Richness, smoothness, flexibility, expression, mellowness-these are some of the adjectives that may be applied to a good radio voice.

 

Such qualities may be inherent or they may be acquired. These same adjectives may be applied to an operatic voice, yet that operatic voice may not be at all suitable to radio work. Experimentation is necessary. Lanny Ross has always had a good radio voice. It has always transmitted well and has always been received well because he sings almost entirely in the middle register. Lawrence Tibbett's voice, on his first broadcast, was conspicuous because of its metallic, brittle, and harsh quality. His voice is heavier, more powerful, and not so mellow. Yet after that first broadcast his voice came over the air perfectly. None of its richness and quality was lost. The technicians had placed him in a different position before the microphone and had him behave in a different manner. This method of experimenting with the individual singer's delivery prevails today as it did in 1928.

The method of attaining the correct location or position before the microphone depends on several things: the type of accompaniment, the power and flexibility of the voice, the type of song, and the acoustics of the studio. These in turn are dependent on the type of mike in use. I shall take into consideration only the two most popular types of microphone, the unidirectional and the bidirectional. The average voice, whether it is bass, baritone, or tenor, can usually be placed with comparative ease. The rule most generally followed is to have the singer center up on the microphone and stand about 20 to 30 inches away from it. There is too great a tendency upon the part of the singer to hug the mike. One foot should be placed in advance of the other, in order to allow a gentle and easy rocking motion toward and away from the instrument. When gradations in volume are necessary, the singer may move closer or farther from the microphone. A soft note is picked up better close to the microphone. Sometimes the singer, when hitting a shrill note or when vocal strength is necessary, will be told to turn his head away from the diaphragm. This has the same effect as drawing away-but is not considered to be so satisfactory. Above all, the singer must observe the fundamental rule of being at ease. His position should not be cramped or unnatural. This is the procedure followed when singing with a piano accompaniment. If the accompaniment is orchestral, the placing of the singer must be tried out. The singer must not be drowned out or interfere with the reception of any of the instruments. Often it is considered more satisfactory to place the singer at a separate microphone, but this is not necessary. If a bidirectional microphone is used, the difficulties are decreased. 

In group singing, in a quartet, for instance, the object is to place each singer at the same distance from the microphone. If it is found that one voice stands out when this is done, then that voice is moved farther from the microphone than the others. If one member of the quartet is to have a solo, that member usually should step forward, closer to the instrument than the rest. This is true with all types of microphones. Even when a larger group is singing, one microphone should be enough. The glee club should be placed so that the voices will blend well, no one voice being more pronounced than another. The reader can see that this necessitates a trial -and -error method. Each singer or musical group has its own characteristics, and the placing must be tested until proper relations between voice and instruments are established. Women's voices in a mixed chorus are, in general, lighter than men's voices; hence they must be placed closer to the microphone. In a male chorus, it is usually the first tenors who have the lighter, more lyrical type of voice, while the baritones carry the melody; these two groups must, therefore, be the closest to the microphone. The first sopranos and the second altos of a women's chorus are the ones which have the most sonority, hence they are placed on the outsides of the group. On page 4249 are given the diagrams of three typical vocal groups (Fig. 35). In the case of an exceptionally powerful voice, the remedy is simply to place the singer a little farther from the microphone or a little to one side. If the voice is capable of great range, and that range is to be utilized, then the singer's position should be such as to allow him complete freedom of action to turn away from or toward the microphone. He must be able to increase the distance from the instrument with ease and rapidity. It is true that the ribbon microphone has greatly reduced the necessity for this movement on the part of the singer. Its increased sensitivity makes it possible to pick up clearly sounds that would be distorted by the condenser type. However, this increased sensitivity works against the singer as well as for him, because it registers more readily faults in quality, tone, pitch, or timbre. Hence the necessity for "smooth" voices.

The control of the voice when in front of the microphone is of great importance. On the concert or operatic stage it is possible for a singer to shout and gain his dramatic effect. In front of the microphone shouting is forbidden. If a radio singer 'wants to shout "Hallelujah," he must do it with increased intensity-not volume. The greatest bugaboo in regard to the voice -control problem is the singer who has acquired a tremolo. It is often an advantage on the concert or operatic stage, but to a radio performer it is a death warrant if not controlled.

 

Control of the voice reaches farther than the limits just mentioned. Control means also the maintaining of the correct pitch, with or without tremolo, and the acquisition and retention of a good tone, quality, and general technique. Expression, which is a further mode of control, I have already mentioned as the attribute of a good radio performer. It is in the expression given to words and tones that real artistry lies. For instance, it is possible to say "I love you" by bellowing it out like a bull. But it is also possible to say "I love you" by drawing it out, sweetening it, and mellowing it. The difference is obvious; in that difference lies the expression-and often the greatness of a performer. Lawrence Tibbett is famous for his expression or dramatic quality. Expression, important as it is to any singer, is most important to the radio singer, because he must accomplish through expression and fine shading what the concert or operatic singer achieves through action. Wilfred Pelletier, a conductor of the Metropolitan Opera, who listened to 50 or 60 singers each week, pointed out, " While voice quality is essential and of primary importance, it is personality that singles the vocalist from the crowd and stamps the voice with individuality. This applies not only to the `voice personality but to those little accidents of voice and gesture and mannerism." Radio, while creating new problems for the vocal soloist, also has brought about new methods for training voices. It is now possible to attend schools which teach those who are desirous of becoming radio singers. Some of the methods employed are as old as singing itself; others are new. The old methods include training in the placing of the voice, proper breathing, vocal exercises. However, with new problems new methods have been devised. Primarily the training of the radio singer is in the hands of his vocal teacher, but before he can hope for success on the air he must apply to the control operator for additional instruction. ßoth of these teachers will tell him his faults and how he may correct them, but, if he will make a series of recordings, he will be able to hear for himself how he sounds to the radio listener. As these records are made from the same microphone that he will use for broadcasting, he will be able to experiment with his voice delivery and in the placing of himself before the microphone. Some soloists try to hear their own voices as they sing to the musical microphone by cupping a hand over one ear. It is good practice in the development of a voice level to sing to the microphone and watch a volume indicator. This will train the soloist to maintain a volume smoothness between the minimum and maximum levels that can be broadcast. The best voice for radio is one that is soft, true, and clear. While a soft voice may be amplified, the cutting down of volume of a powerful delivery is not always satisfactory. This desire for light voices and the appeal of the lullaby melody led to the development of the crooner. The crooner's vocal training has developed a flexible and well -controlled voice. He sings across a microphone only a few inches away from his mouth. As the result of such intimacy with the diaphragm, every breath intake, gasp, and pitch vibration is carried clearly to the listener. The sibilant sound, or hissing, is difficult to avoid; but opening the mouth slightly wider than usual to produce the sound and chopping off the sibilant sound sharply is an experiment, among others, to be tried. One of the essentials of the radio soloist is clean-cut enunciation that will carry words clearly to the listener. Proper speech and vocal training are vital. The vocal organs must be relaxed, yet fully under control. Sing before a mirror, but do not look into it for reflected beauty of features; rather listen for beauty of articulation and tone. Do not mouth words. 

Notwithstanding these new methods and principles, the guesswork has not yet been entirely eliminated from radio performance. The acquisition of a good voice for the radio is a. tedious job. It involves hours of lessons and practice. When one has acquired the attributes of the good radio singer, these attributes must be put into practice until they become natural and easy. Originality is the keynote to success in the radio showman. Consequently the broadcasting soloist of popular tunes takes liberties with the tempo of the song which will contrast with the rhythm of the orchestration. This changing of the song from the score is called a "lick." Nearly all crooners "pep up" their renditions in this manner. The radio has given the singer who lacks volume but who has singing ability an opportunity that the auditorium or theater never offered. But the small voice must be true and the singer must have an individual style. Singers of the "blues," "torch songs," the so-called "heat tunes," and hillbilly numbers usually need the amplification offered by the radio. Because of this tendency to "lick" a tune, radio does not encourage listeners to sing along with the broadcaster. The singer is influenced by the fact that the radio theater has many exits that are easily accessible. Only fresh unsophisticated entertainment will hold the listener. Lucille Manners of National Broadcasting Company and Cities Service Programs gave the following advice to radio singers:' 

Fallacious ideas about "special radio technique." 

1. Simply stand far enough away from the mike (at least 23 feet), and sing as you would to any audience. 

2. Do not get into the habit of "saving" the voice, but do your best in every performance. 

3. Use free tone production and be as relaxed and natural as possible. 

4. Radio will pick up "forcing" easier than you think. Radio makes more exacting demands ,on the singer than either concert or opera, in many ways. 

1. Radio singer depends on himself alone, that is, his voice. No stage or settings of any kind . . . nor pretty looks. 

2. Repertoire is more exacting and can include less repeats. Learn to sing "on the breath." Permit no breath to creep into the tone, however. Do not use tones in public that do not lie naturally in your range. 1. Use tones that are resonated in the head in the cavities behind the nose, do not force. Q. Be careful of throat constrictions. 3. Writer uses "set" position for high notes; this, however, is different with each singer.

4. Always warm up the voice with scales and exercises before doing arias and demanding selections.

Need for a foundation of good musicianship. 

1. One must be a well-rounded artist and work as hard for radio as one would for the concert stage or opera. 

2. Even crooners today are increasing their musicianship. 

Music and repertoire. 

1. Theoretically the audience is always the "same" in radio, and singers cannot afford to repeat often. Q. There is a greater variety to radio repertoire than for concert or opera work. Lieder, opera, art songs, musical comedy, ballads, good popular music, and language songs are all to be mastered equally for success. 

3. "Everyone" is in the radio audience and an artist cannot sing specialized music too much. 

4. A radio singer's greatest problem is to sing programs which contain something that everyone likes. ' 5. Such a list should include: a Schubert song, one of Liszt's, Stephen Foster, a Strauss waltz, a motion -picture hit song, etc. 

6. Smooth, lovely melodies are best in the long run. 

7. Don't be either too high -brow or too low -brow; all good music is welcome on the air. Do not be a "prima donna," that is, be a good fellow and be reasonable in your relations with conductors and musicians in the station. Let your development, vocally and artistically, come slowly. Do not be in a hurry to be a "star;" this rating will come of itself in good time. Success will come as suddenly as failure has been persistent. Above all, never allow yourself to feel that radio demands less than other fields of the vocal and musical arts! 

In the early days, of radio it was important to select songs with a limited range. Notes that were too high or too low were not transmitted correctly. The mechanical difficulties leading to this state of affairs have been largely overcome. The advances in microphones, receivers, and other apparatus no longer impose this limitation in selection. The reasons for selecting certain songs for the radio lie in the whims of the advertiser, the singer, or the studio manager. It is now safe to say that any song suited to the singer's voice is appropriate. The large networks are encouraging, by contests, the writing of musical selections which will meet the requirements of the microphone and studio. In the case of "Lenox Avenue," the composer prepared even the musical backgrounds for the announcements. The composer includes in his score complete directions as to how the engineers shall mix the voices and orchestra. The choice of songs, however, presents some interesting limitations displaying the desire of the networks and most stations to broadcast clean programs. The music of certain selections may be presented instrumentally, but the lyrics must not be sung. In such a list are songs whose lyrics are suggestive, such as "Come Up and See Me Sometime," "Fooling with Another Woman's Man," and "I'm No Angel." It is amusing to note that the song "Let's Have Breakfast in Bed" can be announced only as "Breakfast in Bed." Lyrics of certain selections must be revised for radio ears. For instance, in the song "I Get a Kick Out of You," the cocaine line must be changed to "Some like perfume from Spain." On the air belonging to the networks, no lyrics are allowed which refer to "reefers," "hop," "coon," "dago," or "Chink." However, the lyrics of a copyrighted song cannot be changed without written permission from the copyright holder. Many of the lyrics of the swing tunes are forbidden on the air. Broadcasting stations are to be commended for their refusal to allow works of a religious nature to be played in dance time or to permit the vocal jazzing of spirituals. In addition to these limitations are those imposed by copyrights and by the restrictions of foreign -owned numbers. 

If we remember that any microphone is merely a mechanical device which converts audible sounds into electrical impulses, it is only natural to expect that there must be certain definite rules for its placement with regard to the musical instruments whose music is to be broadcast. No general rules can be set down which will adequately treat all possible situations, but an understanding of the more important factors involved will enable the broadcaster to solve his own specific problems. One of the greatest difficulties encountered with this electrical ear called the microphone is that it has no sense of discrimination and faithfully reproduces all the sounds that reach it. A person attending an orchestral concert can focus his attention on the musical sounds being produced and exclude most of the extraneous noises that may be present (coughs, sneezes, reverberation, etc.), but not so with the microphone. It hears all and tells all. Consequently, it must be placed so that it will hear only what it should, namely, the orchestra and its component parts. This means placing the microphone near the orchestra. When the microphone is near enough to the orchestra to minimize unwanted sounds, a new problem arises-that of picking up just the right amount of sound from each instrument. This is what the engineer refers to when he talks about "balance"; in modern acoustically treated studios it is really the only problem of technique with which operators and producers must concern themselves. The loudness of any instrument, as picked up by the microphone, depends upon three things: (1) its distance from the microphone, (2) its position relative to the sensitive face of the microphone, and (3) the loud- 

ness and directionality of the instrument itself. By directionality I mean that all instruments do not radiate tone equally in all directions. A violin does, but certainly the loudness of a trumpet depends upon whether one is in front of or beside the bell. All microphones can be divided into three classes with regard to their sensitivity. They are unidirectional, bidirectional, or nondirectional. Most dynamics fall into the first classification. In the second are ribbons (or velocities) and certain crystal types. The salt -shaker, eight -ball dynamic, and certain crystal types make up the last group. A unidirectional microphone of the diaphragm type has its maximum sensitivity in a line perpendicular to its face, and as one goes around it the sensitivity falls off, so that at an angle of 40 degrees it is only 75 per cent efficient and at an angle of 60 degrees only 50 per cent efficient. The proper height of the microphone can be determined only by experimentation. For a small orchestra, first try it at a height of 5 feet. For a larger organization try it at a height of from 6 to 8 feet. In a live studio the microphone should be lower than in a dead studio, in order to cut down on reverberation. Also, where there is much reverberation, the microphone should be placed closer to the orchestra. The microphone is usually placed between the orchestra leader and his musicians, but to one side. For piano solos a microphone should be set facing the piano and about 6 or 8 feet from the high -register side. A separate microphone is provided if there is to be a piano solo. When the piano is used with an orchestra, it is located either far to one side or behind the musicians. If it is a grand piano, the sounding lid is closed. The bidirectional microphone has a double sensitivity pattern. There are two regions of sensitivity, on opposite sides of the microphone, each having the same general fan shape as that of the unidirectional type. If the musical group is on a stage or platform, the arrangement of instruments already outlined can be used. However, there is always present the possibility that the opposite sensitive face will pick up unwanted noises from the audience or auditorium. The microphone may be tilted toward the orchestra to lessen the sensitivity of the back face. In broadcasting studios it is possible to set up the orchestra on both sides of the microphone, keeping the same relative distances that have been outlined. When a nondirectional microphone is used, sensitivity is the same in all directions, so that the only factor that need be considered in the placing of instruments is that of distance, and this will, of course, depend upon the instruments and the acoustics of the room. When an instrumentalist is to play a solo part with orchestral accompaniment, he will leave his position in the orchestra and play from a position nearer the microphone, so that his tones will stand out above the  other instruments. This is also true of a small group in the orchestra who will rise when playing certain parts of the arrangement. 

In any studio which has a live end, the orchestra is placed with its back to that live end which acts as a shell for reflecting the sound.

The reader should bear in mind that what has been said here is a very general summary arrived at through years of experimentation by accredited broadcasters; it is not, by any stretch of the imagination, to be construed as a solution to all problems. These facts should aid in the preliminary setup of the orchestra or vocal group, but the final test is the quality of the program as it issues from the audition loud -speaker to 'here the musical director is auditing the rehearsal. When special effects are desired, there must, of course, be considerable deviation from the general rules. Every leader has his individual effect to emphasize. Some will bring his violins close to the microphone, others the brass instruments.

The final arrangement of the orchestra will depend upon the balance heard from the loud -speaker during rehearsal. The musical director is concerned with what the listener hears, not with how his orchestra looks in its radio setup. The foregoing diagrams (Figs. 36 to 43) show the more accepted arrangements of orchestra and groups for broadcasting.