A Condition Assessment Tool for Quarter-Inch Open Reel Analog Tape
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L--Ficjfs'------I National Criminal Justice Reference Service
If you have issues viewing or accessing this file contact us at NCJRS.gov. -----------------------------------~---------------.---.~------.--~--------------- l--fiCjfS'--------i National Criminal Justice Reference Service This microfiche was produced from documents received for inclusion in the NCJRS data base. Since NCJRS cannot exercise control over the physical condition of the documents submitted, the individual frame quality will vary. The resolution chart on this frame may be used to evaluate the document quality. 1.0 1.1 U.S. ~t or Jultlcl 111111.8 NlilonallMtftut. or .Julltlee 7111,. oo."'Umt>nt hall bElon reproduC$d exactly all recolved flom tho per$Oo Of organizalloo originating It. Points of view oroplnions stated " 10 thls dccumont IIro those of tho authors and do not necessarily 111111.25 111111.4- 111111.6 1, , f!prrlSOOI Itlo Q't'Iiclal posltlon orpollcllHl of tht! Natlonallnstltulo of JulStiCO. Pormills/on to reproduce this Cepilifjhl.d malarial hall boon \)f8nled~ II, FBI Law Enforcement Bulletin MICROCOPY RESOLUTION TEST CHART NATIONAL BUREAU OF SlANDARDS·1963 A 10 the Nntional Criminal JuilUce Rtlfttrooco Servlco (NCJRS). r:urlhor loproducHon OYtslde of the NCJRS syst.m requlros permls· Glen 01 the ~ ~er. Microfilming procedures used to create this fiche comply with the standards set forth in 41CFR 101-11.504. Points of view or opinions stated in this document are those of the author(s) and do not represent the official position or policies of the U. S. Department of Justice. National Institute of Justice United States Department of Justice Washington, D. C. 20531 6/B/ B4 . l:1 f f',;( S-S3 ~ORCEMENT rr@~@~i© ~©~@m©@ rBI BULLETIN NOVEMBER 1983. -
Physical Object Collection
122• A GUIDE TO THE PHYSICAL OBJECT COLLECTION All object photographs & notes by John Kannenberg. Items in the Physical Object Collection are available for view by our visitors. Please request any physical objects you would like to inspect when arranging your visit. DONATIONS ARE WELCOME. OBJECT INFORMATION •123 Sony Walkman model WM-11D. The First Compact Disc. OBJECT 1 OBJECT 2 Sony Walkman WM-11D The First Compact Disc: Japan, 1985 Philips Classics, Japan, 1980 Four years after Sony released the original The first commercially available Compact Walkman portable cassette player, they Disc was released by Philips Classics in released the WM-11D, a fairly standard 1980. The original recording for the model whose only standout feature was its album was made in 1979. In a ceremony ability to ‘auto-stop’ playing a tape when to launch the beginning of the manufacture it was finished. It originally retailed for of the disc, musician Claudio Arrau was US$35. invited to the factory to press the ‘start’ button on the machinery. Please note: The Museum’s copy of this object is broken and does not function. Please be aware of this if you request to examine this object in person. We apologise for any inconvenience caused. 124• PHYSICAL OBJECT COLLECTION Sharp MiniDisc recorder, User’s Manual, and unopened MiniDisc, donated to the collection by Lydie Valentin. OBJECT 3 Sharp Minidisc Recorder France, 1990 As the Compact Disc format became the standard for music distribution, usage of other formats such as the LP record and the audio cassette rapidly – but as we have seen recently, temporarily – faded away. -
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 -
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.............................................................................................................................................. -
HOW TO, D, °;;Ti
11 ° . i WORLDS LARGEST- SELLING'.,ÉLECTRONICS-MÁGÁZIh'Ee FEBRUARY 1978/$1 : °;;ti. T ° HOW TO, D, , .. rA Cá sette.71n arfacé tó On Elf Computer r ° - II' An_:.Átió'Blélrid-__,. ..tÁ.Coritról;to 'a- Hi -Fi Receiver - .,, The .V .1w: MicroMini Cassette Tape áfis ,Forx PC Guides Without Film or Ch micals! \\, ,0scar'scan: : 'Communications Satellites forr;Eyeryoné 1 , TESTÉD.T1-11S: ISSUE :Gárrard GT25 Turntable 1.',/({Sánsü-iAU-717.Stereó: Integrated Amplifier Slierwoód= Micro/CPU 100 Stereo FM Tuner Téñ;.Tec Century/21 CW Transce,iyer.,. 9' o _ L, 4Y-4: 50 , . 1. 4 3 ' 2 ADDRESS -- PROGRAMMER . 7 B r` P t'efi.. O 2 ' E LCPg= R w51"e"1- ,P ola 4,» °C. 41. I />FD°5 oo.ij v0 de> oldr .e>' oat, p 0 I 6 Z r`16 . V:y -nu; n.1 aa a0on311atiN Os79 Z0 ar 1130I11VO 1 . , - 6/MIN 01.411 060W05+9 961í0E of 14024 14278 ee ° Popular Electro rocs AmericanRadioHistory.Com Introducing the mobile that can move And ike all Cobras it comes equipped you out of the world of the ordinary with such standard features as an easy - and into the world of the serious CB'er. to -read LED channel indicator. The Cobra 138XLR Single Sideband. Switchable noise blanking and limiting. Sidebanding puts - p An RF/signal strength meter. And you in your own I SB LSr Cobra's exclusive DynaMike gain control. private world. A - d ' You'll find the 138XLR SSB wherever world where there's Cobras are sold. Wnich is almost every- less congestion. -
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. -
Guidelines for Audiovisual and Multimedia Collection Management
DRAFT ONLY Guidelines for Audiovisual and Multimedia Collection Management in Libraries Revised by: Sonia Gherdevich Senior Manager, Collection Stewardship National Film and Sound Archive of Australia [email protected] with contributions from the Audiovisual and Multimedia Section Standing Committee Supersedes: Guidelines for Audiovisual and Multimedia materials in libraries and other institutions /Bruce Royan, Monika Cremer et al for the IFLA Audiovisual and Multimedia Section. The Hague, IFLA Headquarters, 2004. – 21p. 30 cm. – (IFLA Professional Reports : 80) Language: English DRAFT ONLY DRAFT ONLY TABLE OF CONTENTS FOREWORD i 1 INTRODUCTION 1.1 Background 1 1.2 Scope 1 1.3 Key Definitions 2 1.4 Professional Associations 3 PART A MANAGEMENT OF AUDIOVISUAL COLLECTIONS A-1 Acquisitions 4 A-2 Cataloguing 5-6 A-3 Access 6 A-4 Rights 6 A-5 Disaster Recovery Management 7 A-6 Staff Skills 7 A-7 Budget 8 PART B PHYSICAL FORMATS B-1 Format Types 9 B-2 Packaging 9-10 B-3 Preservation 10-11 B-4 Storage 11-12 PART C DIGITAL FORMATS C-1 Born-Digital Collection Works 13 C-2 Infrastructure and Systems 13 C-3 Preservation 14 C-4 Storage 14 Attachment A Professional Associations 15 Attachment B Cataloguing Standards 16 Attachment C Physical Audiovisual and Multimedia Carriers 17-19 Attachment D Preservation Standards for Digitising Audiovisual Works 20-21 Attachment E Storage Standards and Best Practices for Audiovisual Works 22-25 DRAFT ONLY DRAFT ONLY FOREWORD This set of Guidelines updates the IFLA Audiovisual and Multimedia Section (AVMS) Guidelines document originally developed and shared in 1982 and updated in 2003. -
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. -
The Evolution of DVD ECE 571G March 10, 1998
The Evolution of DVD ECE 571G March 10, 1998 Raed Sunna Dave Tompkins This report is dedicated to some of the (relatively) unsuccessful or short-lived video and audio formats from the past 40 years: 3D Television 8 -Track ADAT Audiopak Betamax CD Plus CD Video CD-I Cinerama DAT DCC Echomatic EVR Fidelipac MiniDisc Photo CD Playtape Port-a-Pak ScoopMan S-DAT Selectavision Smell-O-Vision U-Matic Videodisc Introduction The DVD (Digital Versatile Disc) is on the verge of defining history in both the computer industry and the home entertainment industry. Millions of dollars have been invested into DVD, with a lot of investors hoping it becomes the next home appliance. In order to consider where DVD will end up it will help to examine a few key questions: · What does the scene look like before DVD? · How does DVD fit into the existing scene? · How does the technology of DVD compare? · What will happen with DVD? This report tries to answer those questions, by tracing the history from the turn of 20th century to the turn of the 21st and beyond. Taking a qualitative approach to how DVD will be accepted, this report will help answer some of the questions that numbers just can’t answer. It should be noted that many of the views, dates and statistics in this report are based on very North American (or more simply, American) perspectives. This was done for several reasons, but primarily because numbers and information about American culture is commonly available. However, it should be noted that this Ameri-centric view is an outdated concept, and that the world and global economies are more important now than ever before. -
Master File of Catalogued Tape Heads
Nortronics/world leader in magnetic tape heads MASTER FILE OF CATALOGUED TAPE HEADS Experience and I magi nation Unequalled Research and Quality control Manufacturing Facilities More than 150 combined yea rs of Between incoming inspection and use engineering experi ence, a heavy Th e n ew 40,000 square foot Nortronics tests just before packaging, each head re search budget, and a stimulating bui ld ing was designed to provide undergoes an average of 30 inspections, environment for imagination are contro l of dust, noise, humidity and and is subjected to an ave rage of important elements in Nortronics' temperature. Equipment, from the seven different microscopic, visual, and efforts to d es ign and build better resea rch laboratory's binocular Unitron electri ca l tests. Mechanically, the two tape heads. m etallurgical microscope with Xenon half sections of a Nortronics head must li ght source, to the production line's be precision lapped to fl atness Nortronics' innovations w hich are now 10-7 Toar vacuum q uartz gap tolerances of one-quarter wave length standard throughout the industry depOSitors, is the best avai lable, much of monochromatic helium light. Include use of the hyperbolic tape head of it designed and built at Nortronics, Electrically, completed heads are face to eliminate pressure pads, to accommodate new departures in checked for inductance, impedance, DC laminated cores, and quartz-deposited product design requiring equally resistance, long and short wave length gaps for popular priced tape heads; dramatic departures in manufacturing response, record and biasing all-metal-face heads; 8-tra ck stereo tape techn ique. -
The B.A.S. Speaker
THE B.A.S. SPEAKER EDITOR-IN-CHIEF: Michael Riggs THE BOSTON AUDIO SOCIETY COORDINATING EDITOR: Henry Belot P.O. BOX 7 STAFF: Henry Belot, Robert Borden, Joyce Brinton, BOSTON, MASSACHUSETTS 02215 Dana Craig, Frank Farlow, Robert Graham, Lawrence Kaufman, James Lindquist, Peter Mitchell, John Schlafer, Jack Stevens, James Topali, Peter Watters VOLUME 5, NUMBER 4 PUBLISHER: James Brinton, President, BAS JANUARY 1977 THE BOSTON AUDIO SOCIETY DOES NOT ENDORSE OR CRITICIZE PRODUCTS, DEALERS, OR SERVICES. OPINIONS EXPRESSED HEREIN REFLECT THE VIEWS OF THEIR AUTHORS AND ARE FOR THE INFORMATION OF THE MEMBERS. In This Issue This months issue features an audiophiles whirlwind tour of (audio) Wonderland -- Japan. Peter Mitchell doesnt report seeing any white rabbits with watches or smiling cats, but he has seen such amazing sights as the Yamaha factory (one of them, anyway), a PCM audio recorder for consumers , and a new approach to ambience recovery that does not involve: (a) matrixing, (b) high-frequency whistles, (c) extra amplifiers, or (d) extra speakers in your listening room) The feature articles this time around are, straight from the horses mouth, the details on ARs computer digital delay system and from John Puccio a statistical look at the truth dispensed by the golden ears. We also bring you follow-up reports on Mike Riggs modified PAT-5 (impressive specs) and Bob Grahams treatment for acoustic suspension speakers (too much of a good thing?). Al Foster hooks up his test gear to a recent Sheffield record and likes what he sees as much as what he hears. Plus our customary collection of reader comments, classifieds, and periodical highlights. -
A Systemic Approach to the Preservation of Audio Documents: Methodology and Software Tools
Hindawi Publishing Corporation Journal of Electrical and Computer Engineering Volume 2013, Article ID 489515, 21 pages http://dx.doi.org/10.1155/2013/489515 Research Article A Systemic Approach to the Preservation of Audio Documents: Methodology and Software Tools Federica Bressan1 and Sergio Canazza2 1 Department of Computer Science, University of Verona, Strada Le Grazie 15, 34134 Verona, Italy 2 Department of Information Engineering, University of Padova, via G. Gradenigo 6/B, 35131 Padova, Italy Correspondence should be addressed to Federica Bressan; [email protected] Received 10 December 2012; Revised 19 February 2013; Accepted 21 February 2013 Academic Editor: Filippo Stanco Copyright © 2013 F. Bressan and S. Canazza. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. This paper presents a methodology for the preservation of audio documents, the operational protocol that acts as the methodology, and an original open source software system that supports and automatizes several tasks along the process. The methodology is presented in the light of the ethical debate that has been challenging the international archival community for the last thirty years. The operational protocol reflects the methodological principles adopted by the authors, and its effectiveness is based on the results obtained in recent research projects involving some of the finest audio archives in Europe. Some recommendations are given for the rerecording process, aimed at minimizing the information loss and at quantifying the unintentional alterations introduced by the technical equipment. Finally, the paper introduces an original software system that guides and supports the preservation staff along the process, reducing the processing timing, automatizing tasks, minimizing errors, and using information hiding strategies to ease the cognitive load.