I've been thinking about "The Music Man" movie (WB 1962) recently. Perhaps the most faithful adaptation of a Broadway musical ever done. Even though Jack Warner wanted Cary Grant to do it, better heads convinced him that the only person to play the role was of course Robert Preston. Watching this clip I'm remembering back at HOW this was recorded. Not the picture, but the music and singing. Warners had three-channel dubbers in 1961, a row of four of them and when recording The Music Man, most channels were filled. For example, "Trouble" was recorded live on the music stage with full orchestra taking up Left/Center/Right mag positions on the first 35mm dubber. Robert Preston off to the side, recording on one channel of a second dubber. Now, this famous song was recorded live in ONE TAKE. That's right, no editing, just one take. How do I know this? I worked on The Music Man score restoration in 1993 and trust me, one take. Amazing. But then, even crazier, the vocal chorus "Oh we got trouble..." parts were recorded two weeks later but in such a funky old-school way that I laugh every time: The three channel music plus Robert Preston were dubbed to a 78 RPM "Instant" acetate. This record was played back for conductor Ray Heindorf's headphones alone. A three-channel dubber picked up the chorus live while Heindorf conducted them. Now, the chorus couldn't hear Robert Preston, couldn't hear the orchestra, couldn't hear ****. But they watched Heindorf's arm as he conducted them like Marcel Marceau, I kid you not. That's how they did it. Later, in "rerecording" (mixing) the music, vocal, sound effects and chorus were combined for playback (on the set) on another 78 RPM record to be played back by a portable record player with a giant horn speaker while being filmed. Preston lip-synced to the record. Even later, it was all synced up, mixed correctly and that's what we see in the movie and hear on the soundtrack album. I really like that they were still using 78 RPM acetate records for musical playback in the 1960's, probably the exact same machine and technique used in 1942's "Yankee Doodle Dandy" or maybe even "Footlight Parade" (1933)!