Twentieth-Century-Fox released this demonstration short in an attempt to explain to movie patrons the benefits of four-channel stereophonic sound when coupled to their fledgling wide-screen process 'CinemaScope'. In an era when vast numbers of the population were still playing 78rpm discs with steel needles, all radio broadcasts were AM, and the term "high- fidelity" was used solely by audio engineers.
The major benefit of stereo sound during this early phase was seen to be that of directionality, the ability for audio to follow the image of an actor as he or she changed position on the screen. For the most part, surround sound was used very sparingly, often only being heard during opening and closing credits, weather effects, planes passing overhead etc. (This contrasts with today's blockbusters where surround speakers are working most of the time while on-screen dialog is almost always fed through the centre channel only).
At the time, Fox's mini-documentary managed to convey a reasonable explanation of stereophonic sound in a style entertaining enough not to bore most patrons. However, the demonstration was not without flaws.
Here in Australia, I remember seeing this short, when aged 15, accompanied by adults who, unlike me, were somewhat 'under-whelmed'. This was due in part to the cavernous area of those pre-multiplex picture palaces. Unless one was seated close to the screen, many of the stereo effects were too subtle to be noticed.
As for the surround sound; "We will now hear that same clap of thunder through the surround horns," declares the short's presenter.
The audience steels itself to be enveloped in thunder - then BIG LETDOWN. There's merely a repetition of the 'stage only' thunder demonstrated moments earlier.
Many years on, I managed to access the exact print that I had originally viewed. I discovered that the magnetic sound-track used for those 'surround horns' was considerably under- recorded. Only at full gain (with lots of accompanying valve hiss) could that surround thunder and the following jet plane effects be discernible.
If that wasn't bad enough, a few bars before the end of Alfred Newman's performance of 'Dance of the Flowers' the surround track came on AT MAXIMUM LEVEL. Then followed an equally loud Fox Fanfare before the short ends.
Such problems beset many early 4-track releases with the result that more than a few projectionists decided to 'play safe' and leave the surround sound (or 'audience participation channel' as it was then known) volume control turned fully down.
In spite of all that, I would enjoy seeing MIRACLE OF STEREOPHONIC SOUND again, if only for nostalgia. (Anyone know of a video source)?
At the time this demonstration did nudge my interest in the direction of seeking an improved domestic sound system and for years the sonic experience of '4-track magnetic' was the bench mark for many hi-fi fanatics.
Incidentally, around the same time Fox's Miracle short was released, MGM offered a 10- minute demonstration film extolling their fake stereo system known as 'Perspecta'. This method simply utilised a conventional single optical soundtrack that was panned between three stage speakers (no surrounds). This was achieved by way of three sub-audible 'control tones' mixed into the normal track during post-production.
As an actor moved left across the screen, the relevant 'control tone' (30-hertz) rose in level to increase the amount of sound emanating from the left speaker whilst the centre and right decreased. (Rather like shifting a 'balance' control).
Unfortunately, as there was only one track available, not only did voices move to the left, so did all the sound effects, mood music, along with the then normal soundtrack pops and crackles. But, unlike Fox's 'genuine' 4-track stereo, Perspecta cost nothing and was compatible with existing projecting equipment.
END
The major benefit of stereo sound during this early phase was seen to be that of directionality, the ability for audio to follow the image of an actor as he or she changed position on the screen. For the most part, surround sound was used very sparingly, often only being heard during opening and closing credits, weather effects, planes passing overhead etc. (This contrasts with today's blockbusters where surround speakers are working most of the time while on-screen dialog is almost always fed through the centre channel only).
At the time, Fox's mini-documentary managed to convey a reasonable explanation of stereophonic sound in a style entertaining enough not to bore most patrons. However, the demonstration was not without flaws.
Here in Australia, I remember seeing this short, when aged 15, accompanied by adults who, unlike me, were somewhat 'under-whelmed'. This was due in part to the cavernous area of those pre-multiplex picture palaces. Unless one was seated close to the screen, many of the stereo effects were too subtle to be noticed.
As for the surround sound; "We will now hear that same clap of thunder through the surround horns," declares the short's presenter.
The audience steels itself to be enveloped in thunder - then BIG LETDOWN. There's merely a repetition of the 'stage only' thunder demonstrated moments earlier.
Many years on, I managed to access the exact print that I had originally viewed. I discovered that the magnetic sound-track used for those 'surround horns' was considerably under- recorded. Only at full gain (with lots of accompanying valve hiss) could that surround thunder and the following jet plane effects be discernible.
If that wasn't bad enough, a few bars before the end of Alfred Newman's performance of 'Dance of the Flowers' the surround track came on AT MAXIMUM LEVEL. Then followed an equally loud Fox Fanfare before the short ends.
Such problems beset many early 4-track releases with the result that more than a few projectionists decided to 'play safe' and leave the surround sound (or 'audience participation channel' as it was then known) volume control turned fully down.
In spite of all that, I would enjoy seeing MIRACLE OF STEREOPHONIC SOUND again, if only for nostalgia. (Anyone know of a video source)?
At the time this demonstration did nudge my interest in the direction of seeking an improved domestic sound system and for years the sonic experience of '4-track magnetic' was the bench mark for many hi-fi fanatics.
Incidentally, around the same time Fox's Miracle short was released, MGM offered a 10- minute demonstration film extolling their fake stereo system known as 'Perspecta'. This method simply utilised a conventional single optical soundtrack that was panned between three stage speakers (no surrounds). This was achieved by way of three sub-audible 'control tones' mixed into the normal track during post-production.
As an actor moved left across the screen, the relevant 'control tone' (30-hertz) rose in level to increase the amount of sound emanating from the left speaker whilst the centre and right decreased. (Rather like shifting a 'balance' control).
Unfortunately, as there was only one track available, not only did voices move to the left, so did all the sound effects, mood music, along with the then normal soundtrack pops and crackles. But, unlike Fox's 'genuine' 4-track stereo, Perspecta cost nothing and was compatible with existing projecting equipment.
END
