Exhibitors Herald and Moving Picture World (Oct-Dec 1928)

October 27, 1928 EXHIBITORS HERALD and MOVING PICTURE WORLD 35 SOUND PICTURES Interchanging of Equipment for Sound Is Made Objective of MPTOA Inquiry Interchangeability of sound devices and pictures was the big subject before the MPTOA convention at Toronto, which devoted practically all of the Wednesday afternoon session to the problem of synchronization. Out of that discussion two decisions were reached. One was the evident unanimity of the exhibitors that the best interests of the industry demanded that the exhibitor be permitted to play the product of different companies on one device, whichever he might have installed. The other was the passage of a resolution that the incoming board of directors investigate interchangeability and report at once to the membership. Speakers took up several phases of the problem and brought out many constructive ideas. John Eberson, noted architect, touched upon the question of construction of a theatre to obtain the best sound effects. While his topic was rather the development of the atmospheric theatre, he made the following pertinent and invaluable comment on sound: "The plainer a theatre's walls and ceiling the more adaptable it is to sound. I haven't found a single theatre providing extreme difficulty of conversion to sound." Other speakers were Rudolph Miehling, electrical engineer and assistant supervisor of projection of Publix; M. A. Lightman, president of the M P T O of Arkansas, who spoke on "Sound Pictures and Main Street"; and Fred Desberg of Cleveland, whose topic was "Sound Pictures as They Pertain to Chain Theatres." Through all these addresses ran the thread of valuable suggestions for the use of sound productions. Digests of the addresses follow: "Our Industry Meets a New Problem" By Rudolph Miehling Sound pictures can either be developed to tremendous returns or decline to mediocre returns according to the efficiency of merchandising. When you have had the equipment installed, you must realize that it is not automatic in its operation. The human element must be seriously considered. Publix Theatres instructed Harry Rubin, supervisor of projection, to organize a staff to take care of these situations. I am one of his staff. Preparatory to the installation of the apparatus, the sound engineer comes to your theatre and makes a survey for his company, and from this survey certain recommendations are made in order that you may have perfect sight and sound reproduction; these recommendations should be carefully weighed and not cast aside; some of them may seem unreasonable. Your projection staff, the keystone of the operation, should be given your cooperation so that they may receive adequate instruction in the proper handling of the equipment You must insist that they obtain full information on all phases. We give them information on the methods and principles so that their minds will be in a more receptive mood to absorb any future knowledge they may gain on the subject. In the event of a breakdown we expect them to make temporary repairs or adjustments to keep the show running, leaving the permanent repairs to the engineers of the company who have installed the apparatus. We do not mean by this that they are to tear down or take apart any of this equipment just to see what is inside. Some person must be trained to judge the volume and' quality in the auditorium during the performance. While it is a fact that the projectionist has a monitor horn in the booth, he cannot judge how the sound is coming through. The correct distribution of sound throughout your house is of vital importance. The proper draping of the horns and units to keep the sound in the direction you wish it to go and no other is an important item. You must prevent the sound from bounding back. If your auditorium is of such a nature that any continued interfering sound makes a condition which is annoying to an audience, this condition must be removed. The usual defects of auditoriums are three Convention Orders Quiz on Inter-Use Of Sound Devices "Whereas many new sound reproducing machines and devices are now coming to the market and whereas a great deal of uncertainty exists as to the interchangeability of the product of licensed £lm manufacturers on the various devices now being offered, and "Whereas lack of accurate and authentic information on this point is delaying the progress of sound pictures, therefore be it "Resolved that the president and board of directors of the M P T O A hereby are directed to make immediate investigations along these lines and to promptly transmit the information so obtained to the membership of the MPTOA either by direct communication or by published data through the trade journals and other sources." Text of resolution passed at MPTOA convention at Toronto. things, namely, echo, dead spots and reverberation. Each has its particular method of elimination and for pleasing effects should be given the fullest attention. Projection equipment must be given attention. During my travels for Electrical Research Products, Inc., I have seen projectors in such a sorry condition that it is a wonder to me that film ever ran through them. When overhauling was suggested, the management threw up both hands. Here was a theatre spending thousands of dollars for sound equipment and when the matter of a small expenditure came up he was horrified. Your present projection mechanism should be thoroughly overhauled, or if necessary replaced with new equipment. Doing this will give you smoother operation, eliminate stops, damage to film and other defects. Each problem must be solved so that this new born phase of the industry will enjoy all the benefits which may accrue. If you do not do your part and inject yourself wholeheartedly into this matter you will be the one to suffer. 'Sound and Main Pictures Street" By M. A. Lightman A little fellow from down in Arkansas derives particular satisfaction when he sees from the program that he is speaking ahead of a representative of a chain theatre (Fred Desberg). This is the first time I ever have been able to get a first-run ahead of a big chain theatre. First of all let us determine what sound is, in order that my talk on sound may not be unsound. I have divided it for convenience into three classifications: first, the alltalkie; second, synchronization without sound effects; third, sound effects with some talking. We need not fear the all-talkie at this time. The producer doesn't want it at this time. He has too many big stars under contract who have not the voice for the dialogue picture. Orchestral accompaniment is a different matter. Why have 500 or 1,000 orchestras in the deluxe houses when the producer can get us a perfect orchestra absolutely built to fit the picture. Of course we must remember it's a new baby, but who in this room could deny the appeal of sound? Main Street's exhibitor is the exhibitor (Continued on page 38)