Motion Picture Herald (Oct-Dec 1956)

Better Projeetm A Department nn PROJECTION & SOUND Regular Service Is Needed for Top Quality of Sound By GIO GAGLIARDI DURING THE LAST COUple of years there has been a tendency on the part of theatre management to try to decrease the frequency of inspection calls made by the service engineer. Generally the excuse for this procedure arises from a desire to curtail expenses. Unfortunately the attempt to “cut corners” in this area of operation very often backfires in the face of management, sometimes with costly breakdowns, but principally with a general let-down in the standards of quality of the sound being reproduced in the theatre. As far back as 1935, the great variations which existed in recording characteristics between studios were recognized as a factor which tended to produce poor quality of sound in different theatres, which used different types of sound equipment. At that time the Academy stepped in with the request that the studios unite behind a standardization procedure for sound recording. But this standardization could only become effective if the theatres themselves installed, or modified, their sound equipment in accordance with rules and standards prescribed and laid down by the Academy. These requirements were not too complicated and they made good sense. First, the mechanical equipment such as the soundheads, were to be built so as to insure perfectly smooth passage of film. The wows, or flutter, was to be reduced to an inaudible point. Second, the amplifiers were to have a reserve of undistorted power which would permit them to handle bursts and peaks of sound without distortion or overload. Third, the stage speakers were to be of a type dividing low and high-frequency power output into two sections to prevent unit distortion and to preserve and present the best available quality to the public. Fourth, auditoriums were to be checked and treated acoustically so that echoes were eliminated and the reverberation was kept within the desired limits. The Academy conducted many listening tests and eventually issued data and curves which were to be used in conjunction with all leading makes of speaker equipment and which would produce the desired optimum quality in all theatres which followed the properly prescribed procedure. It is well known that these rules for standardization served the industry magnificently. Sound in most of our theatres between 1935 and 1950 became the criterion of quality. When wide-range or high-fidelity was mentioned, theatre sound was held up as an example for all others to envy and emulate. This high-grade reproduction, however, was not attained without plenty of expense and work. Good equipment had to be installed, and this equipment had to be checked and serviced at regular intervals so that it could perform continuously at peak efficiency for faithful reproduction of sound. EARLY SIMPLIFICATION Due to advancements in technology and in manufacturing procedure, the standardized equipment installed during that period became much more reliable and simplified than the equipment of the early 1930’s. Amplifiers, though smaller in size, could deliver greater amounts of power reliability over greater periods without continuous attention. Voltage produce • MORE BRILLIANT ILLUMINATION • SHARPER, BRIGHTER PICTURE • PERFECT COLOR BALANCE in any lamp, on any size screen, in any theatre or drive-in. There's a Lorraine Carbon for your particular lamp FREE! new LORRAINE CARBON CHART of recommended amperages voltage and arc gaps. ASK FOR TEST SAMPLES AT OUR EXPENSE CARBONS, Inc. BOONTON, N.J. BETTER THEATRES SECTION II