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The Stage Is Set
Today the walls arc solid. The structure has the appearance of a bleak, windowless jail. Its interior is protected against external sound by two heavy "ice-box" doors, with a small waiting space within. This is provided so that a person entering the outer door after the warning red light of a "live" stage flashes, can remain in the provided space until the stage is again "dead." He never enters the second door to the actual interior while a scene is being photographed.
"Shooting" on the stage has stopped us in the waiting space. But shooting is now over. Door number two opens and we are beckoned to the stage. We blink our eyes in semidarkness. Far above us are shadowy platforms along which electricians may move, adjusting overhead lighting. Overhead are the tracks of lightweight cranes used to carry heavy equipment.
The scene may be of a telephone booth in a far corner of this big structure, or a reproduction of the British House of Commons, crowding every inch to the doorway.
The walls are padded with a chemical wool which absorbs sound, but does not reflect it. It takes a great deal of voice volume to call across a stage. In your homes and offices you are accustomed to the aid given you by the bounce of your voice against hard walls and windows. There cannot be a bounce of this kind on a sound stage. In your home you have two ears to separate the direct sound from the bounce. But in sound recording, at present, the recording system has but one "ear" and cannot do this.
We see a long metal pole which looks, despite its
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