R E H E A R S I N G

In order to give a satisfactory performance with either synchronized or non-synchronized presentations, adequate rehearsal is necessary to cover the various points which will be listed. Attention is drawn in this connection to the following clause of our standard contract with theatres, regarding the use of synchronous equipment:

"2...The Exhibitor agrees that prior to the first public use in the Theatre of each film and/or record it will cause such films and/or records to be run privately upon the Equipment for the purpose of ascertaining that the Equipment is in satisfactory condition and adjustment for the particular film and/or record..."

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.

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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.

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. 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 "A" 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.

5. As a matter of convenience, and in order to give the theatres the benefit of the opinion of the recording

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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 two steps.

6. 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 scores to feature pictures should be run at a volume appropriate to incidental music.

Speakers talking at a distance or in conversational tones should be reproduced with less volume than those speaking close or obviously talking loudly. Instrumental solos should have less volume than full orchestras ( not accompanying), bands, etc. In news reels, street noises, locomotive whistles, etc., should. be loud to give correct illusion.

7. In certain records effect may be improved by bringing fader up or down a step at certain points in the picture, as just mentioned. Even the horn settings may occasionally be changed during a number as record changes from light or vocal effects, which are best reproduced by upper horns, to heavier orchestra music for which lower horns are brought out. However, discretion must be used in not making too great or too frequent changes in horn and fader settings; each record is made under skilled musical and technical direction in such a manner that when it is reproduced the effect desired by composer, artist, and conductor will be obtained without any need for frequently changing settings while playing. If they are changed too much, therefore, proper effect will not, be obtained.

8. Having rehearsed show and determined all settings, curtain cues, etc. record them in the form of a cue card posted in the booth.

9. In communicating with the operator by means of the telephone set it will be found handy to use the buzzer, with the following code:

One buzz-	Fader up one step
Two buzzes-	Fader down one step
Three buzzes-	Answer over telephone.

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