Motion Picture Herald (Oct-Dec 1956)

four-track magnetic sound. The success which followed CinemaScope need not be described. The great improvement in fidelity made it possible for bvery theatre to achieve a quality of sound which none had ever experienced before. Musical scores and other audio material now could contribute intrinsically to the total impact of the performance. But unfortunately heated controversy over the necessity, even value, of stereophonic sound developed between exhibitors and some producers. Because of cost considerations in theatre installations and in studio and processing procedure, multichannel picture releases were distributed only partly as multi-channel magnetic, and principally as single-channel optical sound track prints. KEEP EQUIPMENT READY! During; the last few months there seems to have been a considerable decrease in the distribution of magnetic prints. This may give rise to a desire to curtail the attention given to theatre magnetic equipment. All these factors have aggravated the confusion now existing in studios and exchanges and, even more so, among motion picture theatres. Since it is practically impossible to predict the type of print which may be served to thousands of theatres, it is utterly ridiculous to permit any of the theatre’s systems to get out of proper condition. It is well known that if switching and amplifier facilities are seldom used, they tend to deteriorate and become rather frequent sources of trouble. Hence these sections of equipment require consistent and more specialized attention. The decrease in multi-channel CinemaScope releases seems to have given magnetic reproduction something of a set-back. However, it is certain that the recent increase in the six-channel ToddAO installations, and the possibility of MGM six-channel productions will give full range magnetic recording and reproduction a new lease on life. Certainly it is impossible to conceive how the scoring of Oklahoma ! and Carousel could be as beautifully and effectively reproduced from one track optical recording as it is by multi-channel magnetic systems. It is undisputable that when the studios utilize their utmost efforts, the best quality will result from magnetic multichannel recording and reproduction. The theatre equipment used for this purpose will function only at its best when properly installed and properly maintained. For our industry there should be no compromise with optimum quality of sound. Scene from “Anastasia," 20th Century-Fox CinemaScope production. Make your theatre HABITFORMING with the PERFECT-PICTURE PAIR PERFECT-PICTURE CINEMASCOPE LENS Clearest, brightest, distortion-free projection of all anamorphic process films. Highest light transmission — 92%! No vignetting! Uniform light and uniform magnification throughout entire screen area! Complete line — neighborhood theatres to longest-throw drive-ins. Academy of Motion Picture Arts and Sciences Honorary Award for Optical Service to the Industry SINCE 18 5 3 SEE THE BIG DIFFERENCE . . . FREE DEMONSTRATION Write today for demonstration, and for Catalogs E-123 and E-141. Bausch 8C Lomb Optical Co., 67912 St. Paul St., Rochester 2, N. Y. (In Canada: General Theatre Supply, Toronto.) PERFECT-PICTURE PRIME LENS Sure, a good feature will bring patrons in . . . but it’s how well they see it that helps decide whether they’ll pick your theatre to come back to. Build repeat patronage with B&L Super Cinephor Projection Lenses — full detail, brilliant contrast — the quality standard prime lens for all theatre and drivein projectors. BETTER THEATRES SECTION 13