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BRITISH **"
KMMATOGRAPHY
The Journal of the British Kinematograph Society
VOLUME SIXTEEN, No. 3 MARCH, 1950
ACOUSTICS AND THE FILM
Read to a joint meeting of the British Kinematograph Society and the
British Sound Recording Association on 7th December, 1949
I. OPTIMUM PERIOD OF REVERBERATION
C. W. Glover, M.I.Struct.E., P.P.I.A.A.S., M.A.S.*
THE elimination of unwanted sound in a record is one of the most difficult problems with which the recordist is faced. In the case of reverberation, once this is on the record there is no method of eradicating it, although conversely it is easily possible, by means of the echo room working with two microphones, the response being mixed before recording, to add reverberation as may be necessary to the sound detected by the microphone in the studio. As in most cases sound-on-film records are heard in a theatre with a reverberation period inherent to itself, it is obviously desirable to record the sound with the minimum amount of reverberation actually on the record.
It is true that there are occasions when for the sake of effect certain additional reverberation is required, and as already pointed out its addition to the record is comparatively easy. The present paper is confined to methods by which reverberation can be kept to the minimum in the studio.
Additive Reverberation
Owing to the fact that the reverberation inherent to the studio is permanently recorded and superimposed over the reverberation of the theatre in which the sound is reproduced, it would, therefore, be theoretically preferable to record under " open-air conditions " with no measurable reverberation in the studio. In practice this is not possible, as a certain amount of reverberation is required : —
(a) For the purpose of obtaining the correct tone value.
(b) To enable the proper sound perspective to be obtained. (This concerns the relative positions of microphone and camera during recording, and is a matter intimately connected with the particular requirements of the sequence being recorded.)
It is not possible to generalise on this subject, as considerable elasticity in the matter of studio reverberation is required.
If the studio has a period of less than one second when empty, satisfactory results can be obtained by the use of reflectors, resonators, and absorbers on the sets constructed therein.
Monitoring and Re-recording Rooms It is in the monitor room that the tone and quality of the recorded sound * C. W. Glover and Partners.