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Types of Sound Aids for Schools 131
years, the talking machine evolved from the first hand-driven model through the horn type operated by a spring motor to the cabinet model Victrola. In 1925 came the revolutionary Orthophonic Victrola and then the Electrola.
Prior to 1925, all recording was done by the acoustical method. Sound waves set up by the recording artist or artists caused a diaphragm to vibrate, which directly actuated the recording stylus. Artists worked under great handicaps in those days. Members of orchestras had to be seated so closely together that they hardly had room to play. Some musicians had to be placed on high chairs or benches so that the tones of their instruments could be directed toward the recording horns. The number of instruments which could be recorded at one time was definitely limited. Orchestras of twenty instruments presented tremendous problems, whereas today hundreds or thousands can be recorded without difficulty. Regular violins could not be used and it was necessary to resort to what was known as the Stroh violin. These Stroh violins were made with horns attached to them so they would throw the sound in one direction. The tone quality was essentialy poor. When orchestras were recording, violinists often had to play so close to the other members of the orchestra that they would sometimes run their bows up the bell of a clarinet playing directly above them or into one of the other musician's eyes. The confusion which often resulted can be imagined readily.
There are many tales of strange and interesting happenings in the studios in those days. Famous artists would often become panicstricken when placed in front of the recording horn. One star on his first recording got halfway through his first song, broke down, picked up his hat and coat, ran out of the studio, and left the orchestra sitting there. It was months before he could be coaxed into the studio again for a second attempt.
In 1925, electrical recording was introduced. Many of the former difficulties vanished but they were replaced by other more important problems. Much had to be learned about electrical recording. The microphone replaced the recording horn. The recording stylus was actuated by electrical impulses. High frequencies as well as low frequencies never before recorded were engraved on the surface of the wax. It was possible to record large symphony orchestras. No longer did the musicians have to be crowded together. They could play as they did on the concert stage.
Since 1925, the laboratories have worked continuously on improvements in electrical recording. As a result of these, improvements, the