RCA VICTOR MANUFACTURE & RECORDING OF VINYL RECORDS 1956 INDUSTRIAL FILM 60054

This 1956 education film explains the process of making vinyl records. It is a Jam Handy Picture and presented by RCA Victor. The record process being followed is for Tchaikovsky’s Romeo and Juliet, recorded by Charles Munch and the Boston Symphony Orchestra. The film opens with a woman wearing a coordinating 1950s skirt, sweater, neck scarf, and pearl bracelet. She places a record in her RCA high fidelity cabinet record player and the music plays (:26-1:54). The history of making that record follows. The music is first recorded at Symphony Hall, Boston, Massachusetts. An RCA Victor recording light blinks. The music is recorded using both stereophonic and monaural equipment; shown is a room with various high-fidelity recording equipment. Initially, RCA used RT-21 quarter-inch tape recorders wired to mono mixers, with Neumann U-47 cardioid and M-49/50 omnidirectional microphones before switching to an Ampex 300-3 one-half inch machine (1:55-3:27). The film switches multiple times between the orchestra, the console, the magnetic tape recorder, and the speakers. Eventually the final recording is approved (3:28-6:53). The sound tape is transferred to a lacquer master disc, which is first inspected. The disc is attached to the turntable and the specifics set (6:54-8:35). The playing time determines the number of grooves per inch. A diagram is used to explain this (8:36-8:58). A test cut to determine the groove width is checked through a microscope before the tape machine is started (8:59-9:24). The cutting stylus is a minute piece of perfectly ground and electrically heated sapphire. The groove cutting process is continuously monitored. When finished, a perfect lacquer master is created (9:25-10:12). The original tape is stored in a vault (10:13-10:24). The lacquer master is sent to the processing plant in Indianapolis. It is then checked under a microscope (10:25-11:20). A metal copy is made by first silvering the lacquer master, shown being electroplated (11:21-12:48). A diagram is used to explain this, followed by making a mold from the metal master (12:49-14:05). The mold is thoroughly cleaned before listened to by a woman trained to hear imperfections in the recording (14:16-14:40). The stamper is made out of nearly pure hard nickel. It is ground smooth on the back, optically center pressed, trimmed to the exact diameter, and given a formed edge before being sent to the 2-ton compression record press (14:41-16:05). Granular pieces of pure vinyl are forced by hydraulic pressure into a soft plastic glob and inserted into the press. The labels are also stamped into the vinyl (16:06-17:00). The first pressing is inspected, listened to, and additional records made (17:01-17:28). Shown is an automatic machine stamping out extended play 45s and making tape copies (17:29-18:14). The packaging area includes a conveyer belt as women clean and pack the records into their covers. Advertising is done via showing multiple RCA record covers (18:15-21:05). A mechanical shipping machine uses punch cards to track each order. An automatic addressing machine and bundler are shown in the shipping department (21:06-23:13). The orchestra is shown again (23:14).

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