What is worldizing, how is it actually done (equipment layout, tracks recorded, how they are mixed), and why use it instead of reverb?

Three voices describe the same method: play a finished recording through a speaker in a real space and re-record it with a microphone. Murch's American Graffiti account (quoted on a filmsound.org glossary page from a published interview) gives the concrete layout: a speaker rotated while a microphone about fifty feet away is moved, two passes, then three tracks (dry plus two worldized) blended in the mix to move between present and distant. Welles's 1957-58 sound notes, as quoted in a 1998 article, specify a cheap horn in an alley and say an echo chamber plus filter is not enough. The stated purpose is perceptual: diffuse music leaves dialogue as the focus. Curator correction 2026-10-23 (discovery audit record C3-B683-02; sources re-fetched 2026-10-23, excerpts re-located by curator GET): Correction (b, overstated date) to C3-B054-G19-03. Problem: the candidate says Welles's 1957-58 sound notes are 'quoted in a 1998 article'. The fetched page states the article was originally published in Videography Magazine, January 1999; 1998 is the date of the re-edit it discusses, not the article. The method claim itself is supported: the notes say an echo chamber with filter is not enough and call for a cheap horn in an alley. Method: cite the article as Videography, January 1999. Limitations: the printed notes' own date (1957-58) is stated by the candidate and was not independently confirmed from the page text beyond the 1957 film reference. Curator qualifications: 9 of 9 excerpts present. E9 speaker is sound man James G. Stewart: 'For a week, says James G. Stewart, "As we watched the picture I simulated the movement of the car by bouncing the performer and myself up and down on the plank."' The Ambersons carriage ride was shot 'in an ice plant with tremendous reverberation', so all six characters' dialogue was looped and Welles rejected the first looping as 'too static'. Murch quotes on the glossary page are quotations of an earlier interview (Sound Doctrine), as the candidate says. Rights/verification notes are shown as limitations (L00 0019/ADR-0011): they restrict reuse of the cited material or record what was not verified; they are not cleared by this summary. Limitations: [component_reuse_restriction] filmsound.org pages carry no reuse licence in the text read. Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.

{
  "citations": [
    {
      "url": "https://www.filmsound.org/terminology/worldizing.htm",
      "note": "filmsound.org worldizing glossary page; filmsound.org/murch/evil (Tully article); filmsound.org/synctanks Dialog section"
    },
    {
      "url": "https://www.filmsound.org/murch/evil/",
      "note": "filmsound.org worldizing glossary page; filmsound.org/murch/evil (Tully article); filmsound.org/synctanks Dialog section"
    },
    {
      "url": "https://www.filmsound.org/synctanks/",
      "note": "filmsound.org worldizing glossary page; filmsound.org/murch/evil (Tully article); filmsound.org/synctanks Dialog section"
    },
    {
      "url": "https://www.filmsound.org/murch/evil",
      "note": "correction source (record C3-B683-02): cited at https://www.filmsound.org/murch/evil/; end of article; Welles notes"
    }
  ]
}