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DUBBING SOUND PICTURES 427
at the turntables as well as personnel for counting revolutions and cueing. Subsequently, the counting was simplified by the use of a record which reproduced the revolution count. Finally a machine was developed which rendered the process automatic.
Early sound pictures, due to recording and production problems, were part talking, with the silent scenes scored, and sound effects added. The latter was accomplished by projecting the picture upon a screen on the recording stage where the desired sounds could be produced. If the projection and recording machines were interlocked by a synchronous motor system, the resultant sound record would be in synchronism with the picture. A schematic drawing indicating such a set-up is shown on Figure 1-B. Synchronizing and scoring are now extensively employed. The results are often more satisfactory when the original take involves dialogue only, than when all the incidental sound effects are recorded at that time. This is true for two reasons: First, many exterior shots must be built up on the sound stage and it is not possible to accurately simulate the actual condition of accompanying noise. This applies particularly to street scenes and scenes involving water or rain effects. Second, revolver shots, explosions, ^or other violent noises will often sound unnatural or have too severe an action on the recording medium to be included in the original take. In these cases the scene is taken minus the sound effects and these effects are synchronized after the picture is completed.
There were early ideas of accumulating "libraries" of recorded sound effects which could be introduced into a picture where needed. In order to add sounds (original or recorded) to those of a picture already produced, it is required that the original be re-recorded. A schematic drawing of a re-recording system is shown on Figure 3. This was the function demanded in the studios just as it seemed that the production of "all talking" pictures was safely under way. Several important pictures had been scheduled for release, and were nearing completion when it was found necessary to perform all of the above mentioned processes before release could be made.
As stated above, the need for dubbing was anticipated. In fact, it was considered as a simple application of already developed processes. This in a measure was correct, but even the combining of known processes presented detailed problems, which required a certain amount of engineering. When the sound currents are obtained from a disc or film record rather than from a microphone direct, the pickup must be made to reproduce the original sound currents with the utmost fidelity. Extraneous noises must not be introduced in this process of re-recording. These problems, together with a somewhat different circuit layout, constitute a part of dubbing which will be considered later in more detail.
Fig. 4 shows the various steps of recording and re-recording sound. These drawings indicate the rather unusual transformation which takes place during the interval from the picking up of the original sounds to their restoration in the theatre. Referring to the simplest of the processes, namely, recording and scoring on film, it is of con