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 classical recordings and Broadway shows. Popular music appeared only on 10-inch records. Executives believed classical music aficionados would leap at the chance to finally hear a Beethoven symphony or a Mozart concerto without having to flip over a seemingly endless series of four-minute-per-side 78s, but popular music fans, used to consuming one song per side at a time, would find the shorter time of the 10-inch LP sufficient. This belief would prove to be erroneous in the end, and by the mid-1950s the 10-inch LP, like its similarly sized 78 rpm record, would lose out in the format wars and be discontinued. Ten-inch records would reappear as mini-albums in the late 1970s and early 1980s in the United States and Australia as a marketing alternative.

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format was reserved solely for higher-priced classical recordings and Broadway shows. Popular music appeared only on 10-inch records. Executives believed classical music aficionados would leap at the chance to finally hear a Beethoven symphony or a Mozart concerto without having to flip over a seemingly endless series of four-minute-per-side 78s, but popular music fans, used to consuming one song per side at a time, would find the shorter time of the 10-inch LP sufficient. This belief would prove to be erroneous in the end, and by the mid-1950s the 10-inch LP, like its similarly sized 78 rpm record, would lose out in the format wars and be discontinued. Ten-inch records would reappear as mini-albums in the late 1970s and early 1980s in the United States and Australia as a marketing alternative.

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limited sound quality. In the United States in 1894, under the Berliner Gramophone trademark, Berliner started marketing records of 7 inches diameter with somewhat more substantial entertainment value, along with somewhat more substantial gramophones to play them. Berliner's records had poor sound

quality compared to wax cylinders, but his manufacturing associate Eldridge R. Johnson eventually improved it. Abandoning Berliner's "Gramophone" trademark for legal reasons, in 1901 Johnson's and Berliner's separate companies reorganized to form the Victor Talking Machine Company in Camden, New Jersey, whose products would come to dominate the market for many years. Emile Berliner moved his company to Montreal in 1900. The factory, which became the Canadian branch of RCA Victor still exists. There is a dedicated museum in Montreal for Berliner (Musée des ondes Emile Berliner).