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94 J. P. MAXFIELD [j. s. M. P. E.
Curve B gives the best results, but there is still too much difference of opinion to warrant too definite a statement. This time of reverberation given by Curve B is that which the room should have with the musicians in it. For convenience, it is useful to build the room to have this time of reverberation when the largest number of people ever used in it are present. If the music being recorded requires less people than this number, the additional damping material must be brought in to compensate.
It has been pointed out in the literature1 that the best place for the production of music is a place where there is considerable reverberation, while the best position for listening is one in which there is relatively little reverberation. In rooms large enough to be used for good scoring, namely, 50,000 cubic feet or larger, these two sets of conditions can be realized by placing the larger part of the damping material on the end not occupied by the musicians. The microphone is then placed in this end containing the maximum amount of damping material.
The arrangement of musicians used is that which would be used were their end of the scoring room a real stage and were the microphone end occupied by an audience. It is not necessary, therefore, that the musical director make any special arrangement for the purpose of recording. In scoring as in the taking of talking pictures, the best results have been obtained with the use of one microphone placed at a considerable distance from the orchestra, that is, 20 to 50 feet. This statement applies and has experimental verifications up to musical aggregations having as many as 95 people. In case of an orchestra up to thirty pieces, it has not been found necessary to operate the mixer dials during the recording as has been the practice in the highly damped scoring rooms.
There is one very interesting effect which has been noticed, both in scoring and in some of the earlier work on phonograph recording, where rooms with considerable reverberation were used for recording of orchestral selections. It would be found that records made in these live rooms appeared to be very much louder than similar records made in heavily damped rooms. Where dead rooms were used, it seemed impossible to obtain adequate loudness without cutting over from one groove to another, in the case of a record, or overloading the film recording system, in case of film. On the
1 F. R. Watson, "Acoustics of Buildings."