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English to German German to English
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Sep 29, 2023 (posted viaProZ.com): A real privilege to translate the subtitles of three films for subti London for Zurich Film Festival. Great films - "The Land of Saints and Sinners" with Liam Neeson was a particularly rewarding experience, and "We Are Guardians" is an important documentary about the deforestation of the Amazon rain forest and the struggles of the indigenous people who try to protect what is left - well worth watching....more, + 2 other entries »
Freelance translator and/or interpreter, Verified site user
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Services
Translation, AI + Human review (MT post-editing), Subtitling, Editing/proofreading, Transcription, Native speaker conversation
Expertise
Specializes in:
Music
Cinema, Film, TV, Drama
Science (general)
Marketing
Art, Arts & Crafts, Painting
Education / Pedagogy
Advertising / Public Relations
Engineering (general)
Physics
Tourism & Travel
Volunteer / Pro-bono work
Open to considering volunteer work for registered non-profit organizations
English to German: Chapter 5 opening from popular science book "Now You're Talking" by T. Cox General field: Science Detailed field: Science (general)
Source text - English Electrifying The Voice
FOUR DECADES AFTER the first recording of ‘Mary Had a Little Lamb’, the phonograph had improved enough for Edison to host listening tests to show off how faithfully voices were reproduced.1 At these events, a singer would stand alongside a phonograph, sometimes singing and at other times just mouthing the words while the sound actually came from the wax cylinder. The audiences were challenged to spot the difference between the live voice and the phonograph. Thousands of these events took place in front of ecstatic audiences but there must have been some bluffing involved. Surely the surface noise coming off the cylinder would have given the game away? And what about the sound being altered by the large horn needed to amplify the recording? It turns out that the singers cheated a little and impersonated the imperfect sound emanating from the phonograph. Ironically, therefore, the tests that were designed to demonstrate the machine’s fidelity turned out to be an early example of recording technology changing how people sing.
To get a sense of how the voice changed in the early days of recording, I listened to a duet between Al Jolson and Bing Crosby of ‘Alexander’s Ragtime Band’.fn12 Bing Crosby is famous for his crooning style. You can hear a seductive lightness of tone that his microphone technique allows, especially in the second half of the recording. In contrast, Al Jolson never really adapted to the microphone and used a style that predates technology. He projects his voice as though he is trying to reach the back of a theatre, the technique of a performer from minstrel troupes and vaudeville acts. Jolson has rich drawn-out resonances with that famous twang. As his agent put it with a little poetic exaggeration, ‘this man had the most resonant voice of any human being I ever knew. I stood at the back of the theatre with my hands on the wall – and I could feel the bricks vibrate.’3
Translation - German Die Stimme im Zeitalter der Elektrizität
VIER JAHRZEHNTE NACH der ersten Aufnahme des englischen Kinderliedes „Mary Had a Little Lamb“ war der Phonograph so weit ausgereift, dass Edison bei Hörproben vor Publikum damit angeben konnte, wie wahrheitsgetreu Stimmen von diesem wiedergegeben wurden.1 Bei solchen Veranstaltungen stand ein Sänger manchmal singend und sonst nur die Worte mimend neben einem Phonographen, während der Klang in Wirklichkeit von der Wachswalze kam. Das Publikum sollte dabei zwischen echter und aufgenommener Stimme unterscheiden. Tausende solcher Veranstaltungen fanden vor geradezu euphorischem Publikum statt, aber man kann davon ausgehen, dass es dabei nicht immer mit rechten Dingen zuging. Hätten die Nebengeräusche der Walze nicht reichen müssen, Edison das Spiel zu verderben, zumal der Klang durch den großen Trichter zur Verstärkung der Aufnahme noch zusätzlich verfremdet wurde? In Wirklichkeit haben die Sänger ein bisschen gemogelt und den unreinen Klang aus dem Phonographen nachgeahmt. Es ist daher schon ironisch, dass ausgerechnet die Versuche, welche die Originaltreue der Maschine zeigen sollten, zu einem der ersten Beispiele dafür wurden, wie sich unser Singen durch Aufnahmetechnik gewandelt hat.
Um einen Eindruck zu bekommen, wie sich die Stimme in den Anfängen der Aufnahmetechnik verändert hat, habe ich mir das Duett von Al Jolson und Bing Crosby im Song „Alexander’s Ragtime Band“ angehört.fn12 Bing Crosby war für seinen empfindsam-sentimentalen Stil bekannt. Man kann eine unwiderstehlich faszinierende Leichtigkeit des Tons hören, die durch seinen Umgang mit dem Mikrophon möglich wurde, besonders in der zweiten Hälfte der Aufnahme. Im Gegensatz dazu hat sich Al Jolson niemals wirklich mit dem Mikrophon angefreundet, sondern sang weiterhin auf eine herkömmliche Art, wie vor der neuen Technik. Seine Stimme so zu projizieren, als müsse er die hintersten Reihen eines Theaters erreichen, war die Technik von Darbietungen aus der Zeit der Minnesänger und des Vaudevilles. Jolson verfügt über üppige, ausgedehnte stimmliche Resonanzen mit dem allseits berühmten Näseln. Sein Agent äußerte sich mit recht charmanter Übertreibung so: „Dieser Mann hatte eine derart klangvolle Stimme wie kein anderer. Wenn ich am hinteren Ende des Theaters stand, konnten meine Hände an der Wand spüren, wie die Backsteine vibrierten.”3
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Translation education
Master's degree - The Open University, UK
Experience
Years of experience: 6. Registered at ProZ.com: May 2021.
I am a professional English to German translator with a background in music and education. My topic specialisation includes music, audio and acoustics. I translate song lyrics, documents, subtitles and popular science texts. I was born in Germany and have lived in London since 1997.
My qualifications include an MA in Translation (Distinction), a PGCE and postgraduate degrees in piano performance from the Royal College of Music and the Music Conservatoire in Karlsruhe, Germany.
Currently I work as an ABRSM examiner, piano teacher and translator. Between 2005 and 2017 I was Director of Music at two British secondary schools. Apart from music I have a passion for acoustics, especially sound engineering and building acoustics. I have in-depth knowledge of music, audio, acoustics, song-writing and choral terminology in both languages.
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