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Sergei Eisenstein's pronouncement that asynchronous sound was the only aesthetic hope for the talkies found nowhere more apt fulfillment than in the hundreds of cartoon soundtracks turned out by the major studios from the coming of sound until the early Sixties.

While live-action tracks have always been (at least in Hollywood) direct, on-the-spot recordings, 30% reconstituted with ancillary effects, dubbed-in dialogue, and mood music (all elided into place with every attempt at inconspicuousness), the animation track, left out in the cold by a camera that photographs one frame at a time, became a complex mosaic of vagrant noises.

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