They are quick to criticise any sound installation which shows traces of the slightest imperfections.” Although specifically related to phonographs, we could easily extrapolate this idea to cover all coin-operated amusements at the time. 71), warned arcade operators that: “Patrons of coin operated phonographs are sound conscious, brought about by the tremendous developments in the motion picture industry, and the fact that the public is beginning to recognize a loud speaker as an instrument to convey sound. Keywords: audio, mechanical, Victorian, archeology, sound, music A comparison is then made to today’s games, illustrating how concepts introduced in the penny arcade era have been carried through to today’s games. It is argued that other media at the time influenced the design of early games, and created an expectation of sound use and quality by the 1930s, but that sound in games also went on to influence other media forms. An investigation into where, how and why different types of sound (voice, sound effects and music) were used from the inception of mechanical coin-operated machines up until about 1940 is presented. This paper provides an “audio archaeology” of the penny arcades, exploring the uses of sound in the electro-mechanical era of games. Game Sound in the Mechanical Arcades: An Audio Archaeology by Karen Collins Abstract:
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