FLAMENCO; Morao y Oro - download pdf or read online

By MORAITO

ISBN-10: 2950798012

ISBN-13: 9782950798015

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Extra info for FLAMENCO; Morao y Oro

Example text

The sum of these effects is extremely complicated, but there are some interesting examples of methods that have evolved, especially in the motion-picture industry, to achieve reasonable overall results. They also illustrate an adaptive industry that has changed over time. In the late 1920s the introduction of sync sound to movies was mostly done in converted vaudeville theaters, because specifically designed and built cinemas had yet to come into being. Many theaters had a live show and then a film.

In homes, however, listening rooms are typically more reverberant for their room volume than theaters, and speakers are less directional. ” A frequent comment from video viewers of film material is that the dialog is not as intelligible as it should be, and this is one of the reasons—the acoustical conditions are very different. Another feature of this discussion that is important to filmmakers is the relatively low reverberation times present in theaters today, creating a strong propensity for uneven sound coverage.

For example, flat, hard, parallel walls lead to flutter echoes, a particular pattern of reflections in which a “ta-ta-ta-ta-ta” effect is heard in larger spaces and a kind of “sizzle” is heard in smaller spaces. Reverberation time in a room was defined by Sabine as the time that it takes an abruptly terminated sound to die away to inaudibility. Sabine found that there were only two factors involved in computing the reverberation time: the volume of the room and the absorption of the surface area in the room, including the walls, ceiling, floor, and objects in the room.

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FLAMENCO; Morao y Oro by MORAITO


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