We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
88 J. P. MAXFIKU) [j. s. M. p. E.
in which they are built should be dead and as nearly as possible imitate open outdoor conditions. This insures that any sound leaving the set will not return and create an echo.
It has also been found that the character of the reverberations present should be that which one would expect to find were he actually placed in the scene being shown. As mentioned previously, the amount of reverberation should be somewhat less than that actually occurring in real life. A set which has no ceiling and with one end open, approximately fulfills the proper acoustic conditions provided the amount and nature of the reflections from its walls approximate the amount and nature of the reflection which would occur from the real walls being depicted. Were it not for expense, it would be desirable to build the set of the same materials which would have been used under actual conditions for a real building. In practice, however, satisfactory materials can be found which acoustically imitate the real ones and which are considerably more economical to handle. The extra deadness needed for monaural recording has, therefore, been obtained by the fact that the sound which would normally be reflected from the ceiling and the one missing wall, now receives no reflection but spreads out into the dead studio and is absorbed there. In some cases sets with two walls only are built, usually for photographic reasons. In general, these sets do not have sufficient reverberation and it is then necessary to move in a third wall even though this be behind the lights, in order that proper acoustics may be obtained. Fig. 1 shows such a set-up.
It is therefore seen that this method of acoustic pickup really amounts to the building of a set having proper acoustic conditions inside of a very dead room. By this means it is possible to obtain the desired acoustic properties without continually changing the nature of the surfaces on the large sound stage itself. It is obvious that from a practical standpoint this is a very important item.
Having obtained a set with the proper acoustic properties, the next phase of the problem might well be termed "The Trail of the Lonesome Microphone." The term "lonesome" is used advisedly, for it has been found that the use of more than one microphone in a set at one time tends to destroy the proper depth illusion and as a result the voices very frequently fail to follow the artist about the scene. The use of only one microphone for each camera condition cannot be too strongly stressed. In several cases where difficulty