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614 RICHARDSON'S BLUEBOOK OF PROJECTION
cause or to aggravate the trouble and thus determine its location.
If these methods do not work the next best remedy is patient testing and searching at every possible moment when the trouble is present. Ultimately this adds up to continuous investigation of a trouble continuously present. In some cases, however, the process may take much too long for the comfort of audiences and the welfare of the box office. In such instances it is sometimes (not invariably) possible to make faster progress by borrowing duplicate apparatus for temporary substitution, or by running temporary duplicate circuits. Both these last steps, of course, represent remedies of desperation.
The foregoing does not exhaust the subject of troubleshooting. A book much longer than this one could be written on that subject. Even the trouble charts that follow, although extremely detailed, are by no means exhaustive. While such things as complete loss of sound or power are nearly always easy to find, an intermittent hum or noise may defy the world's best trouble-shooter for days or even weeks. We have outlined here and in the charts methods that are likely to afford quick relief against all the commoner causes of sound trouble. For very rare troubles, or for common troubles arising out of a very rare cause, knowledge, common sense and persistence constitute the only possible rules.
Requirements of Good Maintenance
(18) Good maintenance requires (a) that the equipment be kept in condition for reliable, trouble-free operation at all times, and (b) that it perform its functions at the lowest possible cost.
(19) Written, typewritten or printed forms for daily, weekly, monthly and semi-annual inspection are necessary to insure reliable operation. Without such forms the most experienced projectionist can never feel sure that he has remembered every necessary item of attention or adjustment.
(20) All the inspections just mentioned are not necessary in every theatre. Daily inspection is invariably