Page 11 - Cinerama_booklet

speakers about the theatre, along the sides and in the rear. The seventh track is
sound track at all. It is, instead, a "control" track. Automatically, it guides them
speaker to the next, making it possible for a singer to move from the right side •
no diminution of the directional effect of the sound of her voice, making it possible fo
motorboats-to move almost physically through the theatre with thrilling reality.

The creation of Cinerama's sound is the work of Hazard E. Reeves, one of th
on recording techniques and director of the largest sound laboratories in
Waller during the experimental stages of Cinerama's development. Impressed
ambition to create for the new visual medium a sound of equal realism and
worked out the intricate system of speakers, sound and control tracks, adding to
istics possible only through the latest methods of magnetic recording.

The result is omni-directional sound of flawless quality. It has what the sound experts call "p
sense of a "live" performance. Indeed, during one of the early Cinerama recording sessions,
orchestra-drawn from the New York Philharmonic, the Metropolitan Opera and NBC Symphony 0
solemnly arose and applauded after a play-back of their own performance. "Never before," one
summarized the experience, "have we been able to hear ourselves exactly the way we sound in perfor