Thank you for all of this advice; it was heeded and now -- within my file
structure - it is all neatly organized into a tree that has proven of
unanticipated greater use to me. I also ditched all of the unneccessary
intermediary files that Audacity tends to generate in copious bunches;
learning that they are -- in fact -- unneccessary is half the battle.
However, it still doesn't answer my essential question; identifying seperate
digital files within an exterior kind of documentation, such as my work
list. What I have decided to do in the interrim is simply to identify the
files by their formats and the dates they were made. Here is an example,
taken from Uncle Dave Archive # 131, "Linda Blair."
131. Linda Blair 19820412 8
STATUS Extant (in shortened version; 2:59 from 5-6 mins.); Published -
posted to Reverbnation Profile 2011119.
LYRIC SHEET Instrumental; lyric Written but of poor quality and discarded
SCORE Ms version made shortly after the fact in MNB
Q a. MC ROGER VADIM* (Erkenbrecher Love Palace tape; not UDA.)
b. MC TOURNIQUET OF ROSES UDA extant, copied from a.
c. MC FERNANDEZ SOURCE copied from a (not UDA).
FILE mp3 made 20070817 from Qb (2:59), rescued from removable disk 1; new
wav and mp3 (@2:47 from 2:59) made 20110117.
"8" in the title line indicates the "act" or group that the piece was
written for, which in this case is the Cincinnati-based No Wave band
Cointelpro, which lasted from 1980-1990. "MC" identifies a source cassette
recording; a. and c. are external sources I know of, but I'm not sure either
are extant though b. is my source, a shortened version taken from a, which
was the master recording. The first mp3 came to me from a removable
disk, but this version had some 12 seconds of silence at the end, so I
trimmed these out and made new files.
I need different types of files of the same things for different purposes,
and I suspect that I am not alone in this regard.
Uncle Dave Lewis
On Thu, Dec 30, 2010 at 6:07 PM, Richard L. Hess
<[log in to unmask]>wrote:
> Hello, Uncle Dave,
> I think that some of your challenges MAY (and I stress MAY) be helped by
> following some strict rules.
> (1) All AUDIO files should be stored as WAV files. Samplitude adds a _24 or
> _M24 to the filename as you record indicating 24 bits or MONO 24 bits.
> Storing anything in the native Audacity audio format is, in my opinion, an
> invitation to disaster. It is very non-mainstream.
> (2) Work in a virtual processing world and try very hard to eliminate
> intermediate files. I am familiar with Samplitude/Sequoia.
> (3) If you generate different versions of the virtual working file (EDL or
> whatever) attempt to not only code a version ID (v02 etc) in the filename,
> but also the purpose (backing track for live vocals)
> (4) Use FOLDERS--keep a project in a folder and if you're doing multitrack
> songs/movements, consider putting each in a subfolder of the main project
> (5) I assign folders by client name (lastname_firstname) for each client
> and then subfolders for each project and then subfolders of those
> (sometimes) for each subproject. For personal work in my photography, I use
> date-based folders like:
> For audio I have folders like this for event audio:
> For audio projects that I have permission (and encouragement) to retain
> For ongoing audio projects that I will not retain "forever"
> \\Nas03\Audio\Lonergan\Release\1969\Faith and Beliefs (The Notion of
> Commitment) - Guelph Ontario - Ignatius College (1969-12-04)
> (6) Do not use fragmented storage of bits and pieces hither and yon. Backup
> entire folders/trees at once.
> Please note that there is a Nas04 and a Nas06 in a separate building with
> the exact same tree structure as Nas03 and Nas05.
> I still have pieces of fragmented storage I haven't copied to the NAS
> units--it is the death of me looking for that needle in the haystack.
> (7) If you want additional off-site backups, use drives and put whole
> folder snapshots on them.
> (8) Use a program like ViceVersa Pro from www.tgrmn.com to manage backups.
> Do NOT put your backups into large, single files--keep them totally readable
> by the OS. The exception may be a TAR ball to put on a data tape.
> It works for me. It has grown over time and is not perfect.
> Hopefully there are a few nuggets to give you inspiration to do something
> On 2010-12-30 5:16 PM, David Lewis wrote:
>> Thank you Ronda, for addressing several of the many knotty questions
>> relating to digital domain sources. Below I just wanted to summarize,
>> hopefully briefly, some of the issues I'm facing.
> Richard L. Hess email: [log in to unmask]
> Aurora, Ontario, Canada (905) 713 6733 1-877-TAPE-FIX
> Quality tape transfers -- even from hard-to-play tapes.