I would think that the note that you have should have the "permalink"
(as some repository software calls it) attached to it.
In the above, you can see the sermon is extracted to another hierarchy
and we only save the MP3s. The original WAVs are held 1-2 years and then
deleted. The WAVs contain the entire service, the MP3s just the sermon.
You can also see that the sermon is online in two locations. To confuse
matters, our church webmaster serves the sermons from .net even if you
go on to .ca, although the file is stored at .ca as a backup. NAS03
refers to a Network Attached Storage unit at my house.
\\Nas03\Media-Community\York Region Enrichment Band Jackson-s
Point\2010\WAVs\07 With Each Sunset.wav
\\Nas03\Media-Community\York Region Enrichment Band Jackson-s
Point\2010\MP3s\07 With Each Sunset.mp3
As to the keying of file names, I sometimes create different versions
like these, above.
So, I think these (or at least the path) needs to be in the working note
to be certain.
Now, I also have a wide variety of "ingest" files. For example, both the
Sound Devices 722 and the Zoom H2 have a more-or-less fixed file naming
scheme (less so with the SD 722, as one might expect). I leave these
original files in their native file names. A SD722 file might look like:
T10.WAV and a Zoom H2 file is actually above: STE-001.wav (STE=stereo as
there is a 4-channel mode as well).
Samplitude insists on appending "_24" to all 24 bit files it records (as
opposed to generates) and "_M24" to all MONO 24 bit files it records, so
I leave those appendages in.
Here is an example of an album I digitized--looking at the file size can
From_Fresh_Water_01_24.wav 1508 MB
From_Fresh_Water_44-1_24.wav 693 MB
Notice on the second one, the 44-1_24 meaning that it is a 44,100
sample-per-second, 24-bit file. The first one is 96,000 samples-per-second.
I had one client who wanted "_m" appended to all his files meaning that
it was a "master" and in his world, that meant 96/24. I complied.
The huge heap of files that Audacity makes (it seems each file only
lasts a minute) is one of the reasons I cannot generally recommend it.
This is far too cumbersome for most production work. Samplitude lets me
work directly in WAV files and almost everything I do is done in a
virtual mode where the original WAV file is not modified--many
applications work (or can work) that way. Samplitude can also work in a
"destructive editing" mode and I did my first project that way and then
To confuse the file naming even more, Samplitude makes two "sidecar"
files for each WAV file--much smaller--but if they are lost, they will
be re-generated. One of them contains the graphic information for the
waveform so you aren't looking at the audio file until you zoom in past
a certain level. Makes for really fast loading.
I do not know of any formal scheme, but I haven't searched for one as it
is my clients who impose a scheme on much of what I do, and for my own
work, it has grown.
In Windows, you can right-click a file, select properties, and it will
tell you the bit rate and sample depth on the summary tab, so that is a
quick check. I do not know how to do that on a Mac, but I suspect you can.
I'm still not certain that I have answered your question. One thing to
do is see if the Producers Wing of the Grammy Foundation has come up
with a strict naming convention.
On 2011-01-24 4:50 PM, David Lewis wrote:
> 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
> Lebanon, OH
> 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.
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.