International projectionist (Jan 1959-Dec 1960)

"Stereo "-The Magic Word Today: What It Is and What It Does Within the circle of those who are more than casually interested in fidelity of sound reproduction (and surely this is a primary consideration among A-V advocates) the word "stereo" has come to be a commonplace expression. The true significance of the term, however, is often difficult to define when wholly comprehended. Appended is the first of a series of articles which delineate in authoritative fashion the basis for, and proper rendition of, stereophonic sound. These data were prepared by Fairchild Recording Equipment Corp.* A GLANCE at the dictionary will show that "stereo" (from the Greek) means "solid." Carrying our searcli a little further, we find that a "stereoscope" is an optical instrument making it possible for the user to "combine the images of two pictures from points of view a little way apart and thus get the effect of solidity or depth." In the reproduction of sound, also, there is something lacking when music is played back through one loudspeaker. Compared with real, "live" sound, the effect is something like a black-andwhite picture compared with full color. Sometimes this is called a "keyhole effect" because the music sounds squeezed together, as if coming through a small opening. Semi-Serious Correctives Many efforts have been made to get rid of the keyhole effect, some more successful than others. Just adding a second speaker helps some because the sound is spread out over a larger area and a better illusion is achieved. But no matter what is done, the result never sounds quite like the real thing; this can be very disappointing because distortion may be "practically non-existent" (it may really be, too), the frequency response may be "flat throughout the entire audible range," and everything else may be just right (and very expensive), and still the sound or other fails to be completely satisfying. Consider: when we are listening to "live" music and how it differs from what wc hear through our loudspeaker ior loudspeakers). With a "live" orchestra we listen with two cars, just as we see with two eyes. And just as each eye sees a slightly different scene (which the brain proceeds to merge into one image, and to interpret in space because of that very slight difference in the two images), so each ear hears different images of the music being played. The cars likewise send two slightly different "images" of the orchestra to the brain, which then proceeds to in * 10-40 45th Ave., Long Island City, N. Y. 18 terpret the blended image in terms of location of the instruments in space. Thus, we hear that the woodwinds are on one side of the orchestra and the strings on the other, and more. But, important as this is, there still is another effect, and this is a clearer perception of the tone quality of each instrument. When listening to a composite musical sound it is much easier to hear the instruments separately, and to identity their tone colors, if even a small amount of space perception is present. This is probably the main reason why even the best sound systems do not sound quite as "clear" as the real, original sound. "Loudness" is Not "Fidelity" The next time you attend a concert or any musical event put your hand over one ear so that you are forced to listen with only one ear. The first thing you will notice will be the apparently large decrease in loudness. If your hearing be normal, you will, in fact, probably be quite disturbed, thinking that the unshielded ear must be partially deaf, since the loudness is decreased so noticeably. But you can quickly reassure yourself on this by "trading ears" and covering the other ear. You will find that neither ear alone is half as good — even in loudness — as two together! This is the first interesting observation about binaural, as compared with monaural, listening. After that, keep your ear covered a minute or two, or until the loudness again seems to be about normal. You will then realize that what you are hearing sounds very much like an excellent sound reproducing system (only not turned up very loud! ) . You will have a vague sense of uneasiness and restriction, rather hard to define, but nevertheless there. After listening for another two or three minutes, all of this will disappear; and because our minds adapt themselves to almost any situation, what you are hearing will gradually assort itself and will sound "normal". Now you are now ready for the big Features of the Victor 1600' Carbon-Arc Projector Here in graphic form are the salient features of the Victor "1600" carbonarc projector. "Hard" (carbon-arc) lighting is requisite for reproducing properly those pictorial values which were graven into the photographic negative. As they say, "If a picture be worth showing, show it right." The features of the Victor "1600" as shown in the accompanying illustration are: 1. Color-Code Threading. Color lines show how to thread, exactly where, and in easy red-white-and-blue order. 2. Safety Film Trips. Detect trouble; stop film before it is damaged. 3. Air-Conditiond Film gate eliminates "baking" of film. 4. Stationary Sound Drum that scans full sound track to assure clear, smooth sound. Removable to accept Magnesound drum for magnetic recording and playback. 5. 180° Swing-Out Lens. Facilitates threading and cleaning. 6. Top-Mounted Reels. Eliminates the traffic hazard caused by overhanging reels. 7. Single-Drive Sprockets. Assures uniform tension on film entering and leaving projector. 8. Compensating Film Shoes. Automatically adjust to varying film thicknesses. 9. Sapphire-Tipped Dual Flexo Pawls are self-aligning to obviate torn sprocket holes. 10. Accessories. Electrical push-button changeover available for continuous showings with two "1600" arc projectors. Victor Magnasound for recording and playback of magnetic sound on striped film. 9 2 10 2 Victor "1600" carbon-arc projector INTERNATIONAL PROJECTIONIST JANUARY 1959