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A gold record for The Beatles' "Hey Jude"

Music recording sales certification is a system of certifying that a music recording has shipped or sold a certain number of copies, where the threshold quantity varies by type (such as: album, single, music video) and by nation or territory (See also: List of music recording certifications).

Almost all countries follow variations of the RIAA certification categories, which are named after precious materials. The thresholds below are used in the United States and United Kingdom only. For other countries definitions, see List of music recording certifications:

• Silver โ€“ 60,000 (U.K.)

• Gold โ€“ 500,000 (U.S.) / 100,000 (U.K.)

• Platinum โ€“ 1,000,000 (U.S.) / 300,000 (U.K.)

• Diamond โ€“ 10,000,000 and up (U.S.)

The number of sales or shipments required for these awards depends upon the population of the territory in which the recording is released. Typically, they are awarded only to international releases and are awarded individually for each country in which the album is sold. Different sales levels, some perhaps 10 times lower than others, may exist for different music media (for example: videos versus albums, singles, or downloads).

Originally applied to LP records, certification is now most commonly awarded for compact disc (CD) sales.^{[citation needed]} Certification is often awarded cumulatively, and it is possible for a single album to be certified silver, gold, and platinum in turn. An album that becomes platinum twice over is said to be "double-platinum"; three-times over, "triple-platinum", etc., which can all be generalized with the term "multi-platinum". Artists can also become multi-platinum sellers if they have at least two albums in the same territory both going single Platinum. A poor-selling record is often jokingly said to have "sold lead" (the heavy metal lead), in contrast to attaining high status as a gold or platinum album.

History[link]

The original gold record awards were presented to artists by their own record companies to publicize the achievement of 1,000,000 sales. The first of these was awarded by RCA to Glenn Miller in February 1942, celebrating 1,200,000 sales of "Chattanooga Choo Choo". Another example of a company award is the gold record awarded to Elvis Presley in 1956 for 1,000,000 sales of the single "Don't Be Cruel." The first gold record for an LP was awarded by RCA to Harry Belafonte in 1957 for the album Calypso (1956), the first album to sell over 1,000,000 copies.

RIAA certification[link]

Gold record (for the sale of one million copies) presented to Artie Schroeck for his arrangement on "Can't Take My Eyes Off You", 1967

Several different thresholds have been in use at different times and places for both album and single awards. Some of these were based on units sold and others on the value of retail sales. The first official designation of a "gold record" by the RIAA was established for singles in 1958, and the RIAA also trademarked the term "gold record" in the United States. On March 14, 1958 the RIAA certified its first gold record, Perry Como's hit single "Catch a Falling Star". The Oklahoma! soundtrack was certified as the first gold album four months later. In 1976, RIAA introduced the platinum certification, first awarded to Johnnie Taylor's single, "Disco Lady", and to the Eagles album, Their Greatest Hits (1971โ€“1975).^[1]

Like many record industry awards and rankings, the measurement is based on wholesale shipments to all types of retail outlets, and is not based on actual retail sales or financial transactions. As a result, an early award or ranking for a new release reflects only the distributor's market power expectations.^{[citation needed]}

Certifications no longer apply solely to physical media. In June 2006, the RIAA certified the ringtone downloads of songs. Eighty-four were gold, forty were platinum, and four were multi-platinum.^[2]

IFPI certification[link]

The International Federation of the Phonographic Industry (IFPI) was founded in 1996, and grants the IFPI Platinum Europe Award for album sales over one million within Europe and (as of October 2009) the Middle East.^[3] Multi-platinum Europe Awards are presented for sales in subsequent multiples of one million. Eligibility is unaffected by time (from date of release), and is not restricted to European-based artists.

List of international certification thresholds[link]

Manufacture of awards[link]

The plaques themselves contain various items under the glass. Modern awards often use CDs instead of records. Most gold and platinum records are actually vinyl records which have been vacuum metallized and tinted, while trimmed and plated metal "masters", "mothers", or "stampers" (metal parts used for pressing records out of vinyl) were initially used. Rarely does the groove on the record match the actual recording being awarded. Individual plaque-makers produced their awards according to available materials and individual techniques employed by their graphic arts departments. The plaques, depending on size and elaborateness of design, cost anywhere between US$135 and $275, most often ordered and purchased by the record label that issued the original recording.

See also[link]

Music portal

• RIAA certification
• Lists of best-selling albums
• Lists of best-selling singles
• Recording Industry Association of America
• Release (music)

References[link]

External links[link]

• List of national recording industry associations
• Certification of Awards
• RIAA certification โ€“ official website

Sound recording and reproduction is an electrical or mechanical inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording. Acoustic analog recording is achieved by a small microphone diaphragm that can detect changes in atmospheric pressure (acoustic sound waves) and record them as a graphic representation of the sound waves on a medium such as a phonograph (in which a stylus senses grooves on a record). In magnetic tape recording, the sound waves vibrate the microphone diaphragm and are converted into a varying electric current, which is then converted to a varying magnetic field by an electromagnet, which makes a representation of the sound as magnetized areas on a plastic tape with a magnetic coating on it. Analog sound reproduction is the reverse process, with a bigger loudspeaker diaphragm causing changes to atmospheric pressure to form acoustic sound waves. Electronically generated sound waves may also be recorded directly from devices such as an electric guitar pickup or a synthesizer, without the use of acoustics in the recording process other than the need for musicians to hear how well they are playing during recording sessions.

Digital recording and reproduction converts the analog sound signal picked up by the microphone to a digital form by a process of digitization, allowing it to be stored and transmitted by a wider variety of media. Digital recording stores audio as a series of binary numbers representing samples of the amplitude of the audio signal at equal time intervals, at a sample rate high enough to convey all sounds capable of being heard. Digital recordings are considered higher quality than analog recordings not necessarily because they have higher fidelity (wider frequency response or dynamic range), but because the digital format can prevent much loss of quality found in analog recording due to noise and electromagnetic interference in playback, and mechanical deterioration or damage to the storage medium. A digital audio signal must be reconverted to analog form during playback before it is applied to a loudspeaker or earphones.

Frances Densmore recording Blackfoot chief Mountain Chief on a cylinder phonograph for the Bureau of American Ethnology (1916)

Prehistory[link]

Long before sound was being recorded, music was being recorded, first by means of written notation, then also in forms that made it possible for the music to be played automatically by a mechanical device. The automatic reproduction of music can be traced back as far as the 9th century, when the Banลซ Mลซsฤ? brothers invented "the earliest known mechanical musical instrument", in this case a hydropowered organ which played interchangeable cylinders automatically. According to Charles B. Fowler, this "cylinder with raised pins on the surface remained the basic device to produce and reproduce music mechanically until the second half of the nineteenth century."^{[1][unreliable source?]} The Banu Musa brothers also invented an automatic flute player which appears to have been the first programmable machine.^[2] According to Charles B. Fowler, the automata were a robot band which performed "more than fifty facial and body actions during each musical selection."^[1] In the 14th century, Flanders introduced a mechanical bell-ringer controlled by a rotating cylinder. Similar designs appeared in barrel organs (15th century), musical clocks (1598), barrel pianos (1805), and musical boxes (1815). In 1796, a Swiss watchmaker named Antoine Favre-Salomon described his idea for what we now call the cylinder musical box. The fairground organ, developed in 1892, used a system of accordion-folded punched cardboard books. The player piano, first demonstrated in 1876, used a punched paper scroll that could store an arbitrarily long piece of music. The most sophisticated of the piano rolls were "hand-played", meaning that the roll represented the actual performance of an individual, not just a transcription of the sheet music. This technology to record a live performance onto a piano roll was not developed until 1904. Piano rolls have been in continuous mass production since around 1898.^{[citation needed]} A 1908 U.S. Supreme Court copyright case noted that, in 1902 alone, there were between 70,000 and 75,000 player pianos manufactured, and between 1,000,000 and 1,500,000 piano rolls produced.^[3] The use of piano rolls began to decline in the 1920s although one type is still being made today.

Phonautograph[link]

	Au Clair de la Lune This 1860 phonautogram by ร‰douard-Lรฉon Scott de Martinville is the earliest known recording of a person singing.
Problems listening to this file? See media help.

The first device that could record actual sounds as they passed through the air (but could not play them backโ€”the purpose was only visual study) was the phonautograph, patented in 1857 by Parisian inventor ร‰douard-Lรฉon Scott de Martinville. The earliest known recordings of the human voice are phonautograph recordings, called "phonautograms", made in 1857. They consist of sheets of paper with sound-wave-modulated white lines created by a vibrating stylus that cut through a coating of soot as the paper was passed under it. An 1860 phonautogram of Au Clair de la Lune, a French folk song, was played back as sound for the first time in 2008 by scanning it and using software to convert the undulating line, which graphically encoded the sound, into a corresponding digital audio file.^[4][5]

Phonograph[link]

Phonograph cylinder[link]

	"Kham Hom" ("Sweet Words") Phonograph cylinder recording of Siamese (Thai) musicians visiting Berlin, Germany in 1900.
Problems listening to this file? See media help.

The first practical sound recording and reproduction device was the mechanical phonograph cylinder, invented by Thomas Edison in 1877 and patented in 1878.^[6] The invention soon spread across the globe and over the next two decades the commercial recording, distribution and sale of sound recordings became a growing new international industry, with the most popular titles selling millions of units by the early 1900s. The development of mass-production techniques enabled cylinder recordings to become a major new consumer item in industrial countries and the cylinder was the main consumer format from the late 1880s until around 1910.

Disc phonograph[link]

The next major technical development was the invention of the gramophone disc, generally credited to Emile Berliner and commercially introduced in the United States in 1889. Discs were easier to manufacture, transport and store, and they had the additional benefit of being louder (marginally) than cylinders, which by necessity, were single-sided. Sales of the Gramophone record overtook the cylinder ca. 1910, and by the end of World War I the disc had become the dominant commercial recording format. Edison, who was the main producer of cylinders, created the Edison Disc Record in an attempt to regain his market. In various permutations, the audio disc format became the primary medium for consumer sound recordings until the end of the 20th century, and the double-sided 78 rpm shellac disc was the standard consumer music format from the early 1910s to the late 1950s.

Although there was no universally accepted speed, and various companies offered discs that played at several different speeds, the major recording companies eventually settled on a de facto industry standard of nominally 78 revolutions per minute, though the actual speed differed between America and the rest of the world. The specified speed was 78.26 rpm in America and 77.92 rpm throughout the rest of the world, the difference in speeds a result of the difference in cycle frequencies of the AC power driving the synchronous motor and available gearing ratios.^[7] The nominal speed of the disc format gave rise to its common nickname, the "seventy-eight" (though not until other speeds had become available). Discs were made of shellac or similar brittle plastic-like materials, played with needles made from a variety of materials including mild steel, thorn and even sapphire. Discs had a distinctly limited playing life which was heavily dependent on how they were reproduced.

The earlier, purely acoustic methods of recording had limited sensitivity and frequency range. Mid-frequency range notes could be recorded but very low and very high frequencies could not. Instruments such as the violin transferred poorly to disc; however this was partially solved by retrofitting a conical horn to the sound box of the violin. The horn was no longer required once electrical recording was developed.

The long-playing 33¹โ?„₃ rpm microgroove vinyl record, or "LP", was developed at Columbia Records and introduced in 1948. The short-playing but convenient 7-inch 45 rpm microgroove vinyl single was introduced by RCA Victor in 1949. In the US and most developed countries, the two new vinyl formats completely replaced 78 rpm shellac discs by the end of the 1950s, but in some corners of the world the "78" lingered on far into the 1960s. Vinyl was much more expensive than shellac, one of several factors that made its use for 78 rpm records very unusual, but with a long-playing disc the added cost was acceptable and the compact "45" format required very little material. Vinyl offered improved performance, both in stamping and in playback. If played with a good diamond stylus mounted in a lightweight pickup on a well-adjusted tonearm, it was long-lasting. If protected from dust, scuffs and scratches there was very little noise. Vinyl records were, over-optimistically, advertised as "unbreakable". They were not, but they were much less fragile than shellac, which had itself once been touted as "unbreakable" compared to wax cylinders.

Electrical recording[link]

RCA-44, a classic ribbon microphone introduced in 1932. Similar units were widely used for broadcasting and recording in the 1940s and are occasionally still used today.

Between the invention of the phonograph in 1877 and the advent of digital media, arguably the most important milestone in the history of sound recording was the introduction of what was then called "electrical recording", in which a microphone was used to convert the sound into an electrical signal that was amplified and used to actuate the recording stylus. This innovation eliminated the "horn sound" resonances characteristic of the acoustical process, produced clearer and more full-bodied recordings by greatly extending the useful range of audio frequencies, and allowed previously unrecordable distant and feeble sounds to be captured.

Sound recording began as a purely mechanical process. Except for a few crude telephone-based recording devices with no means of amplification, such as the Telegraphone,^[8] it remained so until the 1920s, when recent radio-related developments in electronics converged to revolutionize the recording process. These included improved microphones and auxiliary devices such as electronic filters, all dependent on electronic amplification to be of practical use in recording. In 1906 Lee De Forest invented the "Audion" triode vacuum tube, an electronic valve which could greatly amplify weak electrical signals. By 1915 it was being used in long-distance telephone circuits that made it possible to talk between New York and San Francisco with both parties being clearly heard. Refined versions of this tube were the basis of all electronic sound systems until the commercial introduction of the first transistor-based audio devices in the 1950s.

During World War I, experiments were undertaken in the United States and Great Britain to record and reproduce, among other things, the sound of a German U-boat (submarine) for training purposes. The acoustical recordings of that time proved entirely unable to reproduce the sounds, so other methods were actively sought. The earliest results were not very promising. The first electrical recording issued to the public, with little fanfare, was of the 11 November 1920 funeral services for the Unknown Soldier in Westminster Abbey, London. The microphones used were like those in contemporary telephones. They were discreetly set up in the abbey and connected by wires to recording equipment in a vehicle outside. Although electronic amplification was used, the resulting audio was weak and very unclear. The novel procedure did, however, allow a recording to be made which would otherwise not have been practical in those circumstances. For several years, this little-noted disc remained the only issued electrical recording.

Several record companies and independent inventors, notably Orlando Marsh, were experimenting with equipment and techniques for electrical recording in the early 1920s. Marsh's electrically recorded Autograph Records were already being sold to the public in 1924, a year before the first such offerings from the major record companies, but their overall sound quality was too low to demonstrate any obvious advantage over traditional acoustical methods. Marsh's microphone technique was idiosyncratic and his work had little if any impact on the systems being developed by others.^[9]

Telephone industry giant Western Electric had research laboratories (merged with the AT&T engineering department in 1925 to form Bell Telephone Laboratories) with material and human resources that no record company or independent inventor could match. They had the best microphone, a condenser type developed there in 1916 and greatly improved in 1922,^[10] and the best amplifiers and test equipment. They had already patented an electromagnetic recorder in 1917, and in the early 1920s they decided to intensively apply their hardware and expertise to developing two state-of-the-art systems for electronically recording and reproducing sound: one that employed conventional discs and another that recorded optically on motion picture film. Their engineers pioneered the use of mechanical analogs of electrical circuits and developed a superior "rubber line" recorder for cutting the groove into the wax master in the disc recording system.^[11]

By 1924 such dramatic progress had been made that Western Electric arranged a demonstration for the two leading record companies, the Victor Talking Machine Company and the Columbia Phonograph Company. Both soon licensed the system and both made their earliest published electrical recordings in February 1925, but neither actually released them until mid-year. To avoid making their existing catalogs instantly obsolete, the two long-time arch rivals agreed privately not to publicize the new process until November 1925, by which time enough electrically recorded repertory would be available to meet the anticipated demand. During the next few years the lesser record companies licensed or developed other electrical recording systems. By the end of the 1920s only the budget label Harmony was still issuing acoustically recorded discs.

Comparison of some surviving Western Electric test recordings with early commercial releases indicates that their system had been "dumbed down" by the record companies so as not to overwhelm non-electronic playback equipment, which reproduced very low frequencies as an unpleasant rattle and rapidly wore out discs with strongly recorded high frequencies.

Other recording formats[link]

In the 1920s, the early talkies featured the new sound-on-film technology which used photoelectric cells to record and reproduce sound signals that were optically recorded directly onto the movie film. The introduction of talking movies, spearheaded by The Jazz Singer in 1927 (though it used a sound on disk technique, not a photoelectric one), saw the rapid demise of live cinema musicians and orchestras. They were replaced with pre-recorded soundtracks, causing the loss of many jobs.^[12] The American Federation of Musicians took out ads in newspapers, protesting the replacement of real musicians with mechanical playing devices, especially in theatres.^[13][14]

This period also saw several other historic developments including the introduction of the first practical magnetic sound recording system, the magnetic wire recorder, which was based on the work of Danish inventor Valdemar Poulsen. Magnetic wire recorders were effective, but the sound quality was poor, so between the wars they were primarily used for voice recording and marketed as business dictating machines. In the 1930s radio pioneer Guglielmo Marconi developed a system of magnetic sound recording using steel tape. This was the same material used to make razor blades, and not surprisingly the fearsome Marconi-Stille recorders were considered so dangerous that technicians had to operate them from another room for safety. Because of the high recording speeds required, they used enormous reels about one metre in diameter, and the thin tape frequently broke, sending jagged lengths of razor steel flying around the studio.

The K1 Magnetophon was the first practical tape recorder, developed by AEG in Germany in 1935. The other major invention in sound recording in this period was the optical sound-on-film system, also generally credited to Lee De Forest. Although famous early "Talkies" like The Jazz Singer used a sound-on-disc system, the film industry rapidly adopted the optical sound-on-film system and it revolutionised the movie industry in the 1930s, ushering in the era of 'talking pictures'. Optical sound-on-film, based on the photoelectric cell, became the standard film audio system throughout the world and remains so for theatrical release prints despite attempts in the 1950s to substitute magnetic recording methods. Currently all release prints on 35mm film include an analogue optical soundtrack (usually stereo with Dolby SR noise reduction). In addition an optically recorded digital soundtrack in Dolby Digital and/or Sony SDDS form is likely to be present. Optically recorded timecode is also commonly found in order to synchronise CDROMs containing a DTS soundtrack.

Magnetic tape[link]

Magnetic audio tapes: acetate vs polyester backing

Other important inventions of this period were magnetic tape and the tape recorder (Telegraphone). Paper-based tape was first used but was soon superseded by polyester and acetate backing due to dust drop and hiss. Acetate was more brittle than polyester and snapped easily. This technology, the basis for almost all commercial recording from the 1950s to the 1980s, was invented by German audio engineers in the 1930s, who also discovered the technique of AC biasing, which dramatically improved the frequency response of tape recordings. Tape recording was perfected just after the war by American audio engineer John T. Mullin with the help of Crosby Enterprises (Bing Crosby), whose pioneering recorders were based on captured German recorders, and the Ampex company produced the first commercially available tape recorders in the late 1940s.

A typical Compact Cassette

Magnetic tape brought about sweeping changes in both radio and the recording industry. Sound could be recorded, erased and re-recorded on the same tape many times, sounds could be duplicated from tape to tape with only minor loss of quality, and recordings could now be very precisely edited by physically cutting the tape and rejoining it. Within a few years of the introduction of the first commercial tape recorderโ€”the Ampex 200 model, launched in 1948โ€”American musician-inventor Les Paul had invented the first multitrack tape recorder, ushering in another technical revolution in the recording industry. Tape made possible the first sound recordings totally created by electronic means, opening the way for the bold sonic experiments of the Musique Concrรจte school and avant garde composers like Karlheinz Stockhausen, which in turn led to the innovative pop music recordings of artists such as Frank Zappa, The Beatles and The Beach Boys.

Magnetic tape allowed the radio industry for the first time to pre-record many sections of program content such as advertising, which formerly had to be presented live, and it also enabled the creation and duplication of complex, high-fidelity, long-duration recordings of entire programs. Also, for the first time, broadcasters, regulators and other interested parties were able to undertake comprehensive logging of radio broadcasts. Innovations like multitracking and tape echo enabled radio programs and advertisements to be pre-produced to a level of complexity and sophistication that was previously unattainable and the combined impact of these new techniques led to significant changes to the pacing and production style of program content, thanks to the innovations like the endless-loop broadcast cartridge.

Stereo and hi-fi[link]

In 1881, it was noted during experiments in transmitting sound from the Paris Opera that it was possible to follow the movement of singers on the stage if earpieces connected to different microphones were held to the two ears. This discovery was commercialized in 1890 with the Thรฉรขtrophone system, which operated for over forty years until 1932.

In 1931 Alan Blumlein, a British electronics engineer working for EMI, designed a way to make the sound of an actor in a film follow their movement across the screen. In December 1931 he submitted a patent including the idea, and in 1933 this became UK patent number 394,325.^[15] Over the next two years, Blumlein developed stereo microphones and a stereo disc-cutting head, and recorded a number of short films with stereo soundtracks.

Magnetic tape enabled the development of the first practical commercial sound systems that could record and reproduce high-fidelity stereophonic sound. The experiments with stereo during the 1930s and 1940s were hampered by problems with synchronization. A major breakthrough in practical stereo sound was made by Bell Laboratories, who in 1937 demonstrated a practical system of two-channel stereo, using dual optical sound tracks on film. Major movie studios quickly developed three-track and four-track sound systems, and the first stereo sound recording for a commercial film was made by Judy Garland for the MGM movie Listen, Darling in 1938.

The first movie commercially released with a stereo soundtrack was Walt Disney's Fantasia, released in 1940. The original 1941 release of this production used the "Fantasound" sound system. This system employed a separate film for the sound, which ran in synchronism with the film carrying the picture. On this sound film were four double-width optical soundtracks, three of which carried left, center and right audio while the fourth was a "control" track on which were recorded three tones which controlled the playback volume of the three audio channels. Because of the complex equipment required to present it, it was shown as a roadshow, but only in the United States. Regular releases of the film were on standard mono optical 35 mm stock until 1956 when the film was released with a stereo soundtrack using the "Cinemascope" four-track magnetic sound system.

German audio engineers working on magnetic tape are reported to have developed stereo recording by 1943, but it was not until the introduction of the first commercial two-track tape recorders by Ampex in the late 1940s that stereo tape recording became commercially feasible. However, despite the availability of multitrack tape, stereo did not become the standard system for commercial music recording for some years and it remained a specialist market during the 1950s. This changed after the late 1957 introduction of the "Westrex stereo phonograph disc", which used the groove format developed earlier by Blumlein. Decca Records in England came out with FFRR (Full Frequency Range Recording) in the 1940s which became internationally accepted and a worldwide standard for higher quality recordings on vinyl records. The Ernest Ansermet recording of Igor Stravinsky's Petrushka was key in the development of full frequency range records and alerting the listening public to high fidelity in 1946.^[16]

Most pop singles were mixed into monophonic sound until the mid 1960s, and it was common for major pop releases to be issued in both mono and stereo until the early 1970s. Many Sixties pop albums now available only in stereo were originally intended to be released only in mono, and the so-called "stereo" version of these albums were created by simply separating the two tracks of the master tape. In the mid Sixties, as stereo became more popular, many mono recordings (such as The Beach Boys' Pet Sounds) were remastered using the so-called "fake stereo" method, which spread the sound across the stereo field by directing higher-frequency sound into one channel and lower-frequency sounds into the other.

1950s to 1980s[link]

This unreferenced section requires citations to ensure verifiability.

Magnetic tape transformed the recording industry, and by the late-1950s the vast majority of commercial recordings were being mastered on tape. The electronics revolution that followed the invention of the transistor brought other radical changes, the most important of which was the introduction of the world's first "personal music device", the miniaturized transistor radio, which became a major consumer luxury item in the 1960s, transforming radio broadcasting from a static group experience into a mobile, personal listening activity. An early multitrack recording made using magnetic tape was "How High the Moon" by Les Paul, on which Paul played eight overdubbed guitar tracks. In the 1960s Brian Wilson of The Beach Boys, Frank Zappa and The Beatles (with producer George Martin) were among the first popular artists to explore the possibilities of multitrack recording techniques and effects on their landmark albums Pet Sounds, Freak Out! and Sgt. Pepper's Lonely Hearts Club Band.

The next important innovation was small cartridge based tape systems of which the compact cassette, introduced by the Philips electronics company in 1964 is the best known. It eventually entirely replaced the competing formats, the larger 8-track tape (used primarily in cars) and the fairly similar 'Deutsche Cassette' developed by the German company Grundig. This latter system was not particularly common in Europe and practically unheard of in America. The compact cassette became a major consumer audio format and advances in microelectronics eventually allowed the development of the Sony Walkman, introduced in the 1970s, which was the first personal music player and gave a major boost to the mass distribution of music recordings. Cassettes became the first successful consumer recording/re-recording medium. The gramophone record was a pre-recorded playback only medium, and reel-to-reel audio tape recording magnetic tape was too difficult for most consumers and far less portable.

A key advance in audio fidelity came with the Dolby A noise reduction system, invented by Ray Dolby and introduced in 1966. A competing system dbx, invented by David Blackmer, found most success in professional audio. A simpler variant of Dolby's noise reduction system, known as Dolby B greatly improved the sound of cassette tape recordings by reducing the practical effect of the recorded hiss inherent in the narrow tape used. It, and variants, also eventually found wide application in the recording and film industries. Dolby B was crucial to the popularisation and commercial success of the compact cassette as a domestic recording and playback medium, and became a part of the booming "hi-fi" market of the 1970s and beyond. The compact cassette also benefited enormously from developments in the tape material itself as materials with wider frequency responses and lower inherent noise were developed, often based on cobalt and/or chrome oxides as the magnetic material instead of the more usual iron oxide.

The multitrack audio cartridge had been in wide use in the radio industry, from the late 1950s to the 1980s, but in the 1960s the pre-recorded 8-track cartridge was launched as a consumer audio format by Bill Lear of the Lear Jet aircraft company (and although its correct name was the 'Lear Jet Cartridge', it was seldom referred to as such). Aimed particularly at the automotive market, they were the first practical, affordable car hi-fi systems, and could produce superior sound quality to the compact cassette. However the smaller size and greater durability โ€” augmented by the ability to create home-recorded music "compilations" since 8-track recorders were rare โ€” saw the cassette become the dominant consumer format for portable audio devices in the 1970s and 1980s.

There had been experiments with multi-channel sound for many years โ€” usually for special musical or cultural events โ€” but the first commercial application of the concept came in the early 1970s with the introduction of Quadraphonic sound. This spin-off development from multitrack recording used four tracks (instead of the two used in stereo) and four speakers to create a 360-degree audio field around the listener. Following the release of the first consumer 4-channel hi-fi systems, a number of popular albums were released in one of the competing four-channel formats; among the best known are Mike Oldfield's Tubular Bells and Pink Floyd's The Dark Side of the Moon. Quadraphonic sound was not a commercial success, partly because of competing and somewhat incompatible four-channel sound systems (e.g., CBS, JVC, Dynaco and others all had systems) and generally poor quality, even when played as intended on the correct equipment, of the released music. It eventually faded out in the late 1970s, although this early venture paved the way for the eventual introduction of domestic Surround Sound systems in home theatre use, which have gained enormous popularity since the introduction of the DVD. This widespread adoption has occurred despite the confusion introduced by the multitude of available surround sound standards.

Audio components[link]

The replacement of the thermionic valve (vacuum tube) by the smaller, cooler and less power-hungry transistor also accelerated the sale of consumer high-fidelity "hi-fi" sound systems from the 1960s onward. In the 1950s most record players were monophonic and had relatively low sound quality; few consumers could afford high-quality stereophonic sound systems. In the 1960s, American manufacturers introduced a new generation of "modular" hi-fi components โ€” separate turntables, pre-amplifiers, amplifiers, both combined as integrated amplifiers, tape recorders, and other ancillary equipment like the graphic equaliser, which could be connected together to create a complete home sound system. These developments were rapidly taken up by Japanese electronics companies, which soon flooded the world market with relatively cheap, high-quality components. By the 1980s, corporations like Sony had become world leaders in the music recording and playback industry.

Digital recording[link]

Graphical representation of a sound wave in analog (red) and 4-bit digital (black).

The invention of digital sound recording and later the compact disc in 1982 brought significant improvements in the durability of consumer recordings. The CD initiated another massive wave of change in the consumer music industry, with vinyl records effectively relegated to a small niche market by the mid-1990s. However, the introduction of digital systems was initially fiercely resisted by the record industry which feared wholesale piracy on a medium which was able to produce perfect copies of original released recordings. However, the industry had to bow to the inevitable, but not without using various protection system (principally Serial Copy Management System, or SCMS).

A digital sound recorder from Sony

The most recent and revolutionary developments have been in digital recording, with the development of various uncompressed and compressed digital audio file formats, processors capable and fast enough to convert the digital data to sound in real time, and inexpensive mass storage. This generated a new type of portable digital audio player. The minidisc player, using ATRAC compression on small, cheap, re-writeable discs was introduced in the 1990s but became obsolescent as solid-state non-volatile flash memory dropped in price. As technologies which increase the amount of data that can be stored on a single medium, such as Super Audio CD, DVD-A, Blu-ray Disc and HD DVD become available, longer programs of higher quality fit onto a single disc. Sound files are readily downloaded from the Internet and other sources, and copied onto computers and digital audio players. Digital audio technology is used in all areas of audio, from casual use of music files of moderate quality to the most demanding professional applications. New applications such as internet radio and podcasting have appeared.

Technological developments in recording and editing have transformed the record, movie and television industries in recent decades. Audio editing became practicable with the invention of magnetic tape recording, but digital audio and cheap mass storage allows computers to edit audio files quickly, easily, and cheaply. Today, the process of making a recording is separated into tracking, mixing and mastering. Multitrack recording makes it possible to capture signals from several microphones, or from different 'takes' to tape or disc, with maximized headroom and quality, allowing previously unavailable flexibility in the mixing and mastering stages for editing, level balancing, compressing and limiting, adding effects such as reverberation, equalisation, flanging, and much more.

Software[link]

There are many different digital audio recording and processing programs running under several computer operating systems for all purposes, from professional through serious amateur to casual user.

A comprehensive list of digital recording applications is available on the digital audio workstation page.

Digital dictation software for recording and transcribing speech has different requirements; intelligibility and flexible playback facilities are priorities, while a wide frequency range and high audio quality are not.

Legal status[link]

UK[link]

Since 1934, sound recordings are treated differently from musical works under copyright law.^[17] Copyright, Designs and Patents Act 1988 defines a sound recording to mean (a) a recording of sounds, from which the sounds may be reproduced, or (b) a recording of the whole or any part of a literary, dramatic or musical work, from which sounds reproducing the work or part may be produced, regardless of the medium on which the recording is made or the method by which the sounds are reproduced or produced. It thus covers vinyl records, tapes, compact discs, digital audiotapes, and MP3s which embody recordings.

Notes[link]

Further reading[link]

• Carson, B. H.; Burt, A. D.; Reiskind, and H. I., "A Record Changer And Record Of Complementary Design", RCA Review, June 1949
• Coleman, Mark, Playback: from the Victrola to MP3, 100 years of music, machines, and money, Da Capo Press, 2003.
• Gaisberg, Frederick W., "The Music Goes Round", [Andrew Farkas, editor.], New Haven, Ayer, 1977.
• Gronow, Pekka, "The Record Industry: The Growth of a Mass Medium", Popular Music, Vol. 3, Producers and Markets (1983), pp. 53โ€“75, Cambridge University Press.
• Gronow, Pekka, and Saunio, Ilpo, "An International History of the Recording Industry", [translated from the Finnish by Christopher Moseley], London ; New York : Cassell, 1998. ISBN 0-304-70173-4
• Lipman, Samuel,"The House of Music: Art in an Era of Institutions", 1984. See the chapter on "Getting on Record", pp. 62โ€“75, about the early record industry and Fred Gaisberg and Walter Legge and FFRR (Full Frequency Range Recording).
• Millard, Andre J., "America on record : a history of recorded sound", Cambridge ; New York : Cambridge University Press, 1995. ISBN 0-521-47544-9
• Millard, Andre J., " From Edison to the iPod", UAB Reporter, 2005, University of Alabama at Birmingham.
• Milner, Greg, "Perfecting Sound Forever: An Aural History of Recorded Music", Faber & Faber; 1 edition (June 9, 2009) ISBN 978-0-571-21165-4. Cf. p. 14 on H. Stith Bennett and "recording consciousness".
• "Recording Technology History: notes revised July 6, 2005, by Steven Schoenherr", San Diego University (archived 2010)

Media[link]

Wikiquote has a collection of quotations related to: recording

• Millard, Andre, "Edison's Tone Tests and the Ideal of Perfect Reproduction", Lost and Found Sound, interview on National Public Radio.

External links[link]

• Audio Engineering Society
• Oral history of recorded sound Interviews with practitioners in all areas of the recording industry. British Library
• History of Recorded Sound. New York Public Library
• Audio Engineering online course under Creative Commons Licence
• Archival Sound Recordings โ€“ tens of thousands of recordings showcasing audio history from 19th century wax cylinders to the present day. British Library
• International Association of Sound and Audiovisual Archives (IASA)

Soulja Boy
Soulja Boy at YouTube Live doing his signature dance in 2008.
Background information
Birth name	DeAndre Cortez Way[1][2]
Also known as	Soulja Boy Tell 'Em
Born	(1990-07-28) July 28, 1990 (age 21) Chicago, Illinois
Origin	Batesville, Mississippi, United States
Genres	Hip hop
Occupations	Rapper
Years active	2005โ€“present
Labels	Stacks on Deck/Collipark Music/Interscope
Associated acts	Arab, Mr. Collipark
Website	thedeandreway.com

DeAndre Cortez Way (born July 28, 1990), better known by his stage name Soulja Boy Tell 'Em, or simply Soulja Boy, is an American rapper, record producer, actor, and entrepreneur.

In September 2007, his single "Crank That (Soulja Boy)" reached number one on the Billboard Hot 100. The single was initially self-published on the internet, and it later became a number-one hit in the United States for seven non-consecutive weeks starting in September 2007.^[3] On August 17 Way was listed at #18 on the Forbes list of Hip-Hop Cash Kings of 2010 earning $7 million for that year.^[4]

Way has currently released three studio albums and one independent album: his debut studio album Souljaboytellem.com (2007) was certified platinum by the RIAA. However, his next two albums, iSouljaBoyTellem (2008) and The DeAndre Way (2010) did not match the commercial success of his debut, the latter only selling 100,000 copies,^[5] despite the success of several singles across both albums, such as "Kiss Me Thru the Phone" and "Turn My Swag On" (iSouljaBoyTellem) and "Pretty Boy Swag" (The DeAndre Way).

On October 18, 2011, Soulja Boy released his documentary bio pic, Soulja Boy: The Movie.

As of 2011, Way has confirmed he is working on his fourth studio album, entitled Promise, which will be released in July 2012.^[6]

Early life[link]

DeAndre Way was born in Chicago and moved to Atlanta at age 6,^[7] where he became interested in rap music.^[8]

Career beginnings[link]

At age 14, he moved to Batesville, Mississippi, with his father, who provided a recording studio for Way to explore his musical ambitions.^[7] In November 2005, Way posted his songs on the website SoundClick. Following positive reviews on the site, he then established his own web pages on YouTube and MySpace.^[9][10] In March 2007, he recorded "Crank That" and released his first independent album Unsigned & Still Major: Da Album Before da Album, followed by a low-budget video filmed demonstrating the "Crank That" dance. By the end of May 2007, "Crank That (Soulja Boy)" received its first airplay and Way met with Mr. Collipark to sign a deal with Interscope Records.

Music career[link]

[edit] 2007-08: Souljaboytellem.com

Soulja Boy performing "Crank That (Soulja Boy)" in February 2008.

On August 12, 2007, the song appeared on the Emmy-award winning HBO series Entourage, and by September 1, it topped the Billboard Hot 100 and Hot RingMasters charts.^[11] Way's major label debut album Souljaboytellem.com, which was reportedly recorded using just the demo version of FL Studio,^[8][12] was released in the United States on October 2,^[13] peaking at #4 on both the Billboard 200 and Top R&B/Hip-Hop Albums charts.^[14]

For the 50th Grammy Awards, Way was nominated for a Grammy Award for Best Rap Song with "Crank That (Soulja Boy)". He lost to Kanye West's and T-Pain's "Good Life".

Souljaboytellem.com received a favorable review from Allmusic,^[13] but received mainly negative reviews from other sources such as Entertainment Weekly.^[15] Several reviewers credited Soulja Boy with spearheading a new trend in hip-hop, while speculating he will likely be a one-hit wonder.^[16][17][18]

[edit] 2008-09: iSouljaBoyTellem

The follow-up to souljaboytellem.com, iSouljaBoyTellem, was released on December 16, 2008, to negative critical reception.^[19] The first single from the album, "Bird Walk", peaked at #40 on the Billboard Hot R&B/Hip-Hop Songs chart and the top 20 on the Hot Rap Tracks chart it was performed on the first YouTube Live on November 22, 2008, with an introduction from MC Hammer.^[20] "Kiss Me Thru the Phone", with Sammie, followed, peaking at #3 on the Hot 100 and #1 on the Hot Rap Tracks charts.^[21] Chris Brown was originally Way's first choice to sing the hook, but respectfully turned down the offer. Way then tried to do it on his own with Auto-Tune but he found it unacceptable.^[22] It sold over 2,000,000 digital copies in the United States, becoming his second song to reach the two million mark in downloads.^[23][24]

On January 26, 2009 Way released his third single "Turn My Swag On". it topped the US Rap Charts and peaked at #19 on the Billboard Hot 100. It has so far sold more than 1,000,000 digital downloads in the United States. It became Soulja Boy's third song to sell 1 million or more downloads.^[24]

[edit] 2009-2010: The DeAndre Way

The DeAndre Way^[25] is Way's third studio album, Way has stated that the album is intended to be his most personal and successful album thus far. When speaking on possible collaborations, he stated he wished to work with artists such as Jay-Z, Lil Wayne, and Kanye West,^[26] Eminem,^[27] among others. The lead single from the album, "POW", was released in January 2009 but failed to garner success and was dubbed a promo single. On October 30, 2009 Way released three mixtapes Paranormal Activity, Dat Piff & Cortez.^[28] Then it was announced on February 18, 2010 that the first single from the album was gone be "All Black Everything" but it was cancelled & was just put on his promotional mixtape Legendary.^[29] The album was titled "The DeAndre Way" but was changed in early 2010 to Dre with a commercial video snippet for "Do It Big" as the first single but it was cancelled as well.^[30] However it was reverted back to The DeAndre Way in July 2010.

But on June 8, 2010, the official lead single from the album was "Pretty Boy Swag". The single has reached #34 on the Billboard Hot 100, number six on the Billboard Hot R&B/Hip-Hop Songs chart and number five on the Billboard Rap Songs chart.^[31] The album's second single was due to be "Digital" but it was just used on his promotional mixtape Best Rapper.^[32] Then it was announced that "Speakers Going Hammer" was gone be the second single, but "Blowing Me Kisses" was released on August 31, 2010 as the second single instead.^[33] On October 13 Soulja Boy performed "Pretty Boy Swag" & a snippet of his third single "Speakers Going Hammer". On October 19, 2010 Way finally released "Speakers Going Hammer" on iTunes the single peaked at #48 on the Hot R&B & Hip Hop tracks Billboard.^[34] The DeAndre Way was released on November 30, 2010 it has so far has only sold 70,000 copies making this Way's lowest selling album. Soulja Boy was to be part of the Summerbeatz tour held in Australia alongside Flo Rida, Jay Sean and Travie McCoy in November 2010, but in lieu of his current album release date Soulja Boy had declined the offer & just embarked on his Who They Want tour.

[edit] 2011-present: Mixtapes and Promise

On January 22, Way released his first mixtape of 2011 Smooky which cover featured a cartoon version of Way on a bicycle doing a 360.^[35] Then On March 17, 2011 Way released the mixtape 1up which cover was based on the Naruto anime Way stated "If I was in a video game, this mixtape would advance me to the next level with an extra life. Power up with the new offering".^[36] On April 20, 2011 Way released his mixtape Juice which cover was based on the Juice the movie Way stated he would also released a mini movie of his own to go along with the mixtape Way stated that he was headed to greatness with the mixtape.^[37] In September 2011, Way confirmed he is working on a new album, called Promise, which will be released in October.^[38] Way also released the cover & title of his second independent album via Twitter, entitled "Skate Boy", which he said would be available in stores November 1, also via twitter.^[39][40]

Other ventures[link]

Stacks on Deck Entertainment[link]

Way founded his record label Stacks on Deck Entertainment in 2004. While Way was signed under Interscope and Collipark Music, he claimed that his label had distribution deals with Universal Music Group and eOne Music.^{[citation needed]}

Current artists

• Soulja Boy (Interscope/Collipark Music/SODMG)(CEO)
• Ja-Bar (TOKE Team/SODMG)
• Arab (Boss Money/SODMG)
• KillaCam (SODMG)
• 350 (SODMG)
• Rashad (SODMG)
• Antonio aka Tony The Deity (SODMG)
• J-Money aka J. Futuristic (SODMG)
• Spinning 9 (SODMG Germany/SODMG)
• M2ThaK (SODMG)
• Calico Jonez (SODMG)
• Riff Raff (SODMG)
• Young Sam (SODMG)
• Agoff (Ocean Gang/SODMG)
• Young L (Ocean Gang/SODMG)
• John Boy (FyreHouse/SODMG)
• Chief Keef (Glory Boyz/SODMG)

Managed DJ's

• DJ Whoogie

Managed Producers

• Soulja Boy
• G5Kids
• Kwony Cash
• R3$ource
• Jay Clink
• Supa Crank It
• Lil Keis

Record production[link]

Way also produces records, including his own. In 2009 Way produced V.I.C.'s single "Get Silly" which went certified Gold & Bow Wow's single "Marco Polo". Way beats often contain the beginning lines "Soulja Boy Tell 'em" But as of late Way has produced beats without using the lines. Also in 2009 Way was also supposed to been producing for Kanye West's fourth studio album My Beautiful Dark Twisted Fantasy & Kanye was supposed to been producing for Ways third studio album The DeAndre Way but for unknown reasons neither of them used each other's beats.^[41] On May 13, 2011 Way stated that he had produced & submitted beats for 50 Cent's fifth studio album^[42]

Fashion designing[link]

On March 5, 2008 Way released his official clothing line of S.O.D clothing.^[43] Then also in 2008 Way released his own brand of the popular shoe line entitled "Yums".^[44]

Acting career[link]

In January 7, 2009 Soulja Boy announced that he was supposed to been releasing his own cartoon entitled Soulja Boy: The Animated Series but only one episode was ever released.^[45][46] On April 22, 2011 Way announced that he would be making his acting debut playing the main role as Bishop on the Juice remake & that it would air on BET in sometime.^[47] On July 21, 2011 Way released the trailer to his upcoming documentary about his life entitled Soulja Boy: The Movie that was released on October 18, 2011.^[48]

Personal life[link]

Legal issues[link]

On December 9, 2007, Way was sued by William Lyons (a.k.a. Souljah Boy of Mo Thugs Family) who created the stage name "Souljah Boy" in 1996.^[49]

On October 7, 2009, Way was arrested in Atlanta, Georgia on one count of obstruction, a misdemeanor, for running from police when he'd been ordered to stop while filming a video in an abandoned house. The rapper was released on $550 bond.^[50]

In May 2011, Way and his labels were sued by a local Pennsylvania promoter for failing to make promised payments in connection with a rescheduled concert.^[51]

On October 18, 2011, Way was traveling west on I-20 in Carroll County, Georgia with four other men when their vehicle was pulled over for a vehicle equipment violation. The police officer who made the stop searched the vehicle and found more than five ounces of marijuana. Way was arrested and released on bond during the same day.^[52]

Victim of robbery and battery[link]

On December 30, 2008, Way was robbed and battered in his home. Initial reports indicated that the robbers were six masked men with AK-47s and pistols but on December 31, 2008, video clips surfaced on the Internet of two masked men claiming sole credit for the crime.^[53] Soulja Boy described the incident to MTV News a month later: He had come home very late at night after attending an album release party and was recording songs with friends when the robbers came in pointing their guns.^[54]

Family tragedies[link]

On the night of March 22, 2011, Way's little brother Deion Jenkins was killed in a car crash.^[55] Then on March 24, 2011 Way's older brother threatened to commit suicide.^[56]

Controversies[link]

Way's music has been banned from some school dances for sexual or violent content and/or innuendos. However, he has denied these claims.^[57] In the original YouTube video for "Shootout", Soulja Boy demonstrates his dance while holding a handgun in each hand and pretending to shoot into the audience.^[58]

Nas[link]

On February 25, 2008, Way said in an interview that "Nas killed hip hop and his own career".^[59] Way later apologized for his comments.^[60]

Ice-T[link]

In June 2008, on DJ Cisco's Urban Legend mixtape, Ice-T told Way to "eat a dick" and criticized Way for "killing hip-hop" and his song "Crank That" for being "garbage" compared to the works of other hip-hop artists such as Rakim, Das EFX, Big Daddy Kane and Ice Cube.^[61] The two then traded videos back and forth over the Internet.^[62] Rapper Kanye West defended Way by arguing that the younger artist created a new, original work for hip-hop, thus keeping the authentic meaning of the music.^[63] The feud was parodied in a 2010 episode of The Boondocks.

In May 2011, Way's feud somewhat reignited with Ice-T again regarding The film Juice. Way stated he would also released a movie of his own to go along with his mixtape of the same name again somewhat reignited with Ice-T following a statement during Ice-T's interview with Shade 45 in late April 2011. Ice-T stated that Way's role as Bishop, which was famously originated by Tupac Shakur was not an issue. But Ice-T would find the fact that the film being remade is problematic saying ""What?โ€ he said. โ€œBut thatโ€™s Pacโ€ฆ At some point, somebody gotta stop it. I came out. I made some statements. Man, I donโ€™t know. Do you, dude, do you. If the masses accept it, it shows you the state weโ€™re inโ€ฆ Come on man, you think Iโ€™d try to remake Pacโ€™s movie? Good luck though, I'm not a hater...eh." Way himself barraged Ice-T with retaliatory tweets on the same day, joking that someone should "get this guy a hairline." ^[64][65]

Charles Hamilton[link]

On December 9, 2008, Charles Hamilton commented in a interview by saying that Way was making it harder for new artists to be signed.^[66] Way responded by saying "X out the Sonic and fuck with Mario, you might want to got damn eat a mushroom."^{[67][further explanation needed]} Charles Hamilton responded with the diss song "I'm You Last Year With Talent".^[68] Then the diss song "Word Aight".^[69]

Bow Wow[link]

On February 2, 2009, Way challenged Bow Wow to a race in their Lamborghinis and claimed Bow Wow's Lamborghini was a rental.^[70] On February 4, 2009 Bow Wow proved that he owned his Lamborghini and said "its halloween in Bankhead for you everyday nigga..you scared..you all nervous and shit". Way responded on twitter by saying "HE FUCKED UP!!!! IM BOUT TO SHITTTT ON THIS NIGGA!! LOL!!!!!".^[71] On February 7, 2009 both artist sent diss songs to each other such as Way's "Fuck Bow Wow" & Bow Wow's "What I Think About You".^[72] Later that day during a phone conversation both rappers settled their differences.^[73]

Fabolous[link]

On December 28, 2010, Fabolous during a radio interview commented on the claim that Way does cocaine, saying "pretty boy swag but never coke my nose though",^[74] a reference to Way's song "Pretty Boy Swag. "Soulja Boy went on a tirade^[75] on Twitter in response, saying "I ignore dis foo like 5x before this. fuck that. If you send some niggaz to spray me @myfabolouslife at least I die I real nigga fuck you boy." 50 Cent also took to Twitter to say, "leave him the f*** alone before somebody get hurt." Way and Fabolous ended their beef on a radio interview.^[76]

U.S. Military[link]

In September 2011, Soulja Boy released the song "Let's Be Real". One of the lines of the song went: "Fuck the FBI and the army troops ... fighting for what? Be your own man ... I'll be flying through the clouds with green like I'm Peter Pan."^[77] After the song was released, Soulja Boy was highly criticized by the military members and their families, especially in regards to the timing relative to the 10th anniversary of the 9/11 attacks.^[78][79][80] Soulja Boy apologized, "When I expressed my frustration with the US Army, not only did my words come out wrong, I was wrong to even speak them." He adds, "So, I write this to give my sincerest apology to all members of the United States military services, as well as their families that were offended by my most recent lyrics."^[77] Representatives for Soulja Boy have indicated that the song has been pulled from his upcoming album, Promise, and will not be available for sale. They are also attempting to remove the video from the internet.^[81]

On September 7, 2011, the New York Times cited the U.S. military has announced an official ban on Way's music. Way apologized for the content of the song and has offered to do free performances for American soldiers.^[82]

Discography[link]

Tours[link]

• America's Most Wanted (2009)
• Who They Want (2011)
• The World Is Yours (2012)

Filmography[link]

Awards and nominations[link]

• BET Awards
  • 2007: Best New Artist (Nominated)
  • 2008: Viewer's Choice Award: "Crank That (Soulja Boy)" (Nominated)
  • 2009: Viewer's Choice Award: "Kiss Me Thru the Phone" (Nominated)

• BET Hip-Hop Awards
  • '2007: Best Hip-Hop Dance (Won)'

• Grammy Awards
  • 2008: Best Rap Song: "Crank That (Soulja Boy)" (Nominated)

• Ozone Awards
  • '2007: Patiently Waiting: Mississippi (Won)'
  • 2008: Best Breakthrough Artist (Nominated)
  • 2008: TJ's DJ's Tastemaker Award (Nominated)

• Nickelodeon Kids' Choice Awards
  • 2007: Favorite Male Singer (Nominated)

• Teen Choice Awards
  • 2009: Choice Music: Rap Artist (Nominated)
  • 2009: Choice Music: R&B Track for "Kiss Me Thru the Phone" (Nominated)
  • 2009: Choice Music: Hook Up for "Kiss Me Thru the Phone"
  • 2009: Choice Music: Artist (Nominated)

See also[link]

• List of artists who reached number one in the United States

References[link]

External links[link]

Wikimedia Commons has media related to: Soulja Boy

• Official website
• Soulja Boy on Twitter
• Soulja Boy on Myspace
• Soulja Boy's channel on YouTube
• Soulja Boy at MTV
• Soulja Boy at the Internet Movie Database

The Tractors is an American country rock band composed of a loosely associated group of musicians, headed by guitarist Steve Ripley. Under the band's original lineup, The Tractors was signed to Arista Records in 1994, releasing their self-titled debut album that year; the album went on to become the highest-selling country album of 1994, even though it only produced one Top 40 hit on the Billboard country charts. To date, the band has followed up with five more albums.

Since their foundation, most of the band's original members have moved on to separate projects, although they often collaborate with frontman Ripley on The Tractors' more recent recordings. Ripley is the only official member of the group; he has stated that The Tractors is more of a "state of mind",^[1] and the band contains a largely undefined cast of unofficial contributors.

Biography[link]

The Tractors were formed in 1988,^[2] with the original lineup comprising Ron Getman (electric guitar, slide guitar), Jamie Oldaker (drums), Walt Richmond (bass vocals, keyboards), Steve Ripley (guitar, lead vocals), and Casey van Beek (bass guitar, baritone vocals).^[3] All five members had previously been backing musicians for other notable artists, including Eric Clapton, Bonnie Raitt, Linda Ronstadt, and Leonard Cohen.^[2] Oldaker had also worked with Bob Seger and Eric Clapton.^[4]

By 1990, the group was signed to Arista Records, a newly-formed record label based in Nashville, Tennessee.^[2] In 1994, the group released its self-titled debut album. The album, which produced the single "Baby Likes to Rock It", soon became the fastest-selling debut album from a country group to go platinum; it also became the top-selling country music album of 1994.^[1][5] That album was soon followed by a Christmas album called Have Yourself a Tractors Christmas.^[3]

The group's true follow-up, Farmers in a Changing World, was released in 1998.^[6] The band's members, except for Ripley, soon departed for other projects, although they and Ripley remained close friends, and made cameo appearances on subsequent albums.^[7] Ripley, along with several other musicians, released the next Tractors album, Fast Girl, on Audium Entertainment in 2001. After Fast Girl, the Tractors left Audium as well, and soon formed its own label, Boy Rocking Records. In 2009 "Trade Union" was released on E1.

Sound[link]

The Tractors achieved their distinctive sound in several ways, most notably from the use of only one microphone, or recording a song in only one take.^[5] Ripley often constructs guitars and cords for use in the band.

Discography[link]

Albums[link]

Singles[link]

Other charted songs[link]

Music videos[link]

References[link]

External links[link]

• Official website of The Tractors and Boy Rocking Records
• The Tractors on Myspace
• The Tractors albums on Amazon.com