"orchestra's conductor, was present in Constitution Hall to control the sound mix. Five years later, the same system would be expanded onto multi-channel film recording and used from the concert hall in Philadelphia to the recording labs at Bell Labs in New Jersey in order to record Walt Disney's ""Fantasia"" (1940) in what Disney called Fantasound. Later that same year, Bell Labs also demonstrated binaural sound, at the Chicago World's Fair in 1933 using a dummy with microphones instead of ears, . The two signals were sent out over separate AM station bands. Utilizing selections recorded by the Philadelphia Orchestra,"
"first practical commercial sound systems that could record and reproduce high-fidelity stereophonic sound. The experiments with stereo during the 1930s and 1940s were hampered by problems with synchronization. A major breakthrough in practical stereo sound was made by Bell Laboratories, who in 1937 demonstrated a practical system of two-channel stereo, using dual optical sound tracks on film. Major movie studios quickly developed three-track and four-track sound systems, and the first stereo sound recording for a commercial film was made by Judy Garland for the MGM movie ""Listen, Darling"" in 1938. The first commercially released movie with a stereo soundtrack was"
"dual optical sound tracks on film. Major movie studios quickly developed three-track and four-track sound systems, and the first stereo sound recording for a commercial film was made by Judy Garland for the MGM movie ""Listen, Darling"" in 1938. The first commercially released movie with a stereo soundtrack was Walt Disney's ""Fantasia"", released in 1940. The 1941 release of Fantasia used the ""Fantasound"" sound system. This system used a separate film for the sound, synchronized with the film carrying the picture. The sound film had four double-width optical soundtracks, three for left, center, and right audio—and a fourth as a"
"which, along with ""Orchestra Wives"", feature the only stereophonic recordings of the Glenn Miller Orchestra as it was during its heyday of the Swing Era. Motion picture theatres, however, are where the real introduction of stereophonic sound to the public occurred. Amid great fanfare, Stereo sound was officially proven commercially viable for the public on September 30, 1952 with the release of a Cinerama demonstration film by Lowell Thomas and Mike Todd titled ""This is Cinerama"". The format was a spectacular widescreen process featuring three separate 35mm motion picture films (plus a separate sound film) running in synchronization with one"
"stereophonic sound for the first time with ""House of Wax"", an early 3-D film starring Vincent Price and produced by Warner Bros. Unlike the 4-track mag release-print stereo films of the period which featured four thin strips of magnetic material running down the length of the film, inside and outside the sprocket holes, the sound system developed for ""House of Wax"", dubbed WarnerPhonic, was a combination of a 35 mm fully coated magnetic film that contained the audio tracks for Left-Center-Right, interlocked with the two dual-strip Polaroid system projectors, one of which carried a mono optical surround track and one"
"Walt Disney's ""Fantasia"", released in 1940. The 1941 release of Fantasia used the ""Fantasound"" sound system. This system used a separate film for the sound, synchronized with the film carrying the picture. The sound film had four double-width optical soundtracks, three for left, center, and right audio—and a fourth as a ""control"" track with three recorded tones that controlled the playback volume of the three audio channels. Because of the complex equipment this system required, Disney exhibited the movie as a roadshow, and only in the United States. Regular releases of the movie used standard mono optical 35 mm stock"
"""control"" track with three recorded tones that controlled the playback volume of the three audio channels. Because of the complex equipment this system required, Disney exhibited the movie as a roadshow, and only in the United States. Regular releases of the movie used standard mono optical 35 mm stock until 1956, when Disney released the film with a stereo soundtrack that used the ""Cinemascope"" four-track magnetic sound system. EMI (UK) was the first company to release commercial stereophonic tapes. They issued their first ""Stereosonic"" tape in 1954. Others quickly followed, under the His Master's Voice and Columbia labels. 161 Stereosonic"
"Hollywood sound film to qualify is ""Bringing Up Baby"" (1938), directed by Howard Hawks. The first sound feature film to receive near-universal critical approbation was ""Der Blaue Engel"" (""The Blue Angel""); premiering on April 1, 1930, it was directed by Josef von Sternberg in both German and English versions for Berlin's UFA studio. The first American talkie to be widely honored was ""All Quiet on the Western Front"", directed by Lewis Milestone, which premiered April 21. The other internationally acclaimed sound drama of the year was ""Westfront 1918"", directed by G. W. Pabst for Nero-Film of Berlin. Historian Anton Kaes"
"on CD several times since). Other early German stereophonic tapes are believed to have been destroyed in bombings. Not until Ampex introduced the first commercial two-track tape recorders in the late 1940s did stereo tape recording become commercially feasible. However, despite the availability of multitrack tape, stereo did not become the standard system for commercial music recording for some years, and remained a specialist market during the 1950s. EMI (UK) was the first company to release commercial stereophonic tapes. They issued their first ""Stereosonic"" tape in 1954. Others quickly followed, under the His Master's Voice and Columbia labels. 161 Stereosonic"
"under the direction of Leopold Stokowski, intended for but not used in Walt Disney's ""Fantasia"", the Carnegie Hall demonstration by Bell Laboratories on April 9 and 10, 1940, used three huge speaker systems. Synchronization was achieved by making the recordings in the form of three motion picture soundtracks recorded on a single piece of film with a fourth track being used to regulate volume expansion. This was necessary due to the limitations of dynamic range on optical motion picture film of the period, however the volume compression and expansion were not fully automatic, but were designed to allow manual studio"
"""Fantasia"" would also become the first commercial film to be released in stereophonic sound. However, like ""Pinocchio"", ""Fantasia"" was not a financial success. ""Fantasia"" was also the first Disney film not to be received well, receiving mixed reviews from the critics. It was looked down upon by music critics and audiences, who felt that Walt Disney was striving for something beyond his reach by trying to introduce mainstream animation to abstract art, classical music, and ""elite"" subjects. However, the film would be reevaluated in later years and considered a significant achievement in the art of animation. In 1941 in order"
"Fantasound Fantasound was a stereophonic sound reproduction system developed by engineers of Walt Disney studios and RCA for Walt Disney's animated film ""Fantasia"", the first commercial film released in stereo. Walt Disney's cartoon character Mickey Mouse entered a decline in popularity in the mid-1930s. Disney devised a comeback appearance for Mickey in 1936 with ""The Sorcerer's Apprentice"", a more elaborate edition of the animated ""Silly Symphonies"" series set to the music of ""The Sorcerer's Apprentice"" by Paul Dukas. Disney met conductor Leopold Stokowski in late 1937 at Chasen's, a noted Hollywood restaurant, and Stokowski agreed to conduct the piece at"
"commercialized in 1890 with the Théâtrophone system, which operated for over forty years until 1932. In 1931, Alan Blumlein, a British electronics engineer working for EMI, designed a way to make the sound of an actor in a film follow his movement across the screen. In December 1931, he submitted a patent including the idea, and in 1933 this became UK patent number 394,325. Over the next two years, Blumlein developed stereo microphones and a stereo disc-cutting head, and recorded a number of short films with stereo soundtracks. In the 1930s, experiments with magnetic tape enabled the development of the"
"reliable and at a far lower cost – caused the 4-track magnetic system to become totally obsolete. The song ""Stereophonic Sound"" written by Cole Porter for the 1955 Broadway musical ""Silk Stockings"" mentions CinemaScope in the lyrics. The first verse is: ""Today to get the public to attend the picture show/ It’s not enough to advertise a famous star they know/ If you wanna get the crowds to come around/ You gotta have glorious Technicolor/ Breathtaking CinemaScope and stereophonic sound."" The musical was adapted for film in 1957 and was indeed filmed in CinemaScope. (Although the song refers to Technicolor,"
"a silent film. The first known public exhibition of projected sound films took place in Paris in 1900, but decades passed before sound motion pictures were made commercially practical. Reliable synchronization was difficult to achieve with the early sound-on-disc systems, and amplification and recording quality were also inadequate. Innovations in sound-on-film led to the first commercial screening of short motion pictures using the technology, which took place in 1923. The primary steps in the commercialization of sound cinema were taken in the mid- to late 1920s. At first, the sound films incorporating synchronized dialogue—known as ""talking pictures"", or ""talkies""—were exclusively"
"fake stereo). In 1967, the rock group Pink Floyd performed the first-ever surround sound concert at ""Games for May"", a lavish affair at London’s Queen Elizabeth Hall where the band debuted its custom-made quadraphonic speaker system. The control device they had made, the Azimuth Co-ordinator, is now displayed at London's Victoria and Albert Museum, as part of their Theatre Collections gallery. The first documented use of surround sound was in 1940, for the Disney studio's animated film ""Fantasia"". Walt Disney was inspired by Nikolai Rimsky-Korsakov's operatic piece ""Flight of the Bumblebee"" to have a bumblebee featured in his musical ""Fantasia"""
"for modern sound movies. The Fox Movietone system was first demonstrated to the public at the Sam H. Harris Theatre in New York City on 21 January 1927, with a short film of Raquel Meller preceding the feature film ""What Price Glory?"", originally released in November 1926. Later in 1927, producer William Fox introduced sound-on-film with the feature film ""Sunrise"" by F. W. Murnau. In 1928, the sound-on-film process RCA Photophone was adopted by newly created studio RKO Radio Pictures and by Paramount Pictures. In 1926, the owner of a UK cinema chain, M. B. Schlesinger, acquired the UK rights"
"turned what was originally a silent film into a sound film. Earlier crude sound-on-disc and sound-on-cylinder systems had been invented 1894-1914 by Thomas Edison (Kinetophone, Kinetophonograph), Cameraphone in the US, Gaumont (Chronomegaphone) and Pathé in France, and others, but they were only used for short films. ""Dream Street"" was the first feature-length film in which a frame-synchronous human voice was heard from a sound recording of any kind. Some prints of ""Dream Street"" show Griffith speaking in a brief introduction to the film. However, the sound quality was poor, and ""Dream Street"" was only shown with sound at two theaters"
"move around the theater."" A mention for Fantasound appears in the film's closing credits. The following is a list of persons who were acknowledged by Garity and Hawkins in a 1941 article for their ""suggestions and assistance in the development of Fantasound"": Fantasound Fantasound was a stereophonic sound reproduction system developed by engineers of Walt Disney studios and RCA for Walt Disney's animated film ""Fantasia"", the first commercial film released in stereo. Walt Disney's cartoon character Mickey Mouse entered a decline in popularity in the mid-1930s. Disney devised a comeback appearance for Mickey in 1936 with ""The Sorcerer's Apprentice"", a"
"until 1956, when Disney released the film with a stereo soundtrack that used the ""Cinemascope"" four-track magnetic sound system. German audio engineers working on magnetic tape developed stereo recording by 1941, even though a 2-track push-pull monaural technique existed in 1939. Of 250 stereophonic recordings made during WW2, only three survive: Beethoven's 5th Piano Concerto with Walter Gieseking and Arthur Rother, a Brahms Serenade, and the last movement of Bruckner's 8th Symphony with Von Karajan. The Audio Engineering Society has issued all these recordings on CD. (Varèse Sarabande had released the Beethoven Concerto on LP, and it has been reissued"
"feature-length film with a live-recorded vocal sequence. There would be no others for more than six years. In 1925, Sam Warner of Warner Bros., then a small Hollywood studio with big ambitions, saw a demonstration of the Western Electric sound-on-disc system and was sufficiently impressed to persuade his brothers to agree to experiment with using this system at New York's Vitagraph Studios, which they had recently purchased. The tests were convincing to the Warner Brothers, if not to the executives of some other picture companies who witnessed them. Consequently, in April 1926 the Western Electric Company entered into a contract"
"edges of the film strip. Most films continue to be processed with both digital and analog soundtracks so that they can be read by projection systems in any movie theater. After General Electric's Pallophotophone fell out of use in the early 1930s, optical multi-track recording did not have a resurgence for nearly three decades when high fidelity and stereophonic recordings became available commercially. Walt Disney made an attempt in 1940 when he began sound production for ""Fantasia"" with the Philadelphia Orchestra. Disney set up 33 microphones at the Academy of Music and ran these into eight independently operated mixing stations."
"with Warner Brothers and W. J. Rich, a financier, giving them an exclusive license for recording and reproducing sound pictures under the Western Electric system. To exploit this license the Vitaphone Corporation was organized with Samuel L. Warner as its president. Vitaphone, as this system was now called, was publicly introduced on August 6, 1926, with the premiere of ""Don Juan""; the first feature-length movie to employ a synchronized sound system of any type throughout, its soundtrack contained a musical score and added sound effects, but no recorded dialogue—in other words, it had been staged and shot as a silent"
"celebration of the twentieth anniversary of the premiere of the Warner Bros. studio's first sound features. The film will release on DVD by Warner Bros. Home Entertainment at the first time. Lights of New York (1928 film) Lights of New York is a 1928 American Pre-code crime drama film starring Helene Costello, Cullen Landis and Eugene Pallette, and directed by Bryan Foy. Filmed in the Vitaphone sound-on-disc sound system, it is the first all-talking full-length feature film, released by Warner Bros., who had introduced the first feature-length film with synchronized sound ""Don Juan (1926 film)"" two years earlier. The film,"
"film soundtrack was recorded in stereophonic sound but released with conventional monaural sound. At least some of the original stereo recording has survived and been included in some home video releases, including the Mickey Rooney - Judy Garland Collection. According to MGM records the film earned $2,265,000 in the US and Canada and $1,229,000 elsewhere resulting in a profit of $1,539,000. ""Daily Variety"": ""Movie and Radio Guide"", 1940: ""Variety"", September 18, 1940: In 1941, the year after the film was released, the film was nominated for three Academy Awards. Douglas Shearer (M-G-M's Sound Director) won an Best Sound, Recording and"
"as of 1932. The amounts given are gross rentals (the distributor's share of the box-office) as opposed to exhibition gross. Although attempts to create sync-sound motion pictures go back to the Edison lab in 1896, only from the early 1920s were the basic technologies such as vacuum tube amplifiers and high-quality loudspeakers available. The next few years saw a race to design, implement, and market several rival sound-on-disc and sound-on-film sound formats, such as Photokinema (1921), Phonofilm (1923), Vitaphone (1926), Fox Movietone (1927) and RCA Photophone (1928). Warner Bros was the first studio to accept sound as an element in"
"film. It premiered on May 19, 1933 in the ""Cinema Suipacha"" of Buenos Aires. The originals of the film have been lost and only audio recordings have survived in Vitaphone disks. In 1931, Carlos Gardel was hired by the American company Paramount to make his first sound motion picture, ""Lights of Buenos Aires."" The film was made in the studio that Paramount had in Joinville-him-Pont, 40 kilometers southwest of the French capital, devoted to produce films for the non-American markets. The following year, however, the French Paramount found itself in full crisis, in the context of the world-wide depression and"
"first of which, Todd-AO, was developed by Broadway promoter Michael Todd with financial backing from Rodgers and Hammerstein, to use a single 70mm film running at 30 frames per second with 6 magnetic sound tracks, for their screen presentation of ""Oklahoma!"". Major Hollywood studios immediately rushed to create their own unique formats, such as Warner Bros. Panavision, Paramount Pictures' VistaVision and Twentieth Century-Fox Film Corporation's CinemaScope, the latter of which used up to four separate magnetic sound tracks. VistaVision took a simplified, low-cost approach to stereophonic sound; its Perspecta system featured only a monaural track, but through subaudible tones, it"
"machines together to allow feature-length films to be shown. A second Gaumont was installed replacing the Kalee. By this time the two projectors were being used together to allow feature-length films to be screened without a break. Sound-on-disc playback equipment from ""Syntok Talking Films Ltd."" was installed to allow Vitaphone films to be screened. The first 'talking picture' shown was Warner Brothers' """"The Singing Fool"""", starring Al Jolson, screened on 10 March 1930. The Syntok equipment had proved to be unsatisfactory, it was both unreliable and had poor sound quality. Consequently, it was replaced by a new Western Electric sound-on-film"
"were produced in dual versions, silent as well as talking. Though few in the industry predicted it, silent film as a viable commercial medium in the United States would soon be little more than a memory. ""Points West"", a Hoot Gibson Western released by Universal Pictures in August 1929, was the last purely silent mainstream feature put out by a major Hollywood studio. ""The Jazz Singer"" had its European sound premiere at the Piccadilly Theatre in London on September 27, 1928. According to film historian Rachael Low, ""Many in the industry realized at once that a change to sound production"
"film—not only in the United States, but also in the West as a whole—was 1929; yet the years 1929 through 1933 are represented by three dialogueless pictures (""Pandora's Box"" [1929], ""Zemlya"" [1930], ""City Lights"" [1931]) and zero talkies in the ""Time Out"" poll. (""City Lights"", like ""Sunrise"", was released with a recorded score and sound effects, but is now customarily referred to by historians and industry professionals as a ""silent""—spoken dialogue regarded as the crucial distinguishing factor between silent and sound dramatic cinema.) The earliest sound film to place is the French ""L'Atalante"" (1934), directed by Jean Vigo; the earliest"
"first sound film suffered technical failures. The Tri-Ergon system appeared at a time when a number of other sound film processes were arriving on the market, and the company soon merged with a number of competitors to form the Tobis syndicate in 1928, joined by the Klangfilm AG syndicate in 1929 and renamed as Tobis-Klangfilm by 1930. While Tri-Ergon became the dominant sound film process in Germany and much of Europe through its use by Tobis-Klangfilm, American film companies were still squabbling over their respective patents. For a time Tri-Ergon successfully blocked all American attempts to show their sound films"
"Sound film A sound film is a motion picture with synchronized sound, or sound technologically coupled to image, as opposed to a silent film. The first known public exhibition of projected sound films took place in Paris in 1900, but decades passed before sound motion pictures were made commercially practical. Reliable synchronization was difficult to achieve with the early sound-on-disc systems, and amplification and recording quality were also inadequate. Innovations in sound-on-film led to the first commercial screening of short motion pictures using the technology, which took place in 1923. The primary steps in the commercialization of sound cinema were"