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6 H. G. TASKER [J. S. M. p. E.
against more or less distant backgrounds. I was much interested to witness a take from Six Day Bicycle Race, in which a conversation took place between two riders supposedly tearing around the track at some 20 miles per hour. The difficulty of recording such a conversation on an actual race-track, with both camera and microphones sweeping around the track ahead of the riders, may be easily appreciated. In the process shot the background consisted of a view of the race-track shot wild from the back of a motorcycle leading a group of racers by some 15 or 20 yards. In front of this projected image were the bicycles of the two conversing riders. These were supported on swiveled mounts which were swayed back and forth by stage hands, cleverly representing the movements required by the swirling race-track in the background shot. As the riders pedaled vigorously the front wheels of their bicycles were turned by small motors, and in front of the otherwise stationary riders a microphone was suspended which picked up the conversation between them. In this and many other instances I noted the continuing trend to push complexities of production into technical departments, to the great relief of shooting schedules.
"ONE NIGHT OF LOVE"
Having heard from many sources most interesting comments on the musical quality of Columbia's One Night of Love, starring Grace Moore, I searched out Mr. John Lividary, in charge of sound at that studio, and inquired of him as to how it was done. He was most cordial and informative, and at last convinced me that it was not done with mirrors.
In recording the musical scenes two dynamic microphones were devoted to orchestral pick-up, one about 30 feet from the orchestra and a second 90 feet away. The latter was employed to introduce desired amounts of the reverberant quality that may have occasioned much of the popular enthusiasm for the final product. The stage being still too dead, even after introduction of much hard flat surface, a variable low-pass filter was associated with the second mike. Miss Moore desired unusually close association with the orchestra, and so the directional properties of a ribbon microphone, placed in front of Miss Moore and at right angles to most of the orchestra, were employed to provide satisfactory differentiation between voice and accompaniment .
An added chorus called for another ribbon microphone, the bi