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Page 27

In order to give a satisfactory performance with synchronized presentations, adequate rehearsal is necessary to cover the various points which will be listed.

The House Manager should be present at these rehearsals with an observer at the telephone set. The subjects should be run off in the same way as for an actual performance, as covered in the last section, "Running the Show". Time spent in careful rehearsing will be amply repaid in the perfection of the show, and the actual presence and interest of the house manager is indispensable.

Light effects and any special features of the forthcoming show should be considered and tried out in conjunction with the rehearsal procedure described here.

Note that, as previously mentioned, adjustments in the timing of numbers must be confined to parts of the program other than the synchronized reels; the latter must always be run at standard speed, with the regulating switch on the motor control box set at "REG".

The points to check are as follows:

(1) On first reel of each synchronized feature picture and on first of each group of short subjects shown, determine how soon after starting motor fader should be brought up to its full setting. It should be brought up slowly, taking two or three seconds, and should reach this point just before the voice or music begins. Add blank leader if necessary, as previously mentioned under "Running The Show".

(2) For remaining reels of a feature, determine how soon after change-over fader should be brought up to Its full setting. Usually this will be immediately after change-over.

(3) For short subjects, determine how soon after end of voice or music accompanying each subject the picture should be faded out.

On second and following subjects, determine when motor of incoming machine should be started to allow proper time interval between subjects, and when fader should be brought up to its setting to catch incoming music.

(4) if using a safety device that stops motor when film has run through, see whether there are any reels where the film terminates before the end of the record is reached, and add blank film at end as required, as mentioned previously under "Running The Show".

(5) As previously mentioned, in houses where the upper horns are of the 12-A type and the lower horns of the 13-A type, and where an output control panel is used, with a separate control for each horn, three different types of combinations or settings of the upper and lower horns are used, and designated respectively by the letters "A", "B", and "C".

The "All setting is for vocal and instrumental solos or speech and uses upper horns only or upper horns with some lower horn.

The "B" setting adds more lower horn to bring out effect of orchestral accompaniment.

The "C" setting is for orchestra alone and carries further result mentioned for the "B" setting.

The last page under "Setting Up" describes how to make these three settings in this theatre. Inasmuch as the settings are determined by careful tests of the house they should be followed without change. Other settings than recommended may throw system out of balance electrically and overload it or distort sound.

(6) As a matter of convenience, and in order to give the theatres the benefit of the opinion of the recording and engineering staffs, recommended fader and horn settings are frequently marked on records or films or given on cue sheets sent out with them. Our engineers so adjust the amplifiers that with a full house, and fader setting recommended, correct full house volume is obtained. With house only partially filled fader should be brought down one or too steps.

(7) Determine horn settings and empty house fader setting for each number, bearing in mind any recommendations marked on or accompanying record or film. Do this with care and in particular do not permit too high a volume. Synchronized