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322 IX. SOUND-RECORDING EQUIPMENT AND ARRANGEMENT
from one release print to another within a single lot of release prints. It is evident that the losses which cause these changes must be known if they are* to be anticipated and their adverse effects limited. As sound recording men are often the only production men trained to appreciate and understand these variations, it is evident that they must listen to several release prints derived from the same original and compare the prints directly with the original or with the final trial composite print or appropriate sound check print. This should be a routine follow-up matter if any serious attempt to produce consistent sound quality is made. It is well to remember that the mere recording of an original that "sounds good" to an untrained observer in the mixer room is no assurance that release prints derived from the original will have any commercial value. Under certain circumstances the losses of the anticipated procedure may be so great that the result will be unsatisfactory because the original record was made with a frequency range or with a dynamic volume range that was too large. Sound records from which release prints are derived must be "geared" to the release prints they are to produce.
It is impracticable in many cases to expect the original sound record to anticipate satisfactorily all the subsequent process variables and to correct for them. A reasonable requirement is a noise-free and distortion-free sound record — preferably pre-equalized — that may be subsequently re-recorded to provide the optimal characteristics for the preprint material used in printing the release prints.
It is reasonable to expect that release prints will be made by printing directly from a re-recorded release negative should black-and-white prints be required. It is also reasonable to expect that composite color duplicate prints will be made by printing directly from a re-recorded release direct positive. It is only in this manner that the unknown variables can be kept to a minimum consistent with reasonable cost.
If a relatively large number of transfer steps must be anticipated between the original sound record and the re-recorded release negative or positive, there is cause for concern in meeting the competitive quality requirements because of the magnitude of the film losses. For such special cases it may be necessary to make the original record at a linear speed appreciably greater than the standard 16-mm speed of 36 feet per minute ; a 2-to-l speed ratio would seem to be an appropriate minimum. Generally speaking, if the recording is photographic, it will be better to make such a higher speed record on 16-mm equipment than on