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

128 SOUND MOTION PICTURES horns only. In very rare cases a relatively small volume from the lower horns may be needed to improve realism. The necessity for the lower horns usually indicates faulty upper-horn distribution, except when the balcony or balconies are high. B — For a solo or a chorus accompanied by orchestra, use the full upper horns with a relatively medium volume from the lower horns to bring out the accompanying orchestra. C — For a synchronized score or a heavy orchestra selection, theatres differ. For some theatres and horn locations this setting is best: full upper horns and medium volume from the lower horns. Other theatres sound better with full lower horns and medium upper. Upper horns give brilliance. Lower horns add base. A setting giving equal volume from the uppers and the lowers has also been satisfactory in some theatres. Short subjects are to be run at a level that will give a natural and agreeable effect. Generally speaking, it is essential to recognize that synchronized accompaniments are a type of music which is incidental to the picture. Therefore, though such music must always be heard clearly and without effort by each member of the audience, it must not be so loud as to obtrude itself on the audience, or to distract attention from the picture. Synchronized accompaniments are for this reason to be run at a comparatively low volume. The fader is intended to be kept generally at the same setting throughout the playing of each subject, although it may be brought up temporarily during storms, fights, etc., if the management desires more volume at these points. It should be remembered that the score has been carefully recorded under the direction of a capable musical conductor and that the finished product has afterward been checked by experts. At the latter time further refinements have been added as indicated by changes in fader settings to be supplied during the running of a record