An incredible find from the Library of Congress — Bray Studios’ 1923 silent film, The Immortal Voice. Now posted on YouTube, it takes the viewer through Columbia’s entire recording and production process.
Filmed in Columbia’s New York studio and Bridgeport, Connecticut factory, it begins with an acoustical recording session by Rosa Ponselle and orchestra — staged for the camera, of course, but giving a good idea of how a real session might have looked, and how closely the musicians had to huddle (look for the horned Stroh violins, a necessary evil in the acoustic days).
From there the film traces the path of the wax master, from auditioning and plating to the pressing of a finished disc. At the end is a surprise tribute to Victor’s Enrico Caruso, with footage purporting to be him onstage at the Met — making it pretty unlikely that the film was commissioned by Columbia.
Our thanks to the ever-vigilant John Bolig for passing along the link.
Gramophone inventor Emile Berliner stayed active until the end. As owner of the Berliner Gramophone Company, Ltd. (Victor’s Canadian cousin), he established a second residence in Montreal around 1903, but continued to spend time in Washington, D.C. After Victor acquired the Canadian operation outright in 1927, Berliner returned home for good. According to a late 1920s report, Berliner’s estate at 1438 Columbia Road (on what was then the outskirts of the city) included a separate building housing a laboratory and experimental recording studio.
Exactly what went on in there isn’t well-known (there’s no evidence of any commercial recording activity), but these ads from April–June 1930, which appeared some months after Berliner’s death, might be a good starting point for further investigation. It would also be interesting to determine whether son Herbert (a skilled engineer, who developed his own electrical recording system for the Compo Company in the mid-1920s) had any hand in the Berliner Acoustic System.
(Berliner’s Variety obituary, August 7, 1929)