Beruflich Dokumente
Kultur Dokumente
SOUND DIRECTOR
University of California
Los Angeles
1968
IThe
Copyright
Regents of the University of California
purposes only.
INTRODUCTION
George Robert Groves was born on December 13, I901 in
Saint Helens, England, a small town near Liverpool.
He received
He attended grammar
come to America.
Mr. Groves' first position in America was with the Bell
sound.
of his career.
INTERVIEW HISTORY
Dates:
COi'TDUCT
When I was
Helens.
education.
He was interested
in brass bands, of which they have quite a lot in EngAt a very early age, as my parents told me, I
land.
B-flat trumpet to play with the piano for singing lessons which you know, is quite an advanced thing for a
youngster, and
And
two
They had
awhile until finally the Headmaster of the school obSo I quit school and had a private tutor.
jected.
I won an
Now,
My scholarship
It was a question
Like
hundred or
If they
great successes.
England you enter school and the first year you take an
over-all course--ln Engineering School It
mathematics, and physics.
's a lot
of
Engineering.
Now, In
Liverpool University It was common, as In most universities In England, that. If a man had a degree In En-
forai of
employment.
He
I came
Bachelor of
This means
Now
engineering.
transmission of Intelligence
speech
school.
Coventry,
I was
still
This was
tically
It was prac-
I Just
happened to be there.
never dreamed of
it
I had a
lot
stratlon equipment In the science building in Washington, and so I got an over-all look at Bell Labs.
progressing
improved
transmission characterietlcs of
As a
Previous to
talking into
horn it was
an acoustically-powered
Building in Brookljm.
with them.
played
That was
Nev; Yoii<i
So I was
not professionally,
Eventually, I organized
small
we
I was
my two-years-service cer-
Warner Brothers.
motion picture executives, and finally it was demonstrated to Mr. Sam Warner, one of the Warner Brothers,
who died some years ago.
Sam came to
Nev/
them in synchronism.
Studios
v;e
The
picture.
the Bell Labs had Just recently been invented (by recently
I mean 1925 or '26).
but by
hear
In other words.
10
moved.
when
set.
be movod.
The
Dixon:
Groves:
Oh,
it did.
great deal.
long time,
stage movement
tremendous novelty.
Quite
think the first actor was Rin Tin Tin, the dog,
V/e
had a microphone
This was
they had
For it,
boat,
11
much
the
they
To
Intended to be
pretty.
..
.well.
it that way.
The cameras
sound studio.
it
was never
So it all became a
experimental
It was quite
let's
put
things
famous talent.
Opera House.
And
a lot of
v;as
draperies
The only
at all suitable
12
building.
This is where
programs
The first big Job we did was to score Don Juan ,
Barrymore,
Mendoza.
Every
everything
had to be taken
out
small type.
13
soundproof booth.
In order
medium shot.
continuous record.
u
time they shot anything, it had to be
full reel-
seventy-eight rpm.
sixteen-inch record, as
It was a
In-
Now there
is a
On
You have
the groove.
little bit
and as the
15
better response
So
It
phono-
Dixon;
at this time?
Groves:
The
microphones on the violins, woodwinds, brass, percussion all the various sections, and we went so far
as to put isolating flats or baffles between each
I6r.
phones together.
recordings,
that time.
I think
As you know,
the first show with the recorded score by the New York
Giovanni Martlnelll doing his famous arias from Pag llaccl and A Ida
Will Hays,
the moment.
famous speech.
archives someplace.
That was the start, and it was a great success.
17
Barrymore show
a few
certain part of
of the earthquake.
build
18
playback reproducer.
round wax disc about an Inch thick that was later electroplated.
The electro-
it
would cut into the soft wax and destroy the modulated
grooves.
\le
developed
damaging it.
With regard to
which came a
19
You
service organization.
were
novelty.
they
thought they
with Al Jolson.
quences
for
Everything they
recorded
I came to
They had
20
famous line.
He said,
yet!"
business
"Vly
other.
talked!
hearsal.
It Just took
Lionel Barrymore
that way.
They
It caused a tremendous
21
sensation.
have to go to sound."
We all
Groves:
records at all.
with
Nev;sreels.
Westinghouse, General
galvino-
simultaneously
v/ith the
disc recording,
a
light valve.
system of
light valve
arated by
22
result of the
variable density.
When
piece of photographic
a
a
sound track of
This gives
23
edited.
cumbersome.
Bear In mind, we
v/ere
still cutting
The first
V/e
had
Syn-
syric
again.
major problem.
We
2i\
particular reel.
It was
system of relays
turntables and
^^fith
the
record
pair of
all-talkie that
v;as
to specify a date.
It did.
Up to this time,
Cameras had to be in
25
big soundproof booths; the microphone couldn't be
In
v/as
big
camera
in it.
because it
v/as
ventilation in them.
partition-window.
double glass
graphy quite
a bit.
So one of the
<iO
was tried was the obvious thing, put a box around the
camera.
A lot of
Soundproof blimps
you could see through It, and loading the camera was
color cameras are still this way; they are heavy and
microphone movement.
27
cylindrical
boom.
So
The
With
lightweight device on
around
This succeeded in relieving the actor from any re-
28
If
If he wants
close
when its
close-
There is
restriction.
I would like to go back to one little thought that
I made a lot of shows
fabulous entertainer.
v;as
He
v;as
Sonny Boy
a
were
dl-
"
29
he
I saw Jolson
take this little boy's mother to one side and ask her
pense .
I thought
I Just happened
Tre-
When he started to
It was fantastic.
)55
30
Many, many shows, I've seen him play with the words
He
teleprompter system.
His brother
reading lines.
He Just
mous example
he
Douglas
he looked.
versely it helped
a
a lot.
Con-
When you
consider the great number of conversions in the recording process from one type of energy to another that
take place from the thought of a spoken word, to its
reproduction out of
31
You take
lungs, and
generated.
These
microphone.
Here you
That dia-
The fact
32
The amplified
play It back,
When you
It
the groove.
loud-speaker.
They go ithrough a
move.
of sound.
It's really a
33
devices.
shine on
Or
a tape recorder,
use them.
necessity
The use
of in-
3^
The
a lot
of
Mu-
In shooting the
I've seen
If they
make-up.
proved negative stock and print stock, comes the presentation of larger pictures on the screen.
Now you
direction.
wide angle of
35
zontal direction.
a
Cinemascope picture.
In a further effort to Lmprove picture definition
and go to bigger pictures, they are now shooting pic-
of three
In a Cine-
Because of this
the
hole in
OTA
36
whole screen.
so
one
In the
And
fourth
five
Six-track stereo-
With
magnetic.
Then
netic stripes.
37
You take
piece of optical
machine, it gets
Now
phonograph record or
reproduction is
it
doesn't
mrgnetic system.
Groves:
magnetized.
Dixon:
38
around.
It may
shooting a Western,
TV show, and
it has to
a lot of
a lot of
If they
But if you
going through.
To do that, we get
print of
phrase at
time,
perfect sync.
it
So we break
We put it
3S^
There Is
cue
track, and the actor can hear v;hat he did and see what
he did.
You
This is quite
We have
crew
that does that kind of work, and they have become very
proficient at it.
Nowadays,
economical to do it.
some
i\0
position.
Also,
It
formance.
down
a big set,
becomes different
becomes
Whereas, if you go on
do.
wise.
You have
i\l
number which
you can light any way you want; there are no microphones
around; and nothing to bother anybody.
shows are done this way.
A lot of
TV
They have to
you
can't
Dixon:
result of
television?
Groves:
For
They're not on
do It again."
"V/ell,
you missed.
42
complicated show to the point where everybody knows
If they could
It would
be much simpler.
Dixon:
toons
Groves:
The
cartoon
going to do.
This
establishes a tempo.
We have
many frames per beat, and the cartoonist who is responsible for the drawing or the story plot or for the
making of the cartoon, will specify with the musical
director that
^3
The con-
Another
chase or something.
it's not neces-
But every
Now
and pre-recorded.
Than, when the cartoon is all drawn, it comes over
to the Sound Department and a special group does all
places with the music and the dialogue, and they all fit
together.
Dixon:
I had no idea;
He
Of course.
little bit.
Groves:
actually.
It got
otherwise, I couldn't.
But as
in union meetings.
^5
He invited me
have
get-together.
You
know, "Get them all together, and you come over and
And I did.
They
ticular violence.
faith.
place as a head of
department.
much either, except Just sit and wait until the labor
relations men got together and settled it, you know.
Groves:
i6
Dixon:
Oh, sure.
plant as
let's
In the
sound equipment up to
agreement
So there
The main thing is, I'll state it right here and now,
the seniority clause.
This
If a
young
man comes out of school and has gone through the motion
picture course in a university, he may be very capable;
he may be a great recording engineer, a great transmission
^7
because
He stays in Qroup
This is
I have had
men in this
may never
Years
This is bad.
absolutely ghastly
It's
They write and ask me, "How do you get into the
^8
"I've operated
projection
I've studied
want to do
college graduate.
engineer or
high school.
Occasionally,
it
is
It's
spasmodic em-
It's
fair tele-
"
^9
You have
air time
pare for them, and get them ready before you go on the
air, so it makes a good leveling influence on the pro-
duction load.
He
I think there is
much
and I had a
I think it's
Progressive Education.
much too
They call it
But you
50
had any
mixer.
music
Because
During re-
51
This
So my contribution actually
record
I had no competition
a lot of
great
picture originally
What makes
com-
Superimposed on
they
write
52
combination of
those themes
This conver-
contribution.
ment
we
supplier.
As a
53
men like myself, but motion picture producing companies are not research organizations except on a very
small scale.
In some cases very Important advances have been
Now,
One of
sound on
So the demand,
So
on flLm.
took
5M
tremendously.
The Bell
reduction system.
noise
If
So they devised a
tremendous advancement.
it out.
55
Another extremely Important step was the establishment of standards, so that a piece of film made In
the United States could be played on any projection
This was
tremendously Impor-
so
film
that every-
where you went you knew when It was scanned It was being
scanned in the proper position.
tional standards.
piece of
film made here and it plays the same wherever you go.
This was a tremendous piece of work.
There are
or another.
Studio organization.
56
the Board of Directors of the Fox organization, we may
not have had Cinemascope.
lot of things
The
arc lamps are very noisy, due to the frying noise of the
cool between takes and expand and crack and pop and make
That still
person with a
So the
suitable
58
In any event, this was the first moviola that was made.
And this was made for the picture The Lights of New
York
come up
small
more professional.
magnetic recording,
a studio
development.
First of
Dixon:
Groves:
motion
59
television picture on
video tape
and Improved.
But this Is
dramatic show.
to be well done;
high-quality
lot of things.
properly balanced between the vocalist and the orchestra; and the whole performance has to satisfy a lot
of people.
Into a show.
judiciously.
It
enhances the
people.
60
ten-
The musician
Now when
here?
Groves:
we had a
v;ere
certain
number of engineers were available to the other companies from the Western Electric Company.
When we
All
here were
All we had
61
They formed the nucleus for training of the personnel when they could draw them from whatever sources
were available.
by
And
some of them came in here and worked from the ground up.
We demand improvements in equipment, in methods,
in operational procedures,
in organization
all
kinds
And this is
To be successful at that,
There's
production
62
He
Very rarely
Sound Department.
He's
A lot of
twenty years
If
So he
63
So
maintenance engineers.
Apart from production, we get to the re -re cording
process, where all of the sound tracks are put together.
On
They have to
64
pleted vflth
very
responsible Job,
The maintenance of the equipment that does this is
a
It's
quite complicated.
We manufacture our own magnetic film.
We get used
mag-
a_
Man Loves;
65
fine orchestra.
Now,
silent
The music
One
scoring.
where
reasons.
songs,
Many
66
once.
the
the
orchestra has to be in
The
time.
And next,
half
a big
day to record it
So
record
67
composer
If he has been
pleted picture.
There has to be
First of all,
68
where it came.
This
typical example.
*
We
Fiaurc.5
X-VST
(^"Tt-
cc^tdllr>e<i
in
pock.C-^
aI"
batk eC bccK.
69
department.
From this
cue number.
columns.
explain in
moment.
Column II we shall
to the composer.
In this particular
would be suitable
that
is,
tempo in which
beat
complete set
frame intervals.
70
per beat.
8-1/8 up
to 25 frames
conversion
is transferred to sheets of
manuscript
He subdivides
Figure
not all the cues on the cue sheet are necessarily incor-
71
maximum of eight
These ticks
warning to
The usual
In our par-
39 ft
3 frames
72
Length of leader on
tick record
15 feet
Length of 8 beats
at 12 frame tempo
6 feet
21 feet
Therefore, distance
start of tick record from start of
reel or distance
of threading start
maric from start of
reel
A
21 ft
frames
I8 f t
3 frames
This
poses.
In the recording of music scored in this manner,
headphones.
73
For
little bit
And it was
He
stop watch or
second and
half
the nose.
7^
piece of music to
Now
He can take a
a 5/^ bar,
completed
recording session.
where it starts.
certain amount of
75
the film Is going through, the orchestra Is all silent,
one, two,
erate the speed with which the Job is done, improve the
It stands to
con-
Then we
speech tracks.
So it's
76
specially handled to
certain extent.
If it
bad score.
it
Or,
about.
This is de-
All can be
77
channels.
By
down on
close-up,
Another
that,
minus voice.
then you Just get another voice inj you don't have to
call the musicians back.
78
We thus ob-
So
Dixon:
necessity.
Groves:
That's right.
by
beration chamber.
correct Illusion
rever-
As a matter of fact,
w>e
made
picture called
We pre-scored
photographed it.
good
to
That's why
told
79
veiry
one else, which I did, and came into the office here
and helped supervise the whole
^Job.
music business.
We have
But
Max
Erich Wolfgang Korngold, Elmer Bernstein, Henry Mancini, and practically everybody who has been of any
different in temperament.
Max Steiner is
motion picture
he
writes
80
picture.
He eoores what
For a
bom, personally,
Then he gets down to work and just makes them play like
It's amazing how he always does this.
Viennese,
and Incl-
boy genius
he
wonderful musician.
tremendous talent,
Here's
A_
Of course,
it wasn't all
81
He scored
lot of
was in.
Franz Waxman is
He Is now gone.
Died.
real long-hair.
I'm
He wrote the
Incidentally,
And he did
beautiful
Sayonara ,
Stelner
apologetic
He knows it's
good when he's done it, and he's proud of It all the
time.
Tremendous talent.
He records usually
very
!?weet
to me
driver.
When he sets up
But he is
82
perfect.
Roses
the
rehabilitates himself.
Now this Is
very downbeat
He does a tremendous
formance.
a score do
a wonderful thing.
the girl.
He did
There is no
He
8i|
picture for
Instruments.
various composers.
Komgold, who
Yes,
85
Groves:
That's right.
a hit
And this is good, not only for the composer, but for
the picture.
You get
lot of
Groves:
great
picture if it is out
Dixon:
That*s right.
almost anything.
men-
I can
He made
He never learned,
in all
86
for effect.
But
think
a lot of
lot of
tremendous worker.
He
Groves:
recent years.
did.
He really
George is a wonderful
We want
If
Other-
Make a silent
87
One that he
An
your seat.
could do no wrong.
I don't know
88
one.
good
Soundwise.
v/as
concerned.
I can
Maybe
This is
is me.
Music Man
He is
would lay down his life for Morton Da Costa, and give
him anything he wants.
sound is concerned.
delight.
I think this is
as it is to sit
They
Mainly on account
89
of this man.
And
although you may not actually realize it, you sense it,
and the audience senses It; you can see It in the
It's not because it's
happy show
there
It's Iowa
ularly witty.
He is not
a comic;
He understands everybody's
sympathetic ear.
And
It's completely
90
wrong.
91
INDEX
10,27-28
21
12
^8,89
12,17,29-30,51,64
20,30
16
1
1
Qa^c.
'
Cameras, motion
anamorphic lens
"blJjnps"
Morton
Days of Wine and Roses (film)
\/l)aCosta,
5,6,7,9,13,53-54,60
36
79
79,84
17,64
42
42,43,44
64
34-35
26
13-14,25-26
11
26
81
42-44
16
68
34-37,55-56
7
42
20
3
51
1
86-87
85-86
88-90
82
92
y^adley,
Henry
Hay6> Will
High Noon (film)
82-83
52
85-90
12,16
10
33,56
6
57
53-54
37-^1
23-24
37-41
8,23,37-41
30
34
33-34
64
56-57
55
81
79
21
21
4,21,33,56,60
6-7
87
30
20
34,79
87-88
1
1-2
2-3
4-5
5-6,7
6-7
7
12,50-51
51-52,79
16
85
93
7oTson7~Ar~^
Korngold, Erich Wolfgang
Kriens, Christian
46
18,19-20,78
17,19-20,28-29,78
79,80-8l,84
7
kk-ks
46-49
82
33,56
33,56
24,58
20
2-3
12-13
79,82-83
11-12,17-18,65
I6
8I
12
97
9
9
9-10
9-10,24-25
25
26-27
15-16,50-51
62-63
80
26
16
56-57
33
76
51-52,79-85
59,65,66-75^76-78
65,66-75
65-66,76-78
64-79
85,88-89
9*^
Music mixing
MX Fair Lady (film)
15-16,50-51
36
Nagel, Conrad
New York Philharmonic Orchestra
Nun's Story (film)
12,16,50,65
81
30
46
17,64
34
18
49-50
46
21,53-54,61
22
82
17
63-64
10
20
Sayonara (film)
The Show of Shows
Society o7~M6tlon Picture and
Television Engineers
Sonny Boy (film)
Sound Editors' union
Sound mixing
Sound production and storage
i/Sound recording cx^tl. vAJLOroc3o-3^m<:.
aeolight system
discs
galvinometer technique
light valve system
magnetic recording
of music
noise reduction system
outdoor
RCA system
re-recording
stereophonic
Sound studio personnel
'=^
81
34
55
28-29
46
15-16,50-51
31-33
21
14-15,32
21
21-22
37,58-59
39-41,59-60
37-38
22
17,63-64
35-37
61-64
95
Soundmens Union
Sponable, Earl
\/Stelner, Max
Stereophonic sound
v/Stevens, George
Sunset Studios, Hollywood
Talking pictures
Technicolor
Telephones, early research on
Teleprompter system
Television
impact on motion picture industry
production
sound recording in
\/Tiomkin, Dmitri
Todd AO
Transmission engineering
Twentieth Century-Fox Film Corporation
See also Fox Case Corporation
44,46
21,55
69,71,74,79,79-80
81,84
35-37
87-88
23
7,20-24,34
36
6
30
41-42
49
41
79,81-82,84
3^
3^4
34,55-56
52-53
6,9,15
78
8,11
short subjects of
theatre equipment for
Voice production
The Volga Boatman (short subject)
10-11,13-16
18-19
Wagner, Richard
Warner, Sara
V/Warner Brothers
innovations
Music Department
Sound Department
Watkins, Mr.
v^axman, Franz
Western Electric Company
16
l4-l6
31
10
51-52
7,20,67
7-8,10,11,18,19,22
33,51,68,73,79,80,82
56-58
67-68
60-64
8
79,81,84
4,12,18,19,21,22,
52,60,61
4,21,33,53
36
17,51,64
16
Figure
Cue sheet
Figure II
Figure III
Figure IV
1/