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528 S. S. A. WATKINS AND C. H. FITTER [J. S. M. p. E.
DISCUSSION
MR. ROWSON: I think you will agree that for a subject of such difficulty, the paper is marked with extraordinary lucidity.
MR. VBNTIMBLIBR: I have heard that in America a wider sound track is used — I think about a quarter of an inch ; I would like to ask what would be the effect of the wider sound track and what would be a maximum useful limit for a sound track.
MR. FETTER: As far as quality goes, the width of the sound track has very little to do with it. As for the amplification in the theater, there might be some advantage hi having a wider sound track, but as far as I know there is nothing contemplated along that line.
MR. ROWSON: I think you undoubtedly get a purer note altogether on the wider track than on the normal narrow track.
MR. WILLIAMSON: Do you record on disk as well as on film, antf if so, is it possible to process the wax after playing it back?
MR. FETTER: We have two wax machines; one record is played back and the other is usually stored for some time in case they want to process the wax. As far as that goes you can process the wax without serious decrease in quality after playing it back once and sometimes more. The records can be kept indefinitely.
MR. VINTEN: Has Mr. Fetter any definite experience in driving the wax record by the aid of gearing, or some such similar method, and would any difficulty be experienced as regards vibrations?
MR. FETTER: In order to eliminate any vibrations in a wax recording machine we drive the wax disks through a rather complicated mechanism comprising a mechanical filter, in such a way that at the actual point of drive on the wax disk itself no flutter is present. Incidentally the same type of drive, somewhat modified, is used hi the theater for reproduction.
DR. CLARK: I would like to know whether Mr. Fetter has any experience with the fact that when you develop a patch of high density you get a line of exaggerated contrast at the edge of the image due to local exhaustion of the developer and diffusion of fresh developer into the image area and of exhausted developer away from the image edge. When you are developing your variable density negative does that affect it at all, and if so what effect does it have on the quality of reproduction? If you are using a positive film with a high maximum gamma and you stop development with a low gamma the effect might be pronounced, and I am rather interested to know what influence it has.
MR. FETTER: This is a very interesting point, but we have not analyzed what happens in regard to the effect of steepness of density variations we get in recording. I do believe that such effects may be a difficulty, particularly in recording very high frequencies.
DR. CLARK: Can you reproduce from the negative, or must you make a positive print for reproduction?
MR. FETTER: You can reproduce from the negative but the transmission of the negative results in a frequency spectrum which is quite different from that given by the positive.
DR. CLARK: One hears a lot about the extreme care required in developing the positive sound record to the gamma of one, and that you have got to be very careful in controlling the gamma. I believe there is. quite a considerable latitude