Sinatra's Influence on Early Musical Recording and Performance

From 1943 onward Frank used 33 1/3 rpm smooth glass or aluminum record discs. These discs were then coated with a soft plastic "lacquer", and revolutionized the sonic quality of both recording studio and radio recordings.

These recording sessions typically lasted three hours, during which three or four tunes were completely recorded and mastered. Until the stereo "tape" era (1957), the direct-to-disc recording method necessitated a perfect mix of all the orchestral elements, plus the vocalist and occasionally a choral group. Bear in mind these were monophonic (one-track) recordings, beings balanced and mixed "on the fly," with no chance to go back and fix technical or performance mistakes after the fact. These records were the forerunner to the modern LP records (long playing).

Frank was one of the great pioneers of musical recording. Although he was part of radio, television, and films his true medium was the phonograph record, especially the LP (long playing) album which was virtually created in the 50's. The LP proved ideal for Sinatra because he tried to give each of his albums a distinct mood, the inherent dijunctiveness allowed him to explore a range of emotional tones, unfettered by the need to present a consistent persona; song followed song without the artificial glue of plot or patter. He treated each song as a discrete dramatic text.

The single most important benefit of the vocalist's big-band experience was undoubtedly his discovery of the tool that would become his own personal, secret weapon: the microphone. In his early stage appearances he would grasp the tall microphone stand, and lean into not only the microphone itself, but the note as well, physically communicating the figurative and literal dynamic that he desired.The simple stage maneuver perfectly accentuated his unique vocal style. Although performers of that time followed suit and used the modern microphone, none handled it more fluidly or effortlessly than Frank. He also used it as a natural dynamic range expander during a recording session. Frank once said "You must know when to move away from the mike, and when to move back into it. The whole secret is getting the air in the corner of your mouth, and using the microphone properly."