International projectionist (Nov-Dec 1933)

UTILIZING THE LOCAL RADIO MAN IN EMERGENCIES Aaron Nadell IN emergencies, when the regular service man is not instantly available, or at any time in the case of theatres that do not contract for regular servicing, the local radio man may prove a source of valuable first aid. If he is expert in his line, he will possess spare parts, tools and technical knowledge that may be of the greatest help to the projectionist who is trying to keep his show going in the face of difficulties. There are many ways in which the local radio repairman can help any projectionist, but before entering upon this it may be well to inquire into the basis upon which his assistance can be invited. Of course, he may be paid. But if he is called in during some emergency when the theatre is in desperate need of his apparatus or his services, or both, his charges may naturally be expected to run high. On the other hand, arrangements can be made in advance that will line up this useful assistance, and have it available when needed, at a very low cost, or even at no cost at all to the theatre. These arrangements will involve the purchase of some parts from the local radio man instead of through some other source. The cost need be no higher than usual, and yet in return for this business the radio man may be willing to stand by with his meters and test gadgets and stock of spare parts in times of trouble. Even in those cases where the theatre has contracted to buy all sound spares from the makers of its sound equipment, there will be surplus business that can be given to the local radio man without harm or additional expense. Outside the projection room every theatre uses fuses, and wire and batteries for the inter-communicating phone, and so on. Within the projection room, supply contracts made with the sound manufacturer often do not include "B" batteries, storage batteries, or similar sources of power supply. There are numerous other projection room supplies for which the radio man can perhaps secure an agency upon terms that will enable the theatre to purchase its usual equipment through him rather than through some other source, paying no more. As a It is desired to emphasize the fact that the accompanying article by Mr. Nadell is purely a personal opinion and in no wise reflects the views of this publication. This publication has long regarded sound system servicing, as handled in the theatre field, as nothing more or less than a "racket" — and not a genteel "racket", either. This publication still adheres to its oft-expressed view that the logical sound system service man is the projectionist, and only the apathy of both exhibitors and projectionists has prevented the latter from assuming servicing operations — but we predict that projectionist servicing will not be long delayed. — Editor. reward for bestowing this business locally, the theatre may expect local help such as the radio man can give. Lastly, the projectionist may find it advisable to arrange for a small weekly or monthly cash payment to the local radio dealer. This payment need be little greater than the savings that can be made in the spare parts inventory as a result of having the radio store's spare parts available to the projection room in case of need. In return for such payment the radio man may be willing to cooperate with the projectionist in the matter of periodic inspection of the equipment, lending his meters and other testing apparatus for that purpose. // the initiative in any such arrangement comes from the projectionist rather than from the management, the details of the entire arrangement may remain completely in the projectionist's hands, and the activities of the radio man will fall into their logical place as subordinate to, and not independent of, the work and responsibility of the regular projection staff. The possible assistance the radio man may render can be conveniently divided into four classifications, as follows: 1. Providing spare parts 2. Providing test equipment 3. Providing technical assistance 4. Providing "extras." The nature of those "extras" will be considered later. They are not without value. Let us consider the other three headings in their order as shown. Some theatres fortunately are located near a supply depot maintained by the manufacturer of their sound equipments, and in case of trouble can obtain spares of any kind in a very few minutes. Most theatres are not so lucky. Not a few theatres are so located that they cannot hope to obtain a spare before the end of the day's show. Such houses require a substantial investment in all spares that are likely to be needed, as a matter of precaution against emergency. If the projectionist in one of these latter theatres checks up with his local radio dealer, he will find, perhaps, that more than half of the spares he carries in stock are always available on the shelves of the radio store across the street. Perhaps not the indentical equipment, but something close enough to it to serve as insurance against emergency. Arrangements that will enable the theatre to draw upon the radio stock, when necessary, are doubly helpful. They reduce the existing investment in projection room spares, but serve another function as well. Probably no theatre carries on hand all the spares it is ever likely to need. The expense would be too great. Most theatres carry those spares they are most likely to need, and trust to luck beyond that point. Now, by checking up with what is in the radio store, and carrying in the projection room only those spares which the radio man is unwilling to stock, the theatre may with a smaller investment than previously have available to it all the parts it may ever need under any circum [25]