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1947-48 Theatre Catalog, 6th Edition, Page 265 (251)

1947-48 Theatre Catalog, 6th Edition
1947-48 Theatre Catalog
1947-48 Theatre Catalog, 6th Edition, Page 265
Page 265

1947-48 Theatre Catalog, 6th Edition, Page 265

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ACOUSTI-CELOTEX CANE FIBER TILE absorbs sound through the drilled perforations, which are oi such size that it is not commonly possible for paint to bridge them. And painting does not cause this type of tile to lose its high sound-absorbing efficiency. Effective designs can be made.

board surfaces is with a brush and a vacuum cleaner. This will remove some of the dirt and will brighten up the surface somewhat. However, the discoloration, unavoidable with age, will make an eventual paint job necessary. When that time comes, the only wise course is to plan a complete redecorating job and a permanent acoustical correction with a paintable acoustical material.

As to the amount and placement of the acoustical material you select, obtain the advice of an experienced acoustical technician and follow his recommendations. No experienced acoustical technician will put too much material in your theatre, and he will avoid undertreatment, which surely will result in an unsatisfactory job.

While many theatres have been treated by placing the acoustical material on the ceiling and back wall, a more satisfactory result can be obtained in most instances by distributing the material along the side walls and the back wall. Back wall treatment is absolutely essential in theatres 55 feet long and over. Unless sound is absorbed effectively, the reflection from the back wall will reach the front of the seating area as a distinct echo. Sidewall treatment will prevent flutter, or cross reflections, and should be so distributed that no large reflecting surfaces are directly opposite each other. The treated area should extend from the back wall to a point about two-thirds, or three-quarters, of the distance from the back wall to the proscenium arch.

The audience and seats (particularly if upholstered) provide a highly absorptive surface opposite the ceiling, which being left reflective, reinforces the original sound by directing the Hspillover" from the speakers back into the audience.

To prevent trouble from back slap from the front wall, it is usually advantageous to place an absorbent cover 1947-48 THEATRE CATALOG



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ing approximately the size of the screen opening over the wall directly back of the screen. Almost any effective soundabsorbing material can be used here. It should, of course, be a dark color to prevent light refiection.

Crowd noise from the foyer and lobby can be kept from disturbing the auditorium audience by adequate treatment in those areas. Attention to this problem has become highly important since


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ACOUSTl-CELOTEX MINERAL FIBER TILE is an incombustible, perforated acoustical material which also can be repeatedly pointed without loss oi The first Acousti-Celotex was introduced more than twenty

years ago as the first acoustic material that could be safely painted.

popularity of the candy bar has made it a feature in many theatres.

There is no way to prevent crowd noise at the candy bar. The only remedy is to kill it as effectively as possible, and to prevent it from spreading into the auditorium. Acoustical treatment on the ceiling in the foyer and lobby will minimize the disturbance caused by talking and laughing e and by the younger patrons of the theatre.

STANDARD MUFFLETONE, is an acoustical tile which absorbs sound through the natural porous surface. If the surface pores are sealed with paint, sound waves can no longer enter the absorbent body. As to the amount and placement of acoustical material. advice should be obtained from a competent acoustic technician; he will neither overtreat nor undertreat the theatre, but give the best possible results.
1947-48 Theatre Catalog, 6th Edition, Page 265