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OPERATION OF SOUND EQUIPMENT 635
The projectionist observes his meters periodically, and especially often at hours when the power line voltage is subject to change, adjusting his rheostats or line voltage controls as circumstances indicate.
He follows a pre-established routine of checking his equipment during the day for evidences of excessive heating or other signs of possible trouble, paying special attention to any part that may have given indications of weakening.
(11) The projectionist is sometimes held responsible for noticing bad quality or noisy sound, but such matters should always be checked in the auditorium. Projectors in action are unavoidably noisy, and many sound troubles cannot be heard in the projection room. An observer in the auditorium must note them, and telephone the projectionist of their existence. With some troubles, misalignment of the lateral film guides, for example, the observer in the auditorium must co-operate with the projectionist via telephone if the difficulty is to be cured completely while the reel is running.
Likewise, as has been said, the projectionist in some theatres is held responsible for controlling sound volume by means of his monitor. This also is very poor practice.
Good sound is an extremely delicate matter, requiring constant attention.
(12) The one most important thing to be attained in the reproduction and projection of sound in a theatre is naturalness. The object is to have the theatre patron forget he is seeing a motion picture and hearing "canned" sound, and become so lost in the play that he visualizes the screen shadows as real, and the sounds as sounds from the real man, woman, instrument or whatever the seeming source may be.
This is a condition that cannot be attained if the sound be too loud, too low, or unnatural in any other way. If the sound (words for example) be hard to understand, the mind automatically seeks the reason and remembers that it is not hearing sound from an original source. Thereupon it automatically blames the theatre equipment