results of other people's thought. This is what the writers and speakers mean when they deplore the apathy of the workers. Education only begins in school; the meaning of the word is "drawing out," and the drawing out of our faculties is a life-long work. A mother is not doing her duty to her children, cannot educate them to the best of her ability, unless she has made and is making the best of herself. I know the difficulties, the lack of leisure, the fatigue when the spare moments come, the distance of the free library, the expense of books; but nothing worth having is had without cost, and, seen in the light of results, no effort after knowledge is a sacrifice.
In our busy age we are apt to overlook the fact that a healthy body is essential to perfect human life. How many lives are miserable instead of joyous through indigestion, unhealthy clothing, and want of ventilation ? These matters are generally left to the woman's care, and, therefore, we regard dress, cooking, and household arrangements as especially women's interest. I would urge every woman who has the interest of a family at heart and in hand, to give attention to cooking, and though male readers may sneer at or overlook this incident, I hope they will yet discover that it has been written in their interest as much as their wives'. I have the greatest sympathy with our women, and especially the working women, in the difficulties which beset them; but no words can be too strong to urge upon them the importance of good cooking. I believe many of our pale,
J. Hindle, photo.] [Barrow-in-Furness.


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New breed of polo players ride bikes, not horses
Annie Mulligan / For The Herald
Jason Webley tries to get the ball for a shot on goal during Everett Bike Polo practice at Garfield Park. The club has about 40 participants who play bike polo twice a week at the park.
Annie Mulligan / For The Herald
Jeremy Canaria, 21, defends his goal during Everett Bike Polo practice at Garfield Park.
Annie Mulligan / For The Herald
Aron Chaudiere and Curtis Roy watch Everett Bike Polo players practice at Garfield Park. The club
Annie Mulligan / For The Herald
Jared Kalinski laughs as he and others players set up the court for another match during Everett Bike Polo practice at Garfield Park.
Riders first began playing on horseback on a grass field, and then bike riders took up the sport. Now they take their bikes to a concrete court, and they do it in Everett.
The Everett Bike Polo Club is only about eight players strong, but they're an eager eight.
They meet twice a week throughout most of the year and without much regard for weather.
The club started last summer when two players began looking for a club closer to home.
"It was like a little love story," said Jeremy Canaria, one the club's founders, who started playing in Pullman.
Co-founder Jared Kalinski began the sport in Seattle.
They both live in Everett, but connected through sport message boards and email lists.
That, Kalinski said, is how most of the sport is run, by players reaching out and forming clubs.
"Bike polo is rapidly gaining popularity and solidifying into an actual sport," he said. "It's all about people stepping up to the plate to progress the sport further."
And that's what they did.
Canaria and Kalinski made fliers and formed a Facebook group, trying to spread the word about the new club.
They moved around a bit before finding a home at Everett's Garfield Park tennis courts, where they meet at 5 p.m. Mondays and Thursdays.
Hard-court bike polo is played with two teams of three.
Players maneuver around the concrete court, swinging mallets at rubber balls toward their goal nets.
It takes a lot of coordination and focus, Canaria said, but the game's not very heavy on rules.
"The only rules, simply stated, are that you can't put your feet down, and shots have to be hit off of the business end of the mallet," Kalinski said.
The most common penalty is for touching the ground; for that you have to "dab out," or ride out and touch the edge of the court before returning to the game.
There is some contact, but at the Everett club, they try to take it easy.
"It's really a gentleman's sport," Kalinski said. "You don't want to be a jerk and just take someone out; you play with finesse."
Some clubs can get too competitive and the games can be intimidating, Canaria said, but they're patient with newcomers at Garfield Park.
Most of the group's regular players are fairly new to the sport. Their ages range from teens to early 40s.
"We drop down to their level of play; we try to pass the ball and get new people involved as much as possible," Kalinski said, "We want people to come out and have fun."
They have about five bikes that first-time players can borrow, as well as equipment.
"All they really need is to bring a helmet," Canaria said.
Ashley Stewart: 425-339-3037; email@example.com.
Join the club
To play bike polo with the Everett club just show up at the park at 5 p.m. Mondays and Thursday and join in on a game, or contact the club leaders through their Facebook page at www.facebook.com/EverettBikePolo.
- The Buzz: Hush-hush 8/27/13
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LA GRANGE — If North Lenoir's boys basketball players needed a practical reminder to heed their sports clichés, they gave themselves one Tuesday.
It is indeed how you finish.
Greg Williams scored 12 points and C.B. Aycock took advantage of a dismal fourth quarter by the Hawks in a 45-39 Eastern Carolina 3A Conference win.
North Lenoir (9-9, 4-2 EC3A) entered the final period with a one-point lead before going scoreless for the next 6:38, giving the Golden Falcons (8-9, 3-3) ample time to take over.
"It was a nightmare," Hawks coach Anthony Loftin said, adding that he picked Aycock as the league's top team in the preseason.
"For three quarters, I thought we were right there with them."
In the girls game, Myleah Jones scored nine points to help the Falcons pull away for a 45-25 win to start the sweep. Quoya Porter scored nine points for North Lenoir.
Loftin then watched as his team missed 12 straight 3-pointers over the final quarter and a half, an ugly streak that wasn't snapped until Reggie Rouse connected from the left corner to cut the Hawks' deficit to 42-36 with 21 seconds left.
Aycock coach Steve Moats said his team practiced to prepare for the Hawks' aggressive, handsy press and didn't apply what they learned until the final 8 minutes.
"When we got to the fourth quarter, we executed what we wanted to a little bit better," he said.
The Falcons scored the first 10 points of the quarter as North Lenoir fell apart, committing seven turnovers in the period. Braxton Davis' desperation heave from 35 feet to beat the final buzzer was just the Hawks' fourth field goal of the quarter.
Loftin said the turning point came at the end of the third quarter, when North Lenoir tried to hold the ball for a final shot but instead allowed a last-second 3-pointer by Aycock's Trey Neal to give the Falcons a 31-30 lead.
The Falcons hadn't led since 2 minutes remained in the first quarter.
"When they got the lead, I thought we panicked and we tried to get that one knockout punch to get up by 10," Loftin said, bemoaning his players' poor shot selection. "That compounded the issues right there."
The Hawks' Devontae Sutton and Aycock's Cameron Johnson were disqualified after going nose to nose near midcourt with 20 seconds left in the game.
Davis scored 11 points to lead North Lenoir, which never led by more than six.
The Hawks will play host to first-place Erwin Triton on Friday with a chance to seize a share of first place in the conference.
Triton defeated Southern Wayne 69-63 Tuesday to remain atop the league.
"We've got to start winning some ballgames and playing smarter," Loftin said.
David Hall can be reached at (252) 559-1086 or at email@example.com.
C.B. Aycock 9 9 12 15—45
North Lenoir 10 10 11 8—39
GOLDEN FALCONS (8-9, 3-3) — Greg Williams 12, Michael Williams 10, Powell 7, Nundle 7, Clark 4, Neal 3, Johnson 2.
HAWKS (9-9, 4-2) — Braxton Davis 11, Jones 8, Rouse 5, Troy 5, Sutton 4, Robinson 2, Carlton 2, Hough 2.
C.B. Aycock 10 11 14 10—45
North Lenoir 5 4 7 9—25
GOLDEN FALCONS (4-8, 3-3) — Jones 9, Butler 8, Darden 8, Daniels 8, Artis 4, Pontoo 4, Sutton 2, Newsome 2.
HAWKS (2-16, 0-6) — Porter 9, Bizzell 6, Lee 4, Howard 4, Varner 2.


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