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96 SOUND MOTION PICTURES
may cause sound in an auditorium to appear dead and dull. Contrarily, when a surface consists of thin, hard material, resonance may increase. Frequently, moreover, the architecture or layout of a theatre may be such that proper facilities cannot be obtained. Under such circumstances the condition must be improved by the use or modification of the materials for the interior finish. Large, flat, unbroken wall or ceiling areas are often objectionable, since they produce echoes and reverberations. Windows or windbreaks that have large surfaces of glass may likewise provide troublesome reflections. Deep shafts and wells may introduce local reverberations. Extensive domes may cause concentrated or focussed reflection. Crystal chandeliers and loose metal plates, if not properly installed, may vibrate and give off foreign noises.
Thus a second criterion, that of shape, enters into the problem. The contour of the walls and ceiling determines to a considerable extent whether or not the reflected sound will reinforce the original in such a manner as to provide even distribution, or whether the reflected sound will be concentrated at certain points of the auditorium to its detriment at other points and in that way result, perhaps, in distinct echoes.
As indicated earlier in this chapter, the number of people in an auditorium has a decided effect because of the fact that the clothing of people absorbs sound. Thus, when patrons fill a theatre the entire floor is carpeted with a material that is almost totally absorbent of sound and so increases the rate of decay or reflected sound as in many instances to eliminate confusion.
In a theatre it is possible to alter and adjust the soundabsorbing and sound-reflecting character of the interior finish either by covering existing walls and ceilings with special sound-absorbing interior finishes or by providing for the use of these materials in the case of theatres under