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638 RICHARDSON'S BLUEBOOK OF PROJECTION
First, there is a vast difference in volume demands as between an empty auditorium and one that is well filled.
Second, audience movement, noise in the aisles caused by patrons walking in or out.
Third, auditorium reaction to comedy or effects that produce loud laughter.
Fourth, cold weather. Audience wearing heavy clothing.
Fifth, hot weather, with consequent light clothing.
Sixth, departure of a portion of the audience, or the theatre gradually filling up.
Seventh, low recording, or some fault of the equipment that lowers volume.
These various conditions are for the most part highly variable. Only low recording, equipment fault and audience clothing are likely to create a condition lasting without appreciable variation throughout a whole show.
There are, too, atmospheric conditions that change things. A clear, frosty night, for example, will usually call for a lower volume setting than will a damp, warm night.
(20) During the first projection (preview if one is had) of a picture, the average volume control number should be noted for each scene thereof, and the same noted on the cue sheet (with the mental note, however, that if it be a preview with an empty theatre the real setting with a full house will probably be one or two numbers higher.) The setting will of course be directed by the observer through his signal bell. This method gives each scene the best possible rendition.
(21) Managers should never attempt to regulate sound by stipulating a certain volume control number for all conditions. Or for the use during each day a production is shown. There are too many conditions constantly demanding change in volume. A volume control position that mig'ht be quite proper for a scene today may be all wrong tomorrow for any one of several reasons.
No theatre pretending to provide high class entertainment can afford to operate even for one day without a well trained observer attending strictly to business dur