Transactions of the Society of Motion Picture Engineers (1929)

Record Details:

Title:
Transactions of the Society of Motion Picture Engineers
Date:
1929
Publisher:
New York : Society of Motion Picture Engineers
Volume:
Transactions of the Society of Motion Picture Engineers (1929)
Leaf #:
000179
Language:
English
Subjects:
motion pictures, Cinematography -- Periodicals
Collection:
Technical Journals
Format:
Periodicals
Contributor:
Library of Congress, MBRS, Moving Image Section
Sponsor:
Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division
Coordinator:
Media History Digital Library
Description:
Preceeded by an unnumbered issue published in 1916 called: Incorporation and by-laws
Date Added:
November 17, 2022
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Tifpical Recording Install a f ions — TTumphrey 169 studios. It is, however, beyond the scope of this paper to discuss their relative merits. viieSHHAflaWflEODTH rBALS*M*Oa 1 rMTTON — , VAflSOBBTlVt INSJLITt ■ ' ' • MTTON /assokbtivc iNsuum 3-PLy CASprS (WILT 3-PUr CABOTS ailLT 2'x4"sn)0(i6"ac. \ ', All. STUOS 5TA0GEK0 -3-PlJfCABOISQUIU fRAUE CONSTRUCTION -COMPOSITE TYPt iLArERS^PlAP, I r 2V-2<'QCt4 WCKiOOl I I .CICESeCU)1UU'lCSHG«l.V SCREEK Figure 14. Typical Soimd-Proof Stage Walls The typical sound studio recording installation of today is the result of a few short years' experience in the commercial application of the art of sound recording. It is inevitable that marked improvements will be realized as new and better methods are developed. The typical installations which I have referred to are even now in a state of transition and tomorrow may witness major changes in the physical aspects of the work. The need for sound recording facilities, has, however, been so firmly established and the results have been so satisfactory to the public that a certain future is assured for this important business. DISCUSSION Mr. Crabtree: What is the maximum number of microphones that have been used on a set in New York or Hollywood? What is the operating range, and what is the distribution curve for a microphone? That is, when placing the microphone at varying angles from the normal in relation to the speaker, what is the distribution curve for a given sound intensity? Also, what does the monitor man do? Is he really necessary? If you left him out would the music be better than what we get now?