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368 A. S. RINGEL [J. S. M. P. E.
REFERENCES
1 MAXFIELD, J. P.: "Acoustic Control of Recording for Talking Motion Pictures," /. Soc. Mot. Pict. Eng., XIV (January, 1930), No. 1, p. 85.
2 HUMPHREY, H. C.: "A Typical Sound Studio Recording Installation," Trans. Soc. Mot. Pict. Eng., XIII (1929), No. 37, p. 158.
3 SABINE, W. C.: "Collected Papers on Acoustics," Harvard University Press.
4 BYRING, C. F.: "Reverberation Time in 'Dead' Rooms," /. Acoustical Soc. ofAmer., 1 (1930), No. 2, p. 217.
5 WATSON, F. R.: "Acoustics of Buildings," John Wiley & Sons, New York.
DISCUSSION
MR. MAXFIELD: I had the pleasure in Hollywood of visiting the stages described, and they are very excellent sound stages. As to his reference to my publication a few months ago, the stage should be as dead as possible and the reverberation should be built into the studio set. The fact that recorded reverberation adds itself to the reverberation in the auditorium delayed us several months. We found that certain of the producers complained and wanted to know why they couldn't understand so well when a length of film taken in a dead room was connected with another which had been exposed in a room in which the walls were treated. It is easy to have both dead and live records by changing the microphone position. If you record only the direct sound, you can get a sound track without reverberation, but with the microphone farther away you get a record with considerable reverberation. In answer to repeated questions from the producers as to why with reverberation the reproduction was harder to understand when it was pieced with a long shot, we believe another factor entered into it — the coordination between the ear and the eye. When the speaker is present, you listen naturally, and otherwise there is a lack of attention.
MR. RINGEL: I quite agree with Dr. Maxfield in that there should be no reverberation on the stages themselves. We should like to cut it down to zero. If, for artistic reasons, any is required, it should be obtained from the construction of the set itself and by proper microphone placing. But when we consider the still relatively poor reproduction of speech in most theaters, principally the result of reverberation, it seems undesirable to reduce the intelligibility still further by introducing reverberation in the recorded sound. The reproduction is much closer to the original when the microphone is located close to the speaker, where the direct sound is practically predominant.
At the present state of development of the art, I believe that this is a psychological problem rather than a scientific one. I concede that with perfect recording and reproducing equipment covering the entire spectrum of sound, and with no reverberation at the listener's ears, and with a pick-up of sound on the set equal to binaural listening, the effects obtained by the introduction of reverberation in recording will aid considerably in enhancing the illusion. Mr. Crab tree's statement referring to loud speakers, "They have a long way to go before perfection," applies also to all the other elements in recording and reproducing the sound. The artistic effects theoretically attainable on such a perfect system result in rather poor reproduction of sound with present-day