Books › Variety radio directory (1938-1939), 1938 › scan 217
Scan 217
Variety radio directory (1938-1939), 1938
22 lines. Read by computer on 17 September 2026. Printed page 211. See the scan on archive.org.
1FORD SUNDAY EVENING HOUR: NON-CONVENTIONAL ARRANGEMENT
3(The "Ford Sunday Evening Hour" under the sponsorship of Ford and Lincoln Motors originates in the Masonic Temple Auditorium, Detroit. It is heard via CBS on Sundays at 9 p.m. N. W. Ayer & Son, Inc. is agency, and the Detroit Symphony is the orchestral group.)
5If the reader will compare the instrument placement in the Ford diagram (page 210) with the placement in the Toscanini diagram, a divergence at once becomes apparent. In short, the Detroit Symphony's placement varies from the normal set-up and is somewhat non-conventional. Similar variations are used by Leopold Stokowski in seating the Philadelphia Orchestra on the stage of the Academy of Music, Philadelphia.
7It will be noted that the celli and bass viols are to the right of the conductor, whereas in a normal set-up the celli are directly in front of the conductor and the bass viols to his left. This change is effected expressly because celli and basses play so many passages together, and because frequent cello solos call for an important set-up position.
9Furthermore, with this Detroit orchestra of 75 pieces, as indicated in the diagram, it was discovered by sheer experiment that the non-conventional arrangement of celli and basses elicited a much clearer tone for radio broadcasting. Due to some unknown factor in stage or auditorium area, a standard seating arrangement sometimes resulted in strident, heavy tones called "woofs" when the program was picked up by transmitting equipment. The diagrammed arrangement overcomes this difficulty neatly.
11It was remarked before that Leopold Stokowski has a similar cello-bass seating arrangement. For purposes of indicating still another deviation, however, it should be stated that Stokowski would place the woodwinds at center-stage in front of the French horns and other members of the brass choir. And Stokowski's violas would occupy the space immediately behind the celli.
13Continuing with the Ford arrangement—the woodwinds are placed to give high definition and clarity, and to maneuver the clarinets into a position where they produce balance in ensemble work, and better definition in solos.
15Number (1) is the main, or orchestra, microphone. It is suspended from the ceiling at a point about 20 feet out from the strings, and at a distance of about 14 feet from the floor. Careful attention should be given to the fact that the microphone is slightly off center to prevent soundwave convergence.
17Microphone (2) is used by soloists whose vocal production is handled so lightly that a close relationship with the transmitter is necessary. Inasmuch as microphone (1) would not completely effect this relationship, microphone (2) has been called into play.
19Microphone (3) is on a stand built into a reading desk. This is used by Mr. Cameron for his talks, and is also available to the announcer.
21Two microphones (4 and 5) are placed before the stand accommodating the chorus of 16 female and 10 male voices. This stand is at the side of the stage to the conductor's left. The type of choral numbers used on the Ford program require, above all, definition and clarity of diction. Hence the two mikes. Although beautiful vocal production could be achieved via a single mike for the entire pick-up—or, as another alternative, one mike for chorus and one for orchestra—the present arrangement, requiring two mikes for chorus alone, facilitates the all-important definition and clarity. To add brilliance to the musical produc-
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