The talkies (1930)

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72 THETALKIES which make such an important contribution to distinctness and articulation again suffering loss due to increased absorption over the lower ones. Even now there is a great deal of compromise going on, but an attempt is usually made to leave the "set" alone, as far as possible, once it has been adjusted for the average conditions under which it is to be used, making any further acoustic corrections by means of overhead sheets of sound-absorbent material. It is true that there are a number of special sound-absorbent materials available, but it is not possible to paint the majority of them without detracting from their acoustic value, a point which we shall raise again when we come to talk about the theatres in which Talkies, over which so much heart-burning takes place in the studios, have to be shown. A further difficulty is being experienced by the recording engineers, in that, while it is comparatively easy to "correct" from a sound point of view a given room for a given set of conditions occurring, say, at one end of it, the play may demand that further action of a different character may have to take place in a different part of the same "set,"