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ARCHITECTURAL ACOUSTICS
Dr. Vern 0. Knivdsen*
1. Introductory. Probably one of the least understood, and yet one of the most important, problems in the recording and reproduction of sound is the acoustic adjustment or control of the spaces in which the sound is recorded and reproduced. The acoustic design of the talking picture set is particularly subject to wide variations, dependent upon the skill of the technician, and the requirements of the art director. There is a great deal of empiricism in the selection of the set materials, in the determination of the shape and size of the set, and in the location of the microphone. Consequently, there is a greater likelihood for violating the rules for good recording in the acoustic design of the set than there is in the control of the recording equipment which is much more standardized and less subject to human error.
It is not the object of the present paper to discuss to any great length the acoustic design of sets. Rather, the purpose of this lecture is to outline in the simplest possible manner the fundamental facts which are pertinent to the proper control of sound in closed or semi-closed spaces. If the recording engineer be familiar with the fundamental principles of architectural acoustics, his problems in the studio will likely be attacked and solved in an orderly and scientific manner rather than in the empirical method of "cut and try".
The securing of satisfactory acoustics in an enclosed space is a straightforward engineering problem. If it is worked out in accordance with the known facts of architectural acoustics, the outcome is determinable and can be made to meet the most
^Associate Professor of Physics, University of California, at Los Angeles. Vice-President, Acoustical Society of America.
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