![]() ![]() ![]() Most believe it was the sheer talent of Weissmuller, but it's never been officially confirmed except by his co-star Maureen O'Sullivan and his two sons. Others singularly credit opera singer Lloyd Thomas Leech for the spectacular vocal calisthenics in a taped interview from 1987, Leech claims that he originated the yell, but that Weissmuller was able to replicate it with practice. ![]() No one can seem to agree just how this effect was created MGM, who produced the film, reported that the yell was culmination of three animal noises spliced with opera vocals and string instruments, recorded with each sound played out of its own speaker. You may be familiar with the world famous yodel/scream from Tarzan the Ape Man, which swung into theatres in 1932 starring Johnny Weissmuller. Sound effects were a primal affair in the 1930s, with lots of yelling, roaring and chest-beating. Audible dialogue was introduced a year later with the debut of The Jazz Singer, Hollywood's first official "talkie." The dialogue for The Jazz Singer was also recorded on Vitaphone to be played in concert with the film sound recorded directly on film would only start to become the industry standard a few years later. The development of recorded sound paralleled the growth of cinema, but it wasn't until the 1926 film Don Juan that sound was incorporated into cinema-albeit without dialogue-with synchronized Vitaphone sound effects and musical soundtrack. In the days of silent cinema, film was either accompanied by by a theatre organ or a photo player, both carrying multi-faceted electronic or percussion tools that could mimic a small range of sounds like train whistles, gunshots, sirens, and ocean surf. ![]() Sound effects were first creatively explored in radio with the Foley artist (named after Jack Donovan Foley, inventor of sound effects), who would create live environmental sounds-such as walking up a flight of stairs or a slamming door-in radio studios during live broadcasts. ![]()
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