Thanks, to both Marie and Richard: good advice. Marie, I wish i has such a
Richard: I definitely *don't* want to go down the route of using
respirators - much more complicated to do that under OSHA than to use other
controls -- and we do have access to a well-maintained fume hood. (And
I'mlucky enough to have access to UW Campus Health and Safety to help me
out with some of these issues - that isn't always been the case.) I agree,
I definitely also don't want to routinely be baking things, especially if
they have to do it in the hood - it's ineffcient, it's noisy, it's in a non-
audio lab employee's workspace -- unhappiness all around there! So for now,
we'll bake only when we can't play a tape to transfer, and keep an eye out
for some of the research I'm starting to hear about that will help us
identify sticky shed before it's played.
Richard - your response brought up a few more questions for me. One is: if
you are reserving seperate equipment for baking moldy tape, are you also
reserving seperate equipment for playing it? Our audio archivist and I have
only come across moldy tape once since we've been doing this ( a few
years), and we we're able to make the decision to de-acession the tape in
Also - I've been wondering about differentiating between different tape
bases before baking. Acetate and PET - there are a couple of ways that I
know of if it were really in question (using polarized filters, for one,I
think - but if there is an easier way, please let me know) - but do we need
to worry about ruling out PVC as well?
I'd still love to hear other's stories about how they set up this workflow.
I'm certainly not enough of a chemist myself to be able to take the laundry
list of potentially harmful components I recieved and trace it back to any
particular of the makeup of a tape, unfortunately.