You mean subwoofers pointing into the corners all around, don't you?.
Some older theatres had foundation and framing problems that magically
appeared when 20 kz at 100 dB hit them. I can't remember if any actually
fell down or were condemned because of it, though.
On 6/25/2012 2:43 PM, Tom Fine wrote:
> Hi Scott:
> Regarding "Earthquake," you mean "subwoofers all around." I do
> remember how KEWL it was to feel bowel-loosening rumbling in a regular
> movie theater in 1975. I was 9 years old and thus that movie was right
> on my maturity and mentality level.
> -- Tom Fine
> ----- Original Message ----- From: "Scott D. Smith"
> <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Friday, June 22, 2012 6:01 PM
> Subject: Re: [ARSCLIST] Magnetic Tape/Recorders
> The Stephens machine was really quite something to behold. Based
> (loosely) on the 3M Iso-Loop design, it boasted a capstan-less
> transport, and in it's day was the smallest 8 track 1" machine
> The servo mechanism could, however, be cranky, which occasionally
> resulted in the transport taking off at high speeds, or stopping
> altogether. Because of this, two machines were always kept on hand for
> the production of "Nashville".
> Despite these shortcomings, the ability to record 8 tracks of dialog
> on location in 1974 was quite an achievement. I personally think that
> Jim Webb was deserving of at least an Oscar nomination for his
> efforts, but he was snubbed by the Academy. (In typical fashion, the
> Oscar for Best Sound in 1975 was handed to the loudest movie released,
> being "Earthquake". Not to take away from the engineering efforts of
> W.O. Watson and his team at Universal, but I'm not sure that
> Sensurround really made a huge artistic contribution to the film).
> Jim did, however, go on to win the British Academy Ward for Best Sound
> that year, so he didn't go away empty-handed. (Those Brits always had
> better taste when it came to sound anyway...and I speak as a member of
> the Academy).
> Scott D. Smith CAS