The talking machine world (Jan-Dec 1910)

THE TALKING MACHINE WORLD. 47 The independent dealer sells the one independent line— Columbia Disc and Cylinder Machines, Columbia DoubleDisc and Indestructible Cylinder Records. Columbia and independence for him. And you? Columbia Phonograph Co., Tribune Building, New York. IMPORTANCE OF THE RECORD ARTIST Prominent Niche Filled by the "Talent" — Their Arduous Work — Where the Music Publisher Is Shortsighted — An Interesting Chat. By John Kaiseb. No doubt there have been various opinions expressed by the leaders of the talking machine trade, including men of position in the several companies and a number of the jobbers and others about different phases of the business. But little has been heard from the "talent," who, after all, are the foundation or producers of the main product, namely — the talking machine record. The sale of the machine is only the start or beginning of the business, and in order to maintain the real substance of the trade every purchaser of a machine must be made a constant buyer. In order to bring this about the records must be made attractive and the machine owner kept interested by the issue of supplements containing songs and selections. To day, if one should glance over the various cfitalogs one will find a number of artists whose names are constantly seen and who are really the chief entertainers. At the recording laboratories they are known as the "regulars," which means these artists specialize the making of records, spending their entire time and devoting all their energies to this line exclusively. Although the companies have from time to time engaged celebrities of the grand opera and vaudeville stage as well, it must be admitted that the general catalogs are made up of the "regulars." It is also admitted, and no doubt proven, that the introduction of the grand opera artist has elevated the business and made the "talker" more desirable and inviting to the purchaser. Regarding this the "regulars" have expressed their approval, for they, having a keen interest in the trade, know that it means a larger output from which they must sooner or later derive a benefit. This important part of the business, meaning record-making, has progressed wonderfully, and doubtless will keep on progressing; for, as before stated, it is really the main foundation, and the manufacturers as well as the "regulars" realize the importance of perfecting and spend large sums to maintain and perfect this end of it. A few of the oldest, or, rather a few of the talented members who have been engaged in the art of record-making for the last eight years, were discussing the situation recently, the substance of the discussion defining conditions as they were and are to-day. Some years ago, when one of these artists was engaged to sing a "date" he was required to bring five or more songs to be rendered, very often more. The question of quality of rendition was not so important, but the number of selections seems to be the object. In other words, it meant quantity and not quality. To-day the situation is entirely different; not more than a single song or selection is rendered at one time and quality is sought for and every means employed to have the rendition as perfect as possible. The "regulars" are much interested in their work and are anxious to know whether their efforts are appreciated by the purchaser. When one performs before an audience applause is given instantly, and therefore one can judge whether it is meeting with the approval of the hearers. It is not so with the maker of the record, for it is a silent listener, and results can only be looked for after it has been placed on sale. Consequently the artist himself gets no line on his work, as he has no means of ascertaining the results. If he is a failure he finds it out later by the fact of his not being engaged for future work. Ti-e writer knows that artists pay visits to different dealers, sometimes to those with whom they may be acquainted, but very often they call incognito, so to speak, to get an unbiased opinion. Dealers who do know them are very apt to hand out flattery as they are pleased to receive a visit from the distinguished member of the "talent." It is a fact that these artists, in most cases, devote their entire time to their work, and the record owner knows nothing of their hard work in preparing the selection for the recording-room. Every possible means is employed in getting their songs in shape, so that the interpretation in perfect, as there are so many points to bring out to achieve the desired result. For instance, when a man has his audience before him his personality is a help; his gestures and facial expressions are also of a great assistance in winning an audience; but in the "talker" he cannot employ these material helps. He must get his expression, tones and phrasing all embodied in the voice, which becomes an art in itself and requires carefuly study and training. Of course, in the early days, when the artist was compelled to render so many selections in one day, this was impossible, owing to the lack of time allotted to the singer to prepare himself. The result therefore was that the rendition was mechanical, and anyone who will compare a record of two or more years ago with the record of to-day will bear me out in this statement. At the present time, however, the artist receives notice in advance concerning the selection he is required to sing, an orchestration is made in the bey best suited to him and he immediately begins rehearsing. On the day of recording tests are made carefully, the laboratory expert selects the best recorder he has, and after the orchestra and singer are carefully rehearsed the record is made. During the time not employed at the laboratory and at practice the singer can be found visiting the various music publishing houses looking for material that can be used for his style. Many selections are run over before he accepts those he can present to the laboratory committee for their approval. Before the new copyright law went Into effect the talking machine artist was very much sought after by the publisher. They were swamped with selections, and in some instances even paid the singer to use his efforts to get their music in the catalogs of the companies so as to help popularize the songs. Now, although the publishers are anxious to have the "talent" use their songs, so they can get the royalty, their attitude has changed considerably. This, in the writer's opinion, is a grave mistake, and I venture to state it will eventually be to their loss. Every publisher of popular music to-day has paid, and is paying, noted artists to sing his publications, and is spending considerable money in his professional department coaching the sing ers. Publishers have men constantly employed teaching their songs to the various performers, giving them orchestrations in the right key and sending all new numbers broadcast to all professionals all over the country at their expense. Their object is to popularize the selections, so as to create a sale for the sheet music. This must bring results. Granting that in this manner the song is spread all over the country and brought before the public in various theaters, still I believe the talking machine is more valuable to the publisher in creating the demand for the song for the following reasons: First, the selection is rendered to the "talker" by a good artist — better by far than the average public performer — and care is taken to interpret it properly. Second, if it is a comic selection, many little side remarks and extra features are added to make it more effective, and very often the orchestration is altered to brighten it and improve the results. Third, the talking machine reaches the home, which, after all, has the best listeners, and any record proving attractive and interesting will do much to increase the sale of the sheet music in question. Talking machines are everywhere; in towns where a show may never reach and in the homes of many where the members rarely frequent the theater, or other places where the popular selections are more Jikely to be heard. Trade conditions make little difference to this army of "regulars," because the manufacturing companies are always producing new records. Nevertheless, that fact does not make the "regular" feel entirely satisfied, for he is just as anxious to hear good news from both the dealers and manufactureis, as their interests are his also. To meet the "talent" individually is a pleasure. Their faith is pinned to the future of the talking machine business, and if one could see these artists plan and work for their future success a feeling of appreciation of their efforts would be aroused, and in that spirit the attitude of the "regular" in the trade would be better understood. ADVERTISING POINTERS. In advertising, of course the first object is to catch the eye; the second, to hold the attention, and the third, to convince the reader that this is the correct article and that now is the right time to buy it. IN FINANCIAL TROUBLE. A petition in bankruptcy has been filed by Geo. J. Doerzbach, a dealer in phonographs and musical instruments in Sandusky, O. Liabilities, $8,757, with contingent liabilities of $1,625; assets, $6,641.