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possible to reproduce dozens of voices and electric guitars with¬ out offcamera help. Dinah Shore, on the other hand, indicates she’d rather be caught dead than doing a nonlive song on TV; and other top singers who stand foursquare against pre-re- cording include Perry Como, Eddie Fisher, Tony Martin, Jane Fro- man, Martha Wright, Gordon MacRae, Bob Crosby & Co. and the Your Hit Parade crew. Undaunted, Miss Stafford com¬ ments, “With me, the quality of sound is primary. We work twice as hard to pre-record it and get it just right.” This often means a four-hour recording session, with as many as 12 “takes” of a single song, before a 15-minute program goes on the air. Miss Shore counters by sug¬ gesting that pre-recording de¬ stroys the warm intimacy of TV as a medium, forcing a singer to Dinah Shore: She fears fly on nose. concentrate so hard on synchron¬ izing lips with sound track, tape or acetate disc that spontaneity goes out the window. (Reputedly one of the best “lip- sync” artists in the business, capable of fooling viewers com¬ pletely, this star has used her knack only three times in three years—all emergencies.) “Pre-recording,” says Dinah, “can cause a singer a lot of trou¬ ble on TV. If a fly lands on your nose or you sneeze or stop sing¬ ing, the song goes right on and you look like an idiot. With rec¬ ords or radio you’re selling only your voice. On TV you’re offer¬ ing your whole personality—and you can’t pre-record that.” < Jo Stafford: The sound counts most.