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422 CINEMATOGRAPHIC ANNUAL.
to the condition where the sound record is made first, and the scene photographed synchronously with the playing of this record. The acoustics of pre-scoring should be designed to fit the acoustics that would be expected in the scene which is to be depicted with the sound record, and therefore each case is a problem of its own. However, the principles governing the acoustics for this type of scoring are similar to those for sets.
In general, pre-scoring is best limited to incidental music, music for dancing, marching or for other off stage sounds. It is difficult to pre-score a song in which the singer appears in a close-up or semi-close-up in the picture, since it has been found that the singer pays more attention to keeping in synchronism with the record than to acting. It is, therefore, preferable under these conditions to make a direct synchronous take.
Post-scoring is the addition of music and occasionally dialogue to a scene which has already been photographed. The greater part of post-scoring is done in a room or studio known as a scoring stage, the acoustics of which can be adapted to the requirements of this type of work. The two important acoustic factors controlling such a stage are first, its time of reverberation, and second, the distribution of sound absorbing, and sound reflecting material within it. It is well known that for two ear listening, the time of reverberation of a room for music depends upon the size of the room. This is also true for one ear listening or recording, with the difference that the numerical value of the time is less than for two ear listening.
The method of obtaining any given time of reverberation within a room is completely described in Watson's "Acoustics of Buildings." The time of reverberation which is most desirable for various sized rooms is shown in Figure 6. It should be noted that in this figure there are two lines plotted. The upper of these represents the maximum acceptable time, whereas the lower one represents the minimum time. Any value lying between these two lines is pleasing and leaves some leeway of choice to the musical director, as to just what he thinks is the best musical reproduction.
The distribution of the damping is shown approximately in Figure 7. It should be noted that this is an attempt to artificially reproduce natural listening conditions, namely, the music is reproduced in the live end, which would correspond to the stage of