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Sound Directions Digital Preservation and Access for Global Audio Heritage

Sound Directions Digital Preservation and Access for Global Audio Heritage. Indiana University Harvard University. Archives of Traditional Music Indiana University. Established 1948 (or 1954?) 110,000 recordings 1890s to present Field—30% World music traditions

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Sound Directions Digital Preservation and Access for Global Audio Heritage

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  1. Sound Directions Digital Preservation and Access for Global Audio Heritage Indiana University Harvard University

  2. Archives of Traditional Music Indiana University • Established 1948 (or 1954?) • 110,000 recordings • 1890s to present • Field—30% • World music traditions • Endangered/extinct world languages

  3. Sound DirectionsDigital Preservation and Access for Global Audio Heritage Collaboration between Harvard University and Indiana University Phase 1 an R&D project funded by NEH Focus on preservation

  4. Sound DirectionsDigital Preservation and Access for Global Audio Heritage Project Partners Archives of Traditional Music, Indiana University Archive of World Music, Harvard University Harvard College Library Audio Preservation Services Digital Library Program, Indiana University Office for Information Systems, Harvard University

  5. Sound DirectionsDigital Preservation and Access for Global Audio Heritage Objectives Research best practices in areas without standards or best practices Develop best practices to meet existing and emerging standards Test existing and emerging standards/best practices with a real world project

  6. Sound DirectionsDigital Preservation and Access for Global Audio Heritage Results Publication— Sound Directions: Best Practices for Audio Preservation Software tools Development of audio preservation systems Preservation of field collections www.dlib.indiana.edu/projects/sounddirections

  7. Audio Preservation Systems Standards and Best Practices Ensure Quality Provide Philosophical/Ethical Foundation Encourage Sustainability Foster Interoperability Provide a Migration Path

  8. Audio Preservation Systems Standards and Best Practices IASA-TC 03 and TC 04 Broadcast Wave Format AES31-3 AES-X98-B and C METS

  9. Audio Preservation Systems What tasks or functions are required for successful audio preservation? Preservation operations/activities as systems General Systems Theory

  10. Audio Preservation Systems Common sense definition of system: Set of interacting units or elements Forms an integrated whole Performs a function

  11. Audio Preservation Systems A few basic principles: Each element/part affects the whole Whole is greater than sum of parts Inputs and outputs

  12. IU Audio Preservation System What should we preserve? Selection for Preservation Analysis of research value Evaluation of preservation condition and risk

  13. Data Collection/Analysis Research Value Score Condition/Risk (FACET) Score Combined Selection Score Collection Ranking Curatorial Review Selection for Preservation

  14. IU Audio Preservation System Field Audio Collection Evaluation Tool (FACET) Point-based, collection level Analyzes data on condition of field formats Returns a risk assessment score Formats document Procedures document Appendices

  15. IU Audio Preservation System Where should preservation work be done? In-house or outsource? Issues: studio space, technical expertise, amount of work, future location of expertise Critical listening spaces Development of preservation studio

  16. IU Audio Preservation System Who should do preservation work? Audio engineer Importance of analog playback stage Project assistant Programmer Digital librarians

  17. Project Assistant Content Division Production Masters QC ADL’s Workflow Management Collection Setup Ingestion Process Audio Engineer Preservation Transfer Preservation Master Files Technical MD Collection Checksums BWAV MD ADL’s Signal Processing Programmer Software/Script Development Digital Library Program Preservation Repository Services Deliverables Access System

  18. IU Audio Preservation System What is the target preservation format? Digital file Broadcast Wave Format (BWF or BWAV) Preservation involves a long-term responsibility to the digital file

  19. IU Audio Preservation System Broadcast Wave Format Audio file format based on .wav files EBU 1996 for the exchange of files “Open source” Recommended by IASA, AES, NARAS, Sound Directions for preservation “Chunk” for metadata residing with the file Time stamp

  20. IU Audio Preservation System Broadcast Wave Format Metadata elements include: Description of the sound sequence Name of the originator Date/time Coding history (signal chain components) Format independent, sample accurate time stamp “Catastrophic” metadata

  21. IU Audio Preservation System How should we define the files we create? What is in them? How are they created? What do they represent?

  22. IU Audio Preservation System Best Practice Documents Preservation (Archival) Master Files: Unmodified No subjective alterations or improvements Preserve history, not re-write it As true to the original source as possible

  23. IU Audio Preservation System Preservation (Archival) Master Files at the ATM: Complete, unaltered stream from playback machine Carrier of raw material from transfer No editing, signal processing, data reduction, gain manipulation, announcements (slates) 24 bit, 96 kHz

  24. IU Audio Preservation System Production Master Files: Used to generate further derivatives Optimized—signal processing, editing Produced for all content and retained Content of one Face Usually 24/96

  25. IU Audio Preservation Systems Best Practices Define purpose of every digital file Written guidelines on characteristics of files Written guidelines on “technical” and content edits Maintain common reference timeline

  26. IU Audio Preservation System How do we ensure authenticity over time? Data integrity checking “Checksums” MD5 hash or algorithm

  27. IU Audio Preservation System MD5 algorithm All files with enduring value As soon as possible Critical metadata stored in database and in preservation package Verify before trusting

  28. IU Audio Preservation System How do we render the preserved content understandable and manageable? Descriptive Metadata Administrative—Technical Metadata Administrative—Digital Provenance Administrative—Rights Management Structural Metadata

  29. IU Audio Preservation System Audio Technical Metadata Collector (ATMC) Enter/edit technical and structural metadata Audio object and process history metadata Enter/edit audio object evaluations Parse files to collect metadata

  30. IU Audio Preservation System Audio Technical Metadata Collector (ATMC) Generate MD5 Relationships diagrams AES-compliant XML export Java Swing application

  31. IU Audio Preservation System How do we assure and control the quality of the work? Quality control and quality assurance QC at ATM: aural, visual, software tools Collection setup—preliminary transfers Role of permanent staff QA at ATM

  32. IU Audio Preservation System How do we store data after capture? Local, interim storage Backup copies at each stage ATM NAS Additional redundant copy

  33. Selection for Preservation Assess research value Evaluate condition Consider political, technical, and other issues Establish priorities System / Project Planning & Development Funding Personnel / Vendor Equipment Software Tools Creation / maintenance of software and scripts Cleaning or physical restoration as needed Collection Setup Gather and assess documentation Evaluate collection needs / condition Assess cataloging / descriptive metadata issues Develop digitization plan Assess and calibrate equipment Preliminary Work / Pilot Project Exploratory transfers and metadata collection Quality control Reassessment of digitization plan Workflow management / scheduling Post-Transfer Processing Quality control Generation of derivatives Marking areas of interest in files Signal processing (if appropriate) Digitization Analog playback A/D conversion Creation of Preservation Master Files Local filenames Digitization Technical metadata Structural metadata Checksums Quality control Local storage solution Workflow management Migration decision Ingestion into / Copy to Long-Term Storage Solution Preservation packages Periodic Evaluation Data integrity checking Format obsolescence analysis Migration New carrier New format

  34. Director Project Development Selection for Preservation Archivist Selection Preview Collections QC Documentation Librarian Cataloging Issues Associate Director Project Management Selection—Format Issues Scheduling Coordination QC R&D Project Assistant Content Division Production Masters QC ADL’s Workflow Management Collection Setup Ingestion Process Audio Engineer Preservation Transfer Preservation Master Files Technical MD Collection Checksums BWAV MD ADL’s Signal Processing Programmer Software/Script Development Digital Library Program Preservation Repository Services Deliverables Access System

  35. Sound DirectionsDigital Preservation and Access for Global Audio Heritage Project Future “Preservation” Phase funded by NEH Increase throughput Simultaneous transfer Indiana automation Release ATMC, Audio Object Manager, APXE Develop access system for field collections

  36. Sound Directions Digital Preservation and Access for Global Audio Heritage Indiana University Harvard University micasey@indiana.edu www.dlib.indiana.edu/projects/sounddirections

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