Evening Star Newspaper, March 2, 1930, Page 67

, THEATER IS TURNED INTO RADIO $TUDIO Audience, Shut Off From Stage, Able to See Through | Glass “Curtain.” ‘ NEW YORK, (9. on the stage. In fact, it has advenced a few steps further and hns turned an entire | theater into a broadeast studio, : —Radio has gone To do that it had to overcome many cbstacles, including the _installation of & six-ton glass “curtain” which can | ‘be lowered and raised by one man, to | make the stage soundproof. Listeners long have wanted to see as well as hear their favorites in action. | Broadcest studios are not large enough to accommodate all of them. The re- sult was the decision to change a theater into a studio where fans could sit_comfortably watching a broadcast program go on the air from the stage | Just like it does from a station studio. Many Alterations Required. ‘The stage studio is a realization of an ambition of officials of the National Broadeasting Co. They have taken over | the theater, with accommodations for | an audience of 600, on the roof of the New Amsterdam Theater building in the heart of New York's Times Square dis- trict. ‘To make the stage into a studio, in- numerable alterations were necessary. ‘The seating section was unchanged, except for the installation of loud speakers at various points of vantage. ‘The audience had to be shut off from the stage, yet be able to see. To do that | it was decided to use a g curtain.” This curtain is really an overgrown | window, with a steel framework to hold the glass. Soundproof floor covering was put on the stage. Heavy drapes like those in the regular studio take the ) place of scenery. Microphone Outlets Installed. Numerous microphone outlets were installed about the stage, each one lead- | ing through a separate conduit to the control room in the rear of the bal- cony. There the operator can watch and hear the entertainers and gauge the output accordingly. From the theater the programs are fed to the local N. B. C. stations and chains by special wires. The audience at these broadcast “shows” really watches with the cur- tain down. It does not actually hear the | voices of the performers, as they ad- dress only the microphone. The music | and other entertainment are conveyed to the immediate listeners by loudspeakers just Mke it is to those using radio re- ceivers far awdy. Admission to Be Free. { Another thing. Tickets for the shows | will not cost a cent. Listeners will be | admitted up to thefll‘lmit of t&s' seat; capacity upon the presentation of ‘l'nglategolrdi" “:ohich nrep to be distrib- uted free on request. Aside from the present apparent fea- tures of having such a studio, there is the future possibility that it might come in handy in the production of television broadecasts. RADIO TALKS TO DEAL WITH SCIENTIFIC FACTS Leaders to Explain Tasks in Simple Language in Series of C. B. 8. Programs. No longr need distracted parents | E‘u’:fl. “Johnny, run along now,” when | offspring inquires what makes oranges round or why every road runs in two directions, for Science Service, through the Columbia Broadcasting from Washington is going explain scientific facts in such e'l'% fashion that any father or each 3:45 to 4 o'clock, contemplates rizing science to an extent never “~ attempted. Leading workers in all fic..- of scientific study and re- | search have been engaged to explain their tasks in language that the non- scientific listeners can understand. Local listeners will be served from sta- tion WMAL. Dr. Warren S. Thompson, director of the Beripps Foundation for Research in Population Problems at Miami Univer- sity, Oxford, Ohio, will inaugurate the series Friday, March 28. Dr. Thompson has spent many years studying Bg - tion and his topie, “Our Puture Popula- tion,” is particularly appropriate this year, during which the decennial census will be taken. Dr. Paul R. Heyl, physi- cist, famous as the man who weighed th® earth while he sat in an under- ground chamber at the Bureau of Standards at Washington, will tell how he performed that feat in a later pro- | gram. TURKISH FAILURE LAID | T0 RADIO “BOOTLEGGERS” | Company, Bankrupt, Unable to le-! sume Broadcasting Unless $35,000 Subsidy Is Granted. ISTANBUL, (#).—Five thousand Turkish radio fans are mourning the; demise of the Constantinople Radio Corporation. e company has gone bankrupt and cannot renew its broadcasting unless the Turkish government grants it a subsidy of $35,000. This company, which | held the monopoly on the sale of radio sets in Turkey, complained that the great number of radio “bootleggers’ were largely responsible for the finan- cial disaster. The Angora broadcasting station, which was Tecently inaugurated, is in- creasing its activity now that it has be- come the sole station in Turkey. TUse of Same Wave Cuts Radius.. WGY reports that the simullancous; ration of that station on the same| e dong i akland, dur« ing the dark hours has “cut down the Tective radius of both stations full 0 per cent.” Convention Chairman Named. Ben. G. Erskine of Emporium, Pa.| hes been appointed chairman of the convention committee of the R. M. A. for the annual meeting to be held at Atlantic City, N. J., in June. The trade show will be a part of the convention. WHERE TO MOTOR AND DINE “The Place to Eat” MILLER BROS. 119 West Fayette St. Baltimore. Maryland Sea Food a Specialty e PENN-DAW Between Alexand: On Richmond Road ¢ Mount Vernon Howmg CoKin Luncheon or \S_upp,err) 85t-5100 Dinfier $125 #9150 tignored these to | since. Behind the BY THE RA ¢¢ J T seems that I have been ‘natural news’ ever since I came into the spotlight. I have been called everything from a romantic sheik to a punk from Maine with a set of mega- phones and a dripping voice. 1 have been supposed to have re- ceived orchids and bouquets dur- ing my theater appearances. Fur- thermore, 1 am supposed to have trophies and to have caused flapperdom to be- come stirred as it has never been stirred before. I have been called a menace . . ."” Thus the famous Rudy Vallee opens his own autobiography, which made its appearance yes- terday under the title of “Vaga- bond Dreams Come True.” the story of his success—his rise from a soda “jerker” in his fath- er's drug store in Westbrook, Me., 10 years ago, to one of the coun- try’s most- popular and highest paid radio entertainers. It was quite natural then that the radio editors who interviewed Rudy when he came to Washing- ton on a whirlwind visit last week to sing and play before Mrs. Her- bert Hoover and the Congres- sional Club to ask him what it was which caused feminine hearts throughout the country to flutter when he crooned sentimental bal- lads into the microphone. But Rudy was stumped for an answer. rankly, I don’t know,” he said. get countless letters, wet with sentiment. In my pub- lic appearances women stop danc- ing and stare at me. I can't un- derstand it at all. I'm not a sheik; I'm not a John Gilbert. And again in his book Rudy re- iterates: “I have always wished that the jealous men would bring the young ladies to see me, as I am sure that they would be dis- illusioned and once more return to normal and be quite cured of their love for a radio Romeo. It may be possible that the roman- tic songs that I enjoy singing do fill a want for romance in the hearts of some girls, but it is really the songs and my rendition of them that accomplish this. After all, Buddy Rogers does more damage to female hearts in one embrace with his heroine than I do in 20 broadcasts.” Rudy's book, however, reveals that his real name is Hubert Prior Vallee (pronounced Vahlay); that Rudy Weidoeft, the saxophonist, was is idol, and so his.{friends named him “Rudy”; that he has been keenly interested in the sax- ophone, and since there were ob- jections to his practicing at home, he hired the town hall for that purpose; that he spent the Win- ter of 1921-22 at the University of Maine and in the Fall of 1922 he transferred to Yale, and work- ed his way through college by nu- merous orchestra engagements, graduating in June, 1927. After that Rudy tramped the streets of New York in search of a job until January, 1928, when he was given a chance to sing and %lay at Don Dickerman’s “Heigh- 0 Club,” where he met with much approval. He there organ- ized the Connecticut Yankees, the seven who have played with him Soon he had a chance to broadcast over a small station, more opportunities came. Now he has a 24-hour working day, which includes four or five public performances a day, personal at- tention to his fan mail, radio broadcasting and listening to song pluggers. Besides this, last Sum- mer he made a talking picture, “The Vagabond Lover,” and wrote his book. * ko % ECENT ventures into the field of international program ex- change have revealed to radio en- gineers that the so-called mag- netic storm, an effect known for many years, is an enemy of radio more difficult to cope with than static. C. W. Horn, general engineer of the National Broadcasting Co. points out that for years engi- |neers have known that the mag- netic storms affect land line com- munications to quite an extent and influence delicate instru- ments, such as a ship’s compass, but it is only in recent years, since the advent of long-distance radio communication. particularly on short waves, that there has been any noticed effect from this source. “It is a peculiar fact,” he said, “that the magnetic disturbances and during the Spring more and | THE SUNDAY Microphone DIO EDITOR. {slble to pick them up on this side of the Atlantic. | | s&ixc is an enemy which, Horn | ibeneves, can be partially con- | quered, at least. It does not re- | duce the strength of a signal, he declared, but constitutes an in- | terference, manifesting itself in |the form of noise. It is conceiv- |able, he believes, that programs | might be broadcast at such high | power that the interference from static might be reduced to a point where it would not be objection- |able, In other words, he sald, | static might not be eliminated, but it might possibly be weak in | ratio compared with the signal |strength. - @ | pADIO will follow a dramatic company on the road for the time in history. The Colum- \bia Broadcasting System has | made arrangements to broadcast the plays during the road tour of {the Civic Repertory Co. | The first broadcast by this com- ‘pnny away from New York will be |made from Philadelphia Thurs- | day, April 10. Eva Le Gallienne, | director of the Civic Repertory Theater, will be heard during | many of the “on-the-road” broad- casts. | W ki | ‘“THERE'S a bum microphone in the studio,” said an alert en- gineer in the main control room of the National Broadcasting Co. the other night while the Whittall | Anglo-Persians were on the air. A faint squeak could be heard whenever Edwin Whitney, narra-| tor on the program, spoke. It was a form of interference new to_engineers. | H. E. Kem-% studio engineer, | finally located the sound. It was | Whitney’s very stiff collar rubbing against his equally stiff “boiled” | shirt. | i \ROSAMUND JOHNSON, director | % of the “Dixie Echoes,” broad- cast by WMAL, recently sent a copy of his “The Book of Ameri- |can Negro Spirituals” to Prime | Minister Ramsay Macdonald of | Great Britain. The prime minis- | ter's secretary immediately wrote | back: “The prime minister was ex- ceedingly grateful to you for your |kindness in sending him a copy of ‘The Book of American Negro Spirituals’ He is simply delight- ed to possess it, as he is fond of them.” * % k * NEW YORK newspaper man recently posed as a man in search of a job as a radio an- nouncer in order to get a story. |He appliéd to Curt Peterson, su- pervisor of National Broadcasting Co. announcers. Peterson gave him an audition, but the reporter gave up when he came to a sen- tence which read: “The sea ceaseth and it suf- fices us.” Try it yourself. THE LISTENERS'| FORUM New Alabama Station. Radio Editor: While “DXing” about | 2:30 o'clock the other morning I picked up station WFBW on about 1,430 kilo= cycles. I think it is somewhere in Ala- | bama, but I could not catch the name | of the city in which it is located. Kind- | ly inform me if I heard the call letters | correctly, and if so, where the station is located. ROBERT B. MARSHALL, | The call letters WFBW are un- | assigned. The station you probably heard was WSDW at Talladega, Ala. | which has been assigned a frequency of 1,420 kilocycles. The Federal Radio Commission, however, has not yet au- |uwrued this station to broadcast. It must have been testing at the time you picked it up. An “Amos 'n’ Andy” Query. Radio Editor: Can you tell me what time I can hear “Amos 'n' Andy" | through station WSB in Atlanta, Ga.? | I do not always return home in time to | pick up the early broadcast over WRG R. C. FUSS. WSB broadcasts the “Amos 'n’ And programs from 11:30 to 11:45 p.m., Washington time. Symphony Broadcasts Planned. Eight concerts by the Montreal Sym- phony Orchestra are to be broadcast by WABC and stations, with the pick- |up at Montreal. The first is planned for Sunday afternoon, March 9, to be followed by the others at weekly inter- | vals. i, Bestor’s Orchestra on Tour. Don Bestor’s orchestra, heard on | KDKA for some time, is on a tour and STAR, WASHINGTON, D, 0, MARCH 2, “Graham McNamee i do not like to be photographed. Apparently, a long period in the comparative seclusion of the broadcasting studios breeds 2 retiring disposition. This has nothing whatever to do with the physical charms, or lack of them, of the persons | concerned. Jessica Dragonette, one of the most attractive young women of my ac- quaintance, who has a successful career in musical comedy behind her th years at the microphone, almost has to be dragged before a camera. Walter Damrosch, whose strong, rugged fea- tures photograph exceptionally well, | stalls off appointments to be photo- graphed until there isn't an excuse left to be offered. Freeman Gosden and Charles Correll will not pose willingly except when they are wearing their Amos 'n’ Andy burnt cork. Mary Hopple, Lois Bennett, Virginia Gardiner, Florence Malone and Gladys Rice, always prompt for rehearsals and programs, can be counted upon to be as late as they dare for photographic appointments, The men don't seem to be so bad | about it. They are likely to rag the photographer, and whomever eclse may be interested in seeing the picture properly taken, but only the orchestra musicians, who have faced the lens in innumerable groups make any real fuss about it, and that out of boredom. el appropriate tune just as the photogra- pher is about to snap the shutter. Men who are much in the news, and who have faced the corps of news cameramen often enough fo become used to it, are easy. Jimmy Walker, Al Smith and Charles Evans Hughes are singularly patient. Newspaper men themselves are just about as bashful before the lens as broadcasting artists. I remember one night when three famous_cartoonists were at the studios a photographer tried to get separate poses of each before a microphone. He finally one to pose alone, but it was such an ordeal for the cartoonist that his fore- head was beaded with sweat when it was over. The two others wouldn't pose at all until plenty of company was pro- Olive Palmer, | got | ADIO artists, I have discovered, | vided for them. Maria Kurenko, the | oughly learned, soprano, refused to pose alone on one occasion, but in this case she insisted | that she was only a part of the pro- gram that had been broadc and there would be no pictures uniess every one else who had taken part was in them, too. | Producing radio plays English fash- | | ion, with four studios and the nfl.ors‘ out of sight of the director, has a lot | to be said for it, bui none of the good | | things were said by the engineers dur- ing the fir sal of & recent show dor yle. For most of the persons involved it meant starting all over again with a new techniquz, Every one concerned knew the theory of the English style; actors in one studio; orchestra in ‘another, and the sound effects in a third, with the director in | some central spot, kéeping in communi- | | cation with the various units by means | of microphones and loud speakers on | the studio walls. The advantages of this system is that the actors are not forced to read their | lines against a background of noise from the orchestra or the sound effects. Similarly, the musicians and the sound crew are not distracted by activity with which they are not concerned. The disad- vantage, in America at least, is that the procedure is unfamiliar and that special technical arrangements have to be made to handle sound originating from more than one studio at ance. | I remember sticking my nose into $he {main control room the night of that {first rehearsal. The usual calm was gone, seasoned engineers looked grim, and the younger men seemed plainly bewildered. To me it looked as if spe- cial patch cords ran everywhere about the room. When I commented on these the engineer on watch looked at me bitterly “Listen!” he said. “We have got pretty nearly every piece of apparatus in the place tied together for this re- | h The only things I haven't hitched on so far are the elevators and the ventilating fans.” | | T ducked out and decided to look in | {on the actors. There they were, all alone in a studio, most of them looking | | rather blank; for from the loud speaker {on the wall were coming these direc- tlons: “I say, run over that last pa: On the streets of this city today is the Oak- land Eight demonstrator, marked on either | —and | Stewart s 1930—PART FOUR. sage again. ©vt emphasize the beat A harassed engineer in plugging in the connections had piped directions | meant for the orchestra leader to the actors instead. But I won't go into details of that night. It is enough to say that the rehearsal lasted until 4 in the morning, and before it was over | the English technique had been thor- to its merits as compared Wwith our own system that will have to be left until later. In spite of what the engineers say, it has its points, This broadeasting is a strenuous life. After more than one tough assignment don't necessarily mean big games, for studio programs can work an announcer just as hard—I have felt that I wanted to go off to the woods for a big rest, but I was a little sur- prised the other day to hear Kathleen she felt like applying for a pension. She won't, of course. No one who has spent five and a half years in the studios. as she has, can quit. But Kathleen. who appears as piano soloist in some of the biggest programs on the air, sometimes despairs over her job as ‘studio accompanist. Such things as singers arriving with unfamiliar music and without a piano COpy, young announcers who try to move the piano too close to the micro- phone, and young production men who | worry' themselves into a headache if she steps outside the studio for a mo- ment, are likely to age one rapidly, says Kathleen. The older announcers and production men would never turn a hair If Kathleen were absent five seconds before she was to go on the air, for she is probably one of the most studio-wise persons in broadcasting. She has never missed a scheduled , and ‘seconds mean more to| minutes to most persons in siness . Incidentally, she is one of the best judges of radio entertainment I know. Hour after hour, when she is not on the air, she sits in control booths watch- inz auditions and programs. She can tell good work from bad in much I &lml‘ than most persons holding aud lons, and she can tell from a speaker’s first sentence whether series will be a success. She heard the last half minute or so of Floyd Gibbon first audition, and announced then and there that he was a big program all by himself. She can pick out the voices |of most of the famous singers after hearing only & phrase or two, even when she hears them on phonograph records | made by the old mechanical recording | process. And she knows the playing time in seconds of scores of piano| numbers. Before an important pro scribed as “the car with superior perform- ance.” down the tempo and | {T'll book him In German opera. gram she relaxes by writing letters. | Although I have always had the | greatest admiration for pianists, I once almost choked a very fine one. It was years ago, when I was a struggling young concert singer, and broadcasting | hadn't even begun. My teacher at that time, Mme. Esperanza Garrigue, felt that my volce had reached such a stage that she wanted consulation as to the | direction in which I should turn. She | arranged for me to sing before Gatti- | Casazza, director of the Metropolitan | opera, and with Alberto Bimboni to | play for me. i Now at that time practically every cent I could scrape together went (or‘ the mere business of living. I could afford to epend very little on music, and what I had was used so much that it barely held together. But it had to serve. At the Metropolitan I placed the tattered sheets of “Eri Tu.” from Verdi's “The Masked Ball,” on the rack for Bimboni, and began to sing. I had scarcely started, when, from the tail of my eye, I saw one of the sheets col- lapse and ha!f of it fall on the floor. | Bimboni knew the music, of course, and he followed me to the end. | When I had finished he scooped up | what was left of the music, and fol- lowed me off the stage. When we | reached the wings he tore the music to | pleces in one gesture of disgust. “There! Youll never insult another | accompanist by asking him to play from such tatters,” he exclaimed. | It happened that I agreed with him | perfectly, in theory, but at that time I simply did not have the 50 cents necessary 'o buy another copy. And I needed it badly. Hence the near | choking. Incidentally, if my teacher | and I had followed the suggestion of Gatti-Casazza, I might be s g in | opera toda; His advice wa: ring | him back in two years a tenor, and | How- | ever, my teacher felt that my voice | would be less stable in the tenor range | than in its natural baritone, and a | baritone I remained. And since I was a baritone, I had no hankering after opera. For who wants to spend | s time singing the roles of gray-‘ ed fathers and other unhappy | retches, while the tenors get all the romance? McNAMEE'S QUESTION BOX. Q. What is meant by meters and kilocycles in the radio log?—C. L. How- erton, Washington, D. C. Meters represent the distance be- & a dé mons 11:= - tween radid waves and kilocycles! 32 number of waves per second. They translatable one into the other. ~The dial of the modern receiving set does not ordinarily show meters or kil cles, but is marked off in points 1 to 100. rAt certain points you 1 pick up stations on certain wave lengths, although these points vary for the same statfon with different sets. By mfi; ing the wave lengths of distant stal with the wave lengths of stations whose positions on the dial of your own set you already know, you can tell where on the dial you shpuld expect to receive the distant station if at all. Q. Will you please tell me how radio programs that are not sponsored by business firms are paid for?>—L. A. McC., Chartley, Mass. A. The cost of the so-called sustain- ipg programs is borne by the broad- casting companies in the same manner as newspapers pay for the gathering and printing of straight news. The profit derived from sponsored programs makes it possible to present other fine programs bearing no advertising, just as the newspapers’ advertising revenue makes it possible for them to pay for handling the news. Q. I have heard Victor Arden is con- ducting the Armstrong Quakers. Have he and Phil Ohman split up?—Tracy ~ | Morrison, Windsor, Ontario. A No. You can hear these men at their pianos every week in the Seibez- ling and Chase and Sanborn programs. Ohman has been on Broadway in the meantime doing a piano specialty in “Heads Up." For several seasons Oh- man and Arden appeared together Broadway productions in addition tc their radio and recording work. There is no split-up in prospect. (Copyright, 1930.) vhu Wt e Fabishoa SPARKS GARAGE West 0447 1126 215t St. N, _Ofi'icial Service A. C. Speedometer CREEL BROS. 1811 14th St. NW. Decatur 4220 fration First to Climb Quaker Hill in High! Until December 19th, 1929, Quaker Hill near Baltimore had never been climbed in high gear by act differently in the case of long | will not be back at the station until waves. Dr. L. W. Austin of the|May 15. In the meantime Tom Gerun any closed car carrying side by a large GOLDEN ROCKET. The | changes in advance. | cently, he said, attempts of the Bureau of Standards, who has| been making measurements for | many years on long waves, re-| ports a general increase in signal | strength at about the time that| magnetic disturbances take place. | We have found that these dis- turbances react in just the oppo- | site manner on short waves. That is, they reduce the signal strength very greatly and seem to offer im- pedance to the passage of the wave.” | The uncertainty as to when magnetic storms may be expected, | Horn explained, makes it difficult to plan transatlantic program ex- Twice re- National Broadcasting Co. to re- lay European programs in this country were defeated by mag- netic storms, which attacked the programs coming from ngllnnd and Germany and made it impos- Good oil, as you know, is the life-blood of a motor. Poor oil is its death-warrant. Autocrat Motor Oil ranks as “Pennsyl- vania’s Best.” By its use you avoid all lu- brication troubles. and his orchestra from the Pacific coast is playing the dance programs. Curiosity Aroused As Boy Puts Music Box Tunes on Air CHICAGO (#).—Alas! A sponsor on WIBO found a pretty rosewood music box, re- plete with memories of the mauve and mauver decades, anc with music, too. “Perhaps,” he said, “our flam- ing youth never even heard a music box—imagine!” . So he took the little music box right up in front of the micro- phone and let it drum its tunes. Over a hundred pert voices be- seiged the station's telephone facilities. “Say, what new in- strument was that?” they asked. They didn't know. Th g PR ey didn't Nothing iz more important than thorougl: lubrication, AUTOCRAT—THE DIFFERERT FRom ALt SHAERY Beware of Substitutes Try Autocrat the next time you need oil, and judge its advantages for yourself. At the Better Dealers driver is ready to stop at your signal and give you a demonstration. The GOLDEN ROCKET is a symbol of tre- mendous speed also outstanding Oakland Eight. Its 85-horsepower eight- cylinder engine develops a full horse- power to every 37 pounds of car weight. That is why few cars can equal its speed, pass it on the hills, or match its swift accel- eration in traffic. Just watch it for a few minutes, and you will Salesroom 14th & R. I. Ave. NW. Decatur 4800 J. L. JERMAN N.wW. MOTOR CO. Mt. 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