Radio age (Jan 1927-Jan 1928)

50 RADIO AGE for January, 1927 "—by far the best B-T receiver yet developed,' ' says a technical leader. B-T POWER — SIX Those who know the B-T record for leadership realize that "best B-T 'receiver " means best of all. A multitude of set builders have learned to depend on B-T parts and circuits. Those who were fortunate enough to learn of B-T superiority in the early days, have had the best in radio year by year. So it means something when Gerald M. Best, technical editor and superheterodyne authority says: "The new Bremer-Tully, Poiver-Six is by far the best Bremer-Tully receiver yet developed. Its remarkable selectivity and simplicity of operation leads me to believe it will be one of the seasons most popular circuits. It is one of the easiest circuits to wire of any I have seen. Its engineering principle is sound. Congratulations to BremerTully on this new development." A 13-year old fan builds one. He says: (Nov. 4, 1926) "I am only thirteen years old but thought the Counterphase Six the simplest set I had ever built. I have never heard a radio so selective combined with such amazing tone quality and volume. In three weeks I have had seventy-four stations from Winnipeg, Canada, to Miami, Florida; Los Angeles, Calif., and Springfield, Mass." R. L. Essential parts available in kit form, price $41.50 Send for 10th Edition "Better Tuning" for full information on the Power-Six, all parts, factory built "Eight" and "Six," B-Power unit. etc. Price 10c. er WBl. Manufacturing Co. 520 S. Canal St. Chicago, III. Try Out Hour for Radio Performers (Continued from page 13) ever was a gift to radio, her offspring is it. "I want you to try Johnnie's voice on the air," she wheedles. "He has such a lovely voice. All the. neighbors say they never heard anything like it. He's not the least bit afraid either. Shake hands with the gentleman, Johnnie! Yes, indeed, I was just saying to my husband last night, T MUST take Johnnie up and let him sing for XZY. They have SUCH a good station.' I wouldn't take Johnnie any place else." The long-suffering director or whoever happens to be trying out the talent, agrees to listen to Johnnie's phenomenal voice. Usually the poor little soul has adenoids or enlarged tonsils or an advanced case of toothlessness and could never be used under any circumstances, even on a children's program. As gently as possible mamma is told that Johnnie's voice is not suitable for broadcasting. Mamma Gets Peeved WHAT! Not suitable for broadcasting!" Mamma usually retorts in righteous indignation. "Why I heard a little boy sing from your station last week and his voice didn't begin to compare with Johnnie's! It didn't compare ! Of course if you WON'T use him here, I'll be OBLIGED to take him to some other station." And she sails out of the studio while the director is left to curse Mr. Volstead and all his cohorts. I might as well insert, right here, the method used by most directors for disposing of the applicant and still keep him in a good humor. The old inevitable standby is : "Give me your name and address and we'll call you when we need you." This does not mean that when a director tells an applicant that, the applicant is hopelessly lost. In some cases, applicants are called but they are rare, oh very rare! I know one girl, pianist in a big studio, who tries out talent and who, when she began, used to The Magazine of the Hour tell the truth. She is a German girl of very frail and saintly appearance and it was her beautiful, innate sincerity that caused her to tell the applicant, simply but accurately, just what was what. After the tryout was over and the applicant would prove unworthy, this little German girl, who speaks with an engaging accent, would say sorrowfully (and incidentally she is always sorry when someone's hopes are dashed), "It is too bad but you are not good. I am so sorry. You go home and practice for a good long time. Then when you think you are good enough, you come back and we will see what we can do." Scheme Worked For While THIS formula worked beautifully for several weeks while directors and studio attaches stood aghast at hearing the truth told in such a sincere, straightforward manner. But one day this little German girl's honest sincerity was betrayed. She told the plain and rather painful truth to a young man who had reached the no-hat, wide pants stage. He listened to her to the end and then smiled pityingly. "Of course," he remarked, sweeping her small person with his eyes, "you haven't the slightest idea of what you are talking about." And walked out of the studio. Since that, the little German girl uses the age-old formula of Give me y our-name-and-addressand-we-will-call-you. I think it's rather too bad. I believe I must have, by this time, given the impression that all of the people who apply for tryouts want to sing. That isn't true. Most of them want to sing but a few of them want to do other things. There are pianists and violinists and other musicians who make application and, in rare instances, prove good enough to use. One studio reports on an applicant who came to the station equipped with everything but the kitchen stove. He had a French harp in his mouth, a violin in his hands, cymbals between his knees, sleigh bells around his ankles ard Please Mention Radio Age When Writing to Advertisers.