New points of view offers Ortiz Morales, in his thesis " El ballet mécanique y el Synchro-ciné ", already in 2008. He refutes all the points of view that have given origin to the realization of Lehrman and proposes other alternatives within what he calls "the state of confusion" around the film. Among others, the score of 30 minutes and 16 synchronized pianolas so laboriously obtained is not really the original musical idea for the film, but a subsequent "expansion" of the original idea, which was carried out by Antheil as a " spectacular " and independent concert, once proved that it could not synchronize its music together with the images of Léger. The true film score must have been much simpler and more precise, and possibly the one that would end up orchestrating in 1953. It argues, therefore, that the problem of "original synchronization" was never in the 16 synchronized pianolas of the giant score, but the problem with the simple version (for the film) must have been in the device that had to synchronize it "mechanically" : the Synchro-Ciné of the inventor Charles Delacommune, possibly the first audio-visual mixing table in history and with which it is known that they were desperately trying for a while (as is documented) the material for that film, signed by Léger and Delacommune). According to technical studies on documentation (the apparatus as such was lost in II World War ) , it seems that the synchro-ciné was a " synchronizer " capable of good audio-video simultaneities in standard measures, but the fleeting and devilish rhythm of the work far exceeded its possibilities: especially the amalgamated ones, of 7 and 5, very used in the work and impossible to obtain with a such precarious device. With a more restrained and square music, they could have been tuned and synchronized mechanically, which was what Léger promised to the press after talking to Delacommune (but before having tried it in practice with the music of Antheil).