Exhibitors Herald World (Oct-Dec 1930)

November 22, 1930 Exhibitors Herald-World 33 tionist and to his house manager. If, however, the basic point of view as expressed above is taken into account, it will be clearly seen that the criticism should be of the imperfections of our present methods and equipment rather than of the personnel, who are, as we know, conscientious and trying to do their best to give satisfaction. This point of view has been misstated at many times, but it is altogether too important to be misunderstood. M G M's attempts at automatic volume control and, as well, the attempts of others to produce the same results, are aimed at a better understanding of this part of the problem and at helpful cooperation with the theatre. In order to avoid confusion, I am describing two methods of handling the volume control problem; that is, (1) by recording, and (2) by the squeeze track. Each accomplishes the same volume control result, but when rerecording is used, the sound quality can never be as good as the original, and the surface noise must definitely increase somewhat. On the other hand, by "squeezing," we may use the original track, and hence the quality does not suffer. Moreover, surface noise is decreased, as it is directly proportional to the effective width of sound track. Every studio uses one method or the other to control the volume of most of the sound in its pictures. Belief in the squeeze track is based on the improvement in quality and surface noise conditions. If two prints were to be made of the same record, one by rerecording and the other using the squeeze track, the mechanics of projection would be absolutely identical for each. In the system used by Mr. Miller in determining the amount of "squeeze" necessary for uniform volume, the film is run several times with the regulation sound track before several studio audiences. Variations in sound volume, of course, are due to position of the microphones in different sets, the use of music, and other factors too numerous to mention. After the film has been exhibited several times, the track is "squuezed." The amount of light passing through the sound track, of course, is responsible for the volume. In the loud or distorted spots, the sound track is blanketed, or matted. This cuts down the amount of light which passes through the track, and the result is that the volume is softened. By different gradations of matting, or "squeezing," the uniform effect is produced throughout the product. A large part of the Metro-GoldwynMayer product is being offered to exhibitors with the squeeze track at the present time. Mr. Miller and his associates urge that theatre managers throughout the country cooperate with them in endeavoring to shade volume to the extent that the illusion of reality is not destroyed for the audience, and they solicit any suggestions which exhibitors BARNUM WAS WRONG The American public does not like to be buncoed. They'll stand for it quite a while, but they'll ruin anybody who tries it too long. Look at the last election. All this talk about attendance falling off because the novelty of talking pictures is wearing out is far from truth. It is falling off in some theatres because the "*talk" is so far from human speech. In plain U. S., the patrons have been buncoed too long. When a patron lays his half dollar on the window sill he is paying for a Syncrofilm show. If he gets it, he will be back with another half dollar as often as you change programs. Barnum packed up his show and pulled out of town each night. You are anchored to a thousand tons of brick and steel. You can't afford to pull the stuff Barnum did. Get a Syncrofilm for each of your projectors. WEBER MACHINE CORP. 59 Rutter St., Rochester, N. Y. Export Dept. 15 Laight St. New York, N. Y. Cable Address Arlab, New York SYNCROFILM The RAVEN r[R %BQNE SCREEN Pat. V. S. and Canada FOR SOUND represents what many leading exhibitors believe to be the best screen yet developed. Samples and prices submitted upon request RAVEN SCREEN CORPORATION 1476 Broadway New York, N. Y.