OCLC/Safe Sound Archive Partnership - PowerPoint PPT Presentation

1 / 48
About This Presentation
Title:

OCLC/Safe Sound Archive Partnership

Description:

OCLCSafe Sound Archive Partnership – PowerPoint PPT presentation

Number of Views:78
Avg rating:3.0/5.0
Slides: 49
Provided by: george115
Category:

less

Transcript and Presenter's Notes

Title: OCLC/Safe Sound Archive Partnership


1
OCLC/Safe Sound Archive Partnership
2
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.
3
The OCLC/Safe Sound Archive Partnership can
assist in virtually all stages of collections
care management
4
Located in Philadelphia
Visitors Welcome!
5
Services
  • Archival Storage

6
Archival Storage
7
Services
  • Archival Storage
  • Conservation

8
Conservation
9
Services
  • Archival Storage
  • Conservation
  • Preservation/Digitization

10
Preservation/Digitization
11
Services
  • Archival Storage
  • Conservation
  • Preservation/Digitization
  • Restoration

12
Restoration
  • Remove Hum
  • Reduce Hiss
  • Improve intelligibility
  • Improve compression for Web delivery
  • Remaster for commercial release

13
Services
  • Archival Storage
  • Conservation
  • Preservation/Digitization
  • Restoration
  • Consulting

14
Consulting
  • Project Design
  • RfP Writing
  • Preservation Studio Design Equipping
  • Preservation Assessments

15
How the partnership serves you
  • One-stop shopping
  • Better integration
  • Blind to user
  • Rethinking the approach to preservation

16
Collections-oriented PreservationDigitization
Processing
17
Collections of different media
18
Old Selection Criteria
Media are separated from related
materials Discontinuity in collections processing
19
New Selection Criteria
Organizes work around the collection Creates
continuity for how all materials within
collection are handled
20
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)

21
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)

22
Arm Yourself with Information! Whats 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 Kolbs outline
  • -.pdfs of Alan Lewis handouts
  • -Sarah Staudermans 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

23
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)

24
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)

25
Obsolescence
  • If you dont know what it is, finding a machine
    to play it on will probably present a challenge

26
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 were still looking for parts for one
    machine)

27
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

28
In-house Curatorial Assessment
  • Some problems are obvious
    Victims of
  • bad storage conditions

Victims of poor handling
29
In-house Curatorial Assessment
  • Tricks of the trade

Acetate is translucent Polyester (Mylar) is opaque
Tape on the left is sticky. Tape should flow off
reel freely, such as on right
30
Safe Sound ArchivesExpertise with Analog Media
  • 14 1/4 Reel-to-reel Machines
  • All Speeds
  • 15/16, 1 7/8, 3 3/4, 7 1/5, 15, 30 ips 50
  • All Sizes
  • 2, 3, 4, 5, 7, 10.5, 12, 14
  • All Equalizations
  • NAB, CCIR, AES
  • All Track Formats
  • Full-Track Mono
  • 1/2-track (NAB CCIR)
  • 1/4-track
  • Experience to custom-modify as needed

31
Safe Sound ArchivesExpertise with Analog Media
  • Broadcast direct-drive turntables
  • All Speeds
  • 33, 45, 70.29-80 ips 10
  • All Sizes
  • 5, 7, 10, 12, 16
  • All Equalizations
  • NAB, RIAA, AES, non-standard
  • All Groove Formats
  • Mono, Stereo, L/R, LR, L-R
  • All Groove Sizes
  • from microgroove to 10.0 mil
  • Center, Edge, or Reverse Play

32
Questions?
  • George Blood
  • Safe Sound Archive
  • georgeblood_at_safesoundarchive.com
  • (215) 248-2100
  • www.safesoundarchive.com

33
Standards Best Practices
  • Standards Out of Date
  • Call for analog tape
  • EBU has standard
  • Best Practices Abound
  • Whats best for your institution situation

34
Preservation Set
  • Preservation Master
  • Use Access Copy
  • Web-Accessible Copy

35
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

36
Preservation Master
  • Key Advantages
  • Widely used
  • Higher resolution than 99 of sources
  • Better than most playback chains
  • Derivatives easily created
  • EBU standard

37
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

38
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

39
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

40
Use Access Copy
  • Key Difficulties (CD-Audio vs. CD-ROM)
  • CD-DA (digital audio)
  • Pure serial-read (cant 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

41
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 UA

42
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

43
(No Transcript)
44
(No Transcript)
45
(No Transcript)
46
(No Transcript)
47
(No Transcript)
48
Questions?
  • George Blood
  • Safe Sound Archive
  • georgeblood_at_safesoundarchive.com
  • (215) 248-2100
  • www.safesoundarchive.com
Write a Comment
User Comments (0)
About PowerShow.com