The world film encyclopedia (1933)

Soimd Recoi'ding 451 Paper, under the microphone, must be dampened, otherwise its crackHng is picked up Uke the report of a pistol shot. When a company goes on location there is even more trouble. Here the exterior sounds cannot always be controlled. All the apparatus used on the sound stage is built in compact form in a large " sound truck." This portable equipment travels far away. Sometimes there is no line near by to furnish electricity, and a gasoline generator has to be used to run the motors which keep the recording and camera machinery going. Automobiles and any noisy machinery have to be silenced when possible, lest they spoil the take. Recently, during the filming of a night scene, men had to fire guns to silence the croaking of frogs near by, before each take. The wind, however, cannot be stopped, so the microphone must be wrapped in a silk covering to keep out the sound of even the gentlest breeze, which would roar on the sound track. When the sound of wind is wanted, it is made artificially with a machine which is kept at the studio. The real thing doesn't sound right. The improvement of portable equipment has been of great importance to newsreels, where conditions are most unfavourable for recording. One of the technical joys of sound, however, is that it can be controlled just as easily as heat, water, or electricity. It can be turned on or off, increased or weakened, and stored for future use. The sound-effects libraries of Holl>"\vood contain almost every conceivable soundeffect, from steamboat whistles to hoof beats. By the process known as " dubbing " (derived from " doubling ") these can be put in the sound track at the desired spot. This phase of sound — re-recording — is one of the most interesting developments of talking-pictures. For instance, a dancing couple may be photographed as they move about the floor, a travelling microphone following them to pick up their dialogue, while the orchestra that is playing the dance be recorded in another room, if necessary, the following day. As much of the music as is wanted, and as softlj'' as required, can then be superimposed on the sound track of the dancing couple as background for their conversation. The operator of the re-recording machine can do almost anything with the sound waves as they come through this machine from the original track. A low-pitched voice can be raised to a high, squeaky affair. Booming noises can be eliminated from speech. Whistles, bells, footsteps and shots can be " dubbed " in at will. This is especially convenient for location work, where the actual sounds cannot be picked up alone when wanted. A love scene, for instance, might be very pretty if birds were to sing at the right moment. But birds cannot be persuaded to sing on demand. So the dialogue is shot on location and the film is returned to the studio, where the re-recording department, following the directions in the script, will put in the desired sounds, whether they be horses galloping, waterfalls, birds, or storms. The success of talking-pictures has well warranted the expenditure of the millions which have been invested in sound equipment. Although many forward steps have been made since the beginning of talking-pictures, studio sound technicians are still actively engaged in seeking to improve the sound device until the illusion of people speaking on the screen before you will be absolutely perfect.