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SOUND 1M0RSONNKL AND ORGANIZATION
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play with moving microphones, were all devices either originated by engineers or developed through their cooperation.
It is clearly essential that the head of a sound department should be able to understand the literary and dramatic aspects
Layout of Recording Booth or Truck
Film Recorder
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Microphones
Telephone
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First
Assistant
Recordist
Q Recordist Monitoring Speaker
Assistant Recordist (Stage)
t Partition
Booth
FIGURE 3
Typical layout of recording booth or truck in studio using portable equipment for recording on film.
of picture making, so he may help to create the devices necessary to produce the desired emotional effects in audiences. But should the "mixer," or head of a sound crew, possess this ability? Most of the sound executives interviewed thought such traits were a distinct asset, and this view happens to be the one favored by the present writer. One of the leading managers argued, on the contrary, that the business of the play and the merits of the plot were solely the affair of the director, and preferably the mixer's disposition should be such that he will be interested only in getting intelligible dialogue and good music and not overshooting the amplitude limits of the equipment. He did not want to run the risk of the sound man becoming what is known in the art as a "script-meddler." The fact that a dissenting opinion was expressed shows, even if time should prove it wrong, that final conclusions cannot yet be arrived at in the choosing and training of sound picture personnel.
STAGE PSYCHOLOGY
In addition to a good ear, one quality the "mixer" (the term is a misnomer in that he frequently uses only one microphone, and