It is important to point out that kanto had now moved from the stage to the recording studio. While the subjects dealt with in the lyrics were stili the same old quarreis between men and women, mixed in with satirical takes on fashion and current events, the songs were being written with the 78 rpm phonograph in mind. So much so that every record label hired their own kanto composers—and rather famous ones at that. With Columbia at the fore, record labels commissioned kanto from Kaptanzade Ali Rıza Bey, Refik Fersan, Dramalı Hasan, Sadettin Kaynak, Cümbüş Mehmet and Mildan Niyazi Bey. The makams were the same but the instrumentation had changed. Kanto were now accompanied by cümbüş (a fretlees banjo like instrument) the ud (a fretless) lute, and calpara (castenets). Foxtrot, Charleston and rumba rhythms dominated. The tunes were being written and sung more tor listening than tor dancing. Female soloists include Makbule Enver, Mahmure, and Neriman; Beşiktaşlı Kemal Senman was the most sought after male singer for duets.