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with a bell transformer, two bell-pushes and two or three flashlamps.
Try to keep the technicalities of presentation out of the public eye as far as possible. If you do place the turntables near the screen, hide them by a screen or curtain.
If things go wrong, they will be noticed less if you don't fuss. Should you get your discs muddled, go on playing any reasonably non-commital one until you sort things out. If the film breaks, let the music run on until you have got the projector going again. You can always repeat discs or hold up your tape until things are straight.
It is a great help if you can provide interval music while changing reels. Most sound-on-film projectors have provision for a gramophone input for this purpose. Of course, if you can splice all your films on a single reel you can dispense with intervals. Few projectors have the reel capacity for a really long show, however, and in any case a short break between films is often desirable.
Similar considerations apply with sound on tape. Most recorders run for only half an hour at a time. A gramophone turntable or a second tape machine is therefore useful to span the gaps.
Experiments
Amateurs have a freedom to experiment which is seldom enjoyed by the professional. It is only recently that amateurs have begun using sound to any great extent and many new fields remain to be explored. Just how much realism can you impart using sound which is not accurately synchronised ? Or would you prefer to match your films to music — or poetry? Or how about trying a few stereophonic effects, some sounds coming from the screen, others from behind the audience? This is only the beginning.
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