Storage Capacity and Playing Time
The partners aimed at a playing time of 60 minutes with a disc diameter of 100 mm (Sony) or 115 mm (Philips). Sony vice-president Norio Ohga suggested extending the capacity to 74 minutes to accommodate Wilhelm Furtwängler's recording of Ludwig van Beethoven's Symphony No. 9 from the 1951 Bayreuth Festival.
The additional 14-minute playing time subsequently required changing to a 120 mm disc. Kees Immink, Philips' chief engineer, however, denies this, claiming that the increase was motivated by technical considerations, and that even after the increase in size, the Furtwängler recording would not have fit on one of the earliest CDs. According to a Sunday Tribune interview, the story is slightly more involved. In 1979, Philips owned PolyGram, one of the world's largest distributors of music. PolyGram had set up a large experimental CD plant in Hannover, Germany, which could produce huge numbers of CDs having, of course, a diameter of 115 mm. Sony did not yet have such a facility. If Sony had agreed on the 115-mm disc, Philips would have had a significant competitive edge in the market. Sony decided that something had to be done. The long playing time of Beethoven's Ninth Symphony imposed by Ohga was used to push Philips to accept 120 mm, so that Philips' PolyGram lost its edge on disc fabrication.
The 74-minute playing time of a CD, which was longer than the 22 minutes per side typical of long-playing (LP) vinyl albums, was often used to the CD's advantage during the early years when CDs and LPs vied for commercial sales. CDs would often be released with one or more bonus tracks, enticing consumers to buy the CD for the extra material. However, attempts to combine double LPs onto one CD occasionally resulted in the opposite situation in which the CD would actually offer fewer tracks than the equivalent LP, though bonus tracks were also added to CD re-releases of double LPs as well.
Playing times beyond 74 minutes are achieved by decreasing track pitch beyond the original Red Book standard. Most players can accommodate the more closely spaced data. Christian Thielemann's live Deutsche Grammophon recording of Bruckner's Fifth with the Munich Philharmonic in 2004 clocks at 82:34. The Kirov Orchestra recording of Pyotr Ilyich Tchaikovsky's The Nutcracker conducted by Valery Gergiev and released by Philips/PolyGram Records (catalogue number 462 114) on October 20, 1998, clocks at 81:14. The Mission of Burma compilation album Mission of Burma, released in 1988 by Rykodisc, previously held the record at 80:08.
Current manufacturing processes allow an audio CD to contain up to 80 minutes (variable from one replication plant to another) without requiring the content creator to sign a waiver releasing the plant owner from responsibility if the CD produced is marginally or entirely unreadable by some playback equipment. Thus, in current practice, maximum CD playing time has crept higher by reducing minimum engineering tolerances; by and large, this has not unacceptably reduced reliability.
Read more about this topic: Session (CD)
Famous quotes containing the words storage, capacity, playing and/or time:
“Many of our houses, both public and private, with their almost innumerable apartments, their huge halls and their cellars for the storage of wines and other munitions of peace, appear to me extravagantly large for their inhabitants. They are so vast and magnificent that the latter seem to be only vermin which infest them.”
—Henry David Thoreau (1817–1862)
“There is only one honest impulse at the bottom of Puritanism, and that is the impulse to punish the man with a superior capacity for happiness—to bring him down to the miserable level of “good” men i.e., of stupid, cowardly and chronically unhappy men.”
—H.L. (Henry Lewis)
“A normal adolescent is so restless and twitchy and awkward that he can mange to injure his knee—not playing soccer, not playing football—but by falling off his chair in the middle of French class.”
—Judith Viorst (20th century)
“In an expanding universe, time is on the side of the outcast. Those who once inhabited the suburbs of human contempt find that without changing their address they eventually live in the metropolis.”
—Quentin Crisp (b. 1908)