The History of Sound at the Movies

[@alexpskywalker]

I think you are the most underrated channel on KZbin. Amazing work, as always.

[@FilmmakerIQ]

Thanks Batman. Now go save Gotham!

[@donandremikhaelibarra6421]

atmos atmos atmos

[@FilmmakerIQ]

You get your checks directly mailed to you by Dolby?

[@SpanglySundew]

You should do a lesson on the restoration of films. Films that have been saved, lost, found and the processes that have been used to preserve films.

[@mrman4645]

Good idea

[@ClashBerry]

Definitely!

[@MarkShannonroad_videos]

110% agreed.

[@robfriedrich2822]

I know videos about restoration of Cinerama movies. They made them looking better than initial by fixing some problems of bringing all 3 films together.

[@robfriedrich2822]

The Dixon film was the only one done live. The horn doesn't look good, so when using acoustic stylus sound, they did it with the playback process. Prerecorded music and added the picture. It's not accident, that the availability of microphones, amplifiers and loudspeakers came together with developing film sound. One interesting thing, with cinema speakers and mixing consoles in film studios, they had all technical stuff for a PA system since 1930, but before the 1960's they hadn't use this.

[@strangersound]

This channel is like jacking into the Matrix training programs. Watching two of them will give you a headache, and I mean that in a good way. The amount of information delivered in such a concise manner is nothing short of mind blowing. It's content creators like this that make KZbin invaluable. :)

[@X2FileWrightonite]

Could NOT have said that better myself. Totally agree.

[@DaveTexas]

Great video! I studied film/TV production in the ‘80s with an emphasis on post-production audio sweetening. I got to do the sound for everyone’s projects because so few people in film school cared much about the audio. Our audio sweetening studio was set up with three synced tape systems - an eight-track 1/2" machine, a two-track 1/4" machine, and a two-track digital tape machine. While we could theoretically mix for multichannel sound, the only way to export the sound was to a stereo S-VHS machine, so everyone’s projects ended up being stereo at best. All this work in the analog field ended up making me a dinosaur as soon as I had graduated. I didn’t know anything about digital recording or editing tools. Likewise, I got my Masters degree in photography, learning film processing and printing techniques in the early ‘90s, only a decade or so before film became essentially obsolete. There’s nothing like being the guy who learns the skill of making buggy whips right before the automobile is introduced. So, three decades later I’m a classical musician working for an opera company. I have a killer sound system set up in my house, though! I’m still more interested in the audio of a film than the video portion…

[@lcdmonitor1981]

John, still one of your best episodes, I show this to my friends often. The scene regarding the Jazz Singer, really illustrates how amazing the sound transition was... Imagine being in the audience and the film switches to recorded dialog and then back to title cards... At that moment anyone watching would have realized that "silent film" was dead... There's only a few times in history where such technological realizations were so abrupt. In any case your work is always of the highest quality Mr. Hess and glad you continue to contribute.

[@FilmmakerIQ]

+David Simmons You know what - I never thought of it that way. The fact that it was both talkie and silent must have been really jarring - which explains why Jazz Singer is always listed as the first talkie even though it wasn't... it was the first public demonstration in a very graphic form that silent film was indeed dead ;)

[@OuterGalaxyLounge]

Not only all of this, but the off-the-cuff effect of Jolson's seemingly improvised joshing around with his "mother" lends that "voyeuristic" effect that John mentions, and this individual personality coming out in an intimate and humorous way made an actor more human and not some idealized frozen icon graven in light, as in silents. NIce presentation, as usual, John, btw.

[@MDMart]

Your videos on insight to filmhistory, are amazing. I think I've said that before, but such an amazing yet underrated channel, deserves to hear it again. Good job, John, you're one of the few KZbinrs who I can't wait for when they will upload their next masterpiece. So keep up the good work

[@mychalsimmons4177]

MDMart you are so right His history lessons are phenomenal

[@margueritebuchanan4983]

❤enjoyed your content used on my final project very knowledgeable

[@BijouCinema]

I gave it a like before the video even loaded because what ever you talk about is interesting. , so basically I already know I'm in for a treat. Thanks

[@dinosaurfilms7425]

Star Wars did "kind of ok" at the box office. Yeah I think so too.

[@billchambers1456]

ABSOLUTELY WONDERFUL DOCUMENTARY!!!! I have long been interested in the technological elements of sound recording -- the transition from acoustical recording to electrical recording, Vitaphone, sound-on-film, etc -- but I still learned much in this video. The sound clips from the early days are priceless. This is possibly the best documentary on "the coming of sound" that I have seen. Thanks for creating it and posting it.

[@FilmmakerIQ]

Bill Chambers Thank you for the kind words - comments like that really do mean a lot to us :)

[@utubehound69]

+Filmmaker IQ Could you cover or have you covered the faster frame rates used today as well as the Audio High Sample Rates is it not over kill? Great series Thanks for sharing it.

[@FilmmakerIQ]

Check out History of Frame Rate: kzbin.info/www/bejne/o5u8m3l7pZ6MrpI I talk a little about High Sampling Rate in kzbin.info/www/bejne/iWrGgWSNfbFjkNE I like 96KHz personally (to me anything higher is overkill), there's a lively debate in the comment section regarding that.

[@scottmarshall1414]

Cinerama had three surround speakers, left, right, and center, switched manually, literally by a person sitting at the audio console. Perspecta didn't switch the mono track to one of the three screen speakers at a time. It dynamically and smoothly varied the volume of each speaker individually, so the sound could go to one only, any two, or all three in varying amounts with split-second timing. For example, a full orchestra playing would come from all three screen speakers, and if a cymbal crashed on the right, the right speaker would get louder and fade back just for the duration of the crash. Most of the time, the effect was indistinguishable from sound recorded and played with three channels because, like Dolby, it took into consideration psycho-acoustic listener considerations (I've studied Perspecta articles and patents and attended a theater screening of a Perspecta feature).

[@atallguynh]

@29:51... my wife is obsessed with that sound. Just loves it.

[@bethbayes]

I honestly learnt more from this video than almost a whole term of learning about sound for film at film school!

[@seanmckinnon4612]

Four years after this video was released we have object based audio like Dolby Atmos which render "objects" "on the fly" during playback to use up to 64 discreet channels to place these sound "objects" in specific places in a room regardless of speaker location or room size.

[@KolotovGleb]

Jesus, I'm going through your videos and you have gone through an entire college course. BRAVO! I am not sure if people like you understand how much you are having an impact on the popularisation and accessibility to knowledge. When Aronofsky said that the Internet is more than enough for you to learn about filmmaking and then put it into practice, I understand what he had meant. A low bow from everyone for your work!

[@C4Fernandez]

Can I just say, getting to listen to your courses is the reason why I wash dishes in my household. 😂

[@GDF2]

John another awesome job as usual! One of the new problems with the advent of sound was that it gave certain contentious elements in society a voice that could be widely heard. This is an excerpt from a paper I wrote in grad school concerning the depiction of homosexuality in pre-code movies of the 30s. Will Hays himself suggested that the development of sound necessitated the development of the code, "The problem with the development of motion pictures with a sound track according to censors and the American public was that the pansy now had a voice. That through the use of certain tones and vocal inflections the film makers and the movie going public understood that these particular speech patterns implied homosexuality with the result that the, “new sound technology posed an even greater threat to the status quo than silent pictures,” and the Code was instituted to counter that threat. In a press release dated April 1, 1930 from the MPPDA announcing the Motion Picture Production Code, the advent in sound in motion pictures was the very first item on the agenda. “Sound, which revolutionized the art of the screen, has brought about the formation of a new Code.”

[@FilmmakerIQ]

GDF2 Very fascinating!! just to piggy back on the idea that sound brought social implications came in the European market. It was fine to show American films with translated titles, but governments were very staunch against "talkies" that didn't speak in the native tongue. This led to Paramount creating a studio in Epinay where they would remake the same script using the same sets with different actors. Then a few years later, they invented dubbing and all that was forgotten about. Just something that didn't make it into this cut of the script.Really fascinating to think about - thank you!

[@musaran2]

Ironically nowadays dubbing is a given, while hard-coded texts (signs, title in art form etc) are a a pain to edit and often left as-is.

[@solortus]

glad to have seen this video considering that nearly all of us take sound in films for granted because nowadays we focus on the fancy CGIs

[@brianstraight9308]

I find your videos utterly amazing, you speak with such enthusiasm, knowledge and love for cinema and its history it's just infectious to watch. It's always just brilliant.

[@iammifl]

Filmmaker IQ Thanks for making these. Learning so much from it. The way the videos are layed out and the way you explain the topics is just great.

[@JSB1882]

It took me eight years to find "Filmmaker IQ", but these are so well done and easy to understand.

[@etothemajor]

I don't know what it is about John Hess, but I like his presentation. Anyone else would be boring to me. I sat through lectures like this in school that were painful but John keeps it interesting for me.

[@sebass4950]

The sound of the chalk on the board is very pleasing

[@Brandooon95]

shaggy!

[@Tmanaz480]

What is a chalk board??

[@Randy-Wright_Edt]

Great video! One thing that I found particularly interesting was that larger theaters would have an orchestra in the pit playing the music while the movie was projected above. A recent phenomenon is for symphony orchestras in larger cities to play the scores for movies, such as Star Wars or E.T. , live, while the movie is projected on a screen above. So it turns out that this is not new at all, but a revival of an old tradition!

[@92jwiener]

All this time, I have never seen the Jazz Singer and never knew that only a couple parts of the movie have talking. The rest of this video is fascinating!

[@benhuff2847]

I must say that as a film sound educator, this really hit all of the right points and was incredibly informative and concise. However, I'm hugely disappointed that you didn't mention Dolby Atmos, which has now been around for a couple of years and is really the pinnacle of theatrical sound at 64 channels. It should have at least been given an honorable mention.

[@PANCAKE_BOY]

Taking on the fact that I love to edit videos, including greenscreen, recording video, and special effects, this channel is AMAZING.

[@c2ashman]

The Quality of your content is just incredible.

[@antonnym214]

Loving these videos! I wish I could have been around in the 20s for the earliest talkies. The leap from silent to sound was quantum, because you no longer had to mentally pause to read the cards. For me, reading the cards would have reduced the sense of immersion. I assert, therefore, that sound was more important to the movie experience than color.

[@katybrownlee3655]

I think your theory proves to be true, we've all seen a modern film shot in black and white, but have we seen a modern movie with dialogue cards?

[@Songbirdstress]

One of my old flatmates, who's a sound engineer met Mr and Mrs Dolby. I was so impressed lol. He said Dolby was very nice.

[@AdamMcDermott]

Brilliant. I haven't seen a video of yours in a while. I was so excited when I saw this pop up in my subscription feed. Time to put on popcorn and soak this in:)

[@RollingHousesUK]

I discovered you channel a few days ago with "The history "The history and science of Color film" and now this - loving your videos a lot. So informative and interesting, and very well researched and presented. Thanks!

[@retrolectrovideo]

I am always excited getting a new vivid course like this on film history ((-:

[@RutgherJousma]

I'm incredibly happy to find this channel. I've been working in cg for 10 years now, and have learned a lot from your video's! Keep up the good work!

[@Sinanimre]

Boy I just discovered your channel. Am I going to bingewatch everything ? YES SIR !

[@itisonlyadream]

I'm one of your biggest fans. Your presentation is always informative and entertaining. I've never disagreed with any statement you've made until I watched this video. In this video, you said Fox Film Corporation's Movietone sound system was based on the Tri-Ergon sound-on-film system, but in my opinion that statement is so misleading that it might as well be false. When it comes to the history of film, some facts are so well documented that there is universal agreement among film historians. But, in other cases, the sources don't all agree on some details, so it depends on which source one believes to be the most credible. I've studied the history of film for the last fifty years, during that time, I studied many early sound systems and I formed an opinion about the origins of the Movietone sound system based on what appears to be a consensus among several credible sources. For what it's worth, here's my conclusion: William Fox liked to cover all the bases, so he bought up a number of different sound-on-film patents in the twenties. One of the patents he purchased was the U.S. rights to the Tri-Ergon patents. However, Movietone was not based on the Tri-Ergon system as you stated in the video. William Fox also purchased sound-on-film patents from the Case Research Lab. In 1926, Fox Film and Case Research Lab formed the Fox-Case corporation to make Movietone sound films based on the patents of Theadore Case. After the success of The Jazz Singer, William Fox Fox bought out Theodore Case's interests in the Fox-Case company and hired Case's assistant, Earl I. Sponable, to oversee the Movietone sound department at Fox. Fox Films continued to use the Case variable density system until 1931 when Fox switched to Western Electric's variable area system for feature films. Fox Movietone News continued to use the case system until 1939, due to the portability of the Case single-system sound camera. The Case system was actually an improved version of the De Forest Phonofilm system, so there are similarities between Movietone and Phonofilm. One could say Movietone is an advanced version of Phonofilm. Theodore Case and Lee De Forest collaborated for several years in the early twenties, but Case went his own way after De Forest refused to give him credit for making major improvements to Phonofilm. Case invented the Thalofide photocell that's used to read the soundtrack in the projector and the Aeo-light, which effectively modulates light with audio signals in the camera. De Forest deserves credit for bringing vacuum tube amplification to sound film, but he was unable to invent a good photocell and light modulator. Without the Case inventions the sound quality of Phonofilm would not have been good enough for a commercial product. A final reason I'll give for why I think William Fox decided to base Movietone on the Case patents and not the Tri-Ergon patents is the original Tri-Ergon patents called for non-standard 42mm film, which was wider to include the sound track without sacrificing image area The Case system used standard 35mm film, so existing silent cameras and projectors could be easily converted by adding a sound head. Also, many of the Tri-Ergon patents called for 1) A special microphone with no moving parts for sound pickup that was called a Cathodophone. 2) A special high-voltage discharge tube in the camera for soundtrack recording. And 3) Special high-voltage electrostatic loudspeakers for the theaters. In contrast, the Case system used familiar equipment that was available in the U.S. Moreover, at the time Fox bought Tri-Ergon's U.S. patent rights, the Tri-Ergon system was performing poorly in Germany and Europe.

[@glassjaw2007]

wonderful work John, just a mini correction, A Star is Born is from 1954, keep it up, people listen to this guy, he just rocks!

[@FilmmakerIQ]

+Hanky Panky yeah had the wrong button art, they remade it in the 70s

[@glassjaw2007]

yeah i was thinking that , thank you!

[@ericpa06]

Another great episode. What about an episode talking about cinema's resolution? "from 35mm to 8k"

[@hjeriz]

i would love that.

[@zusurs]

Emm, actually ordinary 35mm film from 1960s have digital resolution equivalent of about 4k (depending on film stock used and equipment), and 70mm IMAX is about 9.3k. This is the main reason why digital cinema novadays still lags far behind film in terms of actual sharpness. I'd rather make title something like "From 8mm to IMAX", and only mention digital projection (2k, 4k, and future 8k) in the end.

[@ericpa06]

Artūrs Savickis I don't know about the comparison between 35mm resolution from 4K, but it's sound plausible. But most movies today are shooted in digital cameras (As RED, for example), there's a documentary of Keanu Reeves talking just about that, called "Side by Side", and saying pretty much that tradicional cinema will ended up dying, as digital cameras starts to get each time more and more available and cheap About "sharpeness", I have to disagree, digital cameras shooted PIXEL by PIXEL, there is no "film grain", for example in digital cinema. If you look many movies shot on film, and that later on were converted to Blu-Ray, you'll notice that many of them, have a very grainy image, that's not happen on digital cinema.

[@DirectorHMAN]

Cinema standard has been 2k for the past 100 years

[@RMoribayashi]

Puzzled by 33 1/3 records in 1925 when Columbia's first LP came out in 1948? The Vitaphone records were 16" in diameter and ran 11 minutes (one reel) using 1925 technology. Radio transcriptions also adopted the format. 33 1/3 already had all the manufacturing calculations in place as well as existing examples for research. This made it a natural choice when Colombia implemented a longer length higher fidelity format.

[@billchambers1456]

RMoribayashi That is what I always thought -- that the LP was the grandson, if not the son, of the Vitaphone disc.

[@nigeldreiner]

Very good documentary - although when talking about the 1976 version of A STAR IS BORN, you showed a poster for the Judy Garland version from 1954.

[@doubledeckers]

There was also Eugene Augustin Lauste who "exhibited a sound film in the United States, possibly the first-ever American showing of a movie using sound-on-film technology" in 1911. From Wikipedia.

[@AlanPope]

Working my way through your back catalog. This was really well done. I knew some high level information but you really filled in all the details. Loving watching your presentation style.

[@eighthsense]

John, I really enjoy these history lessons. I think most of my peers in Hollywood have no clue of what this history is. Thank you so much. Looking forward to more of your work.

[@uddiptalukdar]

wow! excellent as ever! Your videos always throws light on every aspect of the topic you chose. Thanks!

[@shanelaporte]

I loved the passionate sign-off!

[@PeterValentino]

You always inspire me, John. I am busy making something great. Thanks.

[@emmesti]

Great Video! It really came in handy when I had to prepare for an exam

[@fearfulcat]

at 25:52 you use a movie poster from the 1954 version of "A Star is Born" with Judy Garland when referring to the 1976 version starring Chris Christofferson and Barbara Streisand. Barbara Streisand had a huge hand in getting that Dolby stereo for her movie, so giving her credit for the film is important.

[@regionalcinema2010]

The best educational channel I know now

[@markgrody]

Dude I just love your videos! I really don't know why more people don't know about this...

[@josecolon3329]

I know right?

[@X2FileWrightonite]

SDDS was installed in all AMC Theatres. The soundtrack suffered from being placed on the edge of the film - as the print would often rub the plater systems used in automation - not to mention roller damage - which would often cause the sound to drop out - as the system kicked back over to the analog tracks.

[@patrickryan5048]

Brilliant explanations, still stunned by the magic of the history of the industry.

[@fuzzy.leahfaye]

The information itself is awesome but I especially love the commentary at the end. Your passion is so real!

[@michaelwatkins1702]

A wonderfully compressed and highly detailed documentary of the history of sound which is over 100 years. Masterfully done by John Hess. He sure knows his stuff. I have always been fascinated by the transition from silent to sound, especially the change from 16 to 24 fps projection speed. There is still no satisfactory explanation as to why that was necessary. Anyone care to have a stab?

[@FilmmakerIQ]

Michael Watkins We cover it a little here: kzbin.info/www/bejne/o5u8m3l7pZ6MrpI Haven't gotten into the real nitty gritty but it seems for sound on film 16fps just wasn't fast enough to get the data needed for sound.

[@Yasboss1]

Passion in the video. I'll never look at sound the same way again.

[@BlackWindPro]

Great show John, I'm always amazed by the information you are able to provide. I know these shows aren't easy to produce, but don't wait so long next time to put out your next piece;-)

[@ditarf85]

Top quality from John as always. Thank you for your hard work, it was really educational.

[@arfansthename]

Coincidentally, William Fox (who started Fox Film Corporation), had Box Office Attraction Film Rental Company, one of his early companies. Box Office Attraction Film Rental Company then merged with his other company, Greater New York Film Rental Company to become Fox Film Corporation, or Fox Film, which then merged with 20th Century Pictures, Inc. to become 20th Century Fox Film Corp. 20th Century Pictures' material was released and distributed by United Artists, because one of the creators is Joseph Schenck, former president of UA. 20th Century Fox distributed Star Wars, in which the box office did a big success.

[@X2FileWrightonite]

Thank you for that bit of History. ( Former IATSE LOCAL 646 Film Projectionist & TAP Inspector - Retired)

[@jayashrishobna]

Wow, the colours of fantasia are amazing. Great vid as always!

[@Olivier-C]

Long wait, well worth it !

[@nigelpearson6664]

It is said ( I wasn't there ). De Forest refused to accept credit for the amplification tube without reference to Fleming. It is also said De Forest used a gas flame and metal particles in Bunsen/ Kirchirkoff type set up. I doubt that. The main thing is De Forest seems to have thought a partial vacuum bast ( 3mBar at a guess absolute ). Fleming pointed out a total vacumm better. Fleming seems to have been 2 years ahead of him. Siemens Berlin were making to specail order selenium cells/diodes back in 1880. Were it not for the triode transistors might have come earlier ( Circa 1926 although not enhancement type. Lilienfeld at a guess as to the name ). Some say Roswell, a fun read of the Great American Computer Co. By 1908 many patents existed for many semiconductors, selenium used by Lucus up to perhaps 1970. Smell cabbage and worry if windows closed. In transistors Mr H C Lin is of note and Tobey and Dinsdale in UK. The T and D being the first designs that would be good enough for cinema use and Harmon Kardon Citation range a little later. Crown also.

[@_atinsy]

Ur channel deserves more subs The organisation is wonderful

[@Tmansgokarts]

This was awesome , I'm glad I subed to this channel.

[@chasarr]

I also did that!

[@AlexTrikTV]

Once again amazing video! Good job to the Filmmaker IQ crew.

[@acelakid94]

Nice, I was waiting for this particular video for a while. Great job

[@andreiguarin1409]

Kudos on those closing remarks!

[@headrushindi]

These are the very best documentaries I have ever seen on the subject ofd film. Mr Hess is a fantastic host. professionAL, entertaining , and immensley knowlegeable.. Bravo I have enjoyed your documentaries very much

[@ktbeatty]

Damn John, this stuff is fantastic. You're doing phenomenal work. It's almost criminal that this has so relatively few fews. I guess people generally don't watch KZbin video longer than about 10 minutes. It's a shame, they're missing out on some brilliant content. Cheers!

[@Half-code]

Excellent channel and format.

[@williamsnyder5616]

Outstanding! This might be the best explanationof what makes movies great entertainment.

[@roelofvandermerwe1147]

A great lesso. You are amazing at keepung me focussed and keeping the spark there

[@Gorkab]

Such passion John, that ending really was a statement from you to your love of cinema! Another great video, with amazing excerpts! Thank you so much! ;)

[@talelinhdo]

I'm really enjoying learning from these! Thank you!

[@nigelpearson6664]

2A3 is in fact 1936. I can well believe it very much like the earlier types. 807 and 6L6 seem ideal if looking for low cost. 6L6GC KT66 and 5881 also.

[@RocknRollkat]

Excellent presentation, thank you ! My family goes back in showbusiness before there was electricity. This is a great review ! Bill P.

[@larrybrennan1463]

I've read that Hal Roach added background music to his comedy shorts to cover the hiss made by the soundtrack when there was no dialog or other sound in the action. He also felt the music complemented the onscreen action. Imagine Laurel and Hardy without the music playing softly as they work out the task at hand, or the Little Rascals plotting some mischief in dead silence. Many thanks to Marvin Hatley and Leroy Shields for their work in creating the music we associate with Stan and Ollie.

[@FilmmakerIQ]

I wonder how much of that is also holdover from silent films. We call them silent but there was always musical accompaniment :)

[@larrybrennan1463]

@@FilmmakerIQ I know well. Years ago I found an enormous book which was a reprint of a collection of music for pianists to use for accompaniment to films in small theaters. (No idea what happened to it.) It had hundreds of pieces, arranged by subject, such as War, Love, Sadness, and so on, mostly excerpts from classics or popular songs. One whole section was devoted to national anthems -- dozens of them. I actually bought two and gave one to the choir director at church.

[@FilmmakerIQ]

My dream one of these days is to arrange some of that music that they used back in those days for movies and put on my own silent film shows with a 10 12-piece Orchestra :)

[@vr9220]

Thank you for helping with my exam revision. You saved me a lot of time! I have now subscribed! :D

[@Bobby_Hall]

T his is a great, informative video! Thanks for explaining the history of sound in film in an easy-to-understand way.

[@KrissAstronomist]

Great channel!!! :) You put information in a way it is impossible to stop watching! :D Thanks, awesome job! :)

[@camitrueheart177]

I really enjoyed this John..You are brilliant!!! Love your energy!

[@cornishchris8404]

I think this is the greatest KZbin channel. Such fantastic work, you know whats up! U still making these wonderful videos?

[@jordancoinjackson7844]

great lesson on sound in film!

[@zulfiqartareen2026]

a very well researched documentary. thanks.

[@mrkumaran]

I love your history videos. It’s so soothing to watching and learn. Well presented and enjoyable. Thank you

[@arjaegonz]

Such an amazing history lesson on both cinema and audio technology. Ever since my love for film, I have always been an avid fan of technicalities with sound on films, especially acoustical treatment with the actual cinematic experience, which even home theater systems can't really replicate 100%, it's just not the same. I love this topic so much, thank you for this! 😁 Also, DTS is still better for me. 🤣

[@davidlogansr8007]

The Best documentary on the subject and Yes, I have watched them all!

[@nigelpearson6664]

Not least De Forest was honest about the history. I agree. One can still make amps like his and they have a great sound. 211 or 845 being the tubes of choice if wanting cinema sound. They are bright cathode type having very great dynamic range. RH series amps by Alex Kitic are the more interesting and of the era when the 807 tube of 1937. RH 845 is a masterpiece. 2A3 is said to be the best device in audio by many. I think it is 1922 so predates cinema. You will need baffle speakers ideally for the home. Mine are baffles as small as I think OK. 15 inch Qts of 1.2, 12 inch 12 Lta Qts 0.5 and a super tweeter. 115 dB for 5 watts a pair at 1.5 metres @ 1kHz. 4 x 2 foot with + 12 dB EQ at 30 Hz. 40 Hz flat and 30 Hz at - 12 dB. I have heard 1930's Western Electric theather horns. Nice. In UK BTH and Vitavox were names on the machines. Michael gerzon comes into the picture. Sad that Dolby didn't hire him as he did try to talk to them. Soundfield microphones one of his patents. He was a friend of sorts. I had no idea his work was so famous.

[@pritpalsimgh863]

Great lessons for good filmmaker.

Wow! How inspiring! This is so helpful as always! THANK YOU FOR WHAT YOU GUYS DO!

[@robfriedrich2822]

Todd AO had 5 channels for front and 1 for rear, later they changed the roles, that 3 channels were for front, 2 for rear and one more for low frequency effects.

[@dralbertpakin8895]

I love your videos, I have been using them in music class for my middle school students very well put together.

[@harshrajsinhgohil8270]

Thank you, great information learning great things from your channel. Keep it up

[@kthx1138]

Thank you John! That was fascinating!

[@CesarBenzoni]

Amazing, thanks for your service to the humanity!

[@CoolDudeClem]

And even NOW there are STILL "silent" videos on KZbin. Seriously, I've found so many tutorial videos on YT where nobody says anything, instead there's music and subtitles. I feel like saying to them "come on, it's not the 20's anymore, use your dam mic!"

[@Cinescena]

Great lesson. You should do a lesson on the history of dubbing in movies.

[@FilmmakerIQ]

There will be 6 videos in this audio series. Stay tuned... ;)

[@FilmmakerIQ]

ADR will be covered extensively in this series so will Foley. Stay tuned... :)

[@bradbrebner7168]

The best history lesson ever. Thanks

[@davidbpearson2]

Wrong "Star is Born." However, this video DID teach me a lot about sound.

[@robfriedrich2822]

Tobis Klangfilm had full frequency sound up to 10 kHz and not the high cut, known from the American sound. They had another way to reduce noise. Not by high cut, but by a kind of noise gate in signal pauses.

[@distapp9]

That was pretty awesome. Appreciate your passion as well! Thanks for lesson.

[@Pauldjreadman]

I was wondering what the next videowas going to be. Another great lesson in film. I love this kind of history