Journal of the Society of Motion Picture Engineers (1930-1949)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

1949 MAGNETIC RECORDING 233 frequency response for sound-picture reproduction purposes. A standard film re-recording machine has been converted for reproducing magnetic sound tracks with a high degree of fidelity. In addition a standard theater-type sound reproducer has been modified to provide reproduction from either optical or magnetic sound tracks. Recordings of music and dialog made on this system show an excellence Fig. 14 — Western Electric RA-1435 theater sound reproducer, showing facilities for reproducing magnetic track. of quality unsurpassed in any previously known recording system. The complete absence of background noise lends an air of reality to the reproduced sound, making it indistinguishable from direct monitoring of the original pickup on the stage. With the facilities described in this paper, the sound-recording engineer should be able to begin active adaptation of magnetic recording to his everyday production activities. Further, he should be able to carry on the magnetic program through all the various stages of editing and re-recording, up to the release negative which must for