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252 IX. SOUND-RECORDING EQUIPMENT AND ARRANGEMENT
design such as the directing of unwanted reflections out of the working optical path are also capable of providing worthwhile results. Although present-day systems are not very complex, efforts to reduce the number of surfaces traversed in a system are also capable of providing worthwhile improvements. In general, systems with a small number of optical surfaces are preferable to systems with a larger number. As in the case of objective lenses for cameras, lens coating can provide a very material improvement in the performance of a well-designed multielement lens system for sound optics just as it does for a Tessar; the improvement in performance with lens coating in a poor design is not great, since lens coating is in no sense a substitute for good design.
In general, all modern 16-mm sound-recording machines use filtered light for film exposure ; as has been mentioned previously, Chapter III, an increase in resolving power of the film occurs for exposure at the blue and red ends of the spectrum. Since sound-recording film (as manufactured) is not sensitized for exposure to red light, its sensitivity to light at the blue end of the spectrum is important. For this reason all commercial machines provide exposure for wavelengths shorter than 500 nut in the blue region (Maurer) or in the near ultraviolet region 400 nut (RCA). Performance of a recording optical system can be improved materially by correcting the system for only the primary wavelength of interest, and by designing the lens coatings accordingly; this has been recognized by recording equipment manufacturers, and further improvements in design may be expected as a result of their progress along these lines.
Film Loss
At this point something should be said about film losses, since they are a controlling factor in the over-all response-frequency characteristic actually obtained, and therefore should exert a very strong influence on the manner in which the original sound record is equalized and the accuracy of control with which the film-laboratory copying and processing is accomplished. For years it has been the more-or-less vaguely implied objective of designers of sound-recording equipment to provide equipment to have a response-frequency characteristic that is ''flat to the print. ' ' This means merely that all losses and corrections in the recording and reproducing systems must be anticipated up to and including the making of the release print, and, in addition, to correct for such projection conditions as the level difference between the original event and