old radio voice effect

But for now, just one more category: 3) Changing technology, changing voices. in Business, Film, Radio | April 13th, 2016 Leave a Comment.

The limited frequency response of the recording technology of the late 19th and early 20th centuries has left us with only a pale, and sometimes caricatural image of the original sound. Several readers wrote in with specimens of Americans who had gone to England and ended up speaking in this mid-Atlantic way. To support Open Culture’s continued operation, please consider making a donation. In it Van Voorhis has the formal delivery that would have seemed familiar to many mid-century listeners but which in retrospect we know was on the way out. Next up: some sociological explanations of why someone like George Gershwin might have tried to speak like Westbrook Van Voorhis. Here are the sounds that have been tagged with Radio free from SoundBible.com Please bookmark us Ctrl+D and come back soon for updates! For instance: The American-British television presenter Loyd Grossman, who has described his accent as Mid-Atlantic.

“Jam” Handy (1886–1983) was known for two things: 1.) As requested, here’s a link to the vinyl noise I used: http://www.freesound.org/people/dayvonjersen/sounds/156340/ But Labov said that in post-World War II New York, fancier people started becoming rhotic, and recovering their Rs.

(And, OK, I’m not a linguist, but I’m married to one!)

(Did Eisenhower speak the newsreel style?

(What else happened that year???

But if Back of the Mike gives you a hankering to listen to old time radio plays, then you’ve come to the right place. Unsubscribe at any time. But it’s clear that the diction I call Announcer Voice has been the object of close linguistic study. It’s hard to rely 100% on ads, and your contributions will help us continue providing the best free cultural and educational materials to learners everywhere.

I remember the Lowell Thomas documentary films of the 50s where Mr. Thomas' mellifluous tones and distinct radio-style pronunciation gave him a respectability that a similar huckster could hardly hope to replicate today by the mere application of such an artifice. We never spam. And similarly on the role of ridicule in speeding the move away from this accent: This is only partly facetious, but I think I know who was the American to speak "Announcer." if you like our Facebook fanpage, you'll receive more articles like the one you just read!

How would you create an old fashioned sounding voice like you hear on old black & white films or old vinyl records? His high Boston accent might have been heard as an influential transitional hybrid, and it’s interesting how prominent parodies of the speech of Brando, Dean, and Kennedy were at the time: seems a sign that we were noticing a marked change. That was when Westbrook van Voorhis, the famous “March of Time” voice, did the intro narration of the pilot episode of The Twilight Zone. As a result, this American version of a ‘posh’ accent has all but disappeared even among the American upper classes. How the Sound Effects on 1930s Radio Shows Were Made: An Inside Look. This brings us back to the “why things changed” question.

Orson Welles notably spoke in a mid-Atlantic accent in the 1941 film Citizen Kane, as did many of his co-stars, such as Joseph Cotten. The primary reason [for the accent] was primitive microphone technology: "natural" voices simply did not get picked up well by the microphones of the time, and people were instructed to and learned to speak in such a way that their words could be best transmitted through the microphone to the radio waves or to recording media.

Founder and Creative Director at Music Radio Creative. Another entertainment-related explanation for the shift, right about the time of the Eisenhower-Kennedy transition: The plumby announcer voice that hovers over the Atlantic midway between the Eastern Seaboard and England was mortally wounded in 1959. The first minute is a cameo by Henry Ford II, who speaks in an utterly flat Midwest rather than Mid-Atlantic accent that no one would call elegant but that would sound perfectly natural in 2015.

Buckley clearly flaunts it, probably to set himself apart from the hoi polloi of his contemporaries. I received many notes like this one: The variety of English you are referring to has a name in linguistics:  "Mid-Atlantic English". The settings allow you to really degrade the sound. Jean Harlow, one of my favorites, is all over the map with this, sometimes sounding like a tough streetwalker, other times like a society matron, and, oddly, slipping in and out of both dialects in the same role, or even in one sentence. I’ll try to give a representative range, and I am grateful for the care and thought that have gone into these responses. Your email address will not be published.

1) The linguists have a name for it: they call it “Mid-Atlantic English.” I don’t like this name, for reasons I’ll explain in a minute. We’re hoping to rely on our loyal readers rather than erratic ads.

Like other films in this genre, this piece of cinematic advertising offers us an entertaining, if not educational, look at how old-time radio shows created their sound effects–all while helping market a product, the Chevrolet that helps the good guys win in the end.

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