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TECHNIC OP RECORDING CONTROL 419
a set of the materials that would really have been used had the scene been a real one. It is necessary, therefore, to use imitations. These substitutes should imitate acoustically the real materials as nearly as possible, and in particular should be braced sufficiently so that they do not tend to materially partake of the vibrations set up in the air by the sound.
When a set has been designed in this manner, experience has shown that the incidental noises sound more realistic and convincing, and that they may usually be recorded at the time the original scene is taken. In one picture, on which this technic was used, some dramatic scenes occurred which were to be intensified by a period of sudden silence. In order to accentuate the silence, the ticking of a clock, situated on the rear wall of the set, was to be the only sound heard. The question was immediately asked what should be used to imitate the clock. The obvious answer is the clock, since it is difficult to get any other instrument to sound more like the clock than the clock does. The scene was recorded, using the clock as the source of sound, with the microphone in the normal dialogue position for the action, and a very successful sound record resulted.
In view of the stress that has been laid on the necessity of sets having more sound reflection than those previously in use, it might be of interest to consider why some of the sets of the past have given what is commonly called a "tubby" quality. There are two ways in which a set can cause the sound to persist in it for a short time after the source has stopped. The first of these methods is by reflection of sound from the walls and floors and this method is the only one which should be active to any extent. The second method is by a diaphragm action of the walls. In this case the sound sets the walls into vibration, and they continue to vibrate for a short time, thereby causing sound after the original source has stopped. This type of "hangover" usually has a decided frequency characteristic and is highly objectionable.
In the earlier sets, the spacing of the studding, and other supports for the setwall material, was so great that the natural periods of the wall sections occurred in the same frequency region as the fundamental tones of the average male voice. This resulted in an accentuation of the low pitched frequencies of the voice, without a corresponding accentuation of the higher