Re: [ARSCLIST] Triage, heroic efforts, and economics

["Copeland, Peter" <Peter.Copeland@xxxxx>]

Dear All,
    As usual, I am coming to this listserv nearly three weeks late, but
in my opinion there are three points which have not so far been
mentioned, and which should be considered during this debate.
(1) When preservation copying occurs, there may inevitably be losses
and/or distortions of the original sound (however you define those
terms)! In my opinion, it is vital to document the technical processes
used, either by copying a calibration disc (or tape, or cassette, etc.
etc. etc), or by incorporating a rigorous description of the copying
process itself and any assumptions about the original medium.
(2) Future restoration processes should inevitably be better than
present-day ones. So, keep the originals, so future archivists may have
another attempt!
(3) Likewise, do a bibliographic record of the way the *original* was
documented.
Peter Copeland
Former Conservation Manager, 
British Library Sound Archive.

-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:ARSCLIST@xxxxxxx] On Behalf Of Mike Richter
Sent: 03 May 2006 15:41
To: ARSCLIST@xxxxxxxxxxxx
Subject: Re: [ARSCLIST] Triage, heroic efforts, and economics

Robert Hodge wrote:
> Hello,
> My response will be twofold and very easy to document.
> 1-Preserve what funding can be acquired for first.
> 2- Then, preserve, using my own time and resources, what I consider to
be important. I gain much satisfaction out of doing that .   
> At least sound recordings don't require the large financial outlay
that motion picture films require.
> Bob Hodge

It is a pleasure to see reality sneaking into this discussion. <G>

Preservation depends critically on funding. Those among us looking at 
non-renewing grants feel that in a way that we independent types do not.

(I've been living on insurance for nearly twenty years now - not very 
well but without "gainful employment".)

Given limited resources of time, money and environment (space, 
equipment), one must trade off preservation quality and quantity. The 
finished product has a similar tradeoff. Each balance between quality of

preservation and quantity has its place; in my opinion, there is no 
fault to find with either high-rate, large bit-depth copies or low-rate,

shallow catalogues. Each has its place.

Over the last few years, I have produced a couple of dozen CD-ROMs for 
distribution (and a thousand more for my own purposes). Each has of the 
order of forty hours of audio in a volume of what I call an Audio 
Encyclopedia. Each provides an overview of a topic rather in the style 
of the old Book of Knowledge; each stands with respect to the source 
recordings much as the catalogue of an exhibition of paintings does to 
the exhibition itself.

The most recent disc in the series offers the complete recordings of 
Titta Ruffo in both easy-listening and high-rate versions. The 
convenience of a single, cross-indexed disc more than compensates for 
limited sound quality for the purpose of this compendium. It is the 
purpose that drives the tradeoff which in turn dictates the resources to

be applied.

None of which should surprise anyone on this list.

Mike
-- 
mrichter@xxxxxxx
http://www.mrichter.com/

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