> > > >

1947-48 Theatre Catalog, 6th Edition, Page 484 (470)

1947-48 Theatre Catalog, 6th Edition
1947-48 Theatre Catalog
1947-48 Theatre Catalog, 6th Edition, Page 484
Page 484

1947-48 Theatre Catalog, 6th Edition, Page 484

Good Theatre Sound Service Is Not a Luxury

Servi'cer-Proiectionist Is the Combination

Hard to Beat in Maintaining Sound Systems

Service for theatre sound equipment is not a luxury. It is just as sensible for a thrifty theatre owner to subscribe to a modern theatre sound-service plan as it is for any individual to sign up under one of the many valuable medical care plans that have become so popular. In fact, in some ways the theatre sound-service plan is more advanced. It stresses trouble-preventive services.

The payeoffs under the theatreeservice plan are collected daily by the exhibitor in the form of more pleasing sound reproduction from equipment kept adjusted to Academy standards, lessened equipment troubles, fewer emergency calls, and freedom from constant worry over what might happen to the sound equipment. All together, they have a healthy effect in the theatres life-blood, its boxoiiice receipts.

An exhibitor may ask "Why should I pay for sound equipment service when I have an excellent projectionist to take care of my projection room problems?" This is a natural question for any exhibitor who wants to operate his theatre as economically as is consistent with good business practices.

In many respects, the art of the projectionist may be likened to that of the airplane pilot, The pilot must be highly skilled in all operating techniques. He must know exactly what to do under all circumstances to get the best performance out of his plane. He must know what measures insure maximum safety for his passengers. Although he must

THE SERVICER'S SPECIAL TEST KIT embraces a Triaiic signal tracer (right). by which it is possible to test a sound system at almost any point,- a Volt-Ohmist (left), to provide accurate metering of voltages and circuit resistances; and other essential items in between, all being packed into



I e .7 .t I r

O I a


Technical Section, Theatre Sc'rl'ice Diuirion, RCA Service Company. Inc.

be able to recognize the slightest deviation frcm correct performance, he normally is not expected to handle the intricate testing and adjustment of his engine, automatic pilot, radio communications and radar gear. These services are performed by highly trained specialists.

The primary job of the projectfcnist is to put on a first-class show. This requires more than a thorough kmwledge of the art of projection. It requires that he be familiar with all of the functional operating features of his specific equipment. It means that he must know the location and function of every switch and fuse, both in the apparatus and the booth power distribution panels and circuits. The alert projectionist has these clearly labeled for quick identification and guidance in case of trouble. He familiarizes himself with the various emergency procedures such as switching to an emergency amplifier system, making a quick tube change, or cutting out a defective unit. He learns to recognize the nature of almost any trouble he encounters, as, for example, whether sound distortion is in the print, or whether it is generated by some fault in the reproducing system.

Of course, the projectionist knows that he cannot possibly put on the kind of a show patrons expect of him if he does not keep his equipment in good


working order. He knows that he must keep it clean, well lubricated, and otherwise in good operating condition. The first-class projectionist does this without expecting any applause. He knows this is a regular part of his job. But the care of his projector, arc lamps and house lights, the protection of film against damage, and the avoidance of film fire hazards demand practically all of his time and attention. It is hardly fair to expect him aISO to locate and correct sound trouble in the reproducing system which for all of its simplifications remains a combination of units which are highly sensitiye to adjustment.

The old bromide iian ounce of prevention is worth a pound of cure3 never had a better application than in the theatre-sound field. High-speed correction of troubles when they do occur is, of course, vital, But a plan that prevents them entirely or catches them in an incipient stage is a lot easier on the nerves of both the projectionist and the man who owns the theatre. That is why a contract service plan puts such heavy stress on ittrouble-preventive" service.

The poet Burns said: ttThe best laid schemes oi mice and men gang aft gang a-gleyfl So, likewise, trouble may occur even when the most skillfull maintenance and operations are being had. Then, what can the projectionist do?

Well, he cannot very well make a detailed examination of every compo a convenient carrying case (rear). Other test items include carefully calibrated test reels for frequency and power response tests, as well as reels for making noise and flutter tests. Available are equipments for properly phasing the stage speakers so their outputs properly blend.

1947-48 Theatre Catalog, 6th Edition, Page 484