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

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

MONITORING 303 A small single-diaphragm type of loudspeaker worthy of special mention is the Western Electric 755A which has a market price of about $30.00. The performance of this loudspeaker is surprisingly good when used in a small enclosure of only 1 1/2 to 2 cubic feet and it can be recommended where space is at such a premium that bass performance sacrifice can be made. It may well be used as a standard by which the performance of "more fancy" types can be compared. Visual Monitoring A variety of arrangements is available for the visual monitoring of speech and program waves; each has its advantages and disadvantages. Each design is based upon certain design considerations; an important consideration is that the ear and the eye are expected to be coordinated during the monitoring process. Most sound to be recorded on 16-mm film consists primarily of transients, with steady-state tones occurring less frequently. In speech, for example, many important transients die away before the eye can react to their presence. If all the transients are recorded as they might be with a continuous-level recorder, it would be almost impossible for the average eye to encompass and to appreciate the waveform detail at the rate at which the sound is to be recorded. For this reason all designs of visual monitoring systems represent a compromise between opposing factors; in many cases the factors are not explained. In general, the visual monitor is used to establish the average level of the sound envelope being controlled; the ear establishes the conditions at which the high-speed or transient sounds are to be controlled. Many visual monitoring indicators integrate over a period of time somewhat greater than the average reaction time of the ordinary human being; one example is the electrical volume indicator (VU) meter commonly used in broadcasting. Other forms integrate in other ways; the over-all result is a visual representation that conveys a quick yet detailed impression of the nature of the waves being recorded. A good monitoring volume indicator* should have the following among its attributes: (1) Ease of reading with a minimum of eye fatigue. This usually means that the movement of the indicator needle, light image, etc., should not be too fast. {2) The movement should be slightly less than critically damped ; this is especially true of the indicating pointer of a meter. * Electrical instruments should conform to ASA Standard C39.1 — 1949.