Excelsior Sound Effects Cabinet

Here is an ad for a sound effects cabinet that appeared in the 25 January 1913 issue of Moving Picture World. From the image, you can see that the cabinet was operated through a series of knobs and levers, with the sound effect traps hidden within the cabinet itself. The ad also emphasizes the ease with which the cabinet could be operated—implying that it did not require an expert and so could be used to trim labor costs, a most important consideration especially for small exhibitors.

Drummers and Sound Effects, Cont.

In response to a challenge from a reader, Sinn in this column backs off a bit from his criticisms of sound effects he made previously. Uncharacteristically testy in his response, Sinn here admits that sound effects can contribute productively to a show, so long as they are done well. Interestingly, Sinn still fixates on correctly rendering the sound of the horse: "Do you uphold the fellow who imitates a hose 'trotting on asphalt pavement when it is plain the horses are on soft or sandy soil?'"

The second part of the column is given over to musical suggestions, which is becoming a regular feature.

From Albany, Oregon: “In the issue of Jan. 25th, of the Moving Picture World I read your opinion of drummers and their effects for the picture. You seem to regard them as of not much consequence in the making of a picture realistic.

“I have seen photo-plays in the Eastern houses, and the way they are worked—usually with an orchestra; also in the West where they are worked with a picture pianist and a good drummer with an air cabinet costing all the way from three hundred to two thousand dollars.

“Until recently the West was far ahead of the East even in regard to photo-play houses devoted exclusively to pictures. Here in the West the pianist plays to and with the picture, improvising, “faking” and playing from memory. The drummer has a compressed air outfit that makes trains, auto’s, motor boats, in fact here they make any effect in the picture—not loud and blaring but modulated according to the size of the house. In Portland, Oregon, there is one air outfit that I know of owned (as they always are) by the drummer, which is insured for $1800. In this small town there are three houses, two of them using drummers and paying out (both houses for drummers and pianists) about one hundred dollars per week for their music and not working matinees.

“You may not think much of the drummer and his effects, but if you could step into the People’s Theater, Portland (Oregon) and hear one show played and compare it with an orchestra playing pictures I think you would agree with me.

“As for effects not making the picture, you’ve got to show me. I’ve been to Sadalia Missouri and acquired the habit. Thanking you for at least reading this I beg to remain,
Sincerely, A Drummer with an air cabinet.”

Well, I’ve read your letter; now honestly, did you read mine. You say you did, but did you? My comments were upon a letter from a Massachusetts correspondent criticising [sic] some Boston picture houses. You are evidently in favor of using correct sound effects. Are you finding fault with me for opposing those which are “noisy, silly and incorrect?” Do you uphold the fellow who imitates a hose “trotting on asphalt pavement when it is plain the horses are on soft or sandy soil?” I don’t believe you do, else why buy an expensive including and “air cabinet.” I still maintain that, generally speaking, the sound effect man has not advanced in the same ratio with his co-adjutor the picture pianist there are not so many good or even careful players among the drummers as among the pianists. If all the sound effect men in your part of the country are above criticism they are to be congratulated, but in the east and the middle west they are made up of good, bad and indifferent. I repeat “the sound effect idea, with many is practically the same now as it was in its crude beginning.” And so it is.

Speaking of the “air cabinet,” the first compressed air machine as applied to sound effects was invented and perfected by Wm. E. King of Chicago, some seven or eight years ago and has been in use at the Orpheum Theater (Chicago) since that house has been a picture theater. “Billy” King should have patented his ideal it would have brought him as much fame as has his popular “three-in-one” drum and bell rack.

There are a number of theaters in Chicago where the sound effects are rendered in a careful manner. Mr. King and Mr. Provan at the Orpheum have long made this branch a feature of the orchestral accompaniment to their pictures.

There are some pianists who are not yet out of the wilderness. One of them had “The Resurrection” to maltreat, slander and otherwise disfigure. For the two scenes of Russian Dancers he played “Every Body’s Doing It” and “Every body Two-step,” and at the meeting in the prison, “When You Waltz With Me.” Can you beat it?

“THE VENGEANCE OF DURAND” (Vitagraph).(Courtesy W. E. King.)First Reel.

1. Allegretto “In Meadow Land (by Theo. Bendix), until: “Marion’s Foster Father” (when singer seen).
2. A few bars of “The Rosary”; then back to No. 1 until she sits and sings. A few bars of “The Rosary again, then
3. “Lilacs” (by Katheryn Roberts) until: “On the Eve of the Duel.”
4. Plaintive until title: “At the Time Appointed.”
5. Agitato pp. until shot. Stop a few seconds, then:
6. “Walther’s Traumlied” (Wagner) until title: “Training His Child to Carry Out His Revenge.”
7. “The Rosary” until title: “Ten Years Later.”
8. “In the Shadows” (Finck) until end of reel.

Second Reel.

1. ”Roses and Memories “ (Snyder) until scene at piano.
2. “The Rosary” until end of scene: “Here He Comes Now. Don’t Forget Your Promise.”
3. Schubert’s “Erl King” until Carl and Durand meet.
4. “Evening Star” (Wagner) until struggle.
5. Hurry (long) for fire scene until title: “Vengeance Is Mine.”
6. Plaintive until title: “Memories.”
7. “Roses and Memories” until she sits at piano.
8. “The Rosary,” then back to “Roses and Memories” until close.

“THE LORELEI” (Edison).

1. Waltz until page from book is shown.
2. “Die Lorelei” (old German song), then back to waltz until: “A Conquest etc.”
3. “Le Secret” (by Gautier) until title: “Neglected.”
4. “Salut d’Amour” (Elgar) until title: “Song of the Lorelei.”
5. “Die Lorelei” until she stops playing.
6. “Salut d’Amour” again until title: “The Answer.”
7. “Dreams, Just Dreams,” until title: “The Loveliest Maid is Sitting.”
8. “Die Lorelei” until she awakes.
9. “Au Mer” (By the Sea) until close.

“INTERNATIONAL CONSPIRACY” (Gaumont).(Courtesy of Milt. E. Schwarzwald, Bijou Dream Theater.)First Reel.
Neutral all through—Novelettes, etc.

Second Reel.

1. “Pirouette” (by Finck) until title: “When Greek Meets Greek.”
2. “Lion du Bal” (valse) until: “The Plot Thickens.”
3. “Avalon” once through, then “Fire Flies Dance” until: “At Once We Must Act.”
4. Agitato p. and f. until end of reel.

Third Reel.

1. Waltz until spies are seen approaching the house.
2. Mysterious (“sneaky”) until: “The Night Attack.”
3. Agitato pp. until girl signals flag ship. Swell to:
4. Hurry (long number), until battle ship tender arrives at wharf.
5. Presto gallop (for very fast hurry) until they blow up gasoline launch, then:
6. Patriotic French song—“Le Chant du Depart,” or “Partant pour la Syrie” until end of picture.

Clarence E. Sinn, “Music for the Picture,” MPW 1 March 1913: 878.

Barton Piano Attachment

This ad comes from Moving Picture World 4 January 1913. The inventor, Daniel W. Barton, would patent several other attachments for the piano besides the one mentioned in the ad. The patents for the bell attachment and two other devices are given below. Clicking on the images should take you to a copy of the patent.

Patent number: 1050513
Filing date: Oct 25, 1911
Issue date: Jan 14, 1913



Patent number: 1174956
Filing date: Apr 21, 1913
Issue date: Mar 14, 1916



Patent number: 1174957
Filing date: May 7, 1913
Issue date: Mar 14, 1916

Thoughts for the Pianist

This article is part of the trend calling for less popular music and more classical music, especially for dramas. Especially noteworthy is this passage:

Picture playing does not consist, as some suppose, in fitting song titles to the action of the picture.... Proper accompaniments for pictures are those which reflect their peculiar atmosphere, their tone of sadness or joy or their dramatic movement. Anything short of this is just quack.

Here, the author argues explicitly against song-title approach accompaniment, which though it had been under attack for years evidently remained a prevalent practice. Instead the author advocated playing for the general mood, which is the approach that would be adopted by most orchestras.

Thoughts for the Pianist

The pianist who aspires to be an artist at accompanying pictures will surround each picture with a musical atmosphere of its own. He will think of the general trend of the story, its manner of starting off and ending and its climax. He will notice who the leading actors are in the cast, for by this he may judge somewhat of the intensity of the performance. If the picture is serious drama and is done by the best stars he may need one or two of what might be called his reserve pieces, pieces of considerable difficulty carrying the utmost emotional appeal.

What are some of the pieces? One of the strongest pieces emotionally that I know of is [Franz] Liszt’s third Liebestraum. The first two pages are quiet and serene with an extremely simple melody, yet though simple it has a depth and strength such as can be found only in great music. For those of slight technical ability these first two pages alone should be invaluable. A cadenza follows and then the same strain is taken in the key of B, after which it modulates in E, where the whole piano seems to be brought into action. The finale is soft and tender.

It would be folly to bring out a piece of this description for the ordinary run of pictures. There are sometimes pictures, however, which in character of plot and production show the artistic finish of a poem. Such a one was “The Painted Lady.” Miss Sweet’s acting in the role of the mad girl deserved a musician’s best efforts. How to respond to her loneliness, her first glimmerings of love, her despair at finding she had shot her lover, and her sweet but insane sorrow! Nothing like rag time now, nothing that is the “latest out”; the music must mirror deep emotion. For this we have [Giacomo] Puccini’s “Madame Butterfly” and his “La Boheme,” the Liebesträume (three of the them), by Liszt, also his Consolation and such well-known songs as [Guy] D’Hardelot’s “Because,” [James Carroll] Bartlett’s “A Dream,” [John W.] Metcalf’s “Absent,” Roger’s [James Hotchkiss Rogers] “At Parting,” [Edvard] Grieg’s “Ich Liebe Dich” and [Ethelbert] Nevin’s “Rosary.” These last should be paraphrased to get the best piano effects.

The great need to-day is far more seriousness on the musical side. The picture companies do not hesitate—heavy dramatic subjects are coming out all the time and the public does not weary of them either, only the whole thing lacks artistic success because of crude music. Wrong ideas have contributed to bring about the present condition. Picture playing does not consist, as some suppose, in fitting song titles to the action of the picture. This is not exactly a bad thing in itself, but it amounts to no more in picture playing than tooting the whistle does in running an engine. Proper accompaniments for pictures are those which reflect their peculiar atmosphere, their tone of sadness or joy or their dramatic movement. Anything short of this is just quack.

All is impossible, however, without the proper music, so the buying of music becomes a very important matter. The pianist should select his music with special purposes in view. He will pick out “The Dance of the Hours” (Gioconda [by Amilcare Ponchielli]) for light gay action in say a society drama; “Valse Triste” ([Jean] Sibelius) will serve for dark, sombre effects; “Heart’s Ease” (MacBeth) for any romance; “Pomp and Circumstance March” ([Edward] Elgar) for those splendid pageants in Pathe Weekly; “Nita Gitana” ([Reginald] De Koven) for Mexican love scenes; “Gondoliera” ([Moritz] Moskowski) for boat scenes; “Autumn” ([Cécile] Chaminade) for any simple sadness; “Summer” (Chaminade) for freshness and life.

Recently the Russian Symphony Orchestra did this entire industry an honor by accompanying the Pilgrim’s Progress pictures with a special program prepared by the conductor. Some day, perhaps, one of our great pianists will favor us in a similar manner. In the meantime every exhibitor can help things along by keeping the piano well-tuned. Those who have really seen the light will shelf the old upright and put in a modern grand.

Kenneth Aiken, “Thoughts for the Pianist,” Moving Picture World 1 February 1913, 470.

Musical Suggestions

In this column, Sinn provides mostly lists of musical suggestions submitted by readers. Because he does not appear to edit the suggestions for consistency of formatting, it is interesting to see how differently each author approaches the form.

The Selig Polyscope Company are re-issuing a picture made famous by them some years ago. You remember it, of course—“The Cowboy Millionaire.” It has been remade entirely on a much more elaborate scale than before, and is now in two reels, the first one being taken up mostly with spirited pictures of cowboy sports. The accompanying music should be of a spirited nature likewise. Some suggestions are offered:

“The Cowboy Millionaire.”
Part First.

1. “Zephyr” (“The West Wind,” from suite by Trinkaus, published by Witmark & Sons). Watch for pistol shots; continue music until donkeys are seen.
2. “Wild West” (by Percy Wenrich) until title: “Bud Gets a Surprise.”
3. Lively music until Bud reads telegram; as they rush into a saloon:
4. Chorus of “One Drink More” until change of scene.
5. (Railroad scene.) Back to same lively for one scene.
6. “Starlight Sioux” (Intermezzo by Aubrey Stauffer) until Bud sits in office and looks at stenographer.
7. “I Want You, Dearie, ‘Deed I do” (by Remick) until change of scene. (Any similar song chorus will answer, such as “I’ve Got My Eyes on You,” or “I Always knew the Girl I’d Love Would Be a Girl Like You.”)
8. Any lively music until title: “Getting an Outfit.”
9. Waltz until Bud sits at table with girl:
10. “Won’t You Be My Sweetheart?” (song chorus) until end of reel.

Part Second.

1. Waltz (two scenes) until title: “The Same Old Club.”
2. “The Mouse and the Clock” (Whitney) until change of scene.
3. Waltz again until title: “The Diamond S Boys Arrive.”
4. Kick-a-poo” (Harry Von Tilzer) long number—p. and f., according to alternate scenes; play until title: “Bud Takes the Boys to See a Melodrama.”
5. Waltz until stage is seen.
6. “Hearts and Flowers” until villain seizes leading lady.
7. Short hurry until change.
8. “Sailing, Sailing” (any sea song); in second scene change to “How Dry I Am” until title: “A Bucking Broncho,” etc.
9. “Stein Song” (or any drinking song). They get sea-sick; can follow action. When Bud enters apartment change to:
10. “Broncho Nell” (Gardner Publishing Co.); begin piano, increase and decrease with action until title: Bud’s Resolve—Never Again.”
11. “Never, Never No More” (old song), or any lively music until finish.

“The Mexican Spy” (Lubin).
W. E. King’s orchestra at the Orpheum Theater, Chicago, accompanied Lubin’s two-reel film, “The Mexican Spy,” as follows:

1. Waltz, “Espana,” until title: “The Forged Letter Secures,” etc.
2. “La Paloma” (the introduction plays through one scene)l the balance of the number until the title: “The Major’s Son and the Paymaster’s Daughter.”
3. Novelette until: “Tom Unable to Pay.”
4. Mysterious (bass solo); subdue at alternate changes, until Tom enters office.
5. “Pizzicato” until girl enters office.
6. Novelette until ”Having Accidentally Knocked the Receiver,” etc.
7. Agitato p. and f. until Tom exitsl a few bars of neutral until change.
8. “Reconciliation” (Bendix suite) until end of reel.

Part Second.

1. Heart’s Ease” (Moret) until recruiting office. (N. B.) Increase quasi agitato when she comes on screen to the two men.
2. “Under the Harvest Moon” (Published by Witmark) until: “One Year Later.”
3. Novelette until ambulance seen in foreground.
4. Hurry; start softly and work up to forte; at shots
5. Change to heavier hurry for battle; play until: “He Will Live.”
6. Plaintive for one scene.
7. Novelette to end of reel.

_____
Miss Maude Waters Dittmar (Marvel Theater, Frederick, Md.), gives us another of her welcome letters. She says: “For our comedies the numberless amount of songs as well as “rags” work out well as shown by Mr. Bruce’s program (Moving Picture World, January 18th). I have found the operettas very valuable and suggest some selections I am using: “Red Mill, Madame Sherry, Three Twins, Siren, Singing Girl, Kiss Waltz, Red Widow, Pink Lady, Little Miss Fixit, Dr. DeLuxe, Enchantress, Balkan Princess, Hans the Flute Player, Quaker Girl, Jacinta, Naughty Marietta, Chocolate Soldier, Gypsy Love, Baron Trenk, Three Romeos, Woman Haters, Dollar Princess, Golden Butterfly, Mikado, Pinafore, Robin Hood, Sorcerer, and Eva.” Of course you must use judgment if you wish to suit the picture. We are running Warner’s features together with one Universal program. For the “Sphinx” I used Baron Trenk, using some detail work, of course, and closing with Schumana [sic] “The Two Grenadiers.” For the first reel of “The Glass Coffin” the slow movement from the selection Stradella,” for the other two reels the selection from “Aida.” It fitted beautifully. The “Bohemian Girl” works out fine, for you can make the selection fit exactly. I have used fifteen of these grand opera selections published by Schirmer to great advantage. Enclosed find program for:

“Redemption.”
First Reel.
1. “Moonlight Dance” (Finck).
2. Valse from “Siren.”
First movement “Sango de Maurice” (Hein).
“Trauermarsch” (Mendelssohn).
“Humoreske” (Dvorak).
Second Reel.Waltz, “Phantom Isle,” first movement.
For dance, “Tarantella,” Gillette (Presser). This was splendid. Finish above waltz.
Agitato until “Sent to Prison,” then plaintive. (I used “Valse Dolores,” by Waldteufel.)
Close with chorus from Faust “Whilst This Blest Sign.”
Third Reel.Inflammatus from Stabat mater.
Intermezzo from “Rusticana.”
Largo (Handel).
Closing chorus from Faust: “Holy Angel in Heaven Blest.”_____
“The Resurrection” (Masko).
The music given to this four-reel feature was arranged by Mr. Milt E. Schwarzwald, the leader of the Bijou Dream Orchestra, Chicago. This house is now running a feature film, which changes once a week, and is making its music a prominent part of the show. Mr. Schwarzwald kindly gave me a copy of the numbers as selected and played by his orchestra:
First Reel.1. Russian walze suite (pub. by Ditson), “The Fawn,” “Bluette” and “The Orchid” in the order as given; keep last number (“The Orchid”) until title: “Death Takes Katusha’s Baby From Her.”
Then plaintive music for one scene.
“The Orchid” again through one scene, then:
“The Rosary” until end of reel.
Second Reel.1. “Puzta Maiden” waltz (by Chas. Roberts). The introduction is characteristic and will fill first scene; No. 1 waltz begins at 2nd scene, rather slowly and softly until: “The Life Without Care or Hope.”
[470]
2. Russian Dance until dance is over.
3. Same waltz until “Russian Dancers.”
4. “Russian Kossack” (dance pub. by Emil Ascher) until dance ended.
5. Same waltz (short) until he drinks poisoned wine.
6. Agitato pp. until dancers.
7. “Russian Kossacks” again (short) until change, then back to
8. Same agitato as No. 6 until: “Maslova Is Accused.”
9. Plaintive until end of reel.
Third Reel.1. “Melody in F,” once through.
2. “To a Star” (by Leonard) until letter is shown.
3. “Salut d’Amour” (Elgar) until end of reel.
Fourth Reel.1. Plaintive until title: “The Condemned Start for Siberia.”
2. Pilgrims Chorus (from Tannhauser) until title: “The Prison Hospital,” etc.
3. “The Melody of Peace” until end of reel.

Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 1 February 1913, 469-70.

Edison Kinetophone Ad

Here is an ad announcing the Edison Kinetophone from the 25 January 1913 issue of Moving Picture World. (Click on image for larger version.)

The Talking Picture

The year 1913 saw renewed attempts to commercialize synchronized sound film, which had mostly disappeared from the American market at least after the failure of the Cameraphone Company around 1910. (For a PDF of contemporaneous article that gives an overview of the earlier period, see . Harvey Middleton, "Pictures That Speak," Technical World Magazine (March 1909).) In the article below, Hugh Hoffman reviews three systems that were available for talking pictures in 1913: Edison's recently introduced Kinetophone (pictured right); the Vivaphone; and Gaumont's latest version of the Chronophone, which had originally been introduced in 1902.

Even in 1908-1910, the primary challenge to sound film had not been synchronization, which could be managed through a reasonably competent projectionist. In this article Hoffman addresses three main issues: the difficulty of damaged film, the lack of good subjects, and the "hollow" sound of the phonograph. According to Hoffman, the Kinetophone and Vivaphone could manage slightly damaged film with only a little difficulty, but the Gaumont system required replacing any damaged film with the equivalent length of blank leader. Of course, this made the Gaumont system somewhat less flexible—though it should be remembered that the Vitaphone system, which would prove successful, had exactly the same requirement. The lack of good subjects was a hard one to remedy because the economic situation in 1913 was not yet favorable. Most top-flight artists were still reluctant to go before the camera (not to mention the sound camera), and the industry did not yet have the money to convince them otherwise. Most problematic, I think, was the sound of the phonograph, or more precisely, the lack of a system of electrical amplification. Regular phonographs were inadequate for any but the most modest theaters, and the means of mechanical amplification (especially compressed air) tended to make the sound "tinny." Larger theaters of the time also were not designed for reproduced sound and the high degree of reflected sound in those theaters tended to make recorded sound in particular muddy and indistinct, which had the effect of making dialogue in particular difficult to follow.

The Talking Picture.

A Review of Some of the Synchronizing Systems Now on the Market. The Edison, Vivaphone, and Gaumont Systems.
By Hugh Hoffman.

The talking picture, meaning particularly the combined and simultaneous action of the phonograph and motion picture, is having a revival. The idea is not new, but new methods have been introduced and advertised to an extent that warrants some attention to the subject. When the Cameraphone Company failed, some four years ago, the incident was considered to be the finish of the talking picture as a practical commercial proposition. There was no great objection to the synchronizing results of the Cameraphone; they were all that could be expected, but the big missing link was the inability to make a phonograph keep time with a patched reel. It cannot be unqualifiedly stated that this condition has been eliminated in any of the new devices now on the market, but it has been provided for in ways that render it a less momentous question than before.

So far as actual synchronized action is concerned, satisfactory results have been obtained by the manufacturers mentioned herein, each in his own way, which is radically different than that of the others. With this fact established, the exhibitor will no doubt wish to know just what can be expected in the way of screen results. We can truthfully say that there is much that can be expected, provided certain other simple faults are corrected. The first failure of the talking picture was not due to any failure to synchronize the phonograph and motion picture. The main cause of the failure was the poor choice of subject. And that very cause will bring about the failure of these new devices if not observed by their promoters. The remedy lies in providing better stuff for an audience to look at and listen to. The public are willing to admit that the talking picture is a great invention, but they refuse to pay their money to witness it and then have their intelligence insulted by the reproduction of a lot of stereotyped, small-time vaudeville acts, and puerile subjects of various kinds.

Mechanically the talking picture is a success. Now it is up to the promoters to make it an artistic success. If the talking picture fails against we will know that it is because its sponsors have overlooked the ends in their attention to the means. Poor choice of subject is the one big drawback, and the remedy is so simple that it will be a great pity if the idea fails again.

Among the mechanisms treated herein there are prices to suit all purses, according to the elaborateness or simplicity of the device, and according to the results that can be obtained therefrom. One of them is complicated, another is simple, and the other is half way between. Each does its work well, but the one is that provided with the right kind of pictures is the one that is going to win out in the long run.

The Edison Kinetophone.

The Edison people do not claim to be the inventors of the talking picture. They do claim, however, that Mr. Edison has taken the original idea as a foundation, and, after having made a study of synchronization in all its phases, has produced an apparatus, embodying original ideas of his own, that is commercially practical. The Edison outfit consists of giant phonograph, an Edison projector, and a synchronizing mechanism. The phonograph is operated by a small motor, for reasons which will appear presently. A large wax cylinder record is used, measuring about four inches in diameter. Some of the phonographs are equipped for disk records. An ordinary phonograph horn is used. The phonograph is located just behind the curtain, and in vaudeville theaters is set below the level of the stage. For operation, the trap door is opened, the phonograph operator sets his horn, starts his motor, waits for his cue, which is in the picture itself, and then throws in a clutch or switch which starts the phonograph. The trap door arrangement is probably used to save the time that would be required to set the phonograph properly, thus avoiding a stage-wait.

The projector used is the regular Edison Kinteograph which is too well known to need description, except that on the take-up pulley there is bolted a gear wheel that is connected to the synchronizer by a chain belt. The main trick is in the synchronizer, one of the most beautiful little pieces of mechanism that ever was made. A mere glance at it is sufficient to convince one that it is an example of the highest type of the machinist’s art. It bulks to about the size of a small cigar box, and the mechanism is encased in a metal envelope. The synchronizer is bolted to the off side of the machine table and is propelled by two different forces; on one side by the moving picture machine, which is turned by hand, and on the other by a belt from the phonograph motor. The synchronizer is all gears, and if these gears are not all traveling at the same rate, they will bind and stop the projector. There is a warning brake that tells the operator to slow down or hurry up, as the case may be. It operates by centrifugal action, like a governor. In addition to this there is a traveling bevel gear, or differential, between the two sets of gears, which is operated by turning a knob. This arrangement enables the operator to catch up or drop behind if there is the slightest variation between the phonograph and the lips of the actor. The operator must keep his eyes on the picture all the time. He also has a telephone receiver on his head which is connected by wire to the phonograph, and this enables him to hear it at any distance.

The same motor that propels the phonograph also drives the phonograph side of the synchronizer. This is done by a belt that travels from it to the operating room and back again. The belt is a strong, black, waxed, silk cord about the size of a heavy fish line. In theaters it passes up through the ceiling, across the dome roof, or inner dome roof, over to and through the proscenium wall, and by various angles it reaches the phonograph from underneath the stage. At every corner, this belt passes around pulleys that are encased in metal, making them dust and water proof. Two belts are usually installed, so that in the case one breaks the other is handy. In the case of small picture theaters, this belt would probably be rigged close to the ceiling. It is not necessary, with the Kinetophone, for an operator to be a mechanical or electrical expert, but he must not be a “greenhorn” by any means. Its operation requires a reasonable amount of common sense and during the time of operation it requires that the operator shall concentrate all of his faculties upon the work.

In case of a patched reel, if the cut-out is not more than a few inches it is easy for the machine operator to drop back enough for the phonograph to catch up. In case of serious or long breaks, the Kinetophone Company provides an extra subject for substitution and the broken reel is taken out of commission until the broken scene is replaced with a new one. One of the principal claims of the Edison Company is that their field of reproduction is practically unlimited, because their records and films are made at the same time and by the same machinery.

The Vivaphone.

The Vivaphone is a device that has been in use for the past couple of years in Great Britain. Its mechanism is extremely simple. The synchronizing device is located in the operating room. It is a sheet metal box that stands on edge. It is about two inches thick, fifteen inches long and a foot high. There is an electric light inside this box that shows a red bulls eye, when lighted, to the phonograph operator, who is located on or near the stage. On the machine operator’s side of this box is an upright slit through which the light shows in its ordinary color. Outside the box, on the machine operator’s side, is an upright pointer about the width and length of a lead pencil, which in its normal upright position always covers the slit in the box and stops off the light. Attached to this pointer are two miniature windows about the sixe of a postage stamp; one on each side of the pointer. These little flag windows or window flags are on a level with the light slit in the box. One window is colored red and the other green. These window flags indicate whether or not the machine and phonograph are in time with each other. When machine and phonograph are in time, the pointer covers up the slit and there is no light. If they get out of time the pointer moves to one side or the other, according to whether the machine is running too fast or too slow. When the pointer moves to the right it brings the little red window across the light slit and produces a red light, which means the machine is running too slow, if the machine is going to fast the pointer goes the other way and brings the green window across the light slit, thus producing the green signal, meaning too fast.

There is a particular spot on the film that must be threaded in the machine directly over the aperture for a starting point. Likewise there is a marked starting point on the phonograph disk. The machine operator signals the phonograph man that he is ready, by turning on the light in his synchronizing box, and that shows the red bulls-eye to the stage. The moment the phonograph starts, the synchronizing box begins to tick slowly, like a clock. A special handle is required for turning the machine. This handle is electrically connected, by wire, to the synchroniz- [1348] ing box, in a way that affects the pointer and its little colored windows. It is the operator’s business to see that the pointer stays perpendicular, which means that he is in time with the phonograph.

The only connection between the phonograph and the synchronizer is an ordinary double bell wire. This wire is attached to a skeleton casting, bearing a magneto. One end of the casting rests upon the solid part of the phonograph, and the other end fits over the pin in the center of the disk record. The revolutions of the disk establish a make-and-break circuit that travels through the magneto back to the synchronizer and causes it to tick. The handle of the machine also establishes a make-and-break circuit with the synchronizer at the same time. The phonograph travels at the same speed always. If the machine goes too fast the extra magnetic force generated by the speed pulls the pointer to one side. If the machine goes too slow the phonograph magneto, by its greater excitement, pulls the pointer the other way. On reasonably short film patches the operator can slow down until the phonograph catches up. On bad breaks a new subject should be used.

This entire device is very compact. It can all be packed in half the space of a dress suit case, and weighs only eight pounds. It can be attached to any standard projector without previous preparation, and can be made ready for operation within twenty minutes, with temporary wiring. The electrical power is furnished by an ordinary bell battery and the wire is common bell wire or extension lamp cord. There are three pairs of binding posts on the synchronizer. One pair for the machine handle; one pair for the phonograph and one pair for the battery. Any ordinary Victrola talking machine, such as are sold for home use, can be used with this outfit. The machine operator who gave the demonstration learned to handle the apparatus in half a day. Anyone who can operate a Victrola at home can operate one with this device. Mr. Albert Blinkhorn, formerly of London, has the American and Canadian rights.

The Gaumont System.

The Gaumont system of talking pictures has been in vogue for several years. The present device is an amplification of the Gaumont Chronophone which made a brief American appearance in 1910. Since that time Mr. Leon Gaumont has been experimenting continuously with synchronizing machinery. The recent revival of talking pictures prompted him to bring his device to America, principally as a matter of pride and to remind the American public that for more than two years he has been giving such exhibitions in Paris. He recently leased the Paris Hippodrome for that purpose. The new Gaumont talking pictures were given their first American showing in New York, at the 39th Street Theater, on June 10. Mr. Gaumont is not certain at this time when and how he will market his apparatus, or whether he will market it at all.

The Gaumont system can properly be called a scientific instrument. In its working it has been brought right down to the ultimate of scientific perfection. It has been before the French Academy, and the learned scientists there have marveled at its infinite precision points. From this viewpoint it is entirely praiseworthy, but at the same time it is complicated and it is doubtful whether very many operators could be found who have the necessary mechanical knowledge to successfully manipulate it. Exceptions may be taken to the last statement because the Gaumont mechanism is almost entirely automatic. After the film and the phonograph disk have been placed in position there is nothing for the operator to do except turn on the electricity, and the machine does all the work itself. Still there must be some one around to keep it in working condition, and, unless the operator is a pretty thorough many, there is likelihood that he would do more harm than good.

The entire apparatus operates and is controlled by electricity. There is a wonderful electrical affinity between the phonograph and the projector. With this system the phonograph man is the engineer, instead of the man in the operating room. He sits on the stage behind the screen directly under the projection surface. Before him is a low aluminum machine foundation resembling a lathe. At each end of this base is a round solid metal plate for the support of a disk record. These are revolved by a motor which keeps exact time with the motor that operates the projector. Between the two disks is an upright electric switchboard, with many contacts. This apparatus controls itself and the synchronism automatically. It is delicate and complicated and contains presumably many relays, magnets, inductors, circuit breakers, etc. Connected to each one of these is a wire, and there are many wires; enough to make one large cable when all bound together.

When the exhibition begins the phonograph operator switches in his record. The instant the record starts there is a clutch thrown in at the projection machine propeller and the film starts at full speed, getting its momentum from its own motor, previously started. Then the wonderful switchboard begins to work. It resembles accordeon keys playing themselves. There is no chance for the film and the record to get out of time, except by a bare chance that the pin should jump ahead or behind on the record. In that case the mechanism will adjust itself. In the matter of patched film, whatever is cut out must be replaced by an equivalent length of film, whether it be blank film or a duplicate. The exact relation of the picture to its corresponding dialogue or music must be maintained. To insure absolute precision, the phonograph operator has a dial board beside him on which are two instruments resembling ammeters or voltmeters. These tell him to a hair’s breadth how his film and phonograph are traveling. The machine operator uses a head telephone receiver connected to the phonograph. The double phonograph idea is for alternating purposes on long pictures. The change from one to the other is also made automatically.

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In concluding the subject it cannot be said that any of these devices has succeeded in evading the hollow sound of the phonograph. Perhaps it is asking too much to expect absolute perfection in that direction. If no improvements are forthcoming it behooves everybody to make the best of what is available. Phonographs are enjoyed in the home; why not in the theater? It is quite probable that any audience would not object to a phonograph if the subject were interesting enough to hold their attention, but it is asking rather a good deal of them to sit and look at a musical act, or a synchronized song and dance, with the feet cut off, when they may have seen the same thing in real life on the same bill thirty minutes before. The fault of the talking picture lies in the lack of variety. To hold its own it must offer something that is not common to a vaudeville bill. Something worthy of it. We are not prepared to say what this should be, but is quite probable that tabloid grand opera would be a good beginning. The grand opera records seem to be the most satisfactory so far, and the great majority of picture or vaudeville devotees have little opportunity to attend grand opera. Addresses by prominent men; solos and monologues by famous artists; scenes from classic dramas; all would be well received. The people are willing, even eager, to admit that synchronism is possible, but they want to see something worth looking at. Why not give it to them?

Source: Hugh Hoffman, “The Talking Picture,” Moving Picture World 28 June 1913, 1347-48.
Image Source (1913 Kinetophone): Edison National Historic Site.