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CHAPTER XXIV CONTROL TRACKS AND STEREOPHONIC SOUND
(1) Conventional sound reproduction as heretofore described is subject to two recognized handicaps. One relates to an inherent limitation in the range of volume available, which is less than the range of volume of real sounds as ordinarily heard, thus impairing the realism of motion picture presentations. The second relates to the fact that the apparent sources of sound, as represented on the motion picture screen, move about, or leave the screen to right or left; while the real source of the sound, the loudspeaker, occupies a fixed position, and cannot move about in keeping with the motion of the screen image. Again, realism is impaired.
(2) With reference to the volume range that can be recorded on a soundtrack, it is unfortunately true that various noises, system noises, tube noises, and so on, prevent effective recording and reproduction of any sound weaker than 25 decibels below the maximum volume the soundtrack will take. It does not matter how much amplification the theatre system has — at any single setting of the volume control the loudest sound, with ordinary tracks, will be only 25 db louder than the weakest sound. The difference is not enough for true realism.
(3) This limitation could be overcome by sending a cue sheet with each reel of film — printed instructions to the projectionist to raise the volume control so and so much at certain points in the picture. In this way, if the theatre system possessed enough reserve amplification, a volume range much greater than 25 db could be realized. Cue sheets, however, were tried in the early days of sound pictures, and resulted in more confusion than anything else.
(4) Control track sound substitutes an automatic
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