“Voices of World War II: Experiences From the Front and at Home” ---------------------

1. “Voices of World War II: Experiences From the Front and at Home”--------------------- Digitizing the Analog Audio Materials for Preservation and Remote Access on the Internet Collections, Materials, Challenges Workflow Digitization Process --------------------- The Marr Sound Archives The Marr Sound Archives is a division of Special Collections at the Miller Nichols Library of the University of Missouri - Kansas City. LSTA Digital Imaging Grant Project Presentation at the Missouri State Library -- Sept. 13, 2002

2. Collections and Materials • Arthur B. Church-KMBC Radio Collection(16- in. studio transcription discs) • Marr Sound Archives 78 rpm, 45 rpm and LP disc collections • J. David Goldin collection (16-in. studio transcription discs) • Armed Forces Radio Services collection

3. Arthur B. Church-KMBC Radio Collection • Approximately 2,000 rare and one-of-a-kind sound recordings from Kansas City’s KMBC radio. • transcription recordings, air checks or instantaneous-cut discs, and commercial transcriptions. • recordings are on 16-inch, acetate-coated, glass- or metal-based discs.

4. Most of these recordings are on 16-inch, acetate-coated, glass- or metal-based discs. During the Second World War, when metals were scarce, manufacturers switched to glass-based discs. As a result, recordings from this era are extremely fragile, with few surviving. Additionally, most pre-1942 metal-based discs were scrapped to help the war effort. However, the Arthur B. Church-KMBC Collection includes hundreds of glass-based recordings which chronicle the war years, along with hundreds more surviving pre-war metal discs. These chronicle World War II-era leaders in speeches by Churchill, Truman, Roosevelt, and even Hitler; news reports and updates from around the world; and firsthand accounts of invasions, surrenders, battles, and other wartime events from both European and Pacific theaters. American as well as Kansas City’s cultural history are both well represented in broadcast recordings and studio transcriptions of KMBC programs. Finally, regional history is documented through on-the-spot reporting and news programs, recordings of speeches and other civic and political events, public affairs programs, and interviews.

5. Challenges • Obsolete 10 to 16-inch disc format. • Fragility of originals, especially glass-based discs. • How to audition discs for content, digitize the “original,” and capture appropriate selections for Internet delivery - while minimizing handling and playback of the original?

6. Workflow • Original recordings are cleaned, auditioned and re-sleeved. (1st handling) • Content notes based on the audition are logged on a work sheet and compiled into an in-house database. • Selections determined by searching database for appropriate WW2-related content. • Selections identified on WW2 project work-sheet by collection, disc #/identifier, cut #, along with brief content notes.

7. Worksheet necessary for sound file identification in digitization process as well as in the construction of the project website.

8. Worksheet for Popular Song subsection

9. Timetable for Adding Section Content to “Voices of World War II” Project Website

10. Digitizing the Original • The entire content of a disc (both sides) is digitized/transferred to minimize handling and playback. (2nd handling) • All discs selected for a particular subsection of the project are digitized as a group for optimum workflow. • File and directory management mirrors overall project organization and design. (see next two slides)

11. File Management – local server

12. File Management – web server

13. The Marr Sound Archives Preservation Studioused to make audio available on the Internet

14. The analog source material: 16-inch studio transcription disc

15. Transferring the Analog Source • The discs are reproduced using a Technics SP-15 turntable equipped with a SME tone arm capable of tracking discs from 5 to 20 inches. • A variety of styli are used to accommodate variations in the groove width and depth. • A KAB Souvenir EQS MK12 re-mastering preamplifier/equalizer is used to determine the proper equalization curve. --------------------- • For further information on the digitization process, click here. http://www.umkc.edu/lib/spec-col/Expo/expodemo.htm

16. The Digitizing Process • Items are digitized using a SADIE Digital Editing Workstation and CEDAR noise reduction system. • Once reproduced, the analog audio signal passes through a PrismSound AD/124 analog-to-digital converter and the CEDAR noise reduction system (to remove pops, clicks, etc.) • The digital signal is then transferred to the SADIE editing workstation as a 16bit, 44.1kHz stereo .WAV file. • The digital file is then edited and further equalized by SADIE, as needed. • Final selections are excerpted copies of this digital file, created for use at the project website.

17. Digitizing the Analog Sound The Analog source is converted into a digital 16 bit, 44.1kHz, stereo .WAV file.

18. Editing the digitized sound file The .WAV file is edited and equalized by SADIE.

19. Saving the edited & unedited digital sound files. The edited file is then saved to the C: drive of the digital workstation.

20. Preservation and Backup • The complete and excerpted .WAV files are backed up on the library server as preservation copies. • The finished files and all the changes made in the editing process are also saved to an 8 millimeter digital exabyte tape. • CD-R service copies of the files are also generated for on-site listening.

21. Transfer for RealAudio Encoding • The excerpted and full-text .WAV files are moved, using simple drag-and-drop methods, from the SADIE workstation to a second networked computer where the RealAudio files are produced. • Audio content is delivered via RealAudio because the player is freely available and offers high-quality for “streamed” files.

22. Transferring the edited digital sound file to a networked PC. The .WAV file is then moved from the digital workstation to a networked computer using drag and drop.

23. Converting the .WAV file into a RealAudio file.(RealProducer Software does the trick)

24. Step One: Matching content to format. The .WAV file is converted into a RealAudio file.

25. Step Two: Confirm and display The Producer confirms and displays the parameters of the encoding.

26. Step Three: Ready File for Transfer The file is ready to be moved to the university’s RealAudio Server.

27. Transferring the file to the RealAudio server The file is being moved to the RealAudio Server using drag and drop. The sound file can also be moved to any server using File Transfer Protocol.

28. Making Sound Files Available on the Internet. The UMKC RealMedia server “streams” the files to patrons. Website links to sound files are links to .ram files (instruction data files that launch the users RealAudio player with location/server information for where sound file is located).

29. Final Handling and Metadata • The original disc source recordings and digitized excerpted RealAudio selections made available on the project website are now turned over to technical services for cataloging and metadata creation. • This is the third and final instance where the original is physically handled. - Thank You for Your Time and Attention -