British Kinematography (1947)

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71 ro • o OF ... in | »fl 1" 7 1 f"~" U 111 if' n . .^--i" — k + *a*T— — ' t-"*"-! 2 o i^^^rii^^d^ ^2S „ __ " sggj XT T" 1 [ i l~ 1 1 i i ! I'll 1 O.000 VO'.UV t aooo •M Fig. 2. Optimum Reverberation Time at various frequencies. (Academy of Motion Picture Arts and Sciences.) | 1 1 ■ ■s ^^"^^ _^^ J, — -— — ; _4— — ■ " ! 1 ! VOLUME IN CUBIC Fcc.T i . 10.0005 Fig. 3. Optimum Reverberation Time at 500 cycles. (Mason & Moir.) H \ A t 4 v\ * g '« ^,MA»Oki * M« i« WMW^^ .^ ss ^-i 1 ' " ^^^ ^~*"^»^ ^^~ IK 50C 030 »0c *0C9 Fig. 4. Variation of Reverberation Time for various Frequencies. reverberation time at frequencies between 100 and 5,000 cycles per second. The variation is expressed as a percentage of the reverberation period at the basic frequency of 500 cycles. A comparison with the earlier research of McNair is also shown. It is the opinion of the authors that reverberation times closely approximating those shown in Figs. 2-4 should satisfactorily meet one of the primary conditions for good listening. Intimacy of Speech The optimum reverberation times for speech and music are not the same, but as the intelligibility of the former is generally regarded as being the more important, the reverberation times recommended favour the speech requirements.