oclc/safe sound archive partnership
DESCRIPTION
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 PresentationTRANSCRIPT
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OCLC/Safe Sound Archive Partnership
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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.”
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The OCLC/Safe Sound Archive Partnership can assist in virtuallyall stages of collections care & management
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Located in Philadelphia
Visitors Welcome!
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Services
• Archival Storage
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Archival Storage
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Services
• Archival Storage• Conservation
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Conservation
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Services
• Archival Storage• Conservation• Preservation/Digitization
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Preservation/Digitization
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Services
• Archival Storage• Conservation• Preservation/Digitization• Restoration
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Restoration
• Remove Hum• Reduce Hiss• Improve intelligibility• Improve compression for Web delivery
• Remaster for commercial release
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Services
• Archival Storage• Conservation• Preservation/Digitization• Restoration• Consulting
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Consulting
• Project Design• RfP Writing• Preservation Studio Design & Equipping
• Preservation Assessments
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How the partnership serves you:• One-stop shopping• Better integration• Blind to user• Rethinking the approach to preservation
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Collections-oriented
PreservationDigitization& Processing
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Collections of different media
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Old Selection Criteria
Media are separated from related materialsDiscontinuity in collections processing
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New Selection Criteria
Organizes work around the collection
Creates continuity for how all materials
within collection are handled
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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)
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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)
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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
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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)
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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)
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Obsolescence
• If you don’t know what it is, finding a machine to play it on will probably present a challenge
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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)
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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
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In-house Curatorial Assessment Some problems are obvious Victims of
bad storage conditions
Victims of poor handling
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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
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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
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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
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Standards & Best Practices• Standards Out of Date
– Call for analog tape– EBU has standard
• Best Practices Abound– What’s best for your institution & situation
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Preservation Set
• Preservation Master• Use & Access Copy• Web-Accessible Copy
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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
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Preservation Master
• Key Advantages– Widely used– Higher resolution than 99% of sources
– Better than most playback chains– Derivatives easily created– EBU standard
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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
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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
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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
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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
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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
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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
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