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Jan., 1930] ACOUSTIC CONTROL OF RECORDING 91
closer to the subject or by changing the focal length of the lens, this double method is not open to the acoustic engineer who can change his perspective only by moving the microphone. Were he able to decrease the amount of reverberation in the set, he could, of course, get a close-up sound track without moving the microphone into as close a position as would otherwise be necessary. This latter method is, however, impracticable.
Inasmuch as we are now recognizing the difference in the sound of a voice in the foreground and of one in the background, it becomes necessary that the microphone be placed in the same general direction from the scene as is the camera so that when an actor recedes from or approaches the camera, he also recedes from or approaches the microphone. Under these conditions it is possible to take a dialog with the actors facing directly at, across or even directly away from the microphone, since the change in quality which accompanies the changes in direction is only that which would be expected as the person turns in the picture. In this connection, it might be well to mention that with many of the dead sets which have been used, this statement does not apply, as these sets in general tended to reduce the intensity of the high frequencies and this reduction often became so great when a speaker talked away from the microphone that the intelligibility of the record was considerably impaired. However, with a set having considerable reverberation, the high frequencies which fail to reach the microphone directly, do reach it after reflection from the walls and therefore leave the intelligibility relatively unimpaired. This failure to get these higher frequencies of speech directly, but by reflection only, is probably one of the factors which bring about the change in quality in a voice when a person turns away and talks with his back toward the listener.
It might be well at this time to summarize briefly the proper type of arrangement of set, microphone, and camera. Fig. 2 shows two diagrams of the same set, one arranged for a long shot of a rather extended scene and the other arranged for the taking of three close-ups to be inserted at the proper places in the long shot. This figure is a diagrammatic representation of a scene actually taken. It will be noted that for the long shot, there is only one microphone and that for the close-up conditions, there is only one microphone for each close-up. In some studios these three close-ups would have been photographed separately, in which case there would