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! 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

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 don’t 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 we’re 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 Tape on the left is sticky. Tape should flow off reel freely, such as on right Acetate is translucent Polyester (Mylar) is opaque

30. Safe Sound Archive’sExpertise 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 Archive’sExpertise 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, L+R, L-R All Groove Sizes from microgroove to 10.0 mil Center, Edge, or Reverse Play

32. Questions? George Blood Safe Sound Archive georgeblood@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 • What’s 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 (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

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 U&A

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

48. Questions? George Blood Safe Sound Archive georgeblood@safesoundarchive.com (215) 248-2100 www.safesoundarchive.com