The international photographer (Feb-Dec 1929)

Eight T h INTERNATIONAL PHOTOGRAPHER September, 1929 to be the mirror of life, so, we accept its faithful reflection. When we consider nil this in connection with recording, we find that the chief difficulty lies in the habits of ordinary, every-day speech. We find that, in current conversation, understanding is conveyed more through the process of reasoning by context than by actual audibility. Many people mumble their words through half open lips, rapidly slurring some phrases and polly-syllabled words, sloughing off the final consonants and poorly attacking the beginnings of some words that are readily misunderstood. When we add, to these elements, a poor timbre of voice and untrained diaphragm control, we enter upon some of the difficulties of recording. Now it was observed, years ago, by trained actors who were called upon to record, that there was a vast difference between speaking for the stage and "talking to the wax." There is an interesting incident of a stage celebrity who experienced this fact. He became considerably upset over the difficulty in recording that voice and diction which had gained him fame. But he afterwards admitted that, through that exacting auditor — the recording machine — he learned more about reading than during years of stage training. We may also recite the experience of a celebrated cellist who, when first invited to record, was so dissatisfied with his work that he acquired a recording outfit and improved his work considerably by making numerous records, critically studying the more musical elements of his technique, phrasing, bowing, at tack, etc., and eventually made some beautiful records. Indeed, he even made the statement that this practice before the recorder, and being able to hear himself as others heard him, led him to adopt some radical ideas as to the study of his instrument. These incidents would tend towards eo-eiBDES the belief that the science of recording may, ultimately, have a very salutary influence on the drama, especially if we will accept the instrument as a teacher as well as the production factor in the new art. We often hear of people having fine recording voices. This is true, but it does UNTIL YOU TAKE VITACOLOR YOU DENY YOURSELF THE BIGGEST THRILL IN AMATEUR MOVIE MAKING To make Vitacolor Movies — full natural color covering the entire visible spectrum — you use your present equipment, under the same light conditions, with the same projection possibilities of ordinary black and white movies. Full information from your dealer or write direct to the MAX. B. DU PONT CORPORATION 207-f) North Occidental Blvd., Los Angeles, California EASTERN SOUTHERN BRANCH: BRANCH: 11 W. 42u Street 610-12 Baronne St. New York City New Orleans, La.