Mass gatherings were among the most powerful propaganda tools of the totalitarian regimes of the interwar period. Rather than being moments for managing or creating conflict, as meetings in pluralist context with contradictory speakers could be, they were instead organized so that no conflict could prevent the total mobilization of their audience sought through their visual and aural staging. This last aspect, the sound dimension of mass political gatherings, is of crucial importance, and has already been well studied in relation to the Nazi regime. It has been less well studied in the case of the Italian Fascist regime. Based on ongoing research in Italian state archives and the press, I propose first to reflect on the sonic unfolding of Fascist gatherings, which mixed music and sounds produced without technical mediation by crowds, brass bands and choirs, and other sounds, such as those of the amplified speaker or hymns played by a gramophone, transduced by records, radio sets, microphones, amplifiers and loudspeakers. I then propose to examine the dissemination of the consensus produced during these events through their radio broadcast, recording and publication on record or film, making these gatherings no longer news or information, but agents of the glorious immediate memory of the fascist regime. Finally, this presentation will be a first opportunity to reflect on what a totalitarian use of sound might be, notably through the technical mediations of transmission, conservation and duplication.