Evening star., 1925-11-15

~ Would you, instead of
listeninS-in on the radio,
as Is your wont, like to look in today?
II you will just stand by a moment,
ladies and gentlemen, until Miss Bee
Ginner's distance from the micro.
phone is determined, you may look
In on WCAP at Washington"
Miss Bee Ginner is all the way from
Llttletown, where the folks are sure
she can warble as we'll as Galli.Curci
They finally persuaded her to take
ms Trip to Washington To try out for
me radio. For two minutes she
stares at the sign on the studio door
TOO timorous to enter. Then, muster
ing courage, she sidles in and STAN
mers: is this the radio Station?"
she is Immediately recognized by
Miss Irene Postles, the hostess of the
studio, as tyro. Among Miss Postles'
duties Is ministerins to homesick
visitors. In a few moments Miss
Ginner has decided that the radio sta
ton isn't such a dreadful place, that
SO far 1t is nothing more than a pleas
ing, comfortable drawing room.
She Is then presented to Mr. William
T. Plerson, the program director, and
10 Mike" before whom she will per-
form OF the two the latter Is by far
the more awe-inspiring. He has a
long. thin body with a round head, and
while Miss Ginner is instructed in her
behavior toward him. the control man
comes up close To him. clappinS sew
eral times, as if he expects Mike" to
JIG.
Mike" remains immobile, but, as
we shall see. he is very sensitive and
nothing ever esca pes him. Formally
he Is known as the microphone, but
Nike is the nickname affectionately
bestowed upon him by his co-workers.
q a.
ascertain whether he is In tune.
In the music room Miss Ginners
agitation has very likely returned.
Windowless, with heavy drapeS of
monks cloth covering the walls and
ceiling, the aspect is somewhat mys-
1ifying. But really very reasonab BILE
Windows would afford extraneous
sounds entrance: bare walls give
sounds resonance. In other words IL
the wallis and ceiling were undraped
the echo of Miss Ginner's voice would
render it very unnatural to listeners-in
Now, Mike" the fairest of individ-
uals, does not wish to transmit mis-
leading voice. The drapes, by absorb
ing the resonance. make 1t possible
for Mike" TO record Miss Ginner's
voice as it is. OF course, the human
ear Is accustomed to some echo, hence
one square yard of material Is drawn
When band performs the drapes are
almost entirely drawn.
x
TO return to Miss Ginner, who may
become too nervous to sing. She
has naturally placed herself right be
fore the microphone to make certain
that her voice will be heard in the
adjoining room. where MIR. Pierson is
nstening-in. Not knowing Mike"
she does not realize how fine his sensi-
bilities are: how much better he could
record her voice If she receded from
him.
Mike" reacts differently to different
voices. The low voice with its fewer
vibrations and fewer impacts on the
microphone, must be favored and
placed nearer Mike than the high
voice of many impacts. Miss Ginner,
being a soprano, has to be somewhat
removed from Mike" This Is where
we come in on the scene.
We shall now see Miss Ginner un.
dergo radio test. This is not an
ability test. We assume the folks of
Littletown know good voice when
they hear one. Miss Ginner's voice
may be enhancing in a drawing room.
even in a theater, but perhaps not
over the radio. The radio voice can
not be pitched too low. for slow vi
brations viii muffie the sound: it can.
not contain much tremolo: 1t must be
particularly clear and distinct, and
above all. it must not be artificial. The
radio singer enters a home, not an
auditorium. Unless an opera is being
presented, the voice must not become
STACEY; if belonging to a speaker,
1t must not be oratorical
Miss Ginner is also being tested for
her individuality-not for her personal
'ty. Being a novice she smiles at Mike"
and extends her arms toward him.
He. however, Is interested only in her
voice-and in her individuality which
comes out in her voice. Her physical
gestures. helpful enough on the stage,
are wasted on the air; but it is only
after much experience that the radio
performer can dispense with these
without loss to expression
Some radio artists or speakers never
abandon their gesticulations Charles
Evans Hughes gestures to his audi
ence as If 1t could see him. Caleb
O'Connor. Washington declaimer. re-
fuses to sit down before little Mike"
fwhom we shall meet later as other
speakers do. Unless he is on his
feet pounding the table or shaking
his head as the Interpretation war.
rants. his "Gunsa Din or Boots"
viii be minus the kick
II Miss Ginner passes her radio test,
she gets her opportunity on the ether
II in doubt about her, Mr. Pierson will
confer with Paul Gascoigne, manager
of the station. If folks in Littletown
were mistaken about her, she will
probably be told that her voice, ad-
nirable though 1t be, does not broad.
cast well-a cousin to the explanation
of movie" directors. in which the face
js always pretty, but doesn't film that
way.
THE nervousness Of aspiring radio
performers is merely a ripple in
comparison with the wave of agitation
which suffuses air" debutants. Ether
always has a peculiar effect on people
In the broadcasting station it does not
take away consciousness, but often
the voice,
One woman. who had sung in pub.
lie number of times, was thus affect
ed. The Introduction was PLAYED by
rhe accompanist, but she failed to take
her cue. 1t was played again, but mi.
lady remained silent. When it was
again repeated and no words were
forthcoming, the announcer, ever
ready to save the situation, pressed
the button, thereby severing the artist
from the air. Acclaimed by a visible
audience time and again, she had now
become "etherized" There was only
one thing to do-those present in the
drawing room were assembled in the
music room-and milady sang.
Shaken forefingers and fists Of pub
lie men at spellbound audiences be-
come shakr knees on the air. One
public speasser was led into the speak
IN, he