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RESPONSE-FREQUENCY CHARACTERISTICS 187
disks and reproduced from a mechanically-coupled reproducing turntable. Sound-on-disk continued to be used for several years after it had disappeared from 35-mm entertainment theaters; it took longer for progress in 16-mm film materials and in 16-mm processing to result in sufficiently improved projection sound quality in the slower-moving 16-mm film to provide commercially satisfactory performance.
The sound-on-film recording method which has superseded sound-ondisk always consists of:
(1) A microphone to translate sound energy into electrical energy;
{2) An amplifier and associated equipment to amplify the energy from the microphone, and to control the energy supplied to the recording machine ;
(<?) A sound-recording machine (often called a sound recorder) to translate the electrical energy from the amplifier into corresponding light variations that are utilized to expose the continuously moving film and to produce the latent image of the recorded sound on it.
The starting point, of course, is the microphone that first converts sound energy into electrical energy at the recording studio; the end point is the sound projector that translates the light transmitted through the moving photographic image of the release print into electrical energy that is used to drive the reproducing loudspeaker, reconverting the electrical energy back into sound in the auditorium.
Numerous factors affect the manner in which the original recording should be made to assure that the release print is of optimal quality. An acceptable film is almost certain if all factors are properly anticipated; an unsatisfactory film is almost certain if any or all factors are disregarded.
Reproducing vs. Recording Level
Sound from 16-mm motion pictures is usually reproduced at a much higher volume level than that of the original event. This is especially true in the case of voice recording ; for every difference in level between that of the original sound and that of the reproduced recorded sound, there is an optimal response-frequency characteristic correction that should be applied to the "ideal" flat response-frequency characteristic if the optimal tonal balance is to be maintained.
The correction is primarily an attenuation of the lower frequencies; for large level differences, slight attenuation of the high frequencies is also required. The magnitude of the attenuations is dependent upon the magnitude of the level difference, the customary level difference being about 10 to 20 db. Data have been accumulated by a number of investi