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628 RICHARDSON'S BLUEBOOK OF PROJECTION
happen." A switch on strange equipment should not be thrown in until prolonged examination of its position and connecting wires has given the projectionist a very good idea of what that switch is for and what it does. The first few switches are the hardest to figure out, and the most dangerous to try. Once a few of the controls have been mastered, understanding the rest will prove comparatively simple. Similarly, the projector motor should not be started until one is certain the film has been threaded correctly. When you think you have got it right take a little more timeto look at it carefully and figure out every detail of what-will happen when those sprockets start to revolve. And so on. All of which is only common sense. Fortunately, even though a competent and careful projectionist can master strange equipment without help, the situation seldom arises. A man without experience of the type of apparatus installed is not likely to be assigned or permitted to take charge of a one-man projection room unless a sound engineer or the projectionist previously in charge is available as instructor.
Operating Information
(2) To operate a sound system the projectionist needs the following information:
(a) Switches. He must know the location of all necessary switches, and the order in which they are to be turned on in the morning and off at night. He must know the peculiarities of those switches. For example, many amplifiers, like that of Figure 140, use three-position control switches by means of which the filaments of tubes are heated before plate power is turned on.
(b) Threading the film. He must know how to thread the film through the projector and the sound drive, what loops to leave and how large to make them.
(c) Meter indications. He must know what every meter in the projection room should read, what condition any abnormal reading is likely to indicate, and what must be done to remedy that condition.
(d) Lubricating points. He must know what points