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SOME ASPECTS OF A WESTERN ELECTRIC SOUND RECORDING SYSTEM*
S. S. A. WATKINS AND C. H. FETTER
This is intended to give a general picture of the part played by the Western Electric sound recording system in connection with the production of talking motion pictures. It is not proposed to introduce any new material but an attempt is made to trace the sound, with particular emphasis on sound recorded on films, from the time it originates in the studio until it is finally ready for theater projection. Some of the many details which are necessary and which must be properly correlated in order to produce a satisfactory product are discussed.
With this in mind we will take up in order sound studios, their construction and treatment, their use, monitoring and playback facilities, the amplification and recording of sound, and the processing necessary to convert these recordings into commercial prints or records ready to be shown in a theater in conjunction with a picture.
Studio Construction. — There are two major requirements which must be met in order to make a sound studio satisfactory. The studio must be thoroughly sound-proofed and it must be properly treated acoustically.
Generally speaking in order to make a studio sound-proof two things must be taken into consideration; outside noise must be excluded and mechanical vibration due to outside disturbances must not be transmitted to the studio. Outside noise can usually be kept out by building a double wall of substantial construction with an air space between the walls. To eliminate mechanical vibration it is desirable to keep the inside walls and floor of the studio separated from the foundation of the outside walls.
The matter of acoustic treatment of studios for satisfactory recording is a matter of some debate. It is generally believed, however, that acoustic conditions in the studio should be as near as possible to acoustic conditions in the open air. This means that a
* Communicated by the London Section. 520