Remember my last post about not leaving anything here? Well...........I
have a box of masters that I do for my own label and other things. I was
just in a session with a client that was looking for an old master we
had to fix two years ago. He needs to press more cd's. So I told him
"let's see if I kept one by mistake". Sure enough I did. He just walked
out of here very happy. I need to rethink my policy.
On 3/17/2010 9:59 PM, Richard L. Hess wrote:
> Hi, Steve,
> This is a question I struggle with. In many instances, the agreement
> to do the work includes a "no keep it" clause. That makes it simple.
> When I was asked to digitize the Stan Rogers tapes, the producer asked
> me if I kept copies, and I told him my general policy was to only
> retain copies for 60-90 days after the client approved and received
> the transfers, however in the case of Stan, he could be certain that I
> would preserve these along with other important "permanent" files. He
> seemed pleased.
> I have retained digitized copies of all of the Jack Mullin and related
> German tapes and provided limited distribution of one of the
> recordings from the Pavek for the purpose of identifying the artists
> involved. I have also provided a few clips to NPR when requested by
> the person who helped arrange these tapes to be transferred and
> originally curated them as part of the Ampex collection.
> I also retain my masters that I actually record live (i.e. with
> microphones) -- this goes back to tape masters from the 1970s. I am
> actually slowly sending these back to the original clients or other
> appropriate organization, sometimes with digitization thrown in,
> sometimes not.
> But, as far as transfer work, I generally do not retain copies. My
> clients are not paying me for long-term storage and I do not want to
> be saddled with that responsibility--what happens when I kick the
> bucket? I'm not really in a position to provide long-term storage and
> I'm sure my insurance company would have a hissy fit if I offered it.
> So, if I'm not getting paid for it, and I generally do not have any
> long-term association with the clients (those that I do I keep during
> the association), I delete them generally after 90 days. Big projects
> may get deleted after 60 days, smaller projects, especially for
> private clients, might stay around a bit longer.
> With that said, I do have qualms about deleting copies of oral
> histories that I have undertaken for small aboriginal bands around
> Canada, as I'm not sure how well stored the CD/DVD copies will be, so,
> for the time being, I'm holding onto these.
> So, there are really no answers here, just a mutable set of indistinct
> At 09:24 AM 2010-03-17, Steven Smolian wrote:
>> This brings up an interesting point.
>> Do other studios retain past work? If so, for how long? Should
>> unique material make it the market or even to public access throgh
>> posting, does this expose the studio to legal liability?
>> Steve Smolian
>> ----- Original Message ----- From: "Parker Dinkins"
>> <[log in to unmask]>
>> Sent: Wednesday, March 17, 2010 8:48 AM
>> Subject: Re: [ARSCLIST] NPR reporter searching for news archive
>> While I do have the original and processed audio on data b/u, the
>>> material belongs to MDAH.
>> Richard L. Hess email: [log in to unmask]
>> Aurora, Ontario, Canada (905) 713 6733 1-877-TAPE-FIX
>> Detailed contact information:
>> Quality tape transfers -- even from hard-to-play tapes.