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234 SOUND MOTION PICTURES
cording quality of the sound. As the player strays from one hidden microphone to another he cuts one in and the other out. If the best results are to be obtained he must learn to do this in a careful and painstaking manner.
Screen players who have gone right to the top, to stardom, without ever having to speak a line, now find a new condition facing them. A personality in itself means little if the voice destroys the illusion. Therefore such players must be more than clever pantomimists. For those who have feeble or rasping voices there remains only the doubtful possibility of a "voice double," an invisible speaker who keeps time to the lip motion of the performer. There have been instances when this feat has been accomplished with a degree of success. Too, technicians have held that it is possible to devise a filter, either in connection with the microphone or in the amplifying device, which may tend to make a voice attractive by eliminating the high frequencies or increasing the low frequencies. A very large number of the contemporary personalities in motion pictures, however, have been able to adapt themselves to the new conditions without artificial aids. Many of these have the necessary youth, the screen experience, and the confidence. Such a production authority as Jesse L. Lasky has stated that in his opinion the great majority of those who are now making motion pictures will appear successfully in connection with sound pictures. In fact, Mr. Lasky places his estimate as high as 95 per cent.
The sound pictures that have been produced with success so far have indicated that players who are trained in the technique of screen acting and who have pleasing voices have fulfilled all requirements. What the public will expect most in dialogue pictures is a clear, understandable voice rather than one that is specially trained for that purpose. The natural voice will go farthest, for the first and most important requisite of a player is to be understood.