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ARCHITECTURAL ACOUSTICS 331
It is good practice to have a sound stage very dead acoustically, that is, the reverberation should be reduced to somewhat less than one second. The desired acoustic effects can then be obtained by the proper design of the sets. For conversation the set should be relatively dead, whereas for music it should be more brilliant. Again, if it is a church scene, the set should be reverberant, whereas if it is a living room set it should be rather dead. This whole subject is yet on an empirical basis, but carefully planned experiments should be carried out in order to place it upon a precise scientific basis.
The shape of, and manner of enclosing, the set are questions which also require further investigation. However, it may be said that the set should be of such a shape as will provide a uniform flow of sound energy to the microphone from all positions from which speaking will occur. In general, fairly good reflecting surfaces behind and surrounding the scene of action, and absorptive materials in the neighborhood of the microphone will provide the best arrangement. That is, the sound should be generated in a somewhat brilliant space and recorded in a relatively dead space. If the set is relatively open, the acoustic conditions resemble open air conditions, where the intensity of sound dies away inversely as the square of the distance from the source. In an enclosed space, on the other hand, owing to the many reflections from the surrounding walls, the sound energy does not die away so rapidly at increasing distances from the source. In a small room for example the intensity of sound energy is relatively free from dependence upon the distance from the source. The recording of sound in such a room allows a much greater freedom of motion on the part of the actor. The set should be designed in such a way as to be free from the defects of resonance or excessive reverberation. The reverberation characteristics of a set often can and should be calculated in advance of construction. This will often help to determine what materials will be suitable for the construction of the set. More information is needed regarding the acoustic properties of the materials which are available for set construction. The reverberation and resonance properties of these materials especially should be known.
4. The Insulation of Sound. The insulation of sound is perhaps one of the most talked of subjects in connection with