Radio Broadcast - 1925, February - 113 Pages ... - VacuumTubeEra

688 Radio Broadcast
covers some of the questions that are continually
being asked the conductor of this department,
by people near and far, that Mr.
Morton is again quoted.
Many Hsteners-in wonder why so little consideration
is given to balancing radio programs. If there
is an important psychology in the arrangement of
concert recitals, articles in magazines, etc., there is a
psychology in radio
. . .
programs.
What can a radio
lecturer do, if he
follows the broadcast
of a prize fight
Why, moreover, is
there so little regard
either for the
psychology of the
radio artist or the
listener-in . . .
Take, for example,
the tired listener-in
who is furnished
late at night with
a lecture immediately
following
jazz!
While broadcasting
from one studio,
this was the
situation which
confronted me: the
announcer had, at
the last moment,
scribbled data relative
to my name,
the title of my talk,
etc. He was vigorously
puffing a
cigarette in the well-padded and almost hermetically
sealed studio. The air was hot, stagnant,
stale. I had to stand and talk into a microphone
which was only as high as my waist; the alternative
was to sit in a cramped position at a small
table. Fully twenty-five artists and visitors were
in the studio. They made distinctly audible and belittling
remarks relative to me and to my contribution.
Am I a hypocritical grouch when I ask if listenersin
want this type of situation to be endured by radio
artists
Numerous inquiries have come to the editor
of this department, all couched in about the
same form. "Do broadcast directors allow
people in the studio while any one is broadcasting
I'm sure I can often hear other
voices from the studio in addition to the one
that is
giving the number."
And many artists have said with emphasis
after a first broadcasting experience, "Never
again! There was a mob in the studio, and
another mob running in and out. Imagine
trying to give a decent performance on a concert
stage under such circumstances."
Note what Mr. Morton has to say:
It is beyond me to understand why so many stations
still persist in allowing a full studio while a
number is being broadcast. It is also beyond me
to understand why they allow going into and lea\ ing
the studio during a number. Personally,
I feel that
it is
wrong for an
artist to bring to
the studio, for
obvious
reasons, a
host of his admirers.
As for the question
of requesting
cards from the
radio audience,
think it is
very
poor taste for
speaker to requesl
cards relative to
his own speech
Even announcers
should make such
requests with
moderation. .
And why do listeners-in,
when
sending in cards
relative to broadcasts,
confine them-J
selves to flattering
Kossuth, Wheeling
but meaningless
GEORGE BARRERE
generalities Why
Flutist of international renown and conductor of the Barrere not give the artist
Little Symphony Orchestra whose New York concerts this
season are being broadcast by station WEAF genuine criticism,
showing an intelligent
interest in his
contribution Why not be specific, discussing the
item in a concrete, analytical style, which wil
stimulate the artist, give him suggestions, and call
his attention to points of value to him
The cards that are sent to radio stations
are a good deal like the telegrams and tele
phone calls sent in during a program, than
which nothing could be more tiresome 01
stupid. Fortunately, broadcast directors d(
not attempt to read to their listeners-in th(
communications they receive by mail. If they
did but perish the tho't!
Radio Vision
Both Ways
O CARCELY a week passes without
^S story being published regarding the
^ future of radio vision, if it may be callec
that. We are constantly being told that, eft
long, we shall all be able to see as well as heai
the radio speaker or musicians. We shaJ|
even be able to follow the games that, point bj