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The Listener's Point of View
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deeper and more evenly balanced. It is said that the idea of the instrument originated with him.
While the sousaphone cannot, of course, produce a tone resem bl i ng the instrument it replaces in broadcasting, it serves an invaluable purpose, so say those who use it, by filling in the harmony as nearly as
possible as originally written for the double bass, and it keeps the tone of the orchestra better adjusted than could otherwise be the case with these important stringed instruments out of commission.
After having seen a sousaphone, one cannot but wonder how any man can find breath enough to keep it going, or how, once it gets to going, it can be kept from drowning out all the other instruments with which it is associated.
Who Will Pay For Broadcasting?
OSSIP GABRILOWITSCH Those of you who have not heard him conduct the Detroit Symphony Orchestra have probably heard him in recital. For he is equally famous as conductor and pianist. When it comes to the radio, however he's — well — see what he has to say about it elsewhere in this department
A! AMBITIOUS experiment is being conducted in New York to see if the listener is not, after all, willing to pay for the very best musical talent in broadcasting. The "Radio Music Fund Committee, " as they have called themselves, was formed with Clarence H. Mackay, Felix M.Warburg, Frederick A. J uillard, and A. D. Wilt, J r. as members, and the Central Union Trust Company, 80 Broadway, New York City as depositary for the funds.
The plan, as announced, is to appeal to radio listeners to send in contributions, .direct to the bank, of $i or more, to allow the Committee
to engage the best musical talent — symphony orchestras and individual artists — to broadcast. The Committee announce that all of the funds received will go directly to pay the artists and that none of the contributions will be used to pay for administration expenses.
Station WEAF of the American Telephone and Telegraph Company. 195 Broadway, New York City, was selected by this committee for the experiment, because, the Committee announced, "of the superior quality of their broadcasting."
There is some doubt whether the artists the radio public is eager to hear can be secured for broadcasting, since most of them are recording phonograph artists, and there is a clause in many contracts, made by phonograph companies which prohibits these artists from broadcasting. The plan, at present, is by no means national in scope, and we are in some doubt whether it is wise to restrict the application of this fund to pay for the services of artists from one station alone. What are the managers of stations in Illinois, Texas, Nebraska, and California going to say to this?
We are by no means sure that now is the time to start a program of payment for broadcasting, because it will mean an additional burden on the broadcasters and many stations are already wondering where the money for them to continue is to be raised. The difficulty is a national one, and decidedly not local. Since contributions to this fund are invited, nationally, how are listeners at great distances from New York going to feel about the extreme localization of the disbursing of their money?