Spirit of the age. [volume] (Woodstock, Vt.) 1845-1913, 1913-06-28
SINGING into HORN
Greater Ordeal Than Warbling to
Crowded Theater.
Making Of Phonosraph Records Con-
sidered No Easy Task--Even
"stars" Often Have to Repeat
Performance.

nv ihtObb pcHhiby tudL IdI1e e1dCtt
from theatrical and music hall stars
Is that of singing to talking machines
For gramophone agents descend on
the star who comes out with a 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 a far
greater ordeal than performing to a
crowded theater. 1t is the strange
conditions under which these voice re-
productions are carried out that so
often unnerve the most experienced
performers.
The setting-the bare barnlike hall
lin itself scarcely inspires confl-
dence. One end is screened from the
gaze of the occupants by long cur
tain through which a monstrous horn
of brass extends into the room, being
suspended from the ceiling
Grouped around are a motely as
sembly OF musicians with Instruments
of weird design. Somehow these In
truments seem familiar. yet no one
ever saw their like In theater or
chestra. They are especially con-
structed to produce soft sound waves
that do not drown the singers voice.
The violins no longer possess the
familiar curves and sturdy frames
They are hollow tubelike affairs with
strangely arranged strings. The cellos
are In a similar emaciated condition,
their ample sides having apparently
dwindled into slight wooden supports.
Every instrument, however, boasts a
little aluminium horn, directed toward
the parent trumpet, in order to con-
centrate the sound waves at one COM
mon point. Perched on a high plat
form, near the roof is the conductor.
whose lofty position is chosen to take
him out of the way of all important
sound waves.
The performer stands on a 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
machine behind the curtain relentless
ly records every little sound wave.
red light is flashed and the atten-
uated little orchestra gets to work.
And then the artist has to sing to
this strange little assembly with aban-
don and zest as though the inspiration
of the brilliant light, of beautiful
clothes and scenery and applauding
audience were all there.
It is great ordeal, for one has to
sing with far greater care in front OF
A talking machine than is required
when. audiences of flesh and blood are
20 be pleased.
With fiendish cruelty, the revolving
vas recording disc gathers in every
title fault. A slight clearing of the
hroat or little swallow, every deep
breath or slight shuttle OF the feet is
Iufficient to form sound waves that
IMPRINT their message on the yielding
wax. Such things an audience would
lot note. but the obedient record
maker smakes no distinction between
he actual and the intended.
When the artist has finished the re-
ord is played over and the inevitable
criticised The weak
pots are then rehearsed and the
1hole trying business commenced
yer again. II the performer makes a
Mistake in the course of the song, q
ell rings and fresh start is made.
lot until record of pure and dis
met tone is obtained does the ar
sts's ordeal end.