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suspended the microphones in fixed positions just above camera range, and sometimes they were hidden behind objects in the scene. The recording machines were usually located in a separate building to completely isolate them from sound stage floor vibrations and other undesirable influences. The audio signal was sent from an on-stage monitoring and control booth to the recording room over a heavy shielded cable. Synchronization was maintained by driving all the cameras and recorders with synchronous electric motors powered from a common source. When music and sound effects were being recorded to accompany existing film footage, the film was projected so that the conductor could synchronize the music with the visual cues and it was the projector, rather than a camera, that was electrically interlocked with the recording machine.
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material rotating on a turntable. The wax was much too soft to be played in the usual way, but a specially supported and guided pickup could be used to play it back immediately in order to detect any sound problems that might have gone unnoticed during the filming. If problems were found, the scene could then be re-shot while everything was still in place, minimizing additional expense. Even the lightest playback caused some damage to the wax master, so it was customary to employ two recorders and simultaneously record two waxes, one to play and the other to be sent for processing if that "take" of the scene was approved. At the processing plant, the surface of the wax was rendered electrically conductive and electroplated to produce a metal mold or "stamper" with a ridge instead of a groove, and this was used to
579:. If a record were improperly cued up, it would start out of sync with the picture and the projectionist would have to try to manually acquire sync. If the wrong record had been cued up there was no realistic option but to pause the show for a few minutes while swapping in the correct disc, resetting everything and starting that reel again. If the film print became damaged and was not precisely repaired, the relationship between the record and the print would be thrown off, also causing a loss of sync. Vitaphone projectors had special levers and linkages to advance and retard sync, but only within certain limits. Scrupulous care and attention were demanded from the projectionist. In the absence of
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side, after which it was meant to be discarded and replaced. Unlike ordinary records, Vitaphone discs were recorded inside out, so that the groove started near the synchronization arrow scribed in the blank area around the label and proceeded outward. During playback, the needle would therefore be fresh where the groove's undulations were most closely packed and needed the most accurate tracing, and suffering from wear only as the much more widely spaced and easily traced undulations toward the edge of the disc were encountered.
591:-triggered playback phonographs. Multiple source discs would be carefully cued up, then parts of each in turn were dubbed to a new master disc. The cutting of the new wax master could not be paused, so each playback turntable had to be started at just the right moment and each signal switched to the recorder at just the right moment. The system worked, but imprecisely enough that the reel of film often required some adjustment, by adding or removing one or more
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produced. As a result, the quality of
Vitaphone sound in the theater came as a revelation to the audience at its public debut in 1926. It easily and dramatically surpassed anything previously achieved. It even surpassed the sound quality of Western Electric's own sound-on-film system, developed concurrently with the sound-on-disc system but still in the laboratory at that time, because at first the discs yielded better fidelity than an optical sound track.
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for musical shorts and a synchronized musical accompaniment for otherwise silent films (the only applications originally planned), it was a clumsy way to make a feature-length film with "live" sound. By the middle of 1931, Warner Bros.-First
National had thrown in the towel and was recording and editing optical sound on film, like all the other studios, and only then dubbing the completed soundtrack to discs for use with the Vitaphone projection system.
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547:'s sound-on-disc films, which were being shown twenty years earlier, were successfully synchronized by the use of electrically interlinked multi-pole synchronous motors, and a pneumatic amplification system more than sufficed to fill Gaumont's 3,400-seat flagship theater in Paris with the recorded sound. That sound, however, had to be recorded by the same insensitive non-electronic method introduced by
536:. This allowed the sound to be played to a large audience at a comfortable volume. Vitaphone was far from the first sound film system to use this technology, but it had amplifiers and loudspeakers, developed by Western Electric, which were state-of-the-art. Their performance was greatly superior to anything else of the kind then available, including the equipment used by De Forest to present his own
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system. Exhibitors with limited incomes opted for
Vitaphone, particularly in smaller towns. The Vitaphone brand name became synonymous with talking pictures in general; as early as 1928, theater organists, thrown out of work when their bosses discontinued silent pictures, placed situation-wanted ads in trade papers with the melancholy phrase "Reason for leaving due to Vitaphone."
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521:, then cue up the corresponding soundtrack disc on the turntable, being careful to place the phonograph needle at a point indicated by an arrow scribed on the record's surface. When the projector was started, it rotated the linked turntable and (in theory) automatically kept the record "in sync" (correctly synchronized) with the projected image.
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Warner Bros. stopped making live-action short subjects in 1956, and The
Vitaphone Corporation was officially dissolved at the end of 1959. Warner then used the brand names for various purposes, to keep them active legally. In the 1950s, the Warner Bros. record label boasted "Vitaphonic" high-fidelity
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compound rendered lightly abrasive by its major constituent, finely pulverized rock. Such records were played with a very inexpensive, imprecisely mass-produced steel needle with a point that quickly wore to fit the contour of the groove, but then went on to wear out in the course of playing one disc
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Despite the fact that Warner Bros. still used
Vitaphone as a brand name, the soundtrack-disc era was largely over by 1931. Many theater owners, who had invested heavily in Vitaphone equipment only a short time before, were financially unable or unwilling to replace their sound-on-disc-only equipment.
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at imperfectly matched edit points, to conform it to the disc of edited sound. This discouraged frequent changes of scene in the film and the lively pace that they created. Editing sound on disc was a nightmare for the editor, and it was increasingly obvious to everyone that while the system sufficed
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Initially, Vitaphone discs had a recording on one side only, each reel of film having its own disc. As the sound-on-disc method was slowly relegated to second-class status, cost-cutting changes were instituted, first by making use of both sides of each disc for non-consecutive reels of film, then by
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In 1991, The
Vitaphone Project was started by a group of five vintage record collectors and movie enthusiasts. Since the soundtrack discs and film prints of Vitaphone productions often became separated, The Vitaphone Project searches for original 16-inch soundtrack discs and mute film elements that
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being a monster hit. It was in theater owners' best interest to compete as soon as possible. Second, a much more practical reason was the cost. Converting a silent-only theater to sound was much quicker and cheaper with the
Vitaphone sound-on-disc system than it was with the Movietone sound-on-film
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Distribution – Vitaphone records had to be distributed along with film prints, and shipping the records required a whole infrastructure apart from the already-existing film distribution system. The records would start to suffer from audible wear after an estimated 20 playings (a check box system on
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in 1877, or alternatively by a very crude microphone-based variant which had logistical advantages but did not offer improved fidelity. The resulting sound, however greatly amplified it might be, was tinny and unclear and speech was difficult to understand. The footsteps and other incidental sounds
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From the perspective of the cast and crew on the sound stage, there was little difference between filming with
Vitaphone and a sound-on-film system. In the early years of sound, the noisy cameras and their operators were enclosed in soundproofed booths with small windows made of thick glass. Cables
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At first, the production of
Vitaphone shorts and the recording of orchestral scores were strictly a New York phenomenon, taking advantage of the bountiful supply of stage and concert hall talent there, but the Warners soon migrated some of this activity to their more spacious facilities on the West
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at its establishment in 2004, an honor given to "products and innovations that have had an enduring impact on the development of audio technology." The award notes that
Vitaphone, though short-lived, helped in popularizing theater sound and was critical in stimulating the development of the modern
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After the improvement of the competing sound-on-film systems, Vitaphone's disadvantages led to its retirement early in the sound era. Warner Bros. and First National stopped recording directly to disc and switched to RCA Photophone sound-on-film recording. Warner Bros. had to publicly concede that
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during the first half of the 1920s. Western Electric's engineers had developed a highly sensitive full-frequency-range condenser microphone, capable of capturing a whisper from several feet away, along with the electronic and mechanical equipment necessary to adequately record the audio signal it
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Because of the universal desirability of an immediate playback capability, even studios using sound-on-film systems employed a wax disc "playback machine" in tandem with their film recorders, as it was impossible to play an optical recording until it had made the round trip to the film processing
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Except for the unusual disc size and speed, the physical record-making process was the same one employed by contemporary record companies to make smaller discs for home use. The recording lathe cut an audio-signal-modulated spiral groove into the polished surface of a thick round slab of wax-like
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Although Warners' sound feature films were made in Hollywood, most of the short subjects were made in New York, and Vitaphone shorts became a fixture in movie-theater programs through 1940. Many major names in show business filmed their acts for posterity, and many stars of the future made their
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sound-on-film system in New York City on April 15, 1923, but due to the relatively poor sound quality of Phonofilm and the impressive state-of-the-art sound heard in Western Electric's private demonstrations, the Warner Brothers decided to go forward with the industrial giant and the more
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Their continuing need for discs compelled most Hollywood studios to prepare sets of soundtrack discs for their new films, made by dubbing from the optical soundtracks, and supply them as required. This practice continued, although on an ever-dwindling scale, through 1937.
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reducing the discs to 14 or 12 inches (36 or 30 cm) in diameter. The use of RCA Victor's new "Vitrolac", a lightweight, flexible and less abrasive vinyl-based compound, made it possible to downsize the discs while actually improving their sound quality.
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Editing – A phonograph record cannot be physically edited, and this significantly limited the creative potential of Vitaphone films. Warner Bros. went to great expense to develop a highly complex phonograph-based dubbing system, using synchronous motors and
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scene are a far better depiction of a major foul-up in sound-on-film projection than of a sound-on-disc glitch, but the following comical mismatches are a fair depiction of the sort of memorable problem that could disrupt a Vitaphone presentation on a bad
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372:, which had been retrofitted with a symphonic musical score and sound effects. There was no spoken dialog. The feature was preceded by a program of short subjects with live-recorded sound, nearly all featuring classical instrumentalists and
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As of December 2016, The Vitaphone Project had located about 6,500 soundtrack discs in private collections and helped preserve 125 films, 12 of which were feature-length films. They have also raised $ 400,000 in donations, with
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facility for working out practical sound-film production techniques and filming musical shorts. The previously nameless Western Electric sound-on-disc system was named Vitaphone, deriving from the Warner-owned Vitagraph name.
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Vitaphone had made its reputation largely for its short subjects, so the Warner live-action shorts and animated cartoons were copyrighted by The Vitaphone Corporation until 1959 and marketed under the Vitaphone brand name.
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premiered at the Warner Theater in New York City, broke box-office records, established Warner Bros. as a major player in Hollywood, and is traditionally credited with single-handedly launching the talkie revolution.
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that audiences instinctively expected to hear were missing. It did not sound "natural". The Vitaphone system derived from extensive work on electronically recording and reproducing sound that had been carried out at
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as a good practical compromise of disc size and speed. The slow speed permitted the 11-minute playing time needed to match the maximum running time of a then-standard 1000 foot (300 meter) reel of film projected at
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the label was used to keep count) and were then supposed to be replaced with a fresh set. Damage and breakage were inherent dangers, so a spare set of discs was usually kept on hand, further adding to the costs.
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western features. These were so very cheap that Warner Bros. elected not to put its own name on them, or even the First National name. They were released under the Vitagraph name, which Warner still owned.
670:, yet the increased diameter preserved the average effective groove velocity, and therefore the sound quality, of a smaller, shorter-playing record rotating at the then-standard speed of about 78 rpm.
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sound-on-film and sound-on-disc versions. Thus, instead of making a grudging admission that its technology had become obsolete, Warner Bros. purported to be doing the entire movie industry a favor.
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Fidelity – Contrary to conventional wisdom, neither Vitaphone's ability to fill a theater with an adequate volume of sound nor its success in maintaining synchronization was unprecedented.
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305:(a speed first used for this system) and typically 16 inches (41 cm) in diameter, are played on a turntable physically coupled to the projector motor while the film is projected. Its
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was able to draw huge sums of money at the box office, but was not able to recoup the expenses Warner Bros. put into the film's production. After its financial failure, Paramount head
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In 1924–1925, when Western Electric established the format of the system which would eventually be named Vitaphone, they settled on a 16-inch (41 cm) diameter disc rotating at
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and the occasional malfunction that can befall any complicated machine, the Vitaphone system worked as intended, but when a problem did occur it could be an embarrassing disaster.
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go with surviving soundtrack discs. The Vitaphone Project borrows or purchases soundtrack discs from private collectors and often works with the restoration labs at the
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A Vitaphone projection system was demonstrated in 1926. Engineer E. B. Craft holds a soundtrack disc. The turntable, on a massive tripod base, is at lower center.
408:'s refusal to move forward with using sound in future Warner films, agreed to accept Zukor's offer, but the deal died after Paramount lost money in the wake of
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in New York City and acquired by Warner Bros. in April 1925. Warner Bros. introduced Vitaphone on August 5, 1926, with the premiere of their silent feature
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Vitaphone was the market leader in the early days of talking pictures, for two key reasons. First, the new novelty was very popular with the public, with
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and the only actual "talkie" was the short film that opened the program: four minutes of introductory remarks by motion picture industry spokesman
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to create new 35mm preservation prints that combine the original picture and sound elements. The Vitaphone Project also often partners with the
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Fidelity versus Sound-on-Film – The fidelity of sound-on-film processes was improved considerably after the early work by Lee De Forest on his
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system and the only one that was widely used and commercially successful. The soundtrack is not printed on the film, but issued separately on
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system, introduced in 1927. The De Forest and Case-Fox systems used variable-density soundtracks, but the variable-area soundtrack used by
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319:(1927), used the Vitaphone system. The name "Vitaphone" derived from the Latin and Greek words, respectively, for "living" and "sound".
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There were exceptions to the 16-inch (41 cm) standard size of 1920s Vitaphone discs. In the case of very short films, such as
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with the attached turntables. When each projector was threaded, the projectionist would align a start mark on the film with the
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354:, which Western Electric engineer E.C. Wente had created in 1916 and greatly improved in 1922. De Forest debuted his own
412:'s death. Harry eventually agreed to accept Sam's demands. Sam then pushed ahead with a new Vitaphone feature starring
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Synchronization – Vitaphone was vulnerable to severe synchronization problems, famously spoofed in MGM's 1952 musical
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Vitaphone was being retired, but put a positive spin on it by announcing that Warner films would now be available in
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a deal as an executive producer for Paramount if he brought Vitaphone with him. Sam, not wanting to take any more of
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inches (19 cm), was pressed on a 12-or-10-inch (30 or 25 cm) disc when the smaller size sufficed.
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Warner Bros. was careful to preserve the Vitaphone and Vitagraph brand names, just as it had preserved the
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is given credit for starring in the first Vitaphone short subject filmed in Hollywood instead of New York.
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screen debuts for Vitaphone. Performers in early Vitaphone shorts filmed at the Flatbush studios include
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system. The projectors operated just as motorized silent projectors did, but at a fixed speed of 24
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1466:"Shaw & Lee 1928 Vitaphone Short Chosen for 2016 National Film Registry by Library of Congress"
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Though operating on principles so different as to make it unrecognizable to a Vitaphone engineer,
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The "Vitaphone" trademark was later associated with cartoons and other short subjects that have
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is a sound-on-disc system, the first to gain wide adoption since the abandonment of Vitaphone.
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was developing both sound-on-film and sound-on-disc systems, aided by the purchase of
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The Vitaphone Project has been able to help restore films featuring stars such as
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Amplification – The Vitaphone system used electronic amplification based on
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Examination of early sound musicals, with extensive coverage of Vitaphone.
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These innovations notwithstanding, the Vitaphone process lost the early
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The Vitaphone process made several improvements over previous systems:
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Gitt, Robert; Belton, John (1993). "Bringing Vitaphone Back to Life".
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980:. Funding raised by The Vitaphone Project was used to restore 1928's
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and some of the earliest musical shorts, the recording, still cut at
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The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930
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1364:. Journal of the Society of Motion Picture Engineers, April 1932
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Warner-Sperling, Cass; Millner, Cork; and Warner, Jack (1999).
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hard shellac discs from molten "biscuits" of the raw material.
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Blog describing the history of the Vitaphone Process in detail
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The Talkies: American Cinema's Transition to Sound, 1926–1931
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Vitagraph had ceased operations in 1925. In 1932, producer
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The initial garbling of image and sound simulated in the
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Vitaphone Films: A Catalogue of the Features and Shorts
1368:(4):452–460 (accessed at archive.org on August 5, 2011)
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Grayson, Eric. "Grayson on Film: Sounds and Silences",
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from 1926 to 1931. Vitaphone is the last major analog
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and working outward from a minimum diameter of about
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Vitaphone was among the first 25 inductees into the
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of the same period (beginning with that same year's
362:The business was established at Western Electric's
69:. Unsourced material may be challenged and removed.
1002:brand name for its second-echelon feature films.
376:stars. The only "pop music" artist was guitarist
1966:
1630:Hollywood Be Thy Name: The Warner Brothers Story
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1034:1960) carried the legend "A Vitaphone Release".
1660:List of Early Sound Films at Silent Era website
565:with sound-on-film processes for many reasons:
1618:Okay for Sound: How the Screen Found its Voice
1491:"2016 additions to the National Film Registry"
1441:"A Resounding 25 Years of Reviving Early Film"
1325:"A Resounding 25 Years of Reviving Early Film"
1680:
1230:Sperling, Millner, and Warner (1998), p. 116.
1221:Sperling, Millner, and Warner (1998), p. 114.
1217:
1215:
1213:
1207:Sperling, Millner, and Warner (1998), p. 113.
1179:Sperling, Millner, and Warner (1998), p. 111.
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1093:List of early sound feature films (1926–1929)
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1559:The First Hollywood Sound Shorts, 1926–1931
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1022:recording. In the 1960s, the end titles of
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129:Learn how and when to remove this message
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677:records, Vitaphone discs were made of a
603:system and that of his former associate
485:A Vitaphone-equipped theater had normal
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387:Introduction of Vitaphone Sound Pictures
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941:University of California at Los Angeles
14:
1967:
1620:, Duell, Sloan & Pearce, New York
489:which had been furnished with special
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1439:Monaghan, Peter (December 17, 2016).
1323:Monaghan, Peter (December 17, 2016).
1013:made a very-low-budget series of six
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1379:"Ron Hutchinson's Vitaphone Project"
67:adding citations to reliable sources
38:
1655:Collection of Vitaphone Soundtracks
994:Vitaphone and Vitagraph brand names
728:
24:
1847:American Telephone & Telegraph
1527:
1182:
25:
2011:
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350:systems, and the first practical
1632:, University Press of Kentucky.
1616:Thrasher, Frederic (ed.) (1946)
1409:"The Vitaphone Project Turns 20"
1362:Victrolac Motion Picture Records
976:, the final silent film made by
346:in 1913, consequent advances in
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54:needs additional citations for
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607:on what eventually became the
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1:
1592:, Simon & Schuster, NYC.
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1518:TECnology Hall of Fame, 2004
1413:Leonard Maltin's Movie Crazy
1196:AFI Catalog of Feature Films
737:studio in 1925 and used its
309:is 4300 Hz. Many early
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1995:Motion picture film formats
1606:, McFarland & Company.
1561:, McFarland & Company.
1327:. Moving Image Archive News
1313:, December 29, 1928, p. 81.
1311:Motion Picture Herald-World
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252:premiered in New York City.
212:Warner Bros. Pictures, Inc.
153:Warner Bros. Vitaphone logo
10:
2016:
1557:Bradley, Edwin M. (2005),
1153:"AES Historical Committee"
1069:sound reinforcement system
643:Vitaphone soundtrack discs
540:sound-on-film exhibitions.
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359:familiar disc technology.
34:Vitaphone (disambiguation)
31:
1990:Film and video technology
1931:
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1813:
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1533:Barrios, Richard (1995),
1445:Moving Image Archive News
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1028:cartoons (beginning with
453:Coast. Dance band leader
287:. The discs, recorded at
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18:The Vitaphone Corporation
1571:Crafton, Donald (1997),
1577:Charles Scribner's Sons
1539:Oxford University Press
959:being a notable donor.
459:Carnival Night in Paris
1767:Design Line telephones
1383:The Vitaphone Project!
1360:Barton, F.C. (1932 ).
1064:TECnology Hall of Fame
988:National Film Registry
949:British Film Institute
449:
326:and do not use discs.
275:and its sister studio
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240:
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1985:Film sound production
1975:Vitaphone short films
1939:Bell System Practices
1852:AT&T Technologies
1826:Orthophonic recording
1602:Liebman, Roy (2003),
1588:Eyman, Scott (1997),
1470:The Vitaphone Project
934:The Vitaphone Project
848:The Nicholas Brothers
444:
344:Audion amplifier tube
246:
238:
222:
29:Sound system for film
1623:Warner Bros.' story.
1088:List of film formats
352:condenser microphone
334:In the early 1920s,
63:improve this article
32:For other uses, see
1877:Lucent Technologies
1497:. December 14, 2016
1298:Singin' in the Rain
1133:Vitaphone Varieties
945:Library of Congress
808:Giovanni Martinelli
733:Warners bought the
576:Singin' in the Rain
324:optical soundtracks
143:
1903:Automatic Electric
1535:A Song in the Dark
739:Brooklyn, New York
673:Like ordinary pre-
450:
307:frequency response
285:phonograph records
254:
241:
225:
141:
1962:
1961:
1944:Eastland disaster
1923:Stromberg-Carlson
1887:Northern Electric
1840:Related companies
1777:Switching systems
1389:on March 15, 2019
1277:"The Auxetophone"
1128:Vitagraph Studios
1043:Hopalong Casualty
1031:From Hare to Heir
983:The Beau Brummels
888:Nina Mae McKinney
513:and mechanically
511:frames per second
442:
410:Rudolph Valentino
364:Bell Laboratories
267:and nearly 1,000
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16:(Redirected from
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1814:Other technology
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880:Roger Wolfe Kahn
796:Frances Langford
729:Vitaphone shorts
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336:Western Electric
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263:system used for
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1980:History of film
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1528:Further reading
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1054:series titles.
1052:Merrie Melodies
1025:Merrie Melodies
996:
936:
828:Judith Anderson
804:Burns and Allen
776:Sammy Davis Jr.
752:Humphrey Bogart
731:
721:
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714:
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624:The Jazz Singer
589:Strowger switch
493:turntables and
467:
446:The Jazz Singer
432:
425:The Jazz Singer
332:
316:The Jazz Singer
297:
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239:Don Juan (1926)
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455:Henry Halstead
348:public address
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269:short subjects
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824:Joan Blondell
821:
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816:Bill Robinson
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789:
785:
781:
780:Sylvia Sidney
777:
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769:
768:Spencer Tracy
765:
764:Adelaide Hall
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756:Jimmy Stewart
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605:Theodore Case
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549:Thomas Edison
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531:
530:Lee De Forest
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340:Lee De Forest
337:
330:Early history
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286:
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281:sound-on-disc
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90:
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83:
80: –
79:
75:
74:Find sources:
68:
64:
58:
57:
52:This article
50:
46:
41:
40:
35:
27:
19:
2000:Warner Bros.
1820:
1785:Panel switch
1629:
1617:
1603:
1589:
1572:
1558:
1534:
1517:
1511:
1501:December 11,
1499:. Retrieved
1494:
1485:
1475:December 11,
1473:. Retrieved
1469:
1460:
1450:December 11,
1448:. Retrieved
1444:
1419:February 10,
1417:. Retrieved
1412:
1403:
1391:. Retrieved
1387:the original
1382:
1373:
1365:
1361:
1356:
1346:
1341:
1329:. Retrieved
1318:
1310:
1306:
1297:
1292:
1280:. Retrieved
1273:Douglas Self
1267:
1250:
1247:Film History
1246:
1226:
1203:
1189:
1184:
1160:. Retrieved
1156:
1147:
1073:
1061:
1051:
1048:Looney Tunes
1047:
1041:
1037:Looney Tunes
1035:
1029:
1023:
1020:
1008:
1004:
997:
981:
973:Why Be Good?
971:
961:
953:
937:
928:Cyd Charisse
924:Edgar Bergen
912:Shemp Howard
908:June Allyson
904:Ethel Waters
876:Phil Silvers
856:Leo Carrillo
852:Milton Berle
844:Helen Morgan
832:Ethel Merman
820:Lillian Roth
812:Xavier Cugat
800:Betty Hutton
792:Mischa Elman
744:
732:
688:
684:
672:
646:
637:
632:
629:
623:
621:
574:
560:
545:Léon Gaumont
523:
484:
482:laboratory.
480:
472:
468:
458:
451:
445:
423:
417:
406:Harry Warner
398:Adolph Zukor
393:
392:
385:
367:
361:
333:
321:
314:
273:Warner Bros.
256:
255:
247:
186:Headquarters
164:Warner Bros.
159:Company type
125:
116:
106:
99:
92:
85:
73:
61:Please help
56:verification
53:
26:
1896:Competitors
1862:Bell System
1712:Candlestick
1157:www.aes.org
1108:Photokinema
957:Hugh Hefner
884:Judy Canova
868:Jane Froman
788:Ruth Etting
784:Pat O'Brien
593:film frames
581:human error
534:Audion tube
515:interlocked
507:loudspeaker
78:"Vitaphone"
1969:Categories
1831:Touch-Tone
1704:Telephones
1139:References
1118:Sound film
1015:John Wayne
964:Rose Marie
916:Lanny Ross
900:Joe Penner
896:Rose Marie
872:Jack Haley
772:Jack Benny
563:format war
491:phonograph
487:projectors
402:Sam Warner
313:, such as
261:sound film
89:newspapers
1857:Bell Labs
1821:Vitaphone
1331:April 22,
1282:March 31,
1190:Vitaphone
1162:March 31,
1103:Phonofilm
1098:Movietone
990:in 2016.
968:Al Jolson
836:Abbe Lane
748:Al Jolson
735:Vitagraph
612:Movietone
601:Phonofilm
538:Phonofilm
519:film gate
503:amplifier
414:Al Jolson
382:Will Hays
378:Roy Smeck
356:Phonofilm
257:Vitaphone
142:Vitaphone
1932:See also
1762:Trimline
1757:Princess
1495:CBS News
1393:July 11,
1082:See also
947:and the
760:Bob Hope
691:trailers
666:24
505:; and a
400:offered
394:Don Juan
369:Don Juan
271:made by
249:Don Juan
196:Products
119:May 2011
1918:Kellogg
1867:Graybar
1259:3815141
1193:at the
720:⁄
702:⁄
679:shellac
656:⁄
495:pickups
465:Process
311:talkies
296:⁄
178:Defunct
170:Founded
103:scholar
1636:
1610:
1596:
1582:
1565:
1545:
1257:
1058:Legacy
926:, and
707:
661:
448:(1927)
301:
259:was a
207:Parent
105:
98:
91:
84:
76:
1255:JSTOR
675:vinyl
501:; an
499:fader
476:press
374:opera
110:JSTOR
96:books
1872:IBTC
1805:5ESS
1800:1ESS
1747:5302
1634:ISBN
1608:ISBN
1594:ISBN
1580:ISBN
1563:ISBN
1543:ISBN
1503:2017
1477:2017
1452:2017
1421:2021
1395:2023
1333:2021
1301:day.
1284:2018
1164:2018
1050:and
966:and
633:both
497:; a
181:1959
173:1925
82:news
1913:ITT
1908:GTE
1795:5XB
1790:1XB
1742:302
1737:202
1732:102
1076:DTS
709:rpm
668:fps
663:rpm
609:Fox
532:'s
390:).
384:, (
342:'s
303:rpm
65:by
1971::
1727:D1
1722:B1
1717:A1
1575:,
1549:.
1541:,
1537:,
1493:.
1468:.
1443:.
1429:^
1411:.
1381:.
1366:18
1275:.
1249:.
1235:^
1212:^
1172:^
1155:.
1071:.
951:.
930:.
922:,
918:,
914:,
910:,
906:,
902:,
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894:,
890:,
886:,
882:,
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866:,
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846:,
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758:,
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289:33
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1505:.
1479:.
1454:.
1423:.
1397:.
1335:.
1286:.
1261:.
1251:5
1166:.
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713:7
704:3
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298:3
294:1
291:+
132:)
126:(
121:)
117:(
107:·
100:·
93:·
86:·
59:.
36:.
20:)
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