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With talking pictures, the acoustics
of the auditorium became significant.
While a piano accompaniment or trio
could plough their way through a score
for a silent film in any hall, the addition
of amplified speech, especially in a
barn of a venue was another matter.
By the early 1930s, reverberation
control was the subject of articles in
journals and textbooks from America
and England. For example, The
Complete Projectionist included a An overview of the situation, 1959.
chapter on acoustical correction. It gave written in the first decade of sound-on- 5. Bioscope Journal, London.
advice on wall treatments and how to film can also stand as a description of 3 February 1910.
locate the source of echoes. Most the present: 6. Australian Kinematograph Journal,
Melbourne, 3 July 1913.
importantly, it offered a quantifiable Today, the technique of sound
standard and the means to measure it. It recording for films, and the quality of 7. Sound Recording for Films. W. F.
Elliott; Pitman 1937.
suggested that the period of its highly polished products, seem 8. SMPE Journal #17. Pioneer
reverberation - the time that a sound of perfect by comparison with efforts of Experiments of Eugene Lauste in
standard intensity takes to diminish to only seven years ago, but in the endless Recording Sound. M. Crawford,
the extent of 60 decibels, or one search for technical perfection October 1931.
millionth of its original intensity - improvements continue to appear. (7) ★ 9. Everyones, Melbourne,
should be no more than one second for 4 November 1925.
a small hall and 1.3 seconds for a hall References: 10. Operating Instructions for
(11/p76) 1. Wonders in Acoustics. Radau/Ball,
seating 2,000 or more. Synchronous Reproducing Equipment.
Castle, Peter and Galpin. Western Electric Sound Projector
Tests by Ross Thorne showed that
London c.1890. System for Theatres. Electrical
the Capitol Melbourne conformed to
2. Electricity and Magnetism. Research Products Inc., NY, USA,
this rule. (12/p100) A. Guillemin. MacMillan and Co. 1928.
Now the problem had changed from London 1891. 11. The Complete Projectionist,
dealing with insufficient sound, to one 3. Cinema Papers #91, Australia's First Kinematograph Publications, London
where it was possible to have it in over- Films. C. Long, 1993. R.H. Cricks, 1933
abundance. 4. SMPE Journal #68. Gaumont 12. Cinemas of Australia via USA
Chronophone, Leon Gaumont, January Architecture Dept. University of
Sydney. Ross Thorne 1981.

Too Much of a Good Thing

Talking pictures were a bit of a learning curve for
projectionists and audiences alike. The State Flinders Street had
shown some part-talkies in 1929 and apparently a bit more
practice was needed for this first all-talkie. The reviewer is
probably also a bit facetious about the visual and dramatic quality
of the film*.
After such a gem of dramatic art as The Doctor’s Secret, most
kinds of criticism are superfluous. But it may be well to point out
that the greatest care from a mechanical point of view is necessary
if what is almost a perfect illusion is not to be rudely shattered. At
the opening performance the voices were suddenly amplified , no
doubt for a sufficient cause. But the result is a little startling and
the State Theatre management, who proclaim the ‘best of
everything’ as their policy, would be wise to ensure for future
productions the best possible technical effect.
- Table Talk 11 April 1929

* The Doctor's Secret Paramount. Ruth Chatterton and John Loder.

28 2007 CINEMARECORD