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NOVEMBER 1900 wonder would likely be excited by his antics. The singer takes his stand at a certain distance from the mouth of the horn and begins. Now he throws back his head, now thrusts it forward, now poises it this way and now that. All this would look ridiculous to an audience, but is necessary before the Pho- nograph. The force of the note must be accommodated to the machine. If the composition calls for unusual force in propulsion, the singer must hold his head back so that his voice may not strike the diaphragm of the Phonograph too violently; if,on the contrary,the music is soft and gentle, the head must be brought nearer the receiving horn, so as to make the due impression on the wax. This sort of music calls for one adjustment of the head, that, for an- other. Moreover, the distance must be just right. This varies according to the size of the machine. But the Phonograph singer, like the baseball player, and the horse jockey, must be an exact judge of distance. As a rule singers who are practised in their art know what is needed. They acquire an instinctive sense of the force of sound in platform performances; yet all have to undergo some training before facing the Phonograph. They must be taught how to pose the head. Many records are spoiled in this training. Furthermore, the artist must be in perfect voice; there must be no trace of hoarseness, no nasal quality, or other defect or the record is useless. The machine has been brought to such a degree of perfection that it makes note of every slightest sound, or lack of sound. A singer before an audience may excuse his hoarseness, and find sympathy; ( Continued en page nine ) jd