In this segment, Larkin notes that the practice of voice doubling seems to be waning and in any case there are numerous other issues for the sound film that are exceedingly more troublesome.
[110] Songs for "The Divine Lady" were "dubbed" in after Miss Griffith completed the picture. An odd complication developed when it came to doubling the harp. It had been arranged for Zhay Clark to play this instrument for Miss Griffith, but when that portion of the picture was viewed it was discovered that Miss Griffith's fingernails were longer than Miss Clark's, and that her hands, therefore, could not substitute effectively for Miss Griffith's.
So Miss Clark spent two days teaching Miss Griffith the fingering of the harp, and how to come in with the orchestra. Then the star did the scene herself. The music and songs, according to those acquainted with the facts, were "dubbed" in the East—a feat easily accomplished merely by watching the picture on the screen and getting from doubles a sound-track that would fit properly.
Voice doubling is often done in the monitor room after the production is complete, the double playing the designated instrument or reading the lips of the player and timing his words to fit these lip movements.
But voice doubling seems to be on the wane. As time goes on, there will be less need for it. In rare instances, of course, it will be done where stars can't sing or play the instruments called for int he script. But stars are rapidly learning to sing and play. It won't be long now until a majority of players can boast of these accomplishments.
Then, too, microphone miracles are becoming more prevalent every day. This is due primarily to rapid improvement in equipment. Josef Cherniavsky, the musical director for one company, says: "Give me a person who is not tone deaf and I will make him ninety-five percent perfect in talking pictures." Perhaps Mr Cherniavsky is a wee bit enthusiastic, but at least his outlook indicates the present Hollywood trend.
Bearing out his statement, it is interesting to note that if a voice has tone quality, but lacks volume, the fault can easily be corrected by the amplifier. Take Alice White. Alice White sang her own songs (unless I have been terribly fooled, and I suspect I have!) in "Broadway Babies," sang them sweetly, but in a piping little voice that couldn't be heard off the set. Yet when the "play-back" gave evidence of surprising volume in her tones, loud cheers went up from company officials. The "play-back," by the way, is a device which plays back the voices of the cast from a wax record shortly after the scene is filmed. It's an invaluable check-up.
The problem of the foreign player is, of course, difficult to solve. At first t was regarded as an insurmountable obstacle. It is being discovered by producers, however, that what they thought was a hopeless liability in the beginning has actually become an asset. In the case of feminine players in particular, accent is a decided charm. Such foreign players as Baclanova, Goudal, et al, are giving up the thought of perfecting their English. Nils Asther is studying English religiously. Care will always have to be exercised, nevertheless, in casting these players.
Another instance of piano doubling occurred in "Speakeasy," that splendid underworld picture about the prize-fighter and the girl reporter. Fred Warren, an exceptionally capable pianist, doubled at the piano for Henry B. Walthall. This was accomplished by tying down the keyboard of the real piano at which Walthall sat, so that when he struck the keys, nothing happened. You will remember, of course, that he sat facing the audience in such as position as to conceal his hands. Warren sat off stage at a real piano, about fifteen or twenty feet away, in a spot where he and Walthall could see each other. The recording "mike" was near Warren. As he played, Walthall imitated his motions. They had rehearsed the thing to perfection.
Although voice doubling is to the public the most interesting phase of sound work—because it is hidden from public view, no doubt—it is one of the comparatively simple things which confront producers. Problems much more subtle really vex them. For instance: New caste has grown up with the advent of conversing pictures; sound engineers are competing with directors for prestige and dominance; there is often open warfare between directors and monitor men; the new terminology of the business—"dubbing," "bloping," the invention of "split sets"; the mere fact that light travels faster than sound—a circumstance baffling to engineers, and one that gives them grey hairs.
Just recently sound engineers found out that perfect synchronization in a big theater is virtually impossible—all because light travels faster than sound. IF you are sitting comparatively close to the screen, all is well. If you are sitting in the back of the house, or in the balcony, it's another matter. Sound vibrations reach you after you have seen the image speak. The speed with which light vibrations exceed sound vibrations will depend of course upon where you sit. And this is a problem the sound engineers are trying to solve.
So you see producers have other troubles than doubles!
Source: Mark Larkin, "The Truth About Voice Doubling," Photoplay Magazine, July 1929, 32-33, 108-10.
NB: It is my understanding that Photoplay Magazine from this era is in the public domain due to not having renewed the copyright.
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