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OCLC/Safe Sound Archive Partnership. ALA 2005 Midwinter Announcement. “We would like to announce the formation of a partnership between Safe Sound Archive and OCLC to provide cost-effective services to audio collections, - PowerPoint PPT Presentation
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OCLC/Safe Sound Archive Partnership
ALA 2005 Midwinter Announcement
“We would like to announce the formation of a partnership between Safe Sound Archive and OCLC to provide cost-effective services to audio collections, including: digital reformatting, archiving and improved access through Open WorldCat.
Using our combined expertise, this partnership will allow for a convenient, integrated solution through either OCLC or Safe Sound Archive.”
The OCLC/Safe Sound Archive Partnership can assist in virtuallyall stages of collections care & management
Located in Philadelphia
Visitors Welcome!
Services
• Archival Storage
Archival Storage
Services
• Archival Storage• Conservation
Conservation
Services
• Archival Storage• Conservation• Preservation/Digitization
Preservation/Digitization
Services
• Archival Storage• Conservation• Preservation/Digitization• Restoration
Restoration
• Remove Hum• Reduce Hiss• Improve intelligibility• Improve compression for Web delivery
• Remaster for commercial release
Services
• Archival Storage• Conservation• Preservation/Digitization• Restoration• Consulting
Consulting
• Project Design• RfP Writing• Preservation Studio Design & Equipping
• Preservation Assessments
How the partnership serves you:• One-stop shopping• Better integration• Blind to user• Rethinking the approach to preservation
Collections-oriented
PreservationDigitization& Processing
Collections of different media
Old Selection Criteria
Media are separated from related materialsDiscontinuity in collections processing
New Selection Criteria
Organizes work around the collection
Creates continuity for how all materials
within collection are handled
Sound Collections’ Assessment/Triage• Every situation is different• Curatorial Prioritization• Preservation Assessment Report• Use & Access
– Is used?– Would be used?
• Obsolescence• Deterioration• Scale• Existing Plan/Criteria (or lack thereof)
Sound Collections’ Assessment/Triage• Every situation is different• Curatorial Prioritization• Preservation Assessment Report• Use & Access
– Is used?– Would be used?
• Obsolescence • Deterioration• Scale• Existing Plan/Criteria (or lack thereof)
Arm Yourself with Information! What’s on the CD• Mixed-Mode CD, with both CD-Audio portion and -ROM section with files.
• Materials from “Saving Sound” Session- PowerPoint™ presentation- Full Text document of oral presentation- Charles Kolb’s outline-.pdfs of Alan Lewis’ handouts-Sarah Stauderman’s PowerPoint™
• Planning, Standards- “Planning an Audio Preservation Transfer Project”- Collection of “Standards” compiled by David Seubert- 2 CLIR Papers- Papers on disaster planning and recovery by Steve Smolian and Peter
Brothers• Other Resources
- Library of Congress Disc Cleaning Solution formula- Collection of URLs- Bibliography
• Audio Samples- Examples of a 78 rpm played with different stylus sizes- Sound of Sticky Shed Syndrome- Examples of different capture options for 78 rpm discs
Sound Collections’ Assessment/Triage• Every situation is different• Curatorial Prioritization• Preservation Assessment Report• Use & Access
– Is used?– Would be used?
• Obsolescence• Deterioration• Scale• Existing Plan/Criteria (or lack thereof)
Sound Collections’ Assessment/Triage• Every situation is different• Curatorial Prioritization• Preservation Assessment Report• Use & Access
– Is used?– Would be used?
• Obsolescence• Deterioration• Scale• Existing Plan/Criteria (or lack thereof)
Obsolescence
• If you don’t know what it is, finding a machine to play it on will probably present a challenge
Obsolescence
• Quality equipment is rapidly becoming very difficult to acquire– Our recent search for top-of-the-line, highest quality 1/4” reel-to-reel machines took 9 months (and we’re still looking for parts for one machine)
Deterioration
• Where the curator and the vendor meet• “First, do not harm”• In-house assessment can identify issues• Sound preservation is more like paper conservation than image scanning
• Vendor will have volumes of experience– During 2006 Safe Sound Archive will process 5,000 hours of sound recordings
In-house Curatorial Assessment Some problems are obvious Victims of
bad storage conditions
Victims of poor handling
In-house Curatorial AssessmentTricks of the trade
Acetate is translucentPolyester (Mylar) is opaque
Tape on the left is sticky. Tape should flow off reel freely, such as on right
Safe Sound Archive’sExpertise with Analog Media
14 1/4” Reel-to-reel Machines
All Speeds15/16, 1 7/8, 3 3/4, 7 1/5, 15, 30 ips; ±50%
All Sizes2”, 3”, 4”, 5”, 7”, 10.5”, 12”, 14”
All EqualizationsNAB, CCIR, AES
All Track FormatsFull-Track Mono1/2-track (NAB & CCIR)1/4-track
Experience to custom-modify as needed
Safe Sound Archive’sExpertise with Analog Media
Broadcast direct-drive turntables
All Speeds33, 45, 70.29-80 ips; ±10%
All Sizes 5”, 7”, 10”, 12”, 16”
All EqualizationsNAB, RIAA, AES, non-standard
All Groove FormatsMono, Stereo, L/R, L+R, L-R
All Groove Sizesfrom microgroove to 10.0 mil
Center, Edge, or Reverse Play
Standards & Best Practices• Standards Out of Date
– Call for analog tape– EBU has standard
• Best Practices Abound– What’s best for your institution & situation
Preservation Set
• Preservation Master• Use & Access Copy• Web-Accessible Copy
Preservation Master
• Key Traits– Rarely accessed– Most important to manage– Typically 96kHz/24bit– .WAV or .BWF
•“wave” or “broadcast wave”
– Rarely, though sometimes still 1/4” analog
Preservation Master
• Key Advantages– Widely used– Higher resolution than 99% of sources
– Better than most playback chains– Derivatives easily created– EBU standard
Preservation Master
• Key Difficulties– No standard storage medium– Data tapes expensive to maintain– Too big for CD-ROM– On-line storage requires ongoing maintenance
– Internet delivery impractical– 5x play time for T1 .ftp
Preservation Master
• Typical Solution– 96/24 on hard drive to digital library•Enterprise-level storage
– 96/24 on DVD-ROM•Can be migrated easily to HDD when available
– Do something else•Gold CD-R•CD-ROM
Use & Access Copy
• Key Traits (and Advantages!)– Readily accessible– User-friendly format– Good enough to substitute if Preservation Master is lost
– Nearly always CD-Audio
Use & Access Copy
• Key Difficulties (CD-Audio vs. CD-ROM)– CD-DA (digital audio)
• Pure serial-read (can’t re-read to correct errors, even transient errors)
– CD-ROM (digital audio as data)• Sector-based, so can re-read (more reliable)• Requires computers (software, OS, etc.) to retrieve
– CD-DA more widely playable– CD-ROM more reliably played
Use & Access Copy
• Typical Solutions (depend somewhat on Preservation Master)
– CD-DA for near-universal playability– Multiple copies
• CD-DA, one copy on “gold”, one on “green”• CD-ROM (gold?) and CD-DA (green)
– Gold CD-R for Preservation Master, Green for U&A
Web-Accessible Copy
• Depends on Rights– RA & ACC more secure than mp3 or WMA
• Depends on Needs– Too restricted to put on-line– Beyond institutional abilities or needs
• Perhaps as-needed only
