I’m quite sure I’ve never heard a vinyl record broadcast on radio. I like tape.
Having grown up in an era where vinyl basically didn’t exist, terms like LP, EP, and Single most certainly persisted completely independent of the recording medium. I’ve bought plenty of LP, EP’s, and singles on tape and CD. Those are the ONLY ways I’ve ever bought hardcopy music. I don’t think anybody 40 years old or younger associates LP, EP, or Single with the diameter of a piece of plastic. Calling anything that comes on a disk of vinyl an LP strikes me as having the same logic as calling my HP printer/scanner/copier a Xerox machine. It’s an antiquated misuse of terminology that dates the user to a generation born before about 1970.
LPs are common on the radio even now, and have been since their inception. IOW, you’ve heard vinyl on the radio.
I deal with the less than 40 crowd quite a bit since I’m involved in the local music scene in the Twin Cities. In this town, your band hasn’t arrived if it hasn’t got an album on LP, and that is what they are called, interchangeable with ’vinyl’. This could be a local thing, but if so its local to Denver, Chicago, Las Vegas, Los Angeles, Tucson as well. An EP on vinyl is often referred to as ’ten inch" or 12 inch". I have heard the term ’EP’ refer to CDs, but usually both acronyms are found together in such cases- EP CD, which means that its not extended, its in fact shorter than a regular CD :)
It is possible that vinyl does not sound good to some people, just as some people will not listen to digital in any form, even Lps that have digital anywhere in their lineage. We all hear differently.
@tomcy6 The human ear obeys certain rules that are common with all humans, for example how we perceive how loud something is. When people tell me they don’t like vinyl, they often trot out the issue of ticks and pops which drives them crazy. I don’t doubt that’s the case- it would bother me too! But vinyl is not produced with ticks and pops; in fact the producer of the vinyl project has to sign off on the test pressing, and that is to insure that there aren’t any ticks and pops on the LP stamper or finished product.
But ’ticks and pops’ is a persistent complaint, and it turns out there is an excellent reason why. If the designer of the phono preamp isn’t taking all the parameters into account in his circuit design, the ticks and pops will be there, and that’s not something that is because ’We all hear differently’; this is a phenomena that is easy to demonstrate, and its been an epidemic for the last 50 years. IOW the simple fact is that the vast majority of phono sections exacerbate ticks and pops, and this includes nearly all phono sections included in solid state amps and receivers made overseas since the advent of solid state, plus most made in this country.
So we have probably two generations of people that grew up thinking ticks and pops are a problem of the media when its far more complicated than that. I discovered this serendipitously in the mid 1980s (a Toshiba preamp an employee owned demonstrated this to me in spades), when I was still working on our preamp concepts. This discovery allowed me to design stable phono sections that don’t add ticks and pops.
