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102 EDWARD W. KEU.OGG [J. S. M. p. E.
factory degree of equalization can be had. If it is desired to avoid the effect on the hearer of the sound emanating all from a small source, sound producing devices can be distributed at various points around the room and used during the reproduction of music. The mixing or blending of the various instruments in an orchestra has been completed before the recording of the sound, and the auditorium where the sound is reproduced is not depended upon to accomplish this mixing through reverberation. It is thus possible to take care of the loudness, the distribution, and the blending factors without the help of room reverberation. There remains the overlapping or echo effect as such. This is usually supplied by the characteristics of the room in which the sound is recorded and is subject to a wide range of control by the placing of microphones, the selection of a suitable recording room, and other elements of recording technic. So far as we can see, then, there is practically nothing which auditorium reverberation accomplishes which cannot be secured in a highly damped auditorium by other means, and the other means which I have suggested are susceptible to a high degree of control, which is not possible when reverberation is depended upon to accomplish these results. The reverberation characteristics of the room are constant except for changes in the size of the audience, and the audience factor is a bothersome variable in lively auditoriums, but much less so in highly damped rooms.
VOICE AMPLIFYING SYSTEMS
The foregoing applies only to sound which is recorded and subsequently reproduced, to the voices of the characters we are watching on the screen, but in spite of whatever optimism we may possess in regard to the future of the talking movie we may be fairly sure that for a good while to come, three-dimensional persons with first-hand voices will continue to address audiences, live artists will sing and play for the public, and people will occasionally go to hear an orchestra. Will the highly damped auditorium meet the requirements for such performances? The case is not so simple and clear as is that of recorded speech and music, and improvements and refinements in equipment may be necessary before the advantages of the damped auditorium are realized in full, but I believe that the advantage will lie with the auditorium having maximum damping or a very short reverberation period. I shall only attempt to suggest some of the possibilities of the electrical substitutes for reverberation.