16-mm sound motion pictures, a manual for the professional and the amateur (1949-55)

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292 IX. SOUXD-KECORDIXG EQUIPMENT AND ARRANGEMENT + 16 Compre ssion ratio ,' n ssion response ^ + 12 + 10 + 8 + 6 + 4 + 2 0 -2 -4 -6 -8 -10 -12 Rectifier equalizer response ^ ; Calculated rectifier equal zer response y N sfi V <t .' , ■ -i^K \ 30 10,000 100 1000 FREQUENCY, cps Fig. 70. Response-frequency characteristics of the compressor signal circuit and compressor rectifier-equalizer control circuit of an RCA compressor. In a complete recording system, the present trend in design is to locate the equalizer for slit loss, film loss, and for similarly fixed losses after the compressor, and to locate the other so-called variable losses, such as voice effort compensation, microphone compensation, and the like, ahead of the compressor. Regardless of the type of equalization used and regardless of its position, it is of utmost importance to know just which losses occur, just where they occur, and to equalize for them accordingly if consistent and good quality sound is expected from 16-mm release prints. In the final analysis, it is the release print that is run in the projector before the intended audience and it makes little difference to that audience where the quality was lost if it does not appear on the particular release print being heard. Figure 71 is a block diagram of a complete Western Electric recording channel as used for 16-mm recording. Figure 71A is the RCA PM RA-1283 MIXER RA-1282 AMPLIFIERNOISE REDUCTION UNIT 600" 600" RA-I23I REC0RDER-35 MM RA-I23IA RECORDER 16 MM MICROPHONES CAgLE O RA 1284 POWER UNIT IWJ----I V RECORDIST S HEADSET T TO POWER SUPPLY FOR MOTOR Fig. 71. Block diagram of Western Electric type 300 recording system.