Edison has had no musical training, as the term is generally understood, and the writer must confess that before hearing the above expression he failed to comprehend the true basis of the inventor's opinions of the various compositions played or sung for him. On several occasions he therefore arranged (unknown to Edison) to have one or more compositions played or sung again after a lapse of some weeks, to see whether or not there would be any similarity of opinion to that first indicated. In every case Edison's judgment was practically, and in some cases precisely, the same as before, thus proving that the opinion first given was not merely a whim, but was based upon some definite line of thought in the inventor's brain.
His excursion into the musical realm has also included the personal hearing of many singers so as to determine their fitness for making phonograph records. This proved to be a wonderfully interesting field of investigation, and he has given a great deal of time to it, listening critically to each voice, good, bad, or indifferent, and patiently writing out his criticism in each case. Not only has he heard a large number of singers who have visited the laboratory for the purpose, but he also had a representative scouring Europe for voices several years ago. This man visited the principal cities and towns of Europe and took phonograph records of the voices of the operatic and other prominent singers in each place and shipped them over to Edison, who listened to each one and recorded his opinion in a series of note-books kept for the purpose. He has in the laboratory at Orange nearly two thousand voice records of this kind. All this is done with the object of securing the really best voices in the world. Probably this is the most unique "voice library" in existence.
He is very deaf, but has a wonderfully acute inner ear, which, being protected by his deafness from the ordinary sounds of life, will catch minute imperfections that are imperceptible to the person of ordinary hearing. In listening to a voice he uses a peculiarly shaped horn which is held close to the ear, and such is the acuteness of his hearing that he at once distinguishes minute changes of register, extra waves, tremolo, non-periodic vibrations, and other minor defects that detract from the true beauty of vocal sounds. In addition, he can immediately recognize the number of overtones and rate of tremolo, which may afterward be verified by a microscopic examination of a record of the same voice.
Edison contends that the phonograph will give the "acid test" of a voice, for it will record nothing more and nothing less than what is in the voice itself, and the record is unchangeable. In his judgment, operatic voices are not necessarily the most perfect ones, for, as he says: "the vocal cords of opera singers are always at the straining-point. They usually sing on roomy stages in large theaters with a large orchestra in front of them, and their voices must go out above all these instruments so as to be heard to the farthest limits of the house. Consequently, they are always doing their utmost and their vocal cords become adapted to heavy work only. People often wonder why their favorite operatic singers do not charm them as much in concert or through the phonograph as they did at the opera, but do not stop to think of the difference between the opera-house and the concert-hall or parlor. I don't mean to say a word of detraction in regard to operatic singers, for I have a great admiration for their wonderful art and for many of their voices, and a great number of them have now recognized the value of special effort to acquire the distinct art and technique of singing for the phonograph (which is a parlor instrument), and have made some really beautiful records."
The writer was one day discussing with Edison the temperament of singers generally and the good opinion that each one usually has of his or her own voice irrespective of any artistic use he or she could make of it. He said: "I don't see what they have to be conceited about. The Almighty has given them a little piece of meat in their throats that differs slightly from the corresponding piece of meat in somebody else's throat. They can take no credit for that, but if they use their brains to interpret and perfect the use of what has been given them, they have accomplished something. What I want is voices that will stand the test of the phonograph and give permanent pleasure to people, irrespective of stage environment, or the press agent, or pleasing personality."
This chapter could be extended to a great length in setting forth the results of Edison's deep study of music which he undertook solely for the purpose of bringing his latest achievement up to the high standard which he set for it so many years ago, but enough has been said to indicate the immense amount of work he has done and the trend of his ideas. That he has been able, amid the round of his multitudinous duties and work, which occupy his time and attention from sixteen to eighteen hours a day, to delve into the subject so profoundly and to evolve ideas that are confessedly awakening the musical world is sufficient to indicate that in spite of his years and herculean labors in the past he has not lost any of the vim or pertinacity that have so distinguished him in days gone by.
XXVII
EDISON'S WORK DURING THE WAR
With the shattering of the world's peace by the great conflict which commenced on July 28, 1914, there came a universal disturbance of industrial conditions. The Edison industries were not exempt.