for music, and one for sound effects. The very first two-track recording MGM made (although released in mono) was "It Never Rains But What It Pours" by Judy Garland, recorded on June 21, 1938, for the movie Love Finds Andy Hardy. In the early 1940s, composer-conductor Alfred Newman directed the construction of a sound stage equipped for multichannel recording for 20th Century Fox studios. Several soundtracks from this era still exist in their multichannel elements, some of which have been released on DVD, including How Green Was My Valley, Anna and the King of Siam, The Day the Earth Stood Still and Sun Valley Serenade which, along with Orchestra Wives, feature the only stereophonic recordings of the Glenn Miller Orchestra as it was during its heyday of the Swing Era. Fantasound Walt Disney began experimenting with multichannel sound in the early 1930s as noted above. The first commercial motion picture to be exhibited with stereophonic sound was Walt Disney's Fantasia, released in November 1940, for which a specialized sound process (Fantasound) was developed. As in the Carnegie Hall demonstrations six months earlier, Fantasound used a separate film containing four optical sound tracks. Three of the tracks were used to carry left, center and right audio, while the fourth track carried three tones which individually controlled the volume level of the other three. The film was not initially a financial success, however, and after two months of road-show exhibition in selected cities, its soundtrack was remixed into mono sound for general release. It was not until its 1956 re-release that stereo sound was restored to the film. Cinerama A Cinerama demonstration film by Lowell Thomas and Mike Todd titled This is Cinerama was released on September 30, 1952. The format was a widescreen process featuring three separate 35 mm motion picture films plus a separate sound film running in synchronization with one another at 26 fps, adding one picture panel each to the viewer's left and right at 45-degree angles, in addition to the usual front and center panel, creating a truly immersive panoramic visual experience, comparable in some ways to today's curved screen IMAX OMNI. The Cinerama audio soundtrack technology, developed by Hazard E. Reeves, utilized seven discrete sound tracks on full-coat magnetic 35 mm film. The system featured five main channels behind the screen, two surround channels in the rear of the theater, plus a sync-track to interlock the