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170 Transactions of S.M.P.E., Vol XIII, No. 37, 1929
Mr. Humphrey: 1 couldn't say whatthe maximum number of microphones which have been used is, but one may use as many as are thought necessary. Some producers have made provision for the use of as many as nine transmitters and others have put in facihties for only three. The Mixer Man decides how many microphones will be used to pick up a particular set.
With regard to the distribution curve of the microphone, I do not know of any curve on this. In general, if the speaker talks directly towards the transmitter you will get the maximum number of high frequencies. If he turns away from the microphone you get a loss of high frequencies and sibilants, resulting in a muffled effect.
I think the Mixer Man is important from the sound standpoint. He corresponds to the camera-man in a picture. It is up to the Camera-man to obtain the best picture he can while the Monitor-man is responsible for obtaining the proper acoustical treatment of the sets and to balance the voices of the artists or the instruments of the orchestra. If the Mixer-man is working on a scoring stage he should be a man of musical ability and have good judgment of sound quality. He need not necessarily be a technical man. I believe the Mixer-man to be the most important individual in the Sound Department, because of his judgment on acoustical matters and sound quality.
Mr. Edwards: I would like to ask Mr. Humphrey: He spoke of the monitor man arranging his apparatus so as to accommodate an average of acoustic reception in various theatres. I should like to know how that average is arrived at. It seems to me that the variance is so great in the majority of the theaters that an average one would not suit all of them.
Mr. Humphrey: If you listen to the output from the microphone in a loud speaker having similar characteristics to those used in the theatres; in a monitor room having dimensions such as I mentioned in the paper, we have found by experience that most of the productions thus made will sound satisfactory when reproduced in a theatre. To approximate the acoustics of the larger theatres it might be desirable to go to larger monitor rooms.
President Porter: In view of the interest expressed in the discussion on monitoring, I should like to mention that we have a paper on monitoring by Mr. Tuttle of the Famous Players, and it might come in after this paper. I ask this because Mr. Tuttle has