Scoring-Stage Design

Design requirements for the construction of scoring stages are discussed, and, after a brief examination of the uses to which such recording stages are put in motion picture studios, there follows an examination of their most desirable shape and of the amount of sound-insulation necessary for their walls. The matter of optimal reverberation is investigated from the standpoints of the variation of reverberation with frequency, of accommodating different musical performances by providing control of the reverberation, and of considering the ratio of “initial” sound to generally reflected sound—an extension of the term “recorded reverberation.”

Print ISSN

0097-5834

Published

1938-05

Content type

Original Research

DOI

10.5594/J16576