Editing Phonograph record (section)

===78 rpm recording time===
The playing time of a phonograph record is directly proportional to the available groove length divided by the turntable speed. Total groove length in turn depends on how closely the grooves are spaced, in addition to the record diameter. At the beginning of the 20th century, the early discs played for two minutes, the same as cylinder records.<ref name=Millard>{{cite book|last = Millard|first = Andre|url =  https://archive.org/details/americaonrecordh0000mill |url-access = registration|page = [https://archive.org/details/americaonrecordh0000mill/page/353 353]|quote = record playing time.|title = America on Record: A History of Recorded Sound|publisher= [[Cambridge University Press]]|date= 1995|isbn = 0-521-47556-2|via =[[Internet Archive]]}}</ref> The 12-inch disc, introduced by Victor in 1903, increased the playing time to three and a half minutes.<ref name=Welch>{{cite book|last1=Welch|first1= Walter L. |last2= Burt|first2= Leah|title =From Tinfoil to Stereo: The Acoustic Years of the Recording Industry, 1877–1929 |publisher= University Press of Florida|date= 1994|isbn = 0-8130-1317-8}}</ref> Because the standard 10-inch 78&nbsp;rpm record could hold about three minutes of sound per side, most popular recordings were limited to that duration.<ref name="WRD-20140711">{{cite magazine |last=Allain |first=Rhett |title=Why Are Songs on the Radio About the Same Length? |url=https://www.wired.com/2014/07/why-are-songs-on-the-radio-about-the-same-length/|date=11 July 2014 |magazine=[[Wired (magazine)|Wired]] |access-date=11 July 2014 |url-status=live |archive-url= https://web.archive.org/web/20140711190729/http://www.wired.com/2014/07/why-are-songs-on-the-radio-about-the-same-length/ |archive-date=11 July 2014 }}</ref> For example, when [[King Oliver]]'s Creole Jazz Band, including [[Louis Armstrong]] on his first recordings, recorded 13 sides at [[Gennett Records]] in Richmond, Indiana, in 1923, one side was 2:09 and four sides were 2:52–2:59.<ref>"Louis Armstrong and King Oliver", Heritage Jazz, cassette, 1993</ref>

In January 1938, [[Milt Gabler]] started recording for [[Commodore Records]], and to allow for longer continuous performances, he recorded some 12-inch discs. [[Eddie Condon]] explained: "Gabler realized that a jam session needs room for development." The first two 12-inch recordings did not take advantage of their capability: "Carnegie Drag" was 3m&nbsp;15s; "Carnegie Jump", 2m&nbsp;41s. But at the second session, on 30 April, the two 12-inch recordings were longer: "Embraceable You" was 4m&nbsp;05s; "Serenade to a Shylock", 4m&nbsp;32s.<ref>Eddie Condon, "We Called It Music", Da Capo Press, New York, 1992, p. 263–264. (Originally published 1947)</ref><ref>Back cover notes, "Jammin' at Commodore with Eddie Condon and His Windy City Seven...", Commodore Jazz Classics (CD), CCD 7007, 1988</ref> Another way to overcome the time limitation was to issue a selection extending to both sides of a single record. Vaudeville stars [[Gallagher and Shean]] recorded "Mr. Gallagher and Mr. Shean", written by themselves or, allegedly, by Bryan Foy, as two sides of a 10-inch 78 in 1922 for [[Victor Records|Victor]].<ref>{{cite web|url=http://www.naxos.com/catalogue/item.asp?item_code=8.120841|title=Hits of the 1920s, Vol. 2 (1921–1923)|website=Naxos.com|access-date=10 April 2016|url-status=live|archive-url=https://web.archive.org/web/20160125145307/http://www.naxos.com/catalogue/item.asp?item_code=8.120841|archive-date=25 January 2016}}</ref> Longer musical pieces were released as a set of records. In 1903 [[The Gramophone Company]] in England made the first complete recording of an opera, [[Verdi]]'s ''[[Ernani]]'', on 40 single-sided discs.<ref name="sandiego1">{{cite web |url=http://history.sandiego.edu/gen/recording/notes.html#cylinder |title=Recording Technology History |website=[[University of San Diego]] |access-date=27 September 2012 |url-status=dead |archive-url=https://web.archive.org/web/20070329065002/http://history.sandiego.edu/gen/recording/notes.html#cylinder |archive-date=29 March 2007 }}</ref> 

In 1940, Commodore released [[Eddie Condon]] and his Band's recording of "[[A Good Man Is Hard to Find (song)|A Good Man Is Hard to Find]]" in four parts, issued on both sides of two 12-inch 78s. The limited duration of recordings persisted from their advent until the introduction of the [[LP record]] in 1948. In popular music, the time limit of {{frac|3|1|2}} minutes on a 10-inch 78&nbsp;rpm record meant that singers seldom recorded long pieces. One exception is [[Frank Sinatra]]'s recording of [[Richard Rodgers|Rodgers]] and [[Oscar Hammerstein II|Hammerstein]]'s "[[Soliloquy (song)|Soliloquy]]", from ''[[Carousel (musical)|Carousel]]'', made on 28 May 1946. Because it ran 7m&nbsp;57s, longer than both sides of a standard 78&nbsp;rpm 10-inch record, it was released on [[Columbia Records|Columbia]]'s Masterwork label (the classical division) as two sides of a 12-inch record.<ref>{{cite web |title=On This Date... |website=Songs By Sinatra |url=http://www.songsbysinatra.com/dates/dates_main.html |archive-url=https://web.archive.org/web/20050403220049/http://www.songsbysinatra.com/dates/dates_main.html |archive-date=3 April 2005 |url-status=usurped |quote=Enter May 28 See bottom. }}</ref>

In the 78 era, classical-music and spoken-word items generally were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, on 10 June 1924, four months after the 12 February premier of ''[[Rhapsody in Blue]]'', [[George Gershwin]] recorded an abridged version of the seventeen-minute work with [[Paul Whiteman]] and His Orchestra. It was released on two sides of Victor 55225 and ran for 8m&nbsp;59s.<ref>{{cite web|url=http://www.redhotjazz.com/pwo.html|title=Paul Whiteman and his Orchestra|publisher=Redhotjazz.com|access-date=19 December 2011|url-status=dead|archive-url=https://web.archive.org/web/20120105004806/http://www.redhotjazz.com/pwo.html|archive-date=5 January 2012}}</ref>