Milestones:16-bit Monolithic DAC, 1981 and LP and 45 RPM Records: Difference between pages

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== Citation ==
== The LP and the 45 ==


[[Image:DAC Milestone ceremony.JPG|thumb|right|Honorees at DAC Milestone ceremony, 6 December 2010. Photo copyright: Linda Prazak]]
[[Image:Vinyl record LP 10inch.JPG|thumb|right|10-inch LP]]


[[File:2008-20 DAC milestone plaque mounted 2.JPG|200px|thumb|left|DAC Milestone plaque mounted outside the door]]
The long playing (LP) record and the 45-rpm disc were two different approaches to high fidelity music, introduced by two different companies in the late 1940s. Since the beginning of the [[Phonograph|phonograph]], most records had played for about two or three minutes. Sometimes [[Mass Producing Records|record companies issued longer recordings on large, 12-inch discs]]. But when the RCA Company began work on an improved disc in the mid-1940s, they stuck to the idea that a record should not have to hold more than one song. In order to make the disc smaller than the 10-inch, 78-rpm discs used since the 1890s, they reduced the speed to 45-rpm and used a much finer groove. This meant that they could pack in more grooves in a smaller space. They used a new plastic material, called vinylite, which resulted in the playing stylus picking up less noise and hiss. World War II interrupted this work, but the new 45-rpm disc and its player were introduced with great fanfare in late 1947.


''In early 1982, Burr-Brown Research Corporation, later part of Texas Instruments, Inc., demonstrated a 16-bit monolithic digital-to-analog converter. Coupled with earlier compact disc development by Philips and Sony, it enabled affordable high-quality compact disc players, helped transform music distribution and playback from analog phonograph records to digital compact discs, and ushered in digital media playback.''
At about the same time, CBS Record Company (the successor to [[Columbia Record Company|Columbia Phonograph Company]] established in the early days of the phonograph) introduced its 12-inch, 33 1/3-rpm, long playing record. The development of the LP dates back to 1945, and was the work of CBS research director [[Peter Goldmark|Peter Goldmark]] and other engineers at CBS. It was also made of vinyl plastic, and had very fine grooves, but it was a different size and speed than the 45-rpm and could not be played on the same phonograph without modifications. The LP was not intended to hold short songs like the 45-rpm, but was for classical music, which often ran for 20 minutes or more without a break.  


The plaques may be viewed at:
[[Image:Sun Records 45s.jpg|thumb|right|Collection of Sun Records 45s]]


#Texas Instruments' North Dallas campus, Dallas, TX U.S.A. outside the Semiconductor Building that has other TI landmarks installed. The outside location is chosen so that anyone at the building can easily see the milestone and its significance.
Within a few years, however, most record companies had adopted both the LP and the 45-rpm formats, using the 45-rpm for singles and the LP for classical albums. Engineers easily adapted record players to accommodate both types of discs as well as the older 78-rpm singles. Soon, record companies discovered that the growing popularity of Broadway show tunes and movie soundtracks helped LP sales, because these types of recordings were usually released as sets of discs called albums. These albums (now just a single disc) were so profitable for the record companies that they began releasing more and more popular music on LP rather than as singles. After phasing out the 10-inch, 78-rpm disc around 1958, record companies heavily promoted both the LP and the 45-rpm disc. Sometimes, when songs made famous on the radio were available only on an LP and not a 45-rpm disc, sales of the more expensive LPs could be quite high. The growth of LP sales in the 1960s and 1970s transformed the record business, generating large profits and restoring the industry to the place it had held in the early 1920s before radio was introduced.  
#Texas Instruments Building, 5411 East Williams, Blvd., Tucson, Arizona, U.S.A.& where the product design and manufacturing actually happened.  


== Historic significance of the 16-bit Monolithic DAC  ==
The arrival of the compact disc in the 1980s severely curbed production of LP and 45 discs. Sales of both dropped quickly and most major label record companies stopped releasing them in large amounts by the early 1990s. However, both are still being produced to this day. Vinyl thrives in underground music scenes and niche collector markets, and is still commonly used by DJs for mixing in a live setting. Within the last ten years, vinyl has experienced a minor resurgence in the mainstream, with many of today's top 40 artists issuing their records on vinyl formats with a limited pressing run.


The PCM53/DAC700 was the world's first monolithic 16-bit DAC. Designed by Jimmy Naylor and TI / Burr-Brown data converter design team,<ref name="refnum1">"A complete high-speed voltage output 16-bit monolithic DAC", Naylor, J.R.;Solid-State Circuits, IEEE Journal of Volume 18, Issue 6, Dec 1983 Page(s):729 – 735.</ref><ref name="refnum2">"A 16b monolithic DAC with voltage output", Naylor, J.; Solid-State Circuits Conference. Digest of Technical Papers. 1983 IEEE International, Volume XXVI, Feb 1983 Page(s):186 - 187.</ref><ref name="refnum3">United States Patent 4,423,409, Naylor , et al. December 27, 1983. Digital-to-analog converter having single-ended input interface circuit. Inventors: Naylor; Jimmy R. (Tucson, AZ), Lillis; William J. (Tucson, AZ), Wang; Anthony D. (Tucson, AZ). Assignee: Burr-Brown Research Corporation (Tucson, AZ). Appl. No.: 06/250,868. Filed: April 3, 1981.</ref><ref name="refnum4">United States Patent 4,381,497. Lillis , et al. April 26, 1983
== Your Surest Selling Job ==
Digital-to-analog converter having open-loop voltage reference for regulating bit switch currents. Inventors: Lillis; William J. (Tucson, AZ), Naylor; Jimmy R. (Tucson, AZ), Wang; Anthony D. (Tucson, AZ), White; Robert L. (Tucson, AZ). Assignee: Burr-Brown Research Corporation (Tucson, AZ). Appl. No.: 06/250,858. Filed: April 3, 1981. PCM53 datasheet</ref> this product played a key role in transforming the music industry from analog audio tapes and vinyl long play discs (LPs) into digital audio compact discs. This 16-bit DAC was designed in to almost all major manufacturers of CD players when the compact disc player was emerging as a superior digital audio apparatus and led TI / Burr-Brown to dominate the digital audio data converter market with more than 80% share for several years. The TI/ Burr Brown DAC was mentioned in the movie “The Italian Job”. This unique monolithic chip and its fundamental achievement together with the technical advances in audio and speech processing, digital signal processing, which occurred in the 1970s and 1980s,<ref name="refnum5">Gene Frantz and Larry Zhang, TI IEEE Electrical Engineering and Computing Milestone nomination: Speak &amp; Spell – the first implementation of a Digital Signal Processing IC for speech generation, 1978.</ref> resulted in digital audio<ref name="refnum6">IEEE milestone to N.V. Philips for "COMPACT DISC AUDIO PLAYER, 1979".</ref> overtaking analog audio and spawning a new digital audio industry that is still expanding today with the introduction of a new generation iPods and other MP3 players.


For the first time, a complete 16-bit monolithic DAC had been integrated into a single chip with all the components necessary for a high performance digital to analog converter. Up until this point all 16-bit DACs were multi-chip hybrids that are not functionally complete because external components must be added and they were very costly to build. When Sony and Philips were designing the digital audio players, there were three fundamental problems that needed to be solved:  
{{#widget:YouTube16x9|id=DOBeEb8ZY2s</youtube>


#A medium that could store the amount of information needed for high fidelity audio. They started with digital tape, but settled on the compact disc (CD) format.
Late 1940s advertisement for new RCA Victrola.
#Lowering the cost of the read mechanism (laser) to read the CD.
#A low cost, high performance DAC to play back the music!


TI / Burr-Brown’s design team were already working on a monolithic DAC for industrial markets, but the TI / Burr-Brown team stepped up the pace and were first to the emerging audio market. The differential linearity laser trim algorithm made the DAC "sound better” with lower Total Harmonic Distortion (THD) that was better than if you trimmed for absolute linearity. This was the best performance audio DAC of its time with much improved reliability over the older hybrid design which required multiple chips and over 100 wirebonds. With the help of TI/Burr-Brown Japan’s super sales and applications team the 16-bit monolithic converter DAC was designed in to almost all major manufacturers of CD players and dominated the digital to analog audio converter market with more than 80% share for several years.
[[Category:Engineering and society|Records]] [[Category:Leisure|Records]] [[Category:Music|Records]] [[Category:Consumer electronics|Records]] [[Category:Audio systems|Records]] [[Category:News|Records]]
 
To reduce a multichip hybrid converter design to a single chip, several obstacles had to be overcome in the late 1970’s or early 1980’s: Power consumption changes on a single chip will cause thermal gradients that affect temperature sensitive components introducing offset, gain, and/or linearity errors. Since thermal gradients on the chip surface take a few hundred microseconds to stabilize after a power change, the settling time of the DAC output could be adversely affected. This phenomenon is sometimes referred to as a thermal settling “tail.” Minimizing the die size precluded the use of large capacitor values that is common in a hybrid design, for the compensation of amplifiers or for suppressing switching transient. To realize the new single chip monolithic DAC, and holding the die size to less than 20,000 square mils to minimize the cost per die, required an innovative process technology. Rather than using a conventional 40 V bipolar process used for many analog circuits, a thinner epi process yielding 20 V BVCEO transistors was chosen. This saved considerable die area as typical transistor geometries are approximately 50 percent smaller.
 
== References ==
 
<references />
 
== Letter from the site owner giving permission to place IEEE milestone plaque on the property.  ==
 
[[Media:RichTempleton_Letter_for_16Bit_DAC_milestone.pdf|Milestone Support Letter]]
 
== Proposal and Nomination ==
 
[[Milestone-Proposal:16-bit Monolithic DAC]] - Proposal, submitted 2008
 
[[Milestone-Nomination:16-bit Monolithic DAC, 1981]] - Nomination, submitted June 8th, 2009
 
== Map ==
 
{{#display_map:32.21713, -110.87787~ ~ ~ ~ ~Texas Instruments, Tucson, AZ|height=250|zoom=10|static=yes|center=32.21713, -110.87787}}
 
 
[[Category:Consumer electronics|Dac]] [[Category:Signals|Dac]] [[Category:Signal processing|Dac]] [[Category:Digital signal processing|Dac]]
 
[[Category:Digital_signal_processing|{{PAGENAME}}]]

Revision as of 21:20, 6 January 2015

The LP and the 45

10-inch LP

The long playing (LP) record and the 45-rpm disc were two different approaches to high fidelity music, introduced by two different companies in the late 1940s. Since the beginning of the phonograph, most records had played for about two or three minutes. Sometimes record companies issued longer recordings on large, 12-inch discs. But when the RCA Company began work on an improved disc in the mid-1940s, they stuck to the idea that a record should not have to hold more than one song. In order to make the disc smaller than the 10-inch, 78-rpm discs used since the 1890s, they reduced the speed to 45-rpm and used a much finer groove. This meant that they could pack in more grooves in a smaller space. They used a new plastic material, called vinylite, which resulted in the playing stylus picking up less noise and hiss. World War II interrupted this work, but the new 45-rpm disc and its player were introduced with great fanfare in late 1947.

At about the same time, CBS Record Company (the successor to Columbia Phonograph Company established in the early days of the phonograph) introduced its 12-inch, 33 1/3-rpm, long playing record. The development of the LP dates back to 1945, and was the work of CBS research director Peter Goldmark and other engineers at CBS. It was also made of vinyl plastic, and had very fine grooves, but it was a different size and speed than the 45-rpm and could not be played on the same phonograph without modifications. The LP was not intended to hold short songs like the 45-rpm, but was for classical music, which often ran for 20 minutes or more without a break.

Collection of Sun Records 45s

Within a few years, however, most record companies had adopted both the LP and the 45-rpm formats, using the 45-rpm for singles and the LP for classical albums. Engineers easily adapted record players to accommodate both types of discs as well as the older 78-rpm singles. Soon, record companies discovered that the growing popularity of Broadway show tunes and movie soundtracks helped LP sales, because these types of recordings were usually released as sets of discs called albums. These albums (now just a single disc) were so profitable for the record companies that they began releasing more and more popular music on LP rather than as singles. After phasing out the 10-inch, 78-rpm disc around 1958, record companies heavily promoted both the LP and the 45-rpm disc. Sometimes, when songs made famous on the radio were available only on an LP and not a 45-rpm disc, sales of the more expensive LPs could be quite high. The growth of LP sales in the 1960s and 1970s transformed the record business, generating large profits and restoring the industry to the place it had held in the early 1920s before radio was introduced.

The arrival of the compact disc in the 1980s severely curbed production of LP and 45 discs. Sales of both dropped quickly and most major label record companies stopped releasing them in large amounts by the early 1990s. However, both are still being produced to this day. Vinyl thrives in underground music scenes and niche collector markets, and is still commonly used by DJs for mixing in a live setting. Within the last ten years, vinyl has experienced a minor resurgence in the mainstream, with many of today's top 40 artists issuing their records on vinyl formats with a limited pressing run.

Your Surest Selling Job

{{#widget:YouTube16x9|id=DOBeEb8ZY2s</youtube>

Late 1940s advertisement for new RCA Victrola.