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NOVEMBER 1900’ < ( Concluded from page seven ) the audience will take his best and, probably, enjoy it m some degree. But the Phonograph accepts no excuses. It gives back the hoarseness as it hears it. The reproduction is ridiculous and entirely marred. A record that is flawed must be discarded. On the other hand, the excell- ences of music are reproduced in their degree. If the poor ringing is ridiculous, the good is given back with no loss of richness or beauty of tone, or fineness of phrasing. Various is the compensation of Phonograph singers; but all, even the poorest, are well paid. The fact is, do poor ringer need apply here. The Phonograph manufactures carry a staff of men and women on their books, but all most be trained in the art of voice expression. An untrained ringer would spoil too many records, and his best would not be worth much in Phonograph entertainment. Nor can these artists be constantly employed. An hour is about as much as an ordinary voice can bear. The wev and tear of longer singing would soon mar the finest voice. Some of the leading opera singers who have been heard at the Metropolitan Opera House have been induced tm place their voices on phonographic record. One man on Fifth avenue has a splendid collection of such records, among them records of the voices of Nordica, Sembrich and Suzanne Adams. He has records, also, of celebrated tenors, baritones and bassos. The voices of the De R essksL however, he has not secured; those great singers could mot be induced by any offer to put their voices in pickle, as it were.—From the New York Mail and Express . I