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ARSC Guide to Audio Preservation
ARSC Guide to Audio Preservation Sam Brylawski, Maya Lerman, Robin Pike, Kathlin Smith, editors from last round: National Recording Preservation Board OF THE LIBRARY OF CONGRESS ASSOCIATION FOR RECORDED SOUND COLLECTIONS Council on Library and Information Resources revised: National Recording Preservation Board OF THE LIBRARY OF CONGRESS National Recording Registry OF THE LIBRARY OF CONGRESS ISBN 978-1-932326-50-5 CLIR Publication No. 164 Copublished by: Association for Recorded Council on Library and The Library of Congress Sound Collections Information Resources 101 Independence Avenue, SE c/o Nathan Georgitis, Knight Library 1707 L Street NW, Suite 650 Washington, DC 20540 1299 University of Oregon Washington, DC 20036 Website at http://www.loc.gov Eugene, OR 97403 Website at http://www.clir.org Website at http://arsc-audio.org Commissioned for and sponsored by the National Recording Preservation Board of the Library of Congress. Publication inquiries should be directed to Kathlin Smith at the Council on Library and Information Resources (CLIR). Additional copies are available for $30 each. Orders may be placed through CLIR’s website at http://www.clir.org/pubs/reports/pub164. The paper in this publication meets the minimum requirements of the American National Standard 8 for Information Sciences—Permanence of Paper for Printed Library Materials ANSI Z39.48-1984. The ARSC Guide to Audio Preservation is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. Photos with credits are excluded from -
Home Audio Taping of Copyrighted Works and the Audio Home Recording Act of 1992: a Critical Analysis Joel L
Hastings Communications and Entertainment Law Journal Volume 16 | Number 2 Article 4 1-1-1993 Home Audio Taping of Copyrighted Works and the Audio Home Recording Act of 1992: A Critical Analysis Joel L. McKuin Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Joel L. McKuin, Home Audio Taping of Copyrighted Works and the Audio Home Recording Act of 1992: A Critical Analysis, 16 Hastings Comm. & Ent. L.J. 311 (1993). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol16/iss2/4 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Home Audio Taping of Copyrighted Works and The Audio Home Recording Act of 1992: A Critical Analysis by JOEL L. McKuIN* Table of Contents I. Home Taping: The Problem and its Legal Status ....... 315 A. Constitutional and Statutory Background ........... 315 B. Home Taping or Home "Taking"?: The History of Home Taping's Legal Status ........................ 318 C. New Technologies Sharpen the Home Taping Problem ............................................ 321 1. The DAT Debacle .............................. 321 2. Other New Technologies ........................ 322 II. The Audio Home Recording Act of 1992 (AHRA) ..... 325 A. Serial Copy Management System (SCMS) .......... 325 B. Royalties on Digital Hardware and Media .......... 326 C. Prohibition of Copyright Infringement Actions ..... 328 III. -
Delivery of Recorded Music Projects
TECHNICAL DOCUMENT AES TECHNICAL COUNCIL Document AESTD1002.1.03-10 Recommendation for delivery of recorded music projects Nashville members of the P&E Wing of The Recording Academy® formed a Delivery Specifications Committee, and in collaboration with the Audio Engineering Society’s Technical Committee on Studio Practices and Production have created The Delivery Recommendations for Master Recordings document. AUDIO ENGINEERING SOCIETY, INC. INTERNATIONAL HEADQUARTERS 60 East 42nd Street, Room 2520 . New York, NY 10165-2520, USA Tel: +1 212 661 8528 . Fax: +1 212 682 0477 E-mail: [email protected] . Internet: http://www.aes.org AUDIO ENGINEERING SOCIETY, INC. INTERNATIONAL HEADQUARTERS 60 East 42nd Street, Room 2520, New York, NY 10165-2520, USA Tel: +1 212 661 8528 . Fax: +1 212 682 0477 E-mail: [email protected] . Internet: http://www.aes.org The Audio Engineering Society’s Technical Council and its Technical Committees respond to the interests of the membership by providing technical information at an appropriate level via conferences, conventions, workshops, and publications. They work on developing tutorial information of practical use to the members and concentrate on tracking and reporting the very latest advances in technology and applications. This activity is under the direction of the AES Technical Council and its Committees. The Technical Council and its first Technical Committees were founded by the Audio Engineering Society in 1979, and standing rules covering their activities were established in 1986, with the intention of defining and consolidating the technical leadership of the Society for the benefit of the membership. The Technical Council consists of the officers of the Technical Council, the chairs of the Technical Committees, the editor of the Journal, and as ex-officio members without vote, the other officers of the Society. -
A Primer on Preserving Audio and Video Recordings
A Primer on Preserving Audio and Video Recordings National, Provincial and Territorial Archivists Conference Audiovisual Preservation Working Group In partnership with the National Heritage Digitization Strategy Steering Committee May 2018 Contents Preface ....................................................................................................................................................... i Version Control ......................................................................................................................................... ii Introduction .............................................................................................................................................. 1 Terminology .............................................................................................................................................. 1 Obstacles to Preservation ......................................................................................................................... 1 Format Obsolescence ............................................................................................................................ 1 Format Deterioration ............................................................................................................................ 1 Preservation Solutions .............................................................................................................................. 2 Migration.............................................................................................................................................. -
Pbcore Handbook Section 7
Controlled Vocabularies PBCore Controlled Vocabularies are sets of predefined, community-standardized terms for concepts related to audiovisual and broadcast collections. These terms can be used as drop-down value lists in a database or spreadsheet to ensure consistency in terminology, formatting and spelling, both internally and when exchanging information with outside organizations. PBCore Controlled Vocabularies include the agreed-upon spelling and formatting for each term, a definition, and a Unique Resource Identifier (or URI). The vocabularies provide only the terms that the community has determined are most widely used and shared, and are not 100% comprehensive. PBCore does not maintain controlled vocabularies for elements that have strong vocabulary options maintained by other authorities. Element definitions contain references to relevant external vocabularies, where applicable. pbcoreAssetTypeVocabulary Usage: for pbcoreAssetType Album Definition: A collection of recordings issued as a single item on CD, record, or another medium. URI: http://pbcore.org/pbcore-controlled-vocabularies/pbcoreassettype-vocabulary/#Album Animation Definition: A moving image production element created from static drawings or objects. URI: http://pbcore.org/pbcore-controlled-vocabularies/pbcoreassettype-vocabulary/#Animation Clip Definition: A short excerpt taken from a moving image or audio resource. A clip may not convey a complete intellectual concept. URI: http://pbcore.org/pbcore-controlled-vocabularies/pbcoreassettype-vocabulary/#Clip Collection Definition: A group of materials with some unifying characteristic. – 2. Materials assembled by a person, organization, or repository from a variety of sources; an artificial collection. URI: http://pbcore.org/pbcore-controlled-vocabularies/pbcoreassettype-vocabulary/#Collection Compilation Definition: A single asset containing multiple different sub-assets; for example, a reel with programs, clips, and raw footage. -
Historical Development of Magnetic Recording and Tape Recorder 3 Masanori Kimizuka
Historical Development of Magnetic Recording and Tape Recorder 3 Masanori Kimizuka ■ Abstract The history of sound recording started with the "Phonograph," the machine invented by Thomas Edison in the USA in 1877. Following that invention, Oberlin Smith, an American engineer, announced his idea for magnetic recording in 1888. Ten years later, Valdemar Poulsen, a Danish telephone engineer, invented the world's frst magnetic recorder, called the "Telegraphone," in 1898. The Telegraphone used thin metal wire as the recording material. Though wire recorders like the Telegraphone did not become popular, research on magnetic recording continued all over the world, and a new type of recorder that used tape coated with magnetic powder instead of metal wire as the recording material was invented in the 1920's. The real archetype of the modern tape recorder, the "Magnetophone," which was developed in Germany in the mid-1930's, was based on this recorder.After World War II, the USA conducted extensive research on the technology of the requisitioned Magnetophone and subsequently developed a modern professional tape recorder. Since the functionality of this tape recorder was superior to that of the conventional disc recorder, several broadcast stations immediately introduced new machines to their radio broadcasting operations. The tape recorder was soon introduced to the consumer market also, which led to a very rapid increase in the number of machines produced. In Japan, Tokyo Tsushin Kogyo, which eventually changed its name to Sony, started investigating magnetic recording technology after the end of the war and soon developed their original magnetic tape and recorder. In 1950 they released the frst Japanese tape recorder. -
Portable Minidisc Recorder MZ-NH900 Recorder Minidisc Portable Portable Minidisc Recorder
3-266-536-11(1) Portable MiniDisc Recorder MZ-NH900 Portable MiniDisc Recorder Operating Instructions Recorder Operation _____________________________page 12 _ Software Operation _____________________________page 106 _ “WALKMAN” is a registered trademark of Sony Corporation to represent Headphone Stereo products. is a trademark of Sony Corporation. MZ-NH900 © 2004 Sony Corporation Information WARNING IN NO EVENT SHALL SELLER BE To prevent fire or shock hazard, do LIABLE FOR ANY DIRECT, not expose the unit to rain or INCIDENTAL OR moisture. CONSEQUENTIAL DAMAGES OF ANY NATURE, OR LOSSES OR EXPENSES RESULTING FROM Do not install the appliance in a ANY DEFECTIVE PRODUCT OR confined space, such as a bookcase or THE USE OF ANY PRODUCT. built-in cabinet. For customers who purchased To prevent fire, do not cover the this product in the USA ventilation of the apparatus with news papers, table cloths, curtains, etc. And Owner’s Record don’t place lighted candles on the The serial number is located at the rear of apparatus. the disc compartment lid and the model number is located at the top and bottom. To prevent fire or shock hazard, do not Record the serial number in the space place objects filled with liquids, such as provided below. Refer to them whenever vases, on the apparatus. you call upon your Sony dealer regarding this product. Certain countries may regulate disposal of Model No. MZ-NH900 the battery used to power this product. Serial No. Please consult with your local authority. Product registration Caution Please register this product on line at The use of optical instruments with this www.sony.com/walkmanreg product will increase eye hazard. -
Portable Minidisc Player
3-266-437-11(1) Portable MiniDisc Player Operating Instructions Player Operation _______________________________page 11 _ Software Operation _____________________________page 44 _ “WALKMAN” is a registered trademark of Sony Corporation to represent Headphone Stereo products. is a trademark of Sony Corporation. MZ-NF520D © 2004 Sony Corporation For customers who purchased WARNING this product in the USA To prevent fire or shock hazard, do Owner’s Record not expose the unit to rain or The serial number is located at the rear of moisture. the disc compartment lid and the model number is located at the top and bottom. Record the serial number in the space Do not install the appliance in a provided below. Refer to them whenever confined space, such as a bookcase or you call upon your Sony dealer regarding built-in cabinet. this product. Model No. MZ-NF520D To prevent fire, do not cover the Serial No. ventilation of the apparatus with news papers, table cloths, curtains, etc. And don’t place lighted candles on the Product registration apparatus. Please register this product on line at www.sony.com/walkmanreg To prevent fire or shock hazard, do not <http://www.sony.com/walkmanreg> place objects filled with liquids, such as vases, on the apparatus. Proper registration will enable us to send you periodic mailings about software Certain countries may regulate disposal of upgrades, new products, services and the battery used to power this product. other important announcements. Thank Please consult with your local authority. you. Caution If you have any questions about The use of optical instruments with this this product, contact: product will increase eye hazard. -
Synchronization of the Acoustic Evidence in the Assassination of President Kennedy
Scientific and technical Synchronization of the acoustic evidence in the assassination of President Kennedy R Linsker∗ and RL Garwin1 IBM T. J. Watson Research Center, P. O. Box 218 (1101 Kitchawan Road & Route 134), Yorktown Heights, NY 10598, USA e-mail: [email protected] H Chernoff1 Statistics Department, Harvard University, Cambridge, MA 02138, USA P Horowitz1 and NF Ramsey1 Physics Department, Harvard University, Cambridge, MA 02138, USA Science & Justice 2005 45 207 – 226 Received 17 November 2004 accepted 23 May 2005 We have revisited the acoustic evidence in the Kennedy assassi- de 60 Hz y metodos´ de correlacion´ para obtener calibraciones nation – recordings of the two Dallas police radio channels upon de velocidad para grabaciones hechas en los dos canales, analisis´ which our original NRC report (Ramsey NF et al., Report of espectrales para buscar instancias de segmentos repetidos du- the Committee on Ballistic Acoustics. National Research Coun- rante el play-back del canal 2( que pudiera resultar del salto de cil (US). Washington: National Academy Press, 1982. Posted surco)y metodos´ de correlacion´ y espectrograficos´ para analizar at http://www.nap.edu/catalog/10264.html) was based – in re- instancias de posibles conversaciones cruzadas usadas para sin- sponse to the assertion by DB Thomas (Echo correlation analysis cronizar ambos canales. Esta publicacion´ identifica graves errores and the acoustic evidence in the Kennedy assassination revis- en la publicacion´ de Thomas y corrige errores del informe NCR. ited. Science and Justice 2001; 41: 21–32) that alleged gunshot Reafirmamos la primitiva conclusion´ del informe NCR de que sounds (on Channel 1), apparently recorded from a motorcycle los pretendidos disparos de arma fueron registrados un minuto officer’s stuck-open microphone, occur at the exact time of the aproximadamente despues´ del asesinato. -
ED287487.Pdf
DOCUMENT RESUME ED 287 487 IR 052 164 AUTHOR Almquist, Sharon G. TITLE Sound Recordings and the Library. Occasional Papers Number 179. INSTITUTION Illinois Univ., Urbana. Graduate School of Library and Information Science. PUB DATE Aug 87 NOTE 41p. AVAILABLE FROMGraduate School of Library and Information Science, Publications Office, University of Illinois at Urbana-Champaign, 249 Armory Building, 505 E. Armory Street, Champaign, IL 61820 ($3.50 per copy; subscriptions are available). PUB TYPE Historical Materials (060) -- Information Analyses (070) EDRS PRICE MF01 Plus Postage. PC Not hvailable from EDRS. DESCRIPTORS *Aw2iodisks; Audio Equipment; *Audiotape Recordings; Library Circulation; *Library Collection Development; *Library Collections; Library Facilities; Optical Disks; *Technological Advancement; Users (Information) ABSTRACT The basic concept that sound waves could be t:aced or recorded on a solid object was developed separately by Leon Scott, Charles Cros, and Thomas Alva Edison between 1857 and 1877 and, by 1890, the foundation of the present-day commercial record industry was established. Although cylinders were the first sound recordings to be sold commercially, discs were introduced in 1894 and ultimately became more popular. The library collection of sound recordings began with the founding of the Sadie Knowland Coe Music Collection at the Evanston Public Library in 1907 during the acoustic, or pre-electric era (1877-1925) when recordings were still made and reproduced by mechanical means. Following the introduction of electrical recordings, more libraries inaugurated record collections, albeit with some caution, and by the 1940s, the idea that collections of records belonged in libraries had won acceptance. The convenience of the long-playing (LP) record, introduced in 1948, appealed to the public and librarians alike; and stereo, introduced publicly 10 years later, provided the final great improvement for pre-1980s audio recordings. -
JANUARY2016.Pdf
1 C:\Users\Stuart\Desktop\DOCUMENTS THIS ONE\Hifi Pig\DESKTOP BACKUP\HIFI PIG\ADVERTISEMENTS\TQ\Grand Slam Large 2 (1).png 2 Hifi Pig www.hifipig.com CONTENTS REVIEWS 5. Merrill Audio Thor Monobloc Amplifiers 12. Cabasse Stream 100 Amplifier and Surf Loudspeakers 18. MunroSonic EGG150 – Active Monitoring Loudspeakers www.hifipig.com 23. Martin Logan Motion 15 Standmount Telephone: +33 (0)2 97 23 70 78 E mail: [email protected] Loudspeakers 28. Zeta Zero Venus Picolla Loudspeakers 34. DiDiT DAC 212 Digital To Analogue Converter MUSIC 43. Lab 12 gordian Power Distributor/Conditioner 78-85. Music and Live Gig 48. Clearaudio Smart Matrix Professional Reviews with John Scott and Record Cleaning Machine Stuart Smith 52. Black Cat Redlevel Tube speaker Cable 86. John Scott throws a log on and RCA Interconnects the fire, pours himself a wee dram and puts on his copy of INTERVIEWS Mike Oldfield’s Ommadawn as part of his Behind The Brands with Heinz Classic Albums series. Lichtenegger of Pro-Ject COLUMNS 59. Retro Bites - Janine Elliot takes another look at retro audio kit, this time focusing on the rare Tefifon 62. Voice Of Dom - Dominic Marsh gets puzzled over the differences people hear with identical products and explains how he goes about evaluating and listening to new kit. 66. Fidelity Matters - In the last of his Fidelity Matters articles for 2015, Ian Ringstead celebrates innovation wherever it comes from and applauds all the people in the hifi industry who make this wonderful kit possible. 69. The Views Of Stu - Stuart Smith looks at the year that was 2015 and hints at a few things you can expect to see in the coming year from Hifi Pig. -
Sound Evidence: an Archaeology of Audio Recording and Surveillance in Popular Film and Media
Sound Evidence: An Archaeology of Audio Recording and Surveillance in Popular Film and Media by Dimitrios Pavlounis A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Screen Arts and Cultures) in the University of Michigan 2016 Doctoral Committee: Associate Professor Sheila C. Murphy, Chair Emeritus Professor Richard Abel Professor Lisa Ann Nakamura Associate Professor Aswin Punathambekar Professor Gerald Patrick Scannell © Dimitrios Pavlounis 2016 For My Parents ii ACKNOWLEDGMENTS My introduction to media studies took place over ten years ago at McGill University where Ned Schantz, Derek Nystrom, and Alanna Thain taught me to see the world differently. Their passionate teaching drew me to the discipline, and their continued generosity and support made me want to pursue graduate studies. I am also grateful to Kavi Abraham, Asif Yusuf, Chris Martin, Mike Shortt, Karishma Lall, Amanda Tripp, Islay Campbell, and Lees Nickerson for all of the good times we had then and have had since. Thanks also to my cousins Tasi and Joe for keeping me fed and laughing in Montreal. At the University of Toronto, my entire M.A. cohort created a sense of community that I have tried to bring with me to Michigan. Learning to be a graduate student shouldn’t have been so much fun. I am especially thankful to Rob King, Nic Sammond, and Corinn Columpar for being exemplary scholars and teachers. Never have I learned so much in a year. To give everyone at the University of Michigan who contributed in a meaningful way to the production of this dissertation proper acknowledgment would mean to write another dissertation-length document.