In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.


The older 78 format continued to be mass-produced alongside the newer formats using new materials until about 1960 in the U.S., and in a few countries, such as India (where some Beatles recordings were issued on 78), into the 1960s. For example, Columbia Records' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heart, issued November 1, 1954. As late as the 1970s, some children's records were released at the 78 rpm speed. In the United Kingdom, the 78 rpm single lasted longer than in the United States and the 45 rpm took longer to become popular. The 78 rpm was overtaken in popularity by the 45 rpm in the late 1950s, as teenagers became increasingly affluent.


Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could afford at the time. By the end of 1957, RCA Victor announced that 78s accounted for less than 10% of Presley's singles sales, essentially announcing the death throes of the 78 rpm format. The last Presley single released on 78 in the United States was RCA Victor 20-7410, I Got Stung/One Night (1958), while the last 78 in the UK was RCA 1194, A Mess Of Blues/Girl Of My Best Friend (1960).


After World War II, two new competing formats came onto the market and gradually replaced the standard "78": the 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm (see above). The 33 1⁄3 rpm LP (for "long-play") format was developed by Columbia Records and marketed in June 1948. RCA Victor developed the 45 rpm format and marketed it in March 1949, each pursuing their own r&d in secret. Both types of new disc used narrower grooves, intended to be played with smaller stylus—typically 0.001 inches (25 µm) wide, compared to 0.003 inches (76 µm) for a 78—so the new records were sometimes called Microgroove. In the mid-1950s all record companies agreed to a common recording standard called RIAA equalization. Prior to the establishment of the standard each company used its own preferred standard, requiring discriminating listeners to use pre-amplifiers with multiple selectable equalization curves.


Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16 2⁄3 rpm record to be played in Chrysler automobiles, but poor performance of the system and weak implementation by Chrysler and Columbia led to the demise of the 16 2⁄3 rpm records. Subsequently, the 16 2⁄3 rpm speed was used for narrated publications for the blind and visually impaired, and were never widely commercially available, although it was common to see new turntable models with a 16 rpm speed setting produced as late as the 1970s.


The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch (175 mm) 45 rpm disc. For a two-year period from 1948 to 1950, record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". (See also format war.) In 1949 Capitol and Decca adopted the new LP format and RCA gave in and issued its first LP in January 1950. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February 1951. By 1954, 200 million 45s had been sold.


Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.


The 45 rpm discs also came in a variety known as extended play (EP), which achieved up to 10–15 minutes play at the expense of attenuating (and possibly compressing) the sound to reduce the width required by the groove. EP discs were cheaper to produce, and were used in cases where unit sales were likely to be more limited or to reissue LP albums on the smaller format for those people who had only 45 rpm players. LP albums could be purchased 1 EP at a time, with four items per EP, or in a boxed set with 3 EPs or 12 items. The large center hole on 45s allows for easier handling by jukebox mechanisms. EPs were generally discontinued by the late 1950s in the U.S. as three- and four-speed record players replaced the individual 45 players. One indication of the decline of the 45 rpm EP is that the last Columbia Records reissue of Frank Sinatra songs on 45 rpm EP records, called Frank Sinatra (Columbia B-2641) was issued on December 7, 1959. The EP lasted considerably longer in Europe, and was a popular format during the 1960s for recordings by artists such as Serge Gainsbourg and the Beatles.


From the mid-1950s through the 1960s, in the U.S. the common home record player or "stereo" (after the introduction of stereo recording) would typically have had these features: a three- or four-speed player (78, 45, 33 1⁄3, and sometimes 16 2⁄3 rpm); with changer, a tall spindle that would hold several records and automatically drop a new record on top of the previous one when it had finished playing, a combination cartridge with both 78 and microgroove styli and a way to flip between the two; and some kind of adapter for playing the 45s with their larger center hole. The adapter could be a small solid circle that fit onto the bottom of the spindle (meaning only one 45 could be played at a time) or a larger adaptor that fit over the entire spindle, permitting a stack of 45s to be played.


RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a "spider". These inserts, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, were prevalent starting in the 1960s, selling in the tens of millions per year during the 45 rpm heyday. In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically for use in jukeboxes).


The term "high fidelity" was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. The term began to be used by some audio engineers and consumers through the 1930s and 1940s. After 1949 a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available in 1958, gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players. High Fidelity and Audio were two magazines that hi-fi consumers and engineers could read for reviews of playback equipment and recordings.


Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. The ultimately dominant "45/45" stereophonic record system was invented by Alan Blumlein of EMI in 1931 and patented the same year. EMI cut the first stereo test discs using the system in 1933 (see Bell Labs Stereo Experiments of 1933) although the system was not exploited commercially until much later.


The development of quadraphonic records was announced in 1971. These recorded four separate sound signals. This was achieved on the two stereo channels by electronic matrixing, where the additional channels were combined into the main signal. When the records were played, phase-detection circuits in the amplifiers were able to decode the signals into four separate channels. There were two main systems of matrixed quadraphonic records produced, confusingly named SQ (by CBS) and QS (by Sansui). They proved commercially unsuccessful, but were an important precursor to later surround-sound systems, as seen in SACD and home cinema today.


A different format, CD-4 (not to be confused with compact disc), by RCA, encoded the front-rear difference information on an ultrasonic carrier, which required a special wideband cartridge to capture it on carefully calibrated pickup arm/turntable combinations. CD-4 was even less successful than the two matrixed formats. (A further problem was that no cutting heads were available that could handle the HF information. That was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get a wider frequency response in stereo with reduced distortion and greater headroom.)


Under the direction of recording engineer C. Robert Fine, Mercury Records initiated a minimalist single microphone monaural recording technique in 1951. The first record, a Chicago Symphony Orchestra performance of Pictures at an Exhibition, conducted by Rafael Kubelik, was described as "being in the living presence of the orchestra" by The New York Times music critic. The series of records was then named Mercury Living Presence. In 1955, Mercury began three-channel stereo recordings, still based on the principle of the single microphone. The center (single) microphone was of paramount importance, with the two side mics adding depth and space. Record masters were cut directly from a three-track to two-track mixdown console, with all editing of the master tapes done on the original three-tracks. In 1961, Mercury enhanced this technique with three-microphone stereo recordings using 35 mm magnetic film instead of half-inch tape for recording. The greater thickness and width of 35 mm magnetic film prevented tape layer print-through and pre-echo and gained extended frequency range and transient response. The Mercury Living Presence recordings were remastered to CD in the 1990s by the original producer, Wilma Cozart Fine, using the same method of 3-to-2 mix directly to the master recorder.


Through the 1960s, 1970s, and 1980s, various methods to improve the dynamic range of mass-produced records involved highly advanced disc cutting equipment. These techniques, marketed, to name two, as the CBS DisComputer and Teldec Direct Metal Mastering, were used to reduce inner-groove distortion. RCA Victor introduced another system to reduce dynamic range and achieve a groove with less surface noise under the commercial name of Dynagroove. Two main elements were combined: another disk material with less surface noise in the groove and dynamic compression for masking background noise. Sometimes this was called "diaphragming" the source material and not favoured by some music lovers for its unnatural side effects. Both elements were reflected in the brandname of Dynagroove, described elsewhere in more detail. It also used the earlier advanced method of forward-looking control on groove spacing with respect to volume of sound and position on the disk. Lower recorded volume used closer spacing; higher recorded volume used wider spacing, especially with lower frequencies. Also, the higher track density at lower volumes enabled disk recordings to end farther away from the disk center than usual, helping to reduce endtrack distortion even further.


Also in the late 1970s, "direct-to-disc" records were produced, aimed at an audiophile niche market. These completely bypassed the use of magnetic tape in favor of a "purist" transcription directly to the master lacquer disc. Also during this period, half-speed mastered and "original master" records were released, using expensive state-of-the-art technology. A further late 1970s development was the Disco Eye-Cued system used mainly on Motown 12-inch singles released between 1978 and 1980. The introduction, drum-breaks, or choruses of a track were indicated by widely separated grooves, giving a visual cue to DJs mixing the records. The appearance of these records is similar to an LP, but they only contain one track each side.


The mid-1970s saw the introduction of dbx-encoded records, again for the audiophile niche market. These were completely incompatible with standard record playback preamplifiers, relying on the dbx compandor encoding/decoding scheme to greatly increase dynamic range (dbx encoded disks were recorded with the dynamic range compressed by a factor of two in dB: quiet sounds were meant to be played back at low gain and loud sounds were meant to be played back at high gain, via automatic gain control in the playback equipment; this reduced the effect of surface noise on quiet passages). A similar and very short-lived scheme involved using the CBS-developed "CX" noise reduction encoding/decoding scheme.


ELPJ, a Japanese-based company, sells a laser turntable that uses a laser to read vinyl discs optically, without physical contact. The laser turntable eliminates record wear and the possibility of accidental scratches, which degrade the sound, but its expense limits use primarily to digital archiving of analog records, and the laser does not play back colored vinyl or picture discs. Various other laser-based turntables were tried during the 1990s, but while a laser reads the groove very accurately, since it does not touch the record, the dust that vinyl attracts due to static electric charge is not mechanically pushed out of the groove, worsening sound quality in casual use compared to conventional stylus playback.


In some ways similar to the laser turntable is the IRENE scanning machine for disc records, which images with microphotography in two dimensions, invented by a team of physicists at Lawrence Berkeley Laboratories. IRENE will retrieve the information from a laterally modulated monaural grooved sound source without touching the medium itself, but cannot read vertically modulated information. This excludes grooved recordings such as cylinders and some radio transcriptions that feature a hill-and-dale format of recording, and stereophonic or quadraphonic grooved recordings, which utilize a combination of the two as well as supersonic encoding for quadraphonic.


Terms such as "long-play" (LP) and "extended-play" (EP) describe multi-track records that play much longer than the single-item-per-side records, which typically do not go much past four minutes per side. An LP can play for up to 30 minutes per side, though most played for about 22 minutes per side, bringing the total playing time of a typical LP recording to about forty-five minutes. Many pre-1952 LPs, however, played for about 15 minutes per side. The 7-inch 45 rpm format normally contains one item per side but a 7-inch EP could achieve recording times of 10 to 15 minutes at the expense of attenuating and compressing the sound to reduce the width required by the groove. EP discs were generally used to make available tracks not on singles including tracks on LPs albums in a smaller, less expensive format for those who had only 45 rpm players. The large center hole on 7-inch 45 rpm records allows for easier handling by jukebox mechanisms. The term "album", originally used to mean a "book" with liner notes, holding several 78 rpm records each in its own "page" or sleeve, no longer has any relation to the physical format: a single LP record, or nowadays more typically a compact disc.


In March 1949, as RCA released the 45, Columbia released several hundred 7 inch 33 1/3 rpm small spindle hole singles. This format was soon dropped as it became clear that the RCA 45 was the single of choice and the Columbia 12 inch LP would be the 'album' of choice. The first release of the 45 came in seven colors: black 47-xxxx popular series, yellow 47-xxxx juvenile series, green (teal) 48-xxxx country series, deep red 49-xxxx classical series, bright red (cerise) 50-xxxx blues/spiritual series, light blue 51-xxxx international series, dark blue 52-xxxx light classics. All colors were soon dropped in favor of black because of production problems. However, yellow and deep red were continued until about 1952. The first 45 rpm record created for sale was "PeeWee the Piccolo" RCA 47-0147 pressed in yellow translucent vinyl at the Sherman Avenue plant, Indianapolis Dec. 7, 1948, R.O. Price, plant manager.


The normal commercial disc is engraved with two sound-bearing concentric spiral grooves, one on each side, running from the outside edge towards the center. The last part of the spiral meets an earlier part to form a circle. The sound is encoded by fine variations in the edges of the groove that cause a stylus (needle) placed in it to vibrate at acoustic frequencies when the disc is rotated at the correct speed. Generally, the outer and inner parts of the groove bear no intended sound (an exception is Split Enz's Mental Notes).


Towards the center, at the end of the groove, there is another wide-pitched section known as the lead-out. At the very end of this section the groove joins itself to form a complete circle, called the lock groove; when the stylus reaches this point, it circles repeatedly until lifted from the record. On some recordings (for example Sgt. Pepper's Lonely Hearts Club Band by The Beatles, Super Trouper by Abba and Atom Heart Mother by Pink Floyd), the sound continues on the lock groove, which gives a strange repeating effect. Automatic turntables rely on the position or angular velocity of the arm, as it reaches the wider spacing in the groove, to trigger a mechanism that lifts the arm off the record. Precisely because of this mechanism, most automatic turntables are incapable of playing any audio in the lock groove, since they will lift the arm before it reaches that groove.


When auto-changing turntables were commonplace, records were typically pressed with a raised (or ridged) outer edge and a raised label area, allowing records to be stacked onto each other without the delicate grooves coming into contact, reducing the risk of damage. Auto-changers included a mechanism to support a stack of several records above the turntable itself, dropping them one at a time onto the active turntable to be played in order. Many longer sound recordings, such as complete operas, were interleaved across several 10-inch or 12-inch discs for use with auto-changing mechanisms, so that the first disk of a three-disk recording would carry sides 1 and 6 of the program, while the second disk would carry sides 2 and 5, and the third, sides 3 and 4, allowing sides 1, 2, and 3 to be played automatically; then the whole stack reversed to play sides 4, 5, and 6.


New or "virgin" heavy/heavyweight (180–220 g) vinyl is commonly used for modern audiophile vinyl releases in all genres. Many collectors prefer to have heavyweight vinyl albums, which have been reported to have better sound than normal vinyl because of their higher tolerance against deformation caused by normal play. 180 g vinyl is more expensive to produce only because it uses more vinyl. Manufacturing processes are identical regardless of weight. In fact, pressing lightweight records requires more care. An exception is the propensity of 200 g pressings to be slightly more prone to non-fill, when the vinyl biscuit does not sufficiently fill a deep groove during pressing (percussion or vocal amplitude changes are the usual locations of these artifacts). This flaw causes a grinding or scratching sound at the non-fill point.


The "orange peel" effect on vinyl records is caused by worn molds. Rather than having the proper mirror-like finish, the surface of the record will have a texture that looks like orange peel. This introduces noise into the record, particularly in the lower frequency range. With direct metal mastering (DMM), the master disc is cut on a copper-coated disc, which can also have a minor "orange peel" effect on the disc itself. As this "orange peel" originates in the master rather than being introduced in the pressing stage, there is no ill effect as there is no physical distortion of the groove.


Original master discs are created by lathe-cutting: a lathe is used to cut a modulated groove into a blank record. The blank records for cutting used to be cooked up, as needed, by the cutting engineer, using what Robert K. Morrison describes as a "metallic soap," containing lead litharge, ozokerite, barium sulfate, montan wax, stearin and paraffin, among other ingredients. Cut "wax" sound discs would be placed in a vacuum chamber and gold-sputtered to make them electrically conductive for use as mandrels in an electroforming bath, where pressing stamper parts were made. Later, the French company Pyral invented a ready-made blank disc having a thin nitro-cellulose lacquer coating (approximately 7 mils thickness on both sides) that was applied to an aluminum substrate. Lacquer cuts result in an immediately playable, or processable, master record. If vinyl pressings are wanted, the still-unplayed sound disc is used as a mandrel for electroforming nickel records that are used for manufacturing pressing stampers. The electroformed nickel records are mechanically separated from their respective mandrels. This is done with relative ease because no actual "plating" of the mandrel occurs in the type of electrodeposition known as electroforming, unlike with electroplating, in which the adhesion of the new phase of metal is chemical and relatively permanent. The one-molecule-thick coating of silver (that was sprayed onto the processed lacquer sound disc in order to make its surface electrically conductive) reverse-plates onto the nickel record's face. This negative impression disc (having ridges in place of grooves) is known as a nickel master, "matrix" or "father." The "father" is then used as a mandrel to electroform a positive disc known as a "mother". Many mothers can be grown on a single "father" before ridges deteriorate beyond effective use. The "mothers" are then used as mandrels for electroforming more negative discs known as "sons". Each "mother" can be used to make many "sons" before deteriorating. The "sons" are then converted into "stampers" by center-punching a spindle hole (which was lost from the lacquer sound disc during initial electroforming of the "father"), and by custom-forming the target pressing profile. This allows them to be placed in the dies of the target (make and model) record press and, by center-roughing, to facilitate the adhesion of the label, which gets stuck onto the vinyl pressing without any glue. In this way, several million vinyl discs can be produced from a single lacquer sound disc. When only a few hundred discs are required, instead of electroforming a "son" (for each side), the "father" is removed of its silver and converted into a stamper. Production by this latter method, known as the "two-step-process" (as it does not entail creation of "sons" but does involve creation of "mothers," which are used for test playing and kept as "safeties" for electroforming future "sons") is limited to a few hundred vinyl pressings. The pressing count can increase if the stamper holds out and the quality of the vinyl is high. The "sons" made during a "three-step" electroforming make better stampers since they don't require silver removal (which reduces some high fidelity because of etching erasing part of the smallest groove modulations) and also because they have a stronger metal structure than "fathers".


Breakage was very common in the shellac era. In the 1934 John O'Hara novel, Appointment in Samarra, the protagonist "broke one of his most favorites, Whiteman's Lady of the Evening ... He wanted to cry but could not." A poignant moment in J. D. Salinger's 1951 novel The Catcher in the Rye occurs after the adolescent protagonist buys a record for his younger sister but drops it and "it broke into pieces ... I damn-near cried, it made me feel so terrible." A sequence where a school teacher's collection of 78 rpm jazz records is smashed by a group of rebellious students is a key moment in the film Blackboard Jungle.


Vinyl records do not break easily, but the soft material is easily scratched. Vinyl readily acquires a static charge, attracting dust that is difficult to remove completely. Dust and scratches cause audio clicks and pops. In extreme cases, they can cause the needle to skip over a series of grooves, or worse yet, cause the needle to skip backwards, creating a "locked groove" that repeats over and over. This is the origin of the phrase "like a broken record" or "like a scratched record", which is often used to describe a person or thing that continually repeats itself. Locked grooves are not uncommon and were even heard occasionally in radio broadcasts.


Vinyl records can be warped by heat, improper storage, exposure to sunlight, or manufacturing defects such as excessively tight plastic shrinkwrap on the album cover. A small degree of warp was common, and allowing for it was part of the art of turntable and tonearm design. "wow" (once-per-revolution pitch variation) could result from warp, or from a spindle hole that was not precisely centered. Standard practice for LPs was to place the LP in a paper or plastic inner cover. This, if placed within the outer cardboard cover so that the opening was entirely within the outer cover, was said to reduce ingress of dust onto the record surface. Singles, with rare exceptions, had simple paper covers with no inner cover.


A further limitation of the gramophone record is that fidelity steadily declines as playback progresses; there is more vinyl per second available for fine reproduction of high frequencies at the large-diameter beginning of the groove than exist at the smaller-diameters close to the end of the side. At the start of a groove on an LP there are 510 mm of vinyl per second traveling past the stylus while the ending of the groove gives 200–210 mm of vinyl per second — less than half the linear resolution. Distortion towards the end of the side is likely to become more apparent as record wear increases.*


Tonearm skating forces and other perturbations are also picked up by the stylus. This is a form of frequency multiplexing as the control signal (restoring force) used to keep the stylus in the groove is carried by the same mechanism as the sound itself. Subsonic frequencies below about 20 Hz in the audio signal are dominated by tracking effects, which is one form of unwanted rumble ("tracking noise") and merges with audible frequencies in the deep bass range up to about 100 Hz. High fidelity sound equipment can reproduce tracking noise and rumble. During a quiet passage, woofer speaker cones can sometimes be seen to vibrate with the subsonic tracking of the stylus, at frequencies as low as just above 0.5 Hz (the frequency at which a 33 1⁄3 rpm record turns on the turntable; 5⁄9 Hz exactly on an ideal turntable). Another reason for very low frequency material can be a warped disk: its undulations produce frequencies of only a few hertz and present day amplifiers have large power bandwidths. For this reason, many stereo receivers contained a switchable subsonic filter. Some subsonic content is directly out of phase in each channel. If played back on a mono subwoofer system, the noise will cancel, significantly reducing the amount of rumble that is reproduced.


Due to recording mastering and manufacturing limitations, both high and low frequencies were removed from the first recorded signals by various formulae. With low frequencies, the stylus must swing a long way from side to side, requiring the groove to be wide, taking up more space and limiting the playing time of the record. At high frequencies, hiss, pops, and ticks are significant. These problems can be reduced by using equalization to an agreed standard. During recording the amplitude of low frequencies is reduced, thus reducing the groove width required, and the amplitude at high frequencies is increased. The playback equipment boosts bass and cuts treble so as to restore the tonal balance in the original signal; this also reduces the high frequency noise. Thus more music will fit on the record, and noise is reduced.


In 1926 Joseph P. Maxwell and Henry C. Harrison from Bell Telephone Laboratories disclosed that the recording pattern of the Western Electric "rubber line" magnetic disc cutter had a constant velocity characteristic. This meant that as frequency increased in the treble, recording amplitude decreased. Conversely, in the bass as frequency decreased, recording amplitude increased. Therefore, it was necessary to attenuate the bass frequencies below about 250 Hz, the bass turnover point, in the amplified microphone signal fed to the recording head. Otherwise, bass modulation became excessive and overcutting took place into the next record groove. When played back electrically with a magnetic pickup having a smooth response in the bass region, a complementary boost in amplitude at the bass turnover point was necessary. G. H. Miller in 1934 reported that when complementary boost at the turnover point was used in radio broadcasts of records, the reproduction was more realistic and many of the musical instruments stood out in their true form.


West in 1930 and later P. G. A. H. Voigt (1940) showed that the early Wente-style condenser microphones contributed to a 4 to 6 dB midrange brilliance or pre-emphasis in the recording chain. This meant that the electrical recording characteristics of Western Electric licensees such as Columbia Records and Victor Talking Machine Company in the 1925 era had a higher amplitude in the midrange region. Brilliance such as this compensated for dullness in many early magnetic pickups having drooping midrange and treble response. As a result, this practice was the empirical beginning of using pre-emphasis above 1,000 Hz in 78 rpm and 33 1⁄3 rpm records.


Over the years a variety of record equalization practices emerged and there was no industry standard. For example, in Europe recordings for years required playback with a bass turnover setting of 250–300 Hz and a treble roll-off at 10,000 Hz ranging from 0 to −5 dB or more. In the US there were more varied practices and a tendency to use higher bass turnover frequencies such as 500 Hz as well as a greater treble rolloff like −8.5 dB and even more to record generally higher modulation levels on the record.


Evidence from the early technical literature concerning electrical recording suggests that it wasn't until the 1942–1949 period that there were serious efforts to standardize recording characteristics within an industry. Heretofore, electrical recording technology from company to company was considered a proprietary art all the way back to the 1925 Western Electric licensed method used by Columbia and Victor. For example, what Brunswick-Balke-Collender (Brunswick Corporation) did was different from the practices of Victor.


Broadcasters were faced with having to adapt daily to the varied recording characteristics of many sources: various makers of "home recordings" readily available to the public, European recordings, lateral-cut transcriptions, and vertical-cut transcriptions. Efforts were started in 1942 to standardize within the National Association of Broadcasters (NAB), later known as the National Association of Radio and Television Broadcasters (NARTB). The NAB, among other items, issued recording standards in 1949 for laterally and vertically cut records, principally transcriptions. A number of 78 rpm record producers as well as early LP makers also cut their records to the NAB/NARTB lateral standard.


The lateral cut NAB curve was remarkably similar to the NBC Orthacoustic curve that evolved from practices within the National Broadcasting Company since the mid-1930s. Empirically, and not by any formula, it was learned that the bass end of the audio spectrum below 100 Hz could be boosted somewhat to override system hum and turntable rumble noises. Likewise at the treble end beginning at 1,000 Hz, if audio frequencies were boosted by 16 dB at 10,000 Hz the delicate sibilant sounds of speech and high overtones of musical instruments could survive the noise level of cellulose acetate, lacquer/aluminum, and vinyl disc media. When the record was played back using a complementary inverse curve, signal-to-noise ratio was improved and the programming sounded more lifelike.


Ultimately, the New Orthophonic curve was disclosed in a publication by R.C. Moyer of RCA Victor in 1953. He traced RCA Victor characteristics back to the Western Electric "rubber line" recorder in 1925 up to the early 1950s laying claim to long-held recording practices and reasons for major changes in the intervening years. The RCA Victor New Orthophonic curve was within the tolerances for the NAB/NARTB, Columbia LP, and AES curves. It eventually became the technical predecessor to the RIAA curve.


Delicate sounds and fine overtones were mostly lost, because it took a lot of sound energy to vibrate the recording horn diaphragm and cutting mechanism. There were acoustic limitations due to mechanical resonances in both the recording and playback system. Some pictures of acoustic recording sessions show horns wrapped with tape to help mute these resonances. Even an acoustic recording played back electrically on modern equipment sounds like it was recorded through a horn, notwithstanding a reduction in distortion because of the modern playback. Toward the end of the acoustic era, there were many fine examples of recordings made with horns.


Electric recording which developed during the time that early radio was becoming popular (1925) benefited from the microphones and amplifiers used in radio studios. The early electric recordings were reminiscent tonally of acoustic recordings, except there was more recorded bass and treble as well as delicate sounds and overtones cut on the records. This was in spite of some carbon microphones used, which had resonances that colored the recorded tone. The double button carbon microphone with stretched diaphragm was a marked improvement. Alternatively, the Wente style condenser microphone used with the Western Electric licensed recording method had a brilliant midrange and was prone to overloading from sibilants in speech, but generally it gave more accurate reproduction than carbon microphones.


It was not unusual for electric recordings to be played back on acoustic phonographs. The Victor Orthophonic phonograph was a prime example where such playback was expected. In the Orthophonic, which benefited from telephone research, the mechanical pickup head was redesigned with lower resonance than the traditional mica type. Also, a folded horn with an exponential taper was constructed inside the cabinet to provide better impedance matching to the air. As a result, playback of an Orthophonic record sounded like it was coming from a radio.


Eventually, when it was more common for electric recordings to be played back electrically in the 1930s and 1940s, the overall tone was much like listening to a radio of the era. Magnetic pickups became more common and were better designed as time went on, making it possible to improve the damping of spurious resonances. Crystal pickups were also introduced as lower cost alternatives. The dynamic or moving coil microphone was introduced around 1930 and the velocity or ribbon microphone in 1932. Both of these high quality microphones became widespread in motion picture, radio, recording, and public address applications.


Over time, fidelity, dynamic and noise levels improved to the point that it was harder to tell the difference between a live performance in the studio and the recorded version. This was especially true after the invention of the variable reluctance magnetic pickup cartridge by General Electric in the 1940s when high quality cuts were played on well-designed audio systems. The Capehart radio/phonographs of the era with large diameter electrodynamic loudspeakers, though not ideal, demonstrated this quite well with "home recordings" readily available in the music stores for the public to buy.


There were important quality advances in recordings specifically made for radio broadcast. In the early 1930s Bell Telephone Laboratories and Western Electric announced the total reinvention of disc recording: the Western Electric Wide Range System, "The New Voice of Action". The intent of the new Western Electric system was to improve the overall quality of disc recording and playback. The recording speed was 33 1⁄3 rpm, originally used in the Western Electric/ERPI movie audio disc system implemented in the early Warner Brothers' Vitaphone "talkies" of 1927.


The newly invented Western Electric moving coil or dynamic microphone was part of the Wide Range System. It had a flatter audio response than the old style Wente condenser type and didn't require electronics installed in the microphone housing. Signals fed to the cutting head were pre-emphasized in the treble region to help override noise in playback. Groove cuts in the vertical plane were employed rather than the usual lateral cuts. The chief advantage claimed was more grooves per inch that could be crowded together, resulting in longer playback time. Additionally, the problem of inner groove distortion, which plagued lateral cuts, could be avoided with the vertical cut system. Wax masters were made by flowing heated wax over a hot metal disc thus avoiding the microscopic irregularities of cast blocks of wax and the necessity of planing and polishing.


Vinyl pressings were made with stampers from master cuts that were electroplated in vacuo by means of gold sputtering. Audio response was claimed out to 8,000 Hz, later 13,000 Hz, using light weight pickups employing jeweled styli. Amplifiers and cutters both using negative feedback were employed thereby improving the range of frequencies cut and lowering distortion levels. Radio transcription producers such as World Broadcasting System and Associated Music Publishers (AMP) were the dominant licensees of the Western Electric wide range system and towards the end of the 1930s were responsible for two-thirds of the total radio transcription business. These recordings use a bass turnover of 300 Hz and a 10,000 Hz rolloff of −8.5 dB.


The complete technical disclosure of the Columbia LP by Peter C. Goldmark, Rene' Snepvangers and William S. Bachman in 1949 made it possible for a great variety of record companies to get into the business of making long playing records. The business grew quickly and interest spread in high fidelity sound and the do-it-yourself market for pickups, turntables, amplifier kits, loudspeaker enclosure plans, and AM/FM radio tuners. The LP record for longer works, 45 rpm for pop music, and FM radio became high fidelity program sources in demand. Radio listeners heard recordings broadcast and this in turn generated more record sales. The industry flourished.


There is a theory that vinyl records can audibly represent higher frequencies than compact discs. According to Red Book specifications, the compact disc has a frequency response of 20 Hz up to 22,050 Hz, and most CD players measure flat within a fraction of a decibel from at least 20 Hz to 20 kHz at full output. Turntable rumble obscures the low-end limit of vinyl but the upper end can be, with some cartridges, reasonably flat within a few decibels to 30 kHz, with gentle roll-off. Carrier signals of Quad LPs popular in the 1970s were at 30 kHz to be out of the range of human hearing. The average human auditory system is sensitive to frequencies from 20 Hz to a maximum of around 20,000 Hz. The upper and lower frequency limits of human hearing vary per person.


For the first several decades of disc record manufacturing, sound was recorded directly on to the "master disc" at the recording studio. From about 1950 on (earlier for some large record companies, later for some small ones) it became usual to have the performance first recorded on audio tape, which could then be processed and/or edited, and then dubbed on to the master disc. A record cutter would engrave the grooves into the master disc. Early versions of these master discs were soft wax, and later a harder lacquer was used. The mastering process was originally something of an art as the operator had to manually allow for the changes in sound which affected how wide the space for the groove needed to be on each rotation.


As the playing of gramophone records causes gradual degradation of the recording, they are best preserved by transferring them onto other media and playing the records as rarely as possible. They need to be stored on edge, and do best under environmental conditions that most humans would find comfortable. The medium needs to be kept clean, but alcohol should only be used on PVC or optical media, not on 78s.[citation needed] The equipment for playback of certain formats (e.g., 16 and 78 rpm) is manufactured only in small quantities, leading to increased difficulty in finding equipment to play the recordings.


Where old disc recordings are considered to be of artistic or historic interest, from before the era of tape or where no tape master exists, archivists play back the disc on suitable equipment and record the result, typically onto a digital format, which can be copied and manipulated to remove analog flaws without any further damage to the source recording. For example, Nimbus Records uses a specially built horn record player to transfer 78s. Anyone can do this using a standard record player with a suitable pickup, a phono-preamp (pre-amplifier) and a typical personal computer. However, for accurate transfer, professional archivists carefully choose the correct stylus shape and diameter, tracking weight, equalisation curve and other playback parameters and use high-quality analogue-to-digital converters.


Groove recordings, first designed in the final quarter of the 19th century, held a predominant position for nearly a century—withstanding competition from reel-to-reel tape, the 8-track cartridge, and the compact cassette. In 1988, the compact disc surpassed the gramophone record in unit sales. Vinyl records experienced a sudden decline in popularity between 1988 and 1991, when the major label distributors restricted their return policies, which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles. First the distributors began charging retailers more for new product if they returned unsold vinyl, and then they stopped providing any credit at all for returns. Retailers, fearing they would be stuck with anything they ordered, only ordered proven, popular titles that they knew would sell, and devoted more shelf space to CDs and cassettes. Record companies also deleted many vinyl titles from production and distribution, further undermining the availability of the format and leading to the closure of pressing plants. This rapid decline in the availability of records accelerated the format's decline in popularity, and is seen by some as a deliberate ploy to make consumers switch to CDs, which were more profitable for the record companies.


In spite of their flaws, such as the lack of portability, records still have enthusiastic supporters. Vinyl records continue to be manufactured and sold today, especially by independent rock bands and labels, although record sales are considered to be a niche market composed of audiophiles, collectors, and DJs. Old records and out-of-print recordings in particular are in much demand by collectors the world over. (See Record collecting.) Many popular new albums are given releases on vinyl records and older albums are also given reissues, sometimes on audiophile-grade vinyl.


Many electronic dance music and hip hop releases today are still preferred on vinyl; however, digital copies are still widely available. This is because for disc jockeys ("DJs"), vinyl has an advantage over the CD: direct manipulation of the medium. DJ techniques such as slip-cueing, beatmatching, and scratching originated on turntables. With CDs or compact audio cassettes one normally has only indirect manipulation options, e.g., the play, stop, and pause buttons. With a record one can place the stylus a few grooves farther in or out, accelerate or decelerate the turntable, or even reverse its direction, provided the stylus, record player, and record itself are built to withstand it. However, many CDJ and DJ advances, such as DJ software and time-encoded vinyl, now have these capabilities and more.


In 2014 artist Jack White sold 40,000 copies of his second solo release, Lazaretto, on vinyl. The sales of the record beat the largest sales in one week on vinyl since 1991. The sales record was previously held by Pearl Jam's, Vitalogy, which sold 34,000 copies in one week in 1994. In 2014, the sale of vinyl records was the only physical music medium with increasing sales with relation to the previous year. Sales of other mediums including individual digital tracks, digital albums and compact discs have fallen, the latter having the greatest drop-in-sales rate.


Historically, the channel's programming consisted mainly of featured classic theatrically released feature films from the Turner Entertainment film library – which comprises films from Warner Bros. Pictures (covering films released before 1950) and Metro-Goldwyn-Mayer (covering films released before May 1986). However, TCM now has licensing deals with other Hollywood film studios as well as its Time Warner sister company, Warner Bros. (which now controls the Turner Entertainment library and its own later films), and occasionally shows more recent films. Turner Classic Movies is a dedicated film channel and is available in United States, United Kingdom, France (TCM Cinéma), Spain (TCM España), Nordic countries, Middle East and Africa.


In 1986, eight years before the launch of Turner Classic Movies, Ted Turner acquired the Metro-Goldwyn-Mayer film studio for $1.5 billion. Concerns over Turner Entertainment's corporate debt load resulted in Turner selling the studio that October back to Kirk Kerkorian, from whom Turner had purchased the studio less than a year before. As part of the deal, Turner Entertainment retained ownership of MGM's library of films released up to May 9, 1986. Turner Broadcasting System was split into two companies; Turner Broadcasting System and Metro-Goldwyn-Mayer and reincorporated as MGM/UA Communications Co.


The film library of Turner Entertainment would serve as the base form of programming for TCM upon the network's launch. Before the creation of Turner Classic Movies, films from Turner's library of movies aired on the Turner Broadcasting System's advertiser-supported cable network TNT – along with colorized versions of black-and-white classics such as The Maltese Falcon. After the library was acquired, MGM/UA signed a deal with Turner to continue distributing the pre-May 1986 MGM and to begin distributing the pre-1950 Warner Bros. film libraries for video release (the rest of the library went to Turner Home Entertainment).


At the time of its launch, TCM was available to approximately one million cable television subscribers. The network originally served as a competitor to AMC – which at the time was known as "American Movie Classics" and maintained a virtually identical format to TCM, as both networks largely focused on films released prior to 1970 and aired them in an uncut, uncolorized, and commercial-free format. AMC had broadened its film content to feature colorized and more recent films by 2002 and abandoned its commercial-free format, leaving TCM as the only movie-oriented cable channel to devote its programming entirely to classic films without commercial interruption.


In 1996, Turner Broadcasting System merged with Time Warner, which besides placing Turner Classic Movies and Warner Bros. Entertainment under the same corporate umbrella, also gave TCM access to Warner Bros.' library of films released after 1949 (which itself includes other acquired entities such as the Lorimar, Saul Zaentz and National General Pictures libraries); incidentally, TCM had already been running select Warner Bros. film titles through a licensing agreement with the studio that was signed prior to the launch of the channel. In March 1999, MGM paid Warner Bros. and gave up the home video rights to the MGM/UA films owned by Turner to Warner Home Video.


In 2000, TCM started the annual Young Composers Film Competition, inviting aspiring composers to participate in a judged competition that offers the winner of each year's competition the opportunity to score a restored, feature-length silent film as a grand prize, mentored by a well-known composer, with the new work subsequently premiering on the network. As of 2006, films that have been rescored include the 1921 Rudolph Valentino film Camille, two Lon Chaney films: 1921's The Ace of Hearts and 1928's Laugh, Clown, Laugh, and Greta Garbo's 1926 film The Temptress.


In 2008, TCM won a Peabody Award for excellence in broadcasting. In April 2010, Turner Classic Movies held the first TCM Classic Film Festival, an event – now held annually – at the Grauman's Chinese Theater and the Grauman's Egyptian Theater in Hollywood. Hosted by Robert Osborne, the four-day long annual festival celebrates Hollywood and its movies, and features celebrity appearances, special events, and screenings of around 50 classic movies including several newly restored by the Film Foundation, an organization devoted to preserving Hollywood's classic film legacy.


Turner Classic Movies essentially operates as a commercial-free service, with the only advertisements on the network being shown between features – which advertise TCM products, network promotions for upcoming special programs and the original trailers for films that are scheduled to be broadcast on TCM (particularly those that will air during the primetime hours), and featurettes about classic film actors and actresses. In addition to this, extended breaks between features are filled with theatrically released movie trailers and classic short subjects – from series such as The Passing Parade, Crime Does Not Pay, Pete Smith Specialties, and Robert Benchley – under the banner name TCM Extras (formerly One Reel Wonders). In 2007, some of the short films featured on TCM were made available for streaming on TCM's website. Partly to allow these interstitials, Turner Classic Movies schedules its feature films either at the top of the hour or at :15, :30 or :45 minutes past the hour, instead of in timeslots of varying five-minute increments.


TCM's film content has remained mostly uncut and uncolorized (with films natively filmed or post-produced in the format being those only ones presented in color), depending upon the original content of movies, particularly movies released after the 1968 implementation of the Motion Picture Association of America's ratings system and the concurrent disestablishment of the Motion Picture Production Code. Because of this, TCM is formatted similarly to a premium channel with certain films – particularly those made from the 1960s onward – sometimes featuring nudity, sexual content, violence and/or strong profanity; the network also features rating bumpers prior to the start of a program (most programs on TCM, especially films, are rated for content using the TV Parental Guidelines, in lieu of the MPAA's rating system).


The network's programming season runs from February until the following March of each year when a retrospective of Oscar-winning and Oscar-nominated movies is shown, called 31 Days of Oscar. As a result of its devoted format to classic feature films, viewers that are interested in tracing the career development of actresses such as Barbara Stanwyck or Greta Garbo or actors like Cary Grant or Humphrey Bogart have the unique opportunity to see most of the films that were made during their careers, from beginning to end. Turner Classic Movies presents many of its features in their original aspect ratio (widescreen or full screen) whenever possible – widescreen films broadcast on TCM are letterboxed on the network's standard definition feed. TCM also regularly presents widescreen presentations of films not available in the format on any home video release.


TCM's library of films spans several decades of cinema and includes thousands of film titles. Besides its deals to broadcast film releases from Metro-Goldwyn-Mayer and Warner Bros. Entertainment, Turner Classic Movies also maintains movie licensing rights agreements with Universal Studios, Paramount Pictures, 20th Century Fox, Walt Disney Studios (primarily film content from Walt Disney Pictures, as well as most of the Selznick International Pictures library), Sony Pictures Entertainment (primarily film content from Columbia Pictures), StudioCanal, and Janus Films.


Most Paramount sound releases made prior to 1950 are owned by EMKA, Ltd./NBCUniversal Television Distribution, while Paramount (currently owned by Viacom) holds on to most of its post-1949 releases, which are distributed for television by Trifecta Entertainment & Media. Columbia's film output is owned by Sony (through Sony Pictures Television); distribution of 20th Century Fox's film library is handled for television by its 21st Century Fox subsidiary 20th Television, and the Walt Disney Studios (owned by The Walt Disney Company) has its library film output handled for television by Disney-ABC Domestic Television. Classic films released by 20th Century Fox, Paramount Pictures, Universal Studios, and Columbia Pictures are licensed individually for broadcast on Turner Classic Movies.


Most feature movies shown during the prime time and early overnight hours (8:00 p.m. to 2:30 a.m. Eastern Time) are presented by film historian Robert Osborne (who has been with the network since its 1994 launch, except for a five-month medical leave from July to December 2011, when guest hosts presented each night's films) on Sunday through Wednesday evenings – with Osborne only presenting primetime films on weekends – and Ben Mankiewicz presenting only late evening films on Thursdays, and the "Silent Sunday Nights" and "TCM Imports" blocks on Sundays.


TCM regularly airs a "Star of the Month" throughout the year on Wednesdays starting at 8:00 p.m. Eastern Time, in which most, if not all, feature films from a classic film star are shown during that night's schedule. Hosted by Robert Osbourne, the network also marks the occurrence of a film actor's birthday (either antemortem or posthumously) or recent death with day- or evening-long festivals showcasting several of that artist's best, earliest or least-known pictures; by effect, marathons scheduled in honor of an actor's passing (which are scheduled within a month after their death) pre-empt films originally scheduled to air on that date. TCM also features a monthly program block called the "TCM Guest Programmer", in which Osborne is joined by celebrity guests responsible for choosing that evening's films (examples of such programmers during 2012 include Jules Feiffer, Anthony Bourdain, Debra Winger, Ellen Barkin, Spike Lee, Regis Philbin and Jim Lehrer); an offshoot of this block featuring Turner Classic Movies employees aired during February 2011.


Turner Classic Movies also airs regularly scheduled weekly film blocks, which are periodically preempted for special themed month-long or seasonal scheduling events, such as the "31 Days of Oscar" film series in the month preceding the Academy Awards and the month-long "Summer Under the Stars" in August; all featured programming has their own distinctive feature presentation bumper for the particular scheduled presentation. The Essentials, currently hosted by Osborne and Sally Field as of 2015[update], is a weekly film showcase airing on Saturday evenings (with a replay on the following Sunday at 6:00 p.m. Eastern Time), which spotlights a different movie and contains a special introduction and post-movie discussion.


The channel also broadcasts two movie blocks during the late evening hours each Sunday: "Silent Sunday Nights", which features silent films from the United States and abroad, usually in the latest restored version and often with new musical scores; and "TCM Imports" (which previously ran on Saturdays until the early 2000s[specify]), a weekly presentation of films originally released in foreign countries. TCM Underground – which debuted in October 2006 – is a Friday late night block which focuses on cult films, the block was originally hosted by rocker/filmmaker Rob Zombie until December 2006 (though as of 2014[update], it is the only regular film presentation block on the channel that does not have a host).


Each August, Turner Classic Movies suspends its regular schedule for a special month of film marathons called "Summer Under the Stars", which features entire daily schedules devoted to the work of a particular actor, with movies and specials that pertain to the star of the day. In the summer of 2007, the channel debuted "Funday Night at the Movies", a block hosted by actor Tom Kenny (best known as the voice of SpongeBob SquarePants). This summer block featured classic feature films (such as The Wizard of Oz, Sounder, Bringing Up Baby, Singin' in the Rain, Mr. Smith Goes to Washington, The Adventures of Robin Hood and 20,000 Leagues Under the Sea) aimed at introducing these movies to new generations of children and their families.


"Funday Night at the Movies" was replaced in 2008 by "Essentials Jr.", a youth-oriented version of its weekly series The Essentials (originally hosted by actors Abigail Breslin and Chris O'Donnell, then by John Lithgow from 2009 to 2011, and then by Bill Hader starting with the 2011 season), which included such family-themed films as National Velvet, Captains Courageous and Yours, Mine and Ours, as well as more eclectic selections as Sherlock, Jr., The Music Box, Harvey, Mutiny on the Bounty and The Man Who Knew Too Much.


In addition to films, Turner Classic Movies also airs original content, mostly documentaries about classic movie personalities, the world of filmmaking and particularly notable films. An occasional month-long series, Race and Hollywood, showcases films by and about people of non-white races, featuring discussions of how these pictures influenced white people's image of said races, as well as how people of those races viewed themselves. Previous installments have included "Asian Images on Film" in 2008, "Native American Images on Film" in 2010, "Black Images on Film" in 2006 "Latino Images on Film" in 2009 and "Arab Images on Film" in 2011. The network aired the film series Screened Out (which explored the history and depiction of homosexuality in film) in 2007 and Religion on Film (focusing on the role of religion in cinematic works) in 2005. In 2011, TCM debuted a new series entitled AFI's Master Class: The Art of Collaboration.


In December 1994, TCM debuted "TCM Remembers", a tribute to recently deceased notable film personalities (including actors, producers, composers, directors, writers and cinematographers) that occasionally airs during promotional breaks between films. The segments appear in two forms: individual tributes and a longer end-of-year compilation. Following the recent death of an especially famous classic film personality (usually an actor, producer, filmmaker or director), the segment will feature a montage of select shots of the deceased's work. Every December, a longer, more inclusive "TCM Remembers" interstitial is produced that honors all of the noted film personalities who died during the past year, interspersed with scenes from settings such as an abandoned drive-in (2012) or a theatre which is closing down and is being dismantled (2013). Since 2001, the soundtracks for these clipreels have been introspective melodies by indie artists such as Badly Drawn Boy (2007) or Steve Earle (2009).


The TCM Vault Collection consists of several different DVD collections of rare classic films that have been licensed, remastered and released by Turner Classic Movies (through corporate sister Warner Home Video). These boxed set releases are of films by notable actors, directors or studios that were previously unreleased on DVD or VHS. The sets often include bonus discs including documentaries and shorts from the TCM library. The initial batch of DVDs are printed in limited quantities and subsequent batches are made-on-demand (MOD).


In October 2015, TCM announced the launch of the TCM Wineclub, in which they teamed up with Laithwaite to provide a line of mail-order wines from famous vineyards such as famed writer-director-producer Francis Ford Coppola's winery. Wines are available in 3 month subscriptions, and can be selected as reds, whites, or a mixture of both. From the wines chosen, TCM also includes recommended movies to watch with each, such as a "True Grit" wine, to be paired with the John Wayne film of the same name.


Turner Classic Movies is available in many other countries around the world. In Canada, TCM began to be carried on Shaw Cable and satellite provider Shaw Direct in 2005. Rogers Cable started offering TCM in December 2006 as a free preview for subscribers of its digital cable tier, and was added to its analogue tier in February 2007. While the schedule for the Canadian feed is generally the same as that of the U.S. network, some films are replaced for broadcast in Canada due to rights issues and other reasons. Other versions of TCM are available in Australia, France, Middle East, South Africa, Cyprus, Spain, Asia, Latin America, Scandinavia, the United Kingdom, Ireland and Malta. The UK version operates two channels, including a spinoff called TCM 2.


Hindu philosophy refers to a group of darśanas (philosophies, world views, teachings) that emerged in ancient India. The mainstream Hindu philosophy includes six systems (ṣaḍdarśana) – Samkhya, Yoga, Nyaya, Vaisheshika, Mimamsa and Vedanta. These are also called the Astika (orthodox) philosophical traditions and are those that accept the Vedas as authoritative, important source of knowledge.[note 1][note 2] Ancient and medieval India was also the source of philosophies that share philosophical concepts but rejected the Vedas, and these have been called nāstika (heterodox or non-orthodox) Indian philosophies. Nāstika Indian philosophies include Buddhism, Jainism, Cārvāka, Ājīvika, and others.


Scholars have debated the relationship and differences within āstika philosophies and with nāstika philosophies, starting with the writings of Indologists and Orientalists of the 18th and 19th centuries, which were themselves derived from limited availability of Indian literature and medieval doxographies. The various sibling traditions included in Hindu philosophies are diverse, and they are united by shared history and concepts, same textual resources, similar ontological and soteriological focus, and cosmology. While Buddhism and Jainism are considered distinct philosophies and religions, some heterodox traditions such as Cārvāka are often considered as distinct schools within Hindu philosophy.


Hindu philosophy also includes several sub-schools of theistic philosophies that integrate ideas from two or more of the six orthodox philosophies, such as the realism of the Nyāya, the naturalism of the Vaiśeṣika, the dualism of the Sāṅkhya, the monism and knowledge of Self as essential to liberation of Advaita, the self-discipline of yoga and the asceticism and elements of theistic ideas. Examples of such schools include Pāśupata Śaiva, Śaiva siddhānta, Pratyabhijña, Raseśvara and Vaiṣṇava. Some sub-schools share Tantric ideas with those found in some Buddhist traditions. The ideas of these sub-schools are found in the Puranas and Āgamas.


Ancient and medieval Hindu texts identify six pramāṇas as correct means of accurate knowledge and truths: pratyakṣa (perception), anumāṇa (inference), upamāṇa (comparison and analogy), arthāpatti (postulation, derivation from circumstances), anupalabdi (non-perception, negative/cognitive proof) and śabda (word, testimony of past or present reliable experts) Each of these are further categorized in terms of conditionality, completeness, confidence and possibility of error, by each school . The various schools vary on how many of these six are valid paths of knowledge. For example, the Cārvāka nāstika philosophy holds that only one (perception) is an epistemically reliable means of knowledge, the Samkhya school holds three are (perception, inference and testimony), while the Mīmāṃsā and Advaita schools hold all six are epistemically useful and reliable means to knowledge.


Samkhya school espouses dualism between consciousness and matter. It regards the universe as consisting of two realities; Puruṣa (consciousness) and prakriti (matter). Jiva (a living being) is that state in which puruṣa is bonded to prakriti in some form. This fusion, state the Samkhya scholars, led to the emergence of buddhi (awareness, intellect) and ahankara (individualized ego consciousness, “I-maker”). The universe is described by this school as one created by Purusa-Prakriti entities infused with various permutations and combinations of variously enumerated elements, senses, feelings, activity and mind.


Samkhya philosophy includes a theory of gunas (qualities, innate tendencies, psyche). Guna, it states, are of three types: Sattva being good, compassionate, illuminating, positive, and constructive; Rajas guna is one of activity, chaotic, passion, impulsive, potentially good or bad; and Tamas being the quality of darkness, ignorance, destructive, lethargic, negative. Everything, all life forms and human beings, state Samkhya scholars, have these three gunas, but in different proportions. The interplay of these gunas defines the character of someone or something, of nature and determines the progress of life. Samkhya theorises a pluralism of souls (Jeevatmas) who possess consciousness, but denies the existence of Ishvara (God). Classical Samkhya is considered an atheist / non-theistic Hindu philosophy.


In Indian philosophy, Yoga is among other things, the name of one of the six āstika philosophical schools. The Yoga philosophical system is closely allied with the dualism premises of Samkhya school. The Yoga school accepts the Samkhya psychology and metaphysics, but is considered theistic because it accepts the concept of "personal god", unlike Samkhya. The epistemology of the Yoga school, like the Sāmkhya school, relies on three of six prāmaṇas as the means of gaining reliable knowledge: pratyakṣa (perception), anumāṇa (inference) and śabda (āptavacana, word/testimony of reliable sources).


The Yoga school builds on the Samkhya school theory that jñāna (knowledge) is a sufficient means to moksha. It suggests that systematic techniques/practice (personal experimentation) combined with Samkhya's approach to knowledge is the path to moksha. Yoga shares several central ideas with Advaita Vedanta, with the difference that Yoga is a form of experimental mysticism while Advaita Vedanta is a form of monistic personalism. Like Advaita Vedanta, the Yoga school of Hindu philosophy states that liberation/freedom in this life is achievable, and this occurs when an individual fully understands and realizes the equivalence of Atman (soul, self) and Brahman.


The Vaiśeṣika philosophy is a naturalist school; it is a form of atomism in natural philosophy. It postulated that all objects in the physical universe are reducible to paramāṇu (atoms), and one's experiences are derived from the interplay of substance (a function of atoms, their number and their spatial arrangements), quality, activity, commonness, particularity and inherence. Knowledge and liberation was achievable by complete understanding of the world of experience, according to Vaiśeṣika school . The Vaiśeṣika darśana is credited to Kaṇāda Kaśyapa from the second half of the first millennium BCE. The foundational text, the Vaiśeṣika Sūtra, opens as follows,


Vaiśeṣika metaphysical premises are founded on a form of atomism, that the reality is composed of four substances (earth, water, air, fire). Each of these four are of two types: atomic (paramāṇu) and composite. An atom is, according to Vaiśeṣika scholars, that which is indestructible (anitya), indivisible, and has a special kind of dimension, called “small” (aṇu). A composite, in this philosophy, is defined to be anything which is divisible into atoms. Whatever human beings perceive is composite, while atoms are invisible. The Vaiśeṣikas stated that size, form, truths and everything that human beings experience as a whole is a function of atoms, their number and their spatial arrangements, their guṇa (quality), karma (activity), sāmānya (commonness), viśeṣa (particularity) and amavāya (inherence, inseparable connectedness of everything).


In its metaphysics, Nyāya school is closer to the Vaiśeṣika school than others. It holds that human suffering results from mistakes/defects produced by activity under wrong knowledge (notions and ignorance). Moksha (liberation), it states, is gained through right knowledge. This premise led Nyāya to concern itself with epistemology, that is the reliable means to gain correct knowledge and to remove wrong notions. False knowledge is not merely ignorance to Naiyayikas, it includes delusion. Correct knowledge is discovering and overcoming one's delusions, and understanding true nature of soul, self and reality. The Nyāya Sūtras begin:


The Mīmāṃsā school has several subschools defined by epistemology. The Prābhākara subschool of Mīmāṃsā considered five epistemically reliable means to gaining knowledge: pratyakṣa (perception), anumāṇa (inference), upamāṇa (comparison and analogy), arthāpatti (postulation, derivation from circumstances), and śabda (word, testimony of past or present reliable experts). The Kumārila Bhaṭṭa sub-school of Mīmāṃsā added sixth to its canon of reliable epistemology - anupalabdi (non-perception, negative/cognitive proof).


The metaphysics in Mīmāṃsā school consists of both atheistic and theistic doctrines and the school showed little interest in systematic examination of the existence of God. Rather, it held that the soul is eternal omnipresent, inherently active spiritual essence, then focussed on the epistemology and metaphysics of dharma. To them, dharma meant rituals and duties, not devas (gods), because devas existed only in name. The Mīmāṃsākas held that the Vedas are "eternal authorless infallible", that Vedic vidhi (injunctions) and mantras in rituals are prescriptive karya (actions), and the rituals are of primary importance and merit. They considered the Upanishads and other self-knowledge, spirituality-related texts to be of secondary importance, a philosophical view that the Vedanta school disagreed with.


Mīmāṃsā gave rise to the study of philology and the philosophy of language. While their deep analysis of language and linguistics influenced other schools, their views were not shared by others. Mīmāṃsākas considered the purpose and power of language was to clearly prescribe the proper, correct and right. In contrast, Vedantins extended the scope and value of language as a tool to also describe, develop and derive. Mīmāṃsākas considered orderly, law-driven, procedural life as central purpose and noblest necessity of dharma and society, and divine (theistic) sustenance means to that end. The Mimamsa school was influential and foundational to the Vedanta school, with the difference that Mīmāṃsā school developed and emphasized karmakāṇḍa (that part of the śruti which relates to ceremonial acts and sacrificial rites, the early parts of the Vedas), while the Vedanta school developed and emphasized jñānakāṇḍa (that portion of the Vedas which relates to knowledge of monism, the latter parts of the Vedas).


The Vedānta school built upon the teachings of the Upanishads and Brahma Sutras from the first millennium BCE and is the most developed and well-known of the Hindu schools. The epistemology of the Vedantins included, depending on the sub-school, five or six methods as proper and reliable means of gaining any form of knowledge: pratyakṣa (perception), anumāṇa (inference), upamāṇa (comparison and analogy), arthāpatti (postulation, derivation from circumstances), anupalabdi (non-perception, negative/cognitive proof) and śabda (word, testimony of past or present reliable experts). Each of these have been further categorized in terms of conditionality, completeness, confidence and possibility of error, by each sub-school of Vedanta.


The emergence of Vedanta school represented a period when a more knowledge-centered understanding began to emerge. These focussed on jnana (knowledge) driven aspects of the Vedic religion and the Upanishads. This included metaphysical concepts such as ātman and Brahman, and emphasized meditation, self-discipline, self-knowledge and abstract spirituality, rather than ritualism. The Upanishads were variously interpreted by ancient and medieval era Vedanta scholars. Consequently, the Vedanta separated into many sub-schools, ranging from theistic dualism to non-theistic monism, each interpreting the texts in its own way and producing its own series of sub-commentaries.


Advaita literally means "not two, sole, unity". It is a sub-school of Vedanta, and asserts spiritual and universal non-dualism. Its metaphysics is a form of absolute monism, that is all ultimate reality is interconnected oneness. This is the oldest and most widely acknowledged Vedantic school. The foundational texts of this school are the Brahma Sutras and the early Upanishads from the 1st millennium BCE. Its first great consolidator was the 8th century scholar Adi Shankara, who continued the line of thought of the Upanishadic teachers, and that of his teacher's teacher Gaudapada. He wrote extensive commentaries on the major Vedantic scriptures and is celebrated as one of the major Hindu philosophers from whose doctrines the main currents of modern Indian thought are derived.


According to this school of Vedanta, all reality is Brahman, and there exists nothing whatsoever which is not Brahman. Its metaphysics includes the concept of māyā and ātman. Māyā connotes "that which exists, but is constantly changing and thus is spiritually unreal". The empirical reality is considered as always changing and therefore "transitory, incomplete, misleading and not what it appears to be". The concept of ātman is of soul, self within each person, each living being. Advaita Vedantins assert that ātman is same as Brahman, and this Brahman is within each human being and all life, all living beings are spiritually interconnected, and there is oneness in all of existence. They hold that dualities and misunderstanding of māyā as the spiritual reality that matters is caused by ignorance, and are the cause of sorrow, suffering. Jīvanmukti (liberation during life) can be achieved through Self-knowledge, the understanding that ātman within is same as ātman in another person and all of Brahman – the eternal, unchanging, entirety of cosmic principles and true reality.


Ramanuja (c. 1037–1137) was the foremost proponent of the philosophy of Viśiṣṭādvaita or qualified non-dualism. Viśiṣṭādvaita advocated the concept of a Supreme Being with essential qualities or attributes. Viśiṣṭādvaitins argued against the Advaitin conception of Brahman as an impersonal empty oneness. They saw Brahman as an eternal oneness, but also as the source of all creation, which was omnipresent and actively involved in existence. To them the sense of subject-object perception was illusory and a sign of ignorance. However, the individual's sense of self was not a complete illusion since it was derived from the universal beingness that is Brahman. Ramanuja saw Vishnu as a personification of Brahman.


Dvaita Vedanta is a dualistic interpretation of the Vedas, espouses dualism by theorizing the existence of two separate realities. The first and the only independent reality, states the Dvaita school, is that of Vishnu or Brahman. Vishnu is the supreme Self, in a manner similar to monotheistic God in other major religions. The distinguishing factor of Dvaita philosophy, as opposed to monistic Advaita Vedanta, is that God takes on a personal role and is seen as a real eternal entity that governs and controls the universe. Like Vishishtadvaita Vedanta subschool, Dvaita philosophy also embraced Vaishnavism, with the metaphysical concept of Brahman in the Vedas identified with Vishnu and the one and only Supreme Being. However, unlike Vishishtadvaita which envisions ultimate qualified nondualism, the dualism of Dvaita was permanent.


Dvaitādvaita was proposed by Nimbarka, a 13th-century Vaishnava Philosopher from the Andhra region. According to this philosophy there are three categories of existence: Brahman, soul, and matter. Soul and matter are different from Brahman in that they have attributes and capacities different from Brahman. Brahman exists independently, while soul and matter are dependent. Thus soul and matter have an existence that is separate yet dependent. Further, Brahman is a controller, the soul is the enjoyer, and matter the thing enjoyed. Also, the highest object of worship is Krishna and his consort Radha, attended by thousands of gopis; of the Vrindavan; and devotion consists in self-surrender.


Early history of Shaivism is difficult to determine. However, the Śvetāśvatara Upanishad (400 – 200 BCE) is considered to be the earliest textual exposition of a systematic philosophy of Shaivism. Shaivism is represented by various philosophical schools, including non-dualist (abheda), dualist (bheda), and non-dualist-with-dualist (bhedābheda) perspectives. Vidyaranya in his works mentions three major schools of Shaiva thought— Pashupata Shaivism, Shaiva Siddhanta and Pratyabhijña (Kashmir Shaivism).


Pāśupata Shaivism (Pāśupata, "of Paśupati") is the oldest of the major Shaiva schools. The philosophy of Pashupata sect was systematized by Lakulish in the 2nd century CE. Paśu in Paśupati refers to the effect (or created world), the word designates that which is dependent on something ulterior. Whereas, Pati means the cause (or principium), the word designates the Lord, who is the cause of the universe, the pati, or the ruler. Pashupatas disapproved of Vaishnava theology, known for its doctrine servitude of souls to the Supreme Being, on the grounds that dependence upon anything could not be the means of cessation of pain and other desired ends. They recognised that those depending upon another and longing for independence will not be emancipated because they still depend upon something other than themselves. According to Pāśupatas, soul possesses the attributes of the Supreme Deity when it becomes liberated from the 'germ of every pain'.


Pāśupatas divided the created world into the insentient and the sentient. The insentient was the unconscious and thus dependent on the sentient or conscious. The insentient was further divided into effects and causes. The effects were of ten kinds, the earth, four elements and their qualities, colour etc. The causes were of thirteen kinds, the five organs of cognition, the five organs of action, the three internal organs, intellect, the ego principle and the cognising principle. These insentient causes were held responsible for the illusive identification of Self with non-Self. Salvation in Pāśupata involved the union of the soul with God through the intellect.


Even though, both Kashmir Shaivism and Advaita Vedanta are non-dual philosophies which give primacy to Universal Consciousness (Chit or Brahman), in Kashmir Shavisim, as opposed to Advaita, all things are a manifestation of this Consciousness. This implies that from the point of view of Kashmir Shavisim, the phenomenal world (Śakti) is real, and it exists and has its being in Consciousness (Chit). Whereas, Advaita holds that Brahman is inactive (niṣkriya) and the phenomenal world is an illusion (māyā). The objective of human life, according to Kashmir Shaivism, is to merge in Shiva or Universal Consciousness, or to realize one's already existing identity with Shiva, by means of wisdom, yoga and grace.


While there is some international commonality in the way political parties are recognized, and in how they operate, there are often many differences, and some are significant. Many political parties have an ideological core, but some do not, and many represent very different ideologies than they did when first founded. In democracies, political parties are elected by the electorate to run a government. Many countries have numerous powerful political parties, such as Germany and India and some nations have one-party systems, such as China. The United States is a two-party system, with its two most powerful parties being the Democratic Party and the Republican Party.


The first political factions, cohering around a basic, if fluid, set of principles emerged from the Exclusion Crisis and Glorious Revolution in late-17th-century England. The Whigs supported Protestant constitutional monarchy against absolute rule and the Tories, originating in the Royalist (or "Cavalier") faction of the English Civil War, were conservative royalist supporters of a strong monarchy as a counterbalance to the republican tendencies of Whigs, who were the dominant political faction for most of the first half of the 18th century; they supported the Hanoverian succession of 1715 against the Jacobite supporters of the deposed Roman Catholic Stuart dynasty and were able to purge Tory politicians from important government positions after the failed Jacobite rising of 1715. The leader of the Whigs was Robert Walpole, who maintained control of the government in the period 1721–1742; his protégé was Henry Pelham (1743–1754).


As the century wore on, the factions slowly began to adopt more coherent political tendencies as the interests of their power bases began to diverge. The Whig party's initial base of support from the great aristocratic families, widened to include the emerging industrial interests and wealthy merchants. As well as championing constitutional monarchy with strict limits on the monarch's power, the Whigs adamantly opposed a Catholic king as a threat to liberty, and believed in extending toleration to nonconformist Protestants, or dissenters. A major influence on the Whigs were the liberal political ideas of John Locke, and the concepts of universal rights employed by Locke and Algernon Sidney.


Although the Tories were dismissed from office for half a century, for most of this period (at first under the leadership of Sir William Wyndham), the Tories retained party cohesion, with occasional hopes of regaining office, particularly at the accession of George II (1727) and the downfall of the ministry of Sir Robert Walpole in 1742. They acted as a united, though unavailing, opposition to Whig corruption and scandals. At times they cooperated with the "Opposition Whigs", Whigs who were in opposition to the Whig government; however, the ideological gap between the Tories and the Opposition Whigs prevented them from coalescing as a single party. They finally regained power with the accession of George III in 1760 under Lord Bute.


When they lost power, the old Whig leadership dissolved into a decade of factional chaos with distinct "Grenvillite", "Bedfordite", "Rockinghamite", and "Chathamite" factions successively in power, and all referring to themselves as "Whigs". Out of this chaos, the first distinctive parties emerged. The first such party was the Rockingham Whigs under the leadership of Charles Watson-Wentworth and the intellectual guidance of the political philosopher Edmund Burke. Burke laid out a philosophy that described the basic framework of the political party as "a body of men united for promoting by their joint endeavours the national interest, upon some particular principle in which they are all agreed". As opposed to the instability of the earlier factions, which were often tied to a particular leader and could disintegrate if removed from power, the party was centred around a set of core principles and remained out of power as a united opposition to government.


The modern Conservative Party was created out of the 'Pittite' Tories of the early 19th century. In the late 1820s disputes over political reform broke up this grouping. A government led by the Duke of Wellington collapsed amidst dire election results. Following this disaster Robert Peel set about assembling a new coalition of forces. Peel issued the Tamworth Manifesto in 1834 which set out the basic principles of Conservatism; – the necessity in specific cases of reform in order to survive, but an opposition to unnecessary change, that could lead to "a perpetual vortex of agitation". Meanwhile, the Whigs, along with free trade Tory followers of Robert Peel, and independent Radicals, formed the Liberal Party under Lord Palmerston in 1859, and transformed into a party of the growing urban middle-class, under the long leadership of William Ewart Gladstone.


Although the Founding Fathers of the United States did not originally intend for American politics to be partisan, early political controversies in the 1790s over the extent of federal government powers saw the emergence of two proto-political parties- the Federalist Party and the Democratic-Republican Party, which were championed by Framers Alexander Hamilton and James Madison, respectively. However, a consensus reached on these issues ended party politics in 1816 for a decade, a period commonly known as the Era of Good Feelings.


At the same time, the political party reached its modern form, with a membership disciplined through the use of a party whip and the implementation of efficient structures of control. The Home Rule League Party, campaigning for Home Rule for Ireland in the British Parliament was fundamentally changed by the great Irish political leader Charles Stewart Parnell in the 1880s. In 1882, he changed his party's name to the Irish Parliamentary Party and created a well-organized grass roots structure, introducing membership to replace "ad hoc" informal groupings. He created a new selection procedure to ensure the professional selection of party candidates committed to taking their seats, and in 1884 he imposed a firm 'party pledge' which obliged MPs to vote as a bloc in parliament on all occasions. The creation of a strict party whip and a formal party structure was unique at the time. His party's efficient structure and control contrasted with the loose rules and flexible informality found in the main British parties; – they soon came to model themselves on the Parnellite model.


A political party is typically led by a party leader (the most powerful member and spokesperson representing the party), a party secretary (who maintains the daily work and records of party meetings), party treasurer (who is responsible for membership dues) and party chair (who forms strategies for recruiting and retaining party members, and also chairs party meetings). Most of the above positions are also members of the party executive, the leading organization which sets policy for the entire party at the national level. The structure is far more decentralized in the United States because of the separation of powers, federalism and the multiplicity of economic interests and religious sects. Even state parties are decentralized as county and other local committees are largely independent of state central committees. The national party leader in the U.S. will be the president, if the party holds that office, or a prominent member of Congress in opposition (although a big-state governor may aspire to that role). Officially, each party has a chairman for its national committee who is a prominent spokesman, organizer and fund-raiser, but without the status of prominent elected office holders.


When the party is represented by members in the lower house of parliament, the party leader simultaneously serves as the leader of the parliamentary group of that full party representation; depending on a minimum number of seats held, Westminster-based parties typically allow for leaders to form frontbench teams of senior fellow members of the parliamentary group to serve as critics of aspects of government policy. When a party becomes the largest party not part of the Government, the party's parliamentary group forms the Official Opposition, with Official Opposition frontbench team members often forming the Official Opposition Shadow cabinet. When a party achieves enough seats in an election to form a majority, the party's frontbench becomes the Cabinet of government ministers.


The freedom to form, declare membership in, or campaign for candidates from a political party is considered a measurement of a state's adherence to liberal democracy as a political value. Regulation of parties may run from a crackdown on or repression of all opposition parties, a norm for authoritarian governments, to the repression of certain parties which hold or promote ideals which run counter to the general ideology of the state's incumbents (or possess membership by-laws which are legally unenforceable).


Furthermore, in the case of far-right, far-left and regionalism parties in the national parliaments of much of the European Union, mainstream political parties may form an informal cordon sanitarian which applies a policy of non-cooperation towards those "Outsider Parties" present in the legislature which are viewed as 'anti-system' or otherwise unacceptable for government. Cordon Sanitarian, however, have been increasingly abandoned over the past two decades in multi-party democracies as the pressure to construct broad coalitions in order to win elections – along with the increased willingness of outsider parties themselves to participate in government – has led to many such parties entering electoral and government coalitions.


In a nonpartisan system, no official political parties exist, sometimes reflecting legal restrictions on political parties. In nonpartisan elections, each candidate is eligible for office on his or her own merits. In nonpartisan legislatures, there are no typically formal party alignments within the legislature. The administration of George Washington and the first few sessions of the United States Congress were nonpartisan. Washington also warned against political parties during his Farewell Address. In the United States, the unicameral legislature of Nebraska is nonpartisan but is elected and votes on informal party lines. In Canada, the territorial legislatures of the Northwest Territories and Nunavut are nonpartisan. In New Zealand, Tokelau has a nonpartisan parliament. Many city and county governments[vague] are nonpartisan. Nonpartisan elections and modes of governance are common outside of state institutions. Unless there are legal prohibitions against political parties, factions within nonpartisan systems often evolve into political parties.


In one-party systems, one political party is legally allowed to hold effective power. Although minor parties may sometimes be allowed, they are legally required to accept the leadership of the dominant party. This party may not always be identical to the government, although sometimes positions within the party may in fact be more important than positions within the government. North Korea and China are examples; others can be found in Fascist states, such as Nazi Germany between 1934 and 1945. The one-party system is thus usually equated with dictatorships and tyranny.


In dominant-party systems, opposition parties are allowed, and there may be even a deeply established democratic tradition, but other parties are widely considered to have no real chance of gaining power. Sometimes, political, social and economic circumstances, and public opinion are the reason for others parties' failure. Sometimes, typically in countries with less of an established democratic tradition, it is possible the dominant party will remain in power by using patronage and sometimes by voting fraud. In the latter case, the definition between dominant and one-party system becomes rather blurred. Examples of dominant party systems include the People's Action Party in Singapore, the African National Congress in South Africa, the Cambodian People's Party in Cambodia, the Liberal Democratic Party in Japan, and the National Liberation Front in Algeria. One-party dominant system also existed in Mexico with the Institutional Revolutionary Party until the 1990s, in the southern United States with the Democratic Party from the late 19th century until the 1970s, in Indonesia with the Golkar from the early 1970s until 1998.


The United States has become essentially a two-party system. Since a conservative (such as the Republican Party) and liberal (such as the Democratic Party) party has usually been the status quo within American politics. The first parties were called Federalist and Republican, followed by a brief period of Republican dominance before a split occurred between National Republicans and Democratic Republicans. The former became the Whig Party and the latter became the Democratic Party. The Whigs survived only for two decades before they split over the spread of slavery, those opposed becoming members of the new Republican Party, as did anti-slavery members of the Democratic Party. Third parties (such as the Libertarian Party) often receive little support and are very rarely the victors in elections. Despite this, there have been several examples of third parties siphoning votes from major parties that were expected to win (such as Theodore Roosevelt in the election of 1912 and George Wallace in the election of 1968). As third party movements have learned, the Electoral College's requirement of a nationally distributed majority makes it difficult for third parties to succeed. Thus, such parties rarely win many electoral votes, although their popular support within a state may tip it toward one party or the other. Wallace had weak support outside the South. More generally, parties with a broad base of support across regions or among economic and other interest groups, have a great chance of winning the necessary plurality in the U.S.'s largely single-member district, winner-take-all elections. The tremendous land area and large population of the country are formidable challenges to political parties with a narrow appeal.


The UK political system, while technically a multi-party system, has functioned generally as a two-party (sometimes called a "two-and-a-half party") system; since the 1920s the two largest political parties have been the Conservative Party and the Labour Party. Before the Labour Party rose in British politics the Liberal Party was the other major political party along with the Conservatives. Though coalition and minority governments have been an occasional feature of parliamentary politics, the first-past-the-post electoral system used for general elections tends to maintain the dominance of these two parties, though each has in the past century relied upon a third party to deliver a working majority in Parliament. (A plurality voting system usually leads to a two-party system, a relationship described by Maurice Duverger and known as Duverger's Law.) There are also numerous other parties that hold or have held a number of seats in Parliament.


More commonly, in cases where there are three or more parties, no one party is likely to gain power alone, and parties work with each other to form coalition governments. This has been an emerging trend in the politics of the Republic of Ireland since the 1980s and is almost always the case in Germany on national and state level, and in most constituencies at the communal level. Furthermore, since the forming of the Republic of Iceland there has never been a government not led by a coalition (usually of the Independence Party and one other (often the Social Democratic Alliance). A similar situation exists in the Republic of Ireland; since 1989, no one party has held power on its own. Since then, numerous coalition governments have been formed. These coalitions have been exclusively led by one of either Fianna Fáil or Fine Gael. Political change is often easier with a coalition government than in one-party or two-party dominant systems.[dubious – discuss] If factions in a two-party system are in fundamental disagreement on policy goals, or even principles, they can be slow to make policy changes, which appears to be the case now in the U.S. with power split between Democrats and Republicans. Still coalition governments struggle, sometimes for years, to change policy and often fail altogether, post World War II France and Italy being prime examples. When one party in a two-party system controls all elective branches, however, policy changes can be both swift and significant. Democrats Woodrow Wilson, Franklin Roosevelt and Lyndon Johnson were beneficiaries of such fortuitous circumstances, as were Republicans as far removed in time as Abraham Lincoln and Ronald Reagan. Barack Obama briefly had such an advantage between 2009 and 2011.


Political parties, still called factions by some, especially those in the governmental apparatus, are lobbied vigorously by organizations, businesses and special interest groups such as trade unions. Money and gifts-in-kind to a party, or its leading members, may be offered as incentives. Such donations are the traditional source of funding for all right-of-centre cadre parties. Starting in the late 19th century these parties were opposed by the newly founded left-of-centre workers' parties. They started a new party type, the mass membership party, and a new source of political fundraising, membership dues.