Daily Kennebec journal. [microfilm reel] (Augusta, Me.) 1870-1975, 1926-03-05

broadcast listener to be released into
this world of pure music through the
agency of radio. He desires that the
artlsts shall in effect perform in the
qulet OF the listeners home, even
tnougn actually many miles may sep
arate the artist and his audience.
we know that this high ideal of
perfect musical reproduction has not
as yet been completely attained al
though some receiving installations
are a very fair approximation to the
IDEAL; and 1t is now becoming posi-
| bic to secure receiving equipment
| which is an astonishingly close APP
Proclamation to perfect performance
| But most receiving installations are
still far from being acceptable. It is
often my embarrassing experience to
| be asked by the owner of a receiving
set of more than dubious characteris-
| ties, how like radio reception in his
home. Politeness compels a diplo-
| matte though evasive answer. 1t is a
curious fact that until one has heard
| and become accustomed to really high
| quality radio reception, one can en-
| dure and even somewhat enjoy a seri-
ously distorted and thoroughly i'm
| perfect rendition of the original per-
Torrance. However, once one has
been accustomed to really excellent
| quality. nothing less can be accepted
| or enjoyed.
! Among the faults which are en-
| countered only too often in receiving
I equipment which has not been built
according to sound electrical and
| acoustic principles are some of the
| following:
| Music may sound scratchy or have A
| squeaky or tinny quality. The lower
| notes may have a booming quality
and speech may sound as if the speak
| er We're talking through barrel, or a
| considerable length of large pipe.
| Queer rattles, clicks, and other OBJ
| jectionable disturbances, such as
| misses may exist in the alleged music
trickling from the loud speaker. Fur
| thermore, the volume of loudness of
the music may be too small to give
satisfaction or naturalness or, on the
other hand. the volume may be in
creased to such point that the outfit
can not properly handle it. and vari-
Gus sorts of sound distortion will re-
| suit. At it's best, a good radio re-
ceiver is an excellent thing, but a
Poor radio receiver carelessly used is
| lar from being "a joy forever"
| AS has been already stated, the
| sophisticated radio listener desires the
| music in his home to be an exact COPY
| of that being performed in the studio
! OF the broadcasting station. To pro-
duce such an exact copy requires that
the sound waves in the home shall be
an accurate imitation of the sound
! waves in the studio. The process of
matching these two sets of sound
waves is called acoustic synchroniz-
ing" and is the very foundation of
modern radio. 1t is entirely safe to
| predict that acoustic synchronizing
| will be the watchword of the future
and that the more nearly radio broad
casting fulfills it's aim, the more
stress will be laid upon acoustic syn
chronizing. In less technical terms,
acoustic synchronizing means ex-
quisite fidelity of musical reproduc-
ton.
There are three major conditions
which must be met in sound repro
duction if acoustic synchronizing is
to be realized. These are the follow
ing:
In the first place the entire trans
hitting and receiving system must be
omnitonal. That is, every note, from
the lowest pitch to the highest must
he reproduced. None must be left out
if perfect reproduction is to be had.
7 In the second place, the entire trans
Knitting and receiving system must be
| eduitonal In other words, 1t must