Yorkville enquirer. [volume] (Yorkville, S.C.) 1855-2006, 1913-04-29
SINGING TO BRASS HORN

Making Of Phonosraph Records Nc
Easv Task for Operate Star.
The latest penalty that fame exacts
from theatrical and music hall stars Is
that Of singing to talking machines
For graphophone agents descend on
the star who comes out with new
song success or talking act that takes
the public fancy.
Most artists will tell you-and hard
ened ones, too-that singing to a re-
producing machine Is to them far
greater ordeal than performing to q
crowded theatre. It Is the strange
conditions under which these voice re-
productions are carried out that sc
unnerve the most experienced per-
formers.
The setting-a bare barnlike hall
in itself scarcely inspires confidence.
One end is screened from the gaze OF
the occupants by long curtain
through which monstrous horn OF
brass extends out into the room, be-
ing suspended from the ceiling.
Grouped around are a motely as
sembly Of musicians with instruments
of weird design. Somehow these in
struments seem familiar, yet no one
ever saw their like in a theatre or
chestra. They are especially con-
strdcted to produce soft sound waves
that do not drown the singers voice.
The violins no longer possess the IA
miliar curves and sturdy frames.
They are peculiar hollow tubelike af-
fairs with strangely arranged strings.
The cellos are in similar emanciated
condition, their ample sides having
apparently dwindled into slight wood
en- supports. Every instrument, how
ever, boasts little aluminium horn
directed towards the parent trumpet,
in order to concentrate the sound
waves at one common point. Perch
ed on a high platform near the roof
is the conductor, whose lofty position
is chosen to take him out Of the way
Of the all important sound waves.
The performers stand on little
wooden platform right at the mouth
Of the receiving trumpet. A few hur-
ried directions and then strict silence
is the rule. No human voice or sound
but that Of the singer must now dis
turb the atmosphere. for the little ma
records every little sound wave.
A red light Is flashed and the at
tenuate little orchestra gets to work.
And then the artistic has to sing to
this strange little assembly with
abandon and zest as though the in
spiration Of the brilliant light. OF
beautiful colors. and scenery and ap-
plauding audience were all there.
It is a great ordeal, for one has to
sing with far greater care in front of
talking machine than is required
when audiences Of flesh and blood are
| to be pleased.
With fiendish cruelty the revolving
wax recording disc gathers in every
little fault. A slight clearing Of the
throat or little swallow, every deep
breath or slight shuttle Of the feet are
sufficient to form sound waves that
imprint their message on the yielding
wax. Such things an audience would
not note, but the obedient record
maker makes no distinction between
the actual and the intended.
When the artistic has finished the
record Is played over and the newt
able imperfections criticised. The
weak spots are then rehearsed and the
whole trying business commenced over
again. If the performer makes mis-.
take in the course Of the song q bell
rings and a fresh start Is made. Not
until a record Of pure and distinct
tone is obtained does the artiste's or
deal end.
Big artistes such as Caruso, Melba
and Tetrazzini make many thousands
Of pounds by records Of their voices,
while even smaller fry in the theatri-
cal and concert worlds considerably
augment their incomes by royalties on
records Of their performances.
Several of the most famous repro
ductions Of Caruso's and Melba's
voices have been placed in a sealed
tomb beneath the opera house In Paris
in order that future generations q
hundred years hence may know the
singing talent that existed in the
nineteenth century.-Tit-Bits