In other words, Edison Labs, in an attempt to do projections, failed to ensure a balance needed to preserve the synchronized speech. In addition, the kinetophone could not reduce the metallic sounds related to the pre-electronic phonographs of that period.
The next stage involved the development of a complete option to phonograph-based systems via direct sounds’ recording in motion picture films. This helped solve the synchronization problem. These constituted Lee De Forest’s efforts but their implementation failed. The third stage became successful in creating a satisfactory sound-on-film system. Western Electric, a company that was interested in developing sensitive apparatus, which they could use to test and record the quality if long miles telephone transmissions, made this achievement. This Company, to ensure achievement, experimented with both the sound-on-disc phonograph and sound-on-film phonograph. The company, by 1922, managed to develop a much more improved microphone, “turntable drive shaft” as well as loudspeaker (Allen & Gomery 118).
Explanatory power of this model ends up being complex by the convergence of early media and technical matters in the early sound film. The commercial development of the sound systems majorly took place during a transitional period when “talkies” rapidly replaced silent movies as the normative typical cinematic format. The most common occurrence in film industries during that period included song analysis in movies (Allen & Gomery 118). Through transitional films’ analysis with this technique and exploration of popular press articles and trade from the late 1920s, the reorganization of the music and film industries including the commoditization of songs, affected the structure of early sound Hollywood films.
During the 1920s to 1930s, Hollywood would use its own American actors to act a movie originally acted by individuals from foreign cultural backgrounds (Altman 139). For