The Exhibitor (Nov 1938-May 1939)

BM-8 BETTER MANAGEMENT "All mechanisms, unless they are constantly maintained at peak levels of performance, deteriorate. In the case of the infinitessimal small changes in sound quality, however, there is a particular danger that an exhibitor must guard against. Curiously enough, he must guard against trusting the judgment of his own ears. "Open-minded exhibitors recognize this danger, and realize, furthermore, that the experienced, acutely analytical ear of the service engineer is a genuine safeguard to them in the matter. "The change in the sound, in any given theatre, happens by just such imperceptible stages as the growth of a child. The parent, who sees the child daily, naturally cannot be aware of the child’s day-by-day growth. Even a mother becomes aware that the child has grown only when she sees, for example, that the child’s feet are being pinched by its present shoes. "In just the same imperceptible way, the quality of sound can degenerate without the exhibitor’s knowing it, because he hears the sound at all times. The sound engineer, on the other hand, who comes fresh from other theatres on his routine inspections, and whose ear has a 'yardstick’ of comparison and a complete objectivity, can detect the deterioration before it gains material headway. "In the case of our own organization, the engineer has another 'yardstick’ by which to detect and correct deterioration — a yardstick with 30 times the acuteness of which the human ear is capable. The engineer has, at a previous time, set up a 'normal’ for the sound equipment in a particular theatre by means of a transmission test which produces a definite set of algebraic figures. This normal represents the peak of efficiency at which that sound equipment can operate. "In subsequent inspections, he makes identical measurements, and the algebraic figures that result show variations which the human ear, at best, cannot detect. Thus the need for correction is indicated algebraicly, before the deterioration is humanly perceptible. "In theatres where this all-important function of service is not understood, the sound often deteriorates to such a degree that the patrons — who, it must be remembered, also go to other theatres — are aware of the disturbing quality of the sound. "As the development of sound in motion pictures takes forward strides, and particularly in view of the increase in product whose box-office value depends upon music and spectacular sound sequences, such as earthquakes, riots, and floods, improvements in the technique of sound reproduction have become more and more imperative. Since any form of extraneous noise is as irritating to the sense of hearing as 'rain’ in the projected picture is to the eye, one of the principal objectives of research in sound is to keep the 'noise level’ — the noise produced by the machine itself — down to the lowest point that scientific acumen can bring it. "In the matter of sound as it is originally recorded in the producers’ studios, the producers have spent literally enormous sums to bring the fullest possible measure of effective and pleasing sound to the patrons who receive the films; the producers have succeeded in taking — as far as the exhibitor’s projection room — a perfection of sound recording that even the most sanguine scientists would never have dared to predict 10 years ago when sound motion pictures first made their appearance. "The progressive exhibitor, however, realizes that the producer can only put this fine quality on the sound tracks. It is the exhibitor’s own responsibility to get that fine quality off the sound track if he is to produce those auditory thrills that are such a vital element in modern motion picture entertainment and in the consequent box-office appeal and prestige of his theatre. "Progressive exhibitors recognize, moreover, that what happens in this regard in their own projection rooms holds the key not only to present box-office values, but also to greater refinements and improvements in sound technique to be made by the producers in the future. "It is a very healthy sign for the modern motion picture industry, and for the brilliant future that is within its grasp, that there is a widespread awareness that what people go to motion pictures for is, after all, real entertainment. The wholehearted cooperation that now exists between scientists in laboratories, the producers, theatre architects, and the many other groups that contribute to entertainment value has, therefore, one highly desirable objective. That is, to make the quality of entertainment in motion pictures so outstanding that no other form of diversion can ever hope to compete successfully for the public’s approbation and affection. As this objective is progressively realized, the public will spend its money at the box office — not grudgingly, but more and more willingly— and oftener.” What Altec’s Conrow says specifically in regard to the effect on the public of imperceptible deterioration of sound applies generally — and with equal force — to all items of theatre operation. NO TEXTBOOK of theatre maintenance is this present discussion, but rather a survey of those places where maintenance is necessary. Following a discussion of the servicing of sound and projection, the matter of chairs is, perhaps, in order. Theatres have been known to disregard — or seem to disregard — completely the condition of their chairs, but it must be also observed that they have been able to do so by following one of two courses: first, by showing only the road-show or near road-show type of picture, and holding them for indefinite runs; second, by showing anything in places where lowest admissions were charged and the houses patronized by those with but a dime or so who desired to escape the winter’s cold or the summer’s heat. The writer knows of one house of the first type that, on changing its policy to a repeat-run of A pictures, and an occasional B first run, started to slip in public favor until the management reseated the theatre. Even before the installation was complete, much before other improvements were effected, the theatre began to regain not only its one-time prestige but its lost clientele. In the maintenance of theatre equipment, the more common tools find manifold uses, and an oil can assumed the aspect of a major character in theatre operation. Squeaky seats, wiggly standards, broken springs, and everything else that can, and in time usually do, happen to chairs can be fixed up easily by a handy man, or even an usher whose trick permits the after-hours work. What little it costs to keep chairs — backs, bottoms, standards — in sound repair will be repaid the theatre in return visits of satisfied patrons. Presuming that a fine quality curtain control and track were originally installed, its flawless operation and continued quick opening of your stage drapes will be performed by keeping it dust free and well oiled. LET US EXAMINE briefly and hurriedly other elements of the theatre and note here and there where attention to maintenance may directly or indirectly assist in the selling of seats. On the outside of the theatre, the theatre man should pay particular attention to display frames and other wooden material in an exposed position, noting well whether the paint job is in good condition and adequately protects the wood. Few things on a theatre front so bespeak sloppy management as display frames whose rotting wood is manifest, whose paint is blistered or chipping off, or whose protective door is much the worse for careless wear. Similar thoughts apply to the box office. Here another object to keep in good, silent condition is the ticket machine, which might, for want of some oil or more intricate fixing, roar or jam when the tickets pounce out at the purchaser. January 18, 19)9