Sound motion pictures : from the laboratory to their presentation (1929)

Page scan 000109 from Sound motion pictures : from the laboratory to their presentation

Record Details:

Title:
Sound motion pictures : from the laboratory to their presentation
Date:
1929
Publisher:
Garden City : Doubleday, Doran & Company, Inc.
Volume:
Sound motion pictures : from the laboratory to their presentation
Leaf #:
000109
Language:
English
Subjects:
Motion Pictures, Motion pictures--Technology
Collection:
Books
Format:
Books
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
August 22, 2024
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CHAPTER V ACOUSTICS Underlying the equipment of both theatre and studio is a body of scientific principle and mathematical computation. The aim of the present chapter is not to explain these; they are the exclusive province of the technical expert and theorist. Yet I devote a portion of the book to the subject in order to point out the more significant practical applications and to emphasize the importance of the science itself. Hitherto, the all-important consideration in motion picture theatres has been clear and ready visibility. Audibility, always a matter of some concern to the motion picture theatre architect and to the management, now becomes a major — perhaps the major — problem in theatre construction. I am not referring only to the sharp distinctness of the reproducing apparatus. I am thinking especially of the fitness of the auditorium itself as an auxiliary to perfect reception by the ear. We know that whereas the voice will boom unnaturally in an empty salon it will be natural in tone when there are a great many people present. Footsteps that echo in a stone corridor are inaudible in one that is carpeted and draped. What is the significance of these simple facts for the exhibitor of sound pictures? The pages that follow will answer the question. Meanwhile I take occasion to stress this admonition: Although no theatre manager is expected to be a scholarly savant, he cannot expect any success at all in connection with sound unless his theatre conforms to the requirements of science 89