Journal of the Society of Motion Picture Engineers ( Volume: 37, Issue: 9, September 1941)

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New and Old Aspects of the Origins of 96-Cycle Distortion

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Publisher: SMPTE
Doc Type: Journal Article
Article Type: research-article
Abstract: The work of previous investigations is reviewed and correlated with the results obtained in a comprehensive study of 96-cycle distortion due to the presence of sprocket-holes adjacent to the sound-track. This distortion has been known for some time. Much improvement has been made by the adoption of the magnetic-drive recorder, the non-slip printer, and the rotary stabilizer sound-head for the purpose of overcoming the problem of slippage. Recording sound on doubly perforated film will introduce 96-cycle disturbances of both amplitude and frequency modulation because of the film flexure and possible variations of film speed at the sprocket-hole rate. Processing sound records on doubly perforated film will introduce a 96-cycle hum and amplitude modulation depending upon the processing technic. Printing sound records on doubly perforated film introduces 96-cycle hum and disturbances of both amplitude and frequency modulation, due to film flexure and variations of film speed at sprocket-hole rate. Reproducing sound records on doubly perforated film introduces 96-cycle disturbances because of film flexure. Since it has been proved that the presence of the sprocket-holes adjacent to the soundtrack is the source of all 96-cycle distortion, and the omission of the sprocket-holes entirely eliminates this distortion, it becomes obvious that singly perforated film should be used throughout all phases of sound recording and reproduction if complete freedom from 96-cycle distortion is to be obtained. Substantial improvement can be realized if the singly perforated film is employed only for the original negative, master positive, and re-recorded negative, and doubly perforated film for the release prints. The use of singly perforated film throughout all phases has a decided advantage of providing additional space, without affecting the picture dimensions for a double-width sound-track or two sound-tracks, one for control or other purposes.
Publication Date: 1941-09-01
DOI: 10.5594/J09967
Link: https://doi.org/10.5594/J09967
Author(s): J. O. Baker, R. O. Drew

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J. O. Baker and R. O. Drew; New and Old Aspects of the Origins of 96-Cycle Distortion, Journal of the Society of Motion Picture Engineers ( Volume: 37, Issue: 9, September 1941); SMPTE, 1941. Available at https://doi.org/10.5594/J09967

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J. O. Baker and R. O. Drew; New and Old Aspects of the Origins of 96-Cycle Distortion, Journal of the Society of Motion Picture Engineers ( Volume: 37, Issue: 9, September 1941); SMPTE, 1941. Available at https://doi.org/10.5594/J09967

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<span class="citation">J. O. Baker and R. O. Drew; <cite>New and Old Aspects of the Origins of 96-Cycle Distortion</cite>, Journal of the Society of Motion Picture Engineers ( Volume: 37, Issue: 9, September 1941); SMPTE, 1941. Available at <a href="https://doi.org/10.5594/J09967" target="_blank" rel="noopener">https://doi.org/10.5594/J09967</a></span>

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<li>
J. O. Baker and R. O. Drew; <cite id="bib-10-5594-j09967">New and Old Aspects of the Origins of 96-Cycle Distortion</cite>, Journal of the Society of Motion Picture Engineers ( Volume: 37, Issue: 9, September 1941); SMPTE, 1941
<span class="doi">10.5594/J09967</span>
</li>