Publix Opinion (Dec 22, 1928)

TOWN e THEATRE Tampa, Fla. *Tampa (Guy A. Kenimer,C.M.) Victory t pee: Strand — Franklin 2 Seminole (Following theatres operated by _ (Continued from page 2) MANAGER A. M. Koy Geo. B. Peck Edwin Adler A. B. Heston O. G. Finley A. H. Blank) Cedar Rapids, Iowa Capitol W. Gollner Coufieil Bluffs, Towa Broadway H. Chatkin Davenport, lowa *Columbia H. L. Davidson 7 : Garden H. L. Davidson aa Family H. L. Davidson Moline, Th. (advise later) Newton, Ill. *Capitol G. P. Hundling | eae 6 Rialto G. P. Hundling Rock Island, Ml. Fort Armstrong F. O. Slenker aa ae Spencer R. D. Hinchman seagiaal Iowa Princess C. McPike a Capitol L. E. Davidson , aterloo, lowa Riviera H. D. Grove 4 (Following theatres operated by J. H. Cooper) Lin *Lincoln Chas. F. Shire, C. M. Colonial : Chas. F. Shire Liberty Chas. F. Shire , Orpheum Chas. F. Shire “Rialto Chas. F. Shire *Criterion Pat McGee. Capitol Pat McGee Missouri N. Prager = _ 141 Walton St., Atlanta, Ritz Criterion Ritz ksonville, Fla. — Palace a Arcade Empress Imperial Republic Rialto Riverside Temple * Alcazar Pheil 5 Se Rex ollowing theatres operated by Publix-Lucas, directed by Arthur Lucas, Ga.) Frank D, Adams Frank D. Adams Milton H. Kress Paul Short H. A. Cook I. L. Shields lowing theatres operated by Publix-Sparks, directed by E. J. Sparks, Bo Palmer Bldg., Jacksonville, Fla.) John L, Crovo R. Phillips W. A. Krause, Jr. M. F. Estes John L. Crovo Brandon Warren John N. Thomas John L. Crovo H. G. Griffin W. J. Melvin H. G. Griffin (Following theatres operated by Publix-Sparks-Saenger, directed by __E, J. Sparks, Palmer Bldg., Jacksonville, Fla.) Queen *Sunset Garden Court Baird Lyric *Florida *Dixie. Temple Howell Princess *Milane 2 Ft. Lauderdale, Fla. bY : ng * Oy Ss . aa * ; NEW ra Boston, Mass. Allston Capitol Colonial Opera House Bijou Graphic Opera House Park Prark Magnet A. R. Nininger A. R. Nininger (closed) He J. Newton Treece J. Newton Treece J. Newton Treece Harry 'P. Botts Harry P. Botts Wm. C. Mahoney Joseph L. Marentette Joseph L. Marentette RK-NEW ENGLAND DIVISION—J. J. Fitzgibbons C. Bassin Walter League W. B. Williamson W. B.: Williamson G. Jeffrey (closed) C. J. Russell, Jr. T. MeGuigan P. P. Peakes (closed) TOWN Bath, Me. Belfast, Me. Biddeford, Me. Boston, Mass. Brockton, Mass. Cambridge, Mass. Chelsea, Mass. Dorchester, Mass. Dover, N. H. Ft. Fairfield, Me. Ft. Kent, Me. Gloucester, Mass. Haverhill, Mass. Houlton, Me. Lowell, Mass. Lynn, Mass. New Bedford, Mass. Newburgh, N. Y. Newport, R. I. North Cambridge, Mass. Pawtucket, R. I. Pittsfield, Mass. Richford, Vt. Poughkeepsie, N. Y. Rockland, Me. Rutland, Vt. Salem, Mass. Somerville, Mass. Waterville, Me. Westbrook, Me. Woonsocket, R. I. Yonkers, N. Y. FUTURE REFERENCE! THEATRE Opera House Columbia Colonial City Central Fenway Olympia (Scollay Sq.) Olympia (Wash’gt’n St.) Brockton Rialto Strand Central Square Olympia Broadway Codman Square Fields Corner Upham’s Corner Strand Lyric Strand Park Savoy North Shore Strand Colonial Palace Temple Merrimac Square Rialto Olympia Olympia Empire Academy *Broadway Strand Harvard é ’ Imperial Strand Capitol Strand Colonial *Bardavon Stratford Empire Park Strand Strand Grand Playhouse Federal . Salem Strand City Opera House Haines Star Laurier g Stadiam Bijou Strand MANAGER ‘W. T. Powell W. T. Powell H. L. Adams J. P. Rundle F. A. Vennett A. E. Fowler Lawrence Bearg F. Hookailo did. Cahn. CM: W. B. Rose W. C. Benson J. Goldberg Chas, A. Goldryer, C. M. H. Schwartzberg A. F. Donovan Harvey Cocks J. J. Dempsey Arthur Pinkham Arthur Pinkham C. W. Benjamin Harvey Bernardini J. P. Kineaide C. B. Craig A. Lashway E. M. Brodie H. Kayes D, F. Perkins, C. M. A. J. Hamilton Nash Weil Morris Simms Joseph Borenstein Geo. T. Cruzen, C. M. Harold Le Valley D. J. Dugen J. P. Callahan John C, Wright C. F. Millett C. Frederick, C. M. E. J. Matthews S. Carl Carpenter Hi Pe ot, CM. John Hartung C. M. Benson C. M. Benson Joseph N. Dondis T. W. McKay T. W. McKay T. W. McKay Paul Shay W. G. Mitchell J. J. Sullivan H. J. Mulqueen G. E. Sargent F. Eugley John Arnold Wm. Spragg’ J. S. McNeill Geo. C. Walsh (Following theatres in Maine-New Hampshire group. Office at 60 Seollay Square, Boston) Brunswick, Me. . Burlington, Vt. Concord, N. H. Fitchburg, Mass. Gardiner, Me. Hollowell, Me. ‘Lewiston, Me. | Livermore Falls, Me. Montpelier, Vt. Mexico, Me. Norway, Me. Portsmouth; N. H. Rumford, Me. South Berwick, Me South Paris, Me. Wilton, Me. Cumberland Majestic Star Capitol Cummings Lyric Shea’s Opera House Acme (closed) Empire Strand Musie ‘Hall Dreamland Playhouse Mexico (closed) Rex Colonial Olympic Opera House Strand Strand . Strand Bijou . K. Eldridge W. Carroll K. Connor C. Lund Goldberg Goldberg . R. Lawton . J. MeDermott W. B. Williamson J. N. Snider H. Rosenthal J. Kenney C. W. Moulton R. W. Pinkham J. M. Goodwin Mrs. E. Harriman Viney Badger M. C, Murch J. A. O’Brien J. A. O’Brien G. Stone L. Durepo L. N. Bump i relon.| mateenennawentiice PROGRESS IN TALKIES IS TREMENDOUS “Talking pictures. made today at our Long Island: Studio are just twice as good—by mathematical demonstration—as the pictures made only four months ago,” declares Ralph H. Townsend, director of recording for Paramount. “Every sound has a pitch,” says Mr. Townsend, “what may be 'called in radio terminelogy a wave . length or frequency, determined by the number of vibrations per second which that sound sets in motion. The average human ear can hear sounds ranging from a frequency of 16 or less up to about 15,000. “For example, the ordinary baritone man’s voice would pronounce the word ‘low’ with a frequency of about 100 cycles per second. The same voice would pronounce the 2 word ‘safari’ with a frequency on the s sound of about 6,000 cycles, and on the f sound of about 8,000. Eliminating Lisping “Now, as sound recording developed, there was a quite definite limit to the frequency which could be taken down. One of our problems has been to increase that range. The early talking pictures could not cateh vibrations of higher frequency than about 3,000. The s and f sounds were beyond that and were not recorded; so of course the actors lisped. The best we could do in this studio last August was about 4,000. Now we are recording 8,000 and actually reproducing 6,000, and soon we shall raise that maximum another step higher. Our actors can say practically anything they wish, and still be recorded perfectly. We have doubled the range. “Our: present range at the Long Island Studio, I believe, is greater than in any other sound picture studio in the world. It is possible to improve sound recording and reproduction over the initial showings to just as great an extent as the improvement of moving pictures over the old-time flicker.” Finest. Recording to Date “The Letter,” according to Town resents the finest attained in the films. recording ever Curiously, all the actors in it are Orientals, and the speech is entirely in Chinese. It is the scene in which the Chinese woman and her maid in the courthouse corridor stop ‘the lawyer’s clerk and tell him they possess the incriminating letter. The conversa { tion is nervous and furtive, entirely in whispers. And, the engineer says proudly, it was caught perfectly. Greater Range for “Mike” “Another thing we have done on ‘The Letter’ which I think is new in talking films. We have got around the necessity for actors to stand in just one single position under the microphone. We have eliminated the unnatural and uninteresting appearance of two characters standing stifl_y in front of the camera and speaking their lines. This, of coursé, -has been characteristic of most talking films so far. “What I mean is that we have given the microphone greater range, so that the actors may move around and carry on their action at the same time they talk. In the scene where Miss Eagels shoots her lover, Herbert Marshall, for example, there is vigorous action and movement all around a room; yet the talk goes on throughout, and it has been recorded perfectly. “The microphone has been made to follow the voice over just as wide a space as the camera lens can follow. The introduction of real action along with dialogue will be one of the distinctive contributions of ‘The Letter’ to talking picture technique. Close-ups Not So Necessary “T believe, too, that this increase of the space range. of the -mfieérophone will bring about a change in the lighting of sets. less of the spotlight, more general flooding of a wide area, with increased action. “The talking picture will give the director many additional weapons or tools for creating his effects in the emotions of the audiénces. It has been the established custom to obtain emphasis by means of the close-up. When the tense moment arrived, move the camera up. But now with the addition of sound, it will be possible to get emphasis by sending out the words to impact upon the audience while leaving the characters in full-length position sa that their action may go forward swiftly and without interruption.” 0 Is Townsend? _, Townsend is one of the veterans in the recording field and has been an acoustical engineer ever since his graduation from Purdue. For a long time he was in charge of research and recording laboratories for Brunswick phonographs. send, contains one scene which rep- There will be”