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MANAGERS AND PROJECTIONISTS 1077
right, but like the tin whistle volume, it would be 'not so good." The low, or bass, frequencies would be lacking.
In considering volume it is well to understand that most of the acoustic energy is associated with the low frequencies. If you will take notice, you may find the next time you are present when a great pipe organ is thundering forth its bass notes, or when a bass drum is beaten, you not only hear the sound but also in a way seem to feel it.
This is because of the intensity of air vibration set up by the low frequencies. They may actually be no louder, or even not so loud as the more shrill boy's tin whistle, but they give the impression of power.
It therefore follows that a bass note sets up more acoustic energy than does its higher frequency brother, and that therefore the bass horn, for example, produces more acoustic energy than does the tenor horn, because it brings out the lower' frequencies.
HORN LOCATION.— This is a very important matter for the reason that the horns now in use for the reproduction of sound in theatres are quite directional. By this it is meant that they direct the greater portion of the sound emanating from them in what we may term a "beam/' the same covering an effective angle of only about forty degrees.
This being the fact it follows that especially in very wide auditoriums the direction in which the horns are "pointed" is highly important. The effect of horn setting, insofar as pertains to the exact direction in wdiich they "point," should be the subject for very careful study and experiment in each theatre at the time of installation, when the setting best adapted for that audi