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ARSCLIST  February 2013

ARSCLIST February 2013

Subject:

Re: ARSCLIST Digest - 20 Feb 2013 to 21 Feb 2013 (#2013-52)

From:

Nell Fleming <[log in to unmask]>

Reply-To:

Association for Recorded Sound Discussion List <[log in to unmask]>

Date:

Fri, 22 Feb 2013 11:11:43 -0600

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (2754 lines)

I want off this list please.  I've requested several times following the
instructions but cannot get off of it.  Please assist.
Nell


On Thu, Feb 21, 2013 at 11:00 PM, ARSCLIST automatic digest system <
[log in to unmask]> wrote:

> There are 35 messages totalling 2515 lines in this issue.
>
> Topics of the day:
>
>   1. a segue from wires to recordings of music performed on organs (7)
>   2. Digitizing 10,000+ audio cassettes (17)
>   3. AW: Broken cylinders
>   4. IASA: Applications for Travel Grants 2013 now open
>   5. [GRAYMAIL] Re: [ARSCLIST] Digitizing 10,000+ audio cassettes (3)
>   6. Arthur Todd Mystery (2)
>   7. Squealing Audio Cassette Tapes
>   8. Long time ARSC member David Hamilton died on Tuesday... (3)
>
> ----------------------------------------------------------------------
>
> Date:    Thu, 21 Feb 2013 00:21:33 -0500
> From:    Art Shifrin <[log in to unmask]>
> Subject: a segue from wires to recordings of music performed on organs
>
> I have a one hour wire of Porter Heath lecturing / demonstrating a Hammond
> to a group of church organists, circa 1950.  Might such musical & tutorial
> contents be of interest to some group, collection, or institution?  It
> played through in real time in an uninterrupted & otherwise trouble-free
> transfer to digits a few days ago & will remain tails out for posterity.
>
> Art (Shiffy) Shifrin
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 00:51:54 -0600
> From:    Paul Stamler <[log in to unmask]>
> Subject: Re: Digitizing 10,000+ audio cassettes
>
> On 2/20/2013 5:52 PM, Nigel Champion wrote:
> > G'day Joel
> >
> > An efficient way to do this is with parallel capture:  multiple cassette
> decks playing into a multi-track card (or cards).  I strongly recommend
> something like the RME MultiFace II or FireFace as their DigiCheck utility
> captures multiple tracks quickly and efficiently.
> >
> > Currently, I'm using three M-Audio Delta 44 cards to capture mono audio
> from 12 VHS tapes simultaneously.  Using Audition in multi-track mode, the
> WAV files are created on-the-fly with no saving time required at the end of
> the capture.   Unfortunately, the timed-record mode isn't available for
> multi-track capture in Audition - a script had to be written.  With 3,500
> tapes and 6 hours of audio on each one, I'm capturing 24 tapes (144 hours)
> per day.
> >
> > Of course, there will be the big task at some point of cropping silences
> from each end but at least the material is captured and accessible!
>
> I agree with Nigel; the efficient way to record these tapes is to get
> several cassette decks and record multi-track, then export the various
> tracks as individual files. I don't think a high-speed deck will get you
> good results (even if you could find one) -- you'd need to sample at a
> very high sample-rate then slow each pair of tracks down in software.
> You'd almost certainly lose a lot of quality in the process, and it'd
> probably be faster and higher quality to go the multiple-deck route. Now
> all you need is to find several good cassette decks and a multi-track
> interface; in addition to the RME, there are units available from MOTU.
>
> This labor of love may wind up costing you a good deal of money as well
> as time.
>
> Peace,
> Paul
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 06:19:28 -0500
> From:    Tom Fine <[log in to unmask]>
> Subject: Re: Digitizing 10,000+ audio cassettes
>
> The real efficient way is to call up Richard Hess. This is the kind of
> cassette job he's set up to
> do. Trying to do 1000+ cassettes yourself, unless you are an expert with
> lots of half-decent audio
> gear at your disposal, is a fool's errand.
>
> -- Tom Fine
>
> ----- Original Message -----
> From: "Paul Stamler" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Thursday, February 21, 2013 1:51 AM
> Subject: Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
>
> > On 2/20/2013 5:52 PM, Nigel Champion wrote:
> >> G'day Joel
> >>
> >> An efficient way to do this is with parallel capture:  multiple
> cassette decks playing into a
> >> multi-track card (or cards).  I strongly recommend something like the
> RME MultiFace II or
> >> FireFace as their DigiCheck utility captures multiple tracks quickly
> and efficiently.
> >>
> >> Currently, I'm using three M-Audio Delta 44 cards to capture mono audio
> from 12 VHS tapes
> >> simultaneously.  Using Audition in multi-track mode, the WAV files are
> created on-the-fly with no
> >> saving time required at the end of the capture.   Unfortunately, the
> timed-record mode isn't
> >> available for multi-track capture in Audition - a script had to be
> written.  With 3,500 tapes and
> >> 6 hours of audio on each one, I'm capturing 24 tapes (144 hours) per
> day.
> >>
> >> Of course, there will be the big task at some point of cropping
> silences from each end but at
> >> least the material is captured and accessible!
> >
> > I agree with Nigel; the efficient way to record these tapes is to get
> several cassette decks and
> > record multi-track, then export the various tracks as individual files.
> I don't think a high-speed
> > deck will get you good results (even if you could find one) -- you'd
> need to sample at a very high
> > sample-rate then slow each pair of tracks down in software. You'd almost
> certainly lose a lot of
> > quality in the process, and it'd probably be faster and higher quality
> to go the multiple-deck
> > route. Now all you need is to find several good cassette decks and a
> multi-track interface; in
> > addition to the RME, there are units available from MOTU.
> >
> > This labor of love may wind up costing you a good deal of money as well
> as time.
> >
> > Peace,
> > Paul
> >
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 05:30:32 -0700
> From:    Roger Kulp <[log in to unmask]>
> Subject: Re: Digitizing 10,000+ audio cassettes
>
> I must admit I had never heard of pobox.com.I may switch if Outlook
> doesn't=
>  work out.As you can see=2Cthe problems with mail going to the wrong
> addres=
> s are gone since I left Yahoo.Others who use Yahoo have had the same
> proble=
> m with ARSClist.My  Yahoo account was hacked on January 31st=2Cand all my
> i=
> nformation was changed=2Cwhich finally forced me to abandon a Yahoo
> account=
>  I had since 2000. Roger > Date: Thu=2C 21 Feb 2013 06:19:28 -0500> From:
> t=
> [log in to unmask]> Subject: Re: [ARSCLIST] Digitizing 10=2C000+
> au=
> dio cassettes> To: [log in to unmask]> > The real efficient way is
> t=
> o call up Richard Hess. This is the kind of cassette job he's set up to >
> d=
> o. Trying to do 1000+ cassettes yourself=2C unless you are an expert with
> l=
> ots of half-decent audio > gear at your disposal=2C is a fool's errand.> >
> =
> -- Tom Fine> > ----- Original Message ----- > From: "Paul Stamler"
> <pstamle=
> [log in to unmask]>> To: <[log in to unmask]>> Sent: Thursday=2C February
> 2=
> 1=2C 2013 1:51 AM> Subject: Re: [ARSCLIST] Digitizing 10=2C000+ audio
> casse=
> ttes> > > > On 2/20/2013 5:52 PM=2C Nigel Champion wrote:> >> G'day Joel>
> >=
> >> >> An efficient way to do this is with parallel capture:  multiple
> casse=
> tte decks playing into a > >> multi-track card (or cards).  I strongly
> reco=
> mmend something like the RME MultiFace II or > >> FireFace as their
> DigiChe=
> ck utility captures multiple tracks quickly and efficiently.> >>> >>
> Curren=
> tly=2C I'm using three M-Audio Delta 44 cards to capture mono audio from
> 12=
>  VHS tapes > >> simultaneously.  Using Audition in multi-track mode=2C the
> =
> WAV files are created on-the-fly with no > >> saving time required at the
> e=
> nd of the capture.   Unfortunately=2C the timed-record mode isn't > >>
> avai=
> lable for multi-track capture in Audition - a script had to be written.
>  Wi=
> th 3=2C500 tapes and > >> 6 hours of audio on each one=2C I'm capturing 24
> =
> tapes (144 hours) per day.> >>> >> Of course=2C there will be the big task
> =
> at some point of cropping silences from each end but at > >> least the
> mate=
> rial is captured and accessible!> >> > I agree with Nigel=3B the efficient
> =
> way to record these tapes is to get several cassette decks and > > record
> m=
> ulti-track=2C then export the various tracks as individual files. I don't
> t=
> hink a high-speed > > deck will get you good results (even if you could
> fin=
> d one) -- you'd need to sample at a very high > > sample-rate then slow
> eac=
> h pair of tracks down in software. You'd almost certainly lose a lot of >
> >=
>  quality in the process=2C and it'd probably be faster and higher quality
> t=
> o go the multiple-deck > > route. Now all you need is to find several good
> =
> cassette decks and a multi-track interface=3B in > > addition to the
> RME=2C=
>  there are units available from MOTU.> >> > This labor of love may wind up
> =
> costing you a good deal of money as well as time.> >> > Peace=2C> > Paul>
> >=
>                                           =
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 05:41:53 -0700
> From:    Roger Kulp <[log in to unmask]>
> Subject: Re: AW: Broken cylinders
>
> Michael Cumella=2Cthe guy who does The Antique Phonograph Music Program on
> =
> WFMU=2Chas a digitizing service for everything that includes both cyliners=
> =2Cand cardboard home recording records.
>  http://www.michaelcumella.com/transfer.htm He is either in New York or
> New=
>  Jersey.I don't know how good he is=2Cbut I am thinking of giving him my
> li=
> ttle stash of home recorded records. Roger> Date: Wed=2C 20 Feb 2013
> 14:42:=
> 32 +0000
> > From: [log in to unmask]
> > Subject: [ARSCLIST] AW: Broken cylinders
> > To: [log in to unmask]
> >=20
> > Dear Tore=2C
> > maybe the Berlin Phonogramm-Archiv is a little bit nearer =3B-). We have
> =
> some experience in digitising cylinders (some 9000 so far). Maybe your
> frie=
> nd of a friend can contact us directly to exchange a little bit more of
> inf=
> ormation.
> >=20
> > Best
> >=20
> > Albrecht Wiedmann
> > Staatliche Museen zu Berlin
> > Ethnologisches Museum
> > Abt. VI Medientechnik=2C Musikethnologie und Berliner Phonogramm-Archiv
> > Arnimallee 27
> > D-14195 Berlin
> > fon +49(0)30 8301 250
> > fax +49(0)30 8301 292
> >=20
> >=20
> >=20
> > -----Urspr=FCngliche Nachricht-----
> > Von: Association for Recorded Sound Discussion List [mailto:
> ARSCLIST@LIST=
> SERV.LOC.GOV] Im Auftrag von Tore Simonsen
> > Gesendet: Samstag=2C 16. Februar 2013 18:33
> > An: [log in to unmask]
> > Betreff: [ARSCLIST] Broken cylinders
> >=20
> > Dear list=2C
> >=20
> > I have been asked by a friend of a friend about the possibility of
> digita=
> lizing cylinders=2C some of them broken. I don't know who this person
> is=2C=
>  he is extremely secretive=3B all I have been told is that the cylinders
> ar=
> e from the 1890s=2C are "bigger than ordinary cylinders"=2C are unique=2C
> a=
> nd "sensational" in its content=2C whatever that could mean. I have no
> idea=
>  of how much broken they are or how many items there are in all.
> >=20
> > Where can I find the best expertise for this? Obviously it's a distance
> f=
> rom Norway to US of A=2C and maybe I should look for a solution closer to
> h=
> ome=2C but having seen a few presentations at ARSC conventions the last
> yea=
> rs I feel confident that I will find what we are looking for in the ARSC
> co=
> mmunity.
> >=20
> > All the best=2C
> >=20
> > Tore Simonsen=2C Ph.D
> > Associate Professor
> > Norwegian Academy of Music
> >=20
> > [log in to unmask]
> > office +47 2336 7110
> > cell +47 9203 1015
> > skype: torenmh
>                                           =
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 08:12:54 -0500
> From:    "Richard L. Hess" <[log in to unmask]>
> Subject: Re: a segue from wires to recordings of music performed on organs
>
> Hi, Art,
>
> At one point I had a fleeting interest in Hammond Organs and acquired
> one used as another musical toy for our home...I don't really play, but
> my son Robert is studying music at the university level. Personally, I
> was fascinated with the technology of the Hammond Organ (but telegraphs
> have fascinated me, too), and I had never really dug into how they
> worked until my brief foray in 2010. I had always wondered why you had
> to oil them--I never realized they were electric, rather than
> electronic, instruments. Each tonewheel is a miniature generator (as in
> dynamo). One of the interesting things is that the tonewheels are
> friction coupled to the drive shaft and their spinning can be heard on
> power up. This provides the interesting property that the phase
> relationship between any two notes is totally random--I guess not unlike
> a pipe organ which is so temperature sensitive.
>
> When I was interested in learning about Hammond organs, I found there
> were several communities on the Web that offered support for the addiction.
>
> One group I subscribed to in 2010 was
> [log in to unmask]
>
> You might ask there.
>
> Cheers,
>
> Richard
>
> On 2013-02-21 12:21 AM, Art Shifrin wrote:
> > I have a one hour wire of Porter Heath lecturing / demonstrating a
> Hammond
> > to a group of church organists, circa 1950.  Might such musical &
> tutorial
> > contents be of interest to some group, collection, or institution?  It
> > played through in real time in an uninterrupted & otherwise trouble-free
> > transfer to digits a few days ago & will remain tails out for posterity.
> >
> > Art (Shiffy) Shifrin
> >
>
> --
> Richard L. Hess                   email: [log in to unmask]
> Aurora, Ontario, Canada                             647 479 2800
> http://www.richardhess.com/tape/contact.htm
> Quality tape transfers -- even from hard-to-play tapes.
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 08:25:31 -0500
> From:    Frank Strauss <[log in to unmask]>
> Subject: Re: a segue from wires to recordings of music performed on organs
>
> >
> > When I was interested in learning about Hammond organs, I found there
> were
> > several communities on the Web that offered support for the addiction.
> >
> > One group I subscribed to in 2010 was
> > [log in to unmask]
> >
> > You might ask there.
> >
> > Cheers,
> >
> > Richard
> >
> > Ah-so many addictions, so little time. (and space)
>
>
> --
> Frank B Strauss, DMD
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 08:34:44 -0500
> From:    Tom Fine <[log in to unmask]>
> Subject: Re: a segue from wires to recordings of music performed on organs
>
> When you combine a wire recording with a Hammond Organ, you are talking
> cutting edge music and audio
> technology circa early 1930s.
>
> -- Tom Fine
>
> ----- Original Message -----
> From: "Richard L. Hess" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Thursday, February 21, 2013 8:12 AM
> Subject: Re: [ARSCLIST] a segue from wires to recordings of music
> performed on organs
>
>
> > Hi, Art,
> >
> > At one point I had a fleeting interest in Hammond Organs and acquired
> one used as another musical
> > toy for our home...I don't really play, but my son Robert is studying
> music at the university
> > level. Personally, I was fascinated with the technology of the Hammond
> Organ (but telegraphs have
> > fascinated me, too), and I had never really dug into how they worked
> until my brief foray in 2010.
> > I had always wondered why you had to oil them--I never realized they
> were electric, rather than
> > electronic, instruments. Each tonewheel is a miniature generator (as in
> dynamo). One of the
> > interesting things is that the tonewheels are friction coupled to the
> drive shaft and their
> > spinning can be heard on power up. This provides the interesting
> property that the phase
> > relationship between any two notes is totally random--I guess not unlike
> a pipe organ which is so
> > temperature sensitive.
> >
> > When I was interested in learning about Hammond organs, I found there
> were several communities on
> > the Web that offered support for the addiction.
> >
> > One group I subscribed to in 2010 was
> > [log in to unmask]
> >
> > You might ask there.
> >
> > Cheers,
> >
> > Richard
> >
> > On 2013-02-21 12:21 AM, Art Shifrin wrote:
> >> I have a one hour wire of Porter Heath lecturing / demonstrating a
> Hammond
> >> to a group of church organists, circa 1950.  Might such musical &
> tutorial
> >> contents be of interest to some group, collection, or institution?  It
> >> played through in real time in an uninterrupted & otherwise trouble-free
> >> transfer to digits a few days ago & will remain tails out for posterity.
> >>
> >> Art (Shiffy) Shifrin
> >>
> >
> > --
> > Richard L. Hess                   email: [log in to unmask]
> > Aurora, Ontario, Canada                             647 479 2800
> > http://www.richardhess.com/tape/contact.htm
> > Quality tape transfers -- even from hard-to-play tapes.
> >
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 09:52:28 -0500
> From:    "Richard L. Hess" <[log in to unmask]>
> Subject: Re: Digitizing 10,000+ audio cassettes
>
> Hi, Tom,
>
> Your message stated 1000+ and I might be up for that, though the
> original poster I think said that this was unfunded and was a labour of
> love. I have stopped my labour of love at the church because after five
> years my paying work was suffering. HOWEVER, 10,000+ (mentioned in the
> thread subject) is not something that I would be up for at the moment.
> Thanks for the vote of confidence!
>
> My setup is really aimed at high-end transfers using six Nakamichi
> Dragons which can run in parallel into two RME Multiface II units. For
> many of the high-end reel projects, I use an RME Fireface UFX, but it
> only provides 8 line inputs and four mic/instrument inputs. I have a
> MOTU 828 MK II and it was reasonably close to the RME Multiface (not
> II). There was an improvement in the Multiface II and the Fireface UFX
> is a further improvement, but the standout on the UFX is the mic preamp
> (of which there are four). I MUCH prefer the RME driver software
> including the fact that at least with the FF you can use it for direct
> recording to the PC without using a DAW.
>
> I will sometimes run processing upon ingest, tailored to the original
> cassette quality (or more aptly, lack thereof) and generate twelve
> stereo files: six raw and six with preliminary processing. The
> preliminary processing varies but is generally a combination of
> compression and filtering. Multiband compression can actually improve
> intelligibility, especially if one party to a conversation is recorded
> with a very boomy voice and the other is thin. The boominess gets
> attenuated a bit if the wind is blowing in the right direction.
>
> It is quite time consuming to do further cleanup in iZotope as even with
> a quadcore i7 930 processor, iZotope in many noise-reduction modes will
> run up all four processors to about 80 % and still take a significant
> time to process. In the most processor-intensive configuration I've
> found, a stereo 96/24 file takes approximately real time to process.
> Click removal is perhaps the next slowest, again depending on settings,
> running at 2-4 times real time. A simple task runs at 30-40 times real
> time on this system.
>
> There is an alternate option for the original poster that is probably
> adequate quality. One dealer (http://www.avcom.co.uk/digitizer.htm) says
> > How Long Will It Take To Digitize Your Tape Library?
> >
> > The Fast Way - Add a Digitizer to your computer, play your cassette at
> > high speed and digitize up to 50, yes fifty, C90 cassettes in an
> > eight-hour day.
> >
> > The Slow Way - Take at least 1 hour and 30 minutes to playback each
> > C90 cassette into your computer's sound card. In an 8-hour day you
> > could digitize a maximum of five C90 cassettes.
> To which I add that with eight parallel players (a reasonable maximum)
> you could, using the same assumptions, digitize 40, yes forty, C90
> cassettes in an eight-hour day. That is assuming a very fast reload
> cycle that may not be practical...
>
> The manufacturer link for these ingest products is:
>
> http://www.graffdigitalcopiers.co.uk/cassette-duplication-digitization-c-33.html
>
>
> http://www.graffdigitalcopiers.co.uk/digitiser-stereo-model-lc60503-p-60.html
> digitizes at 8x speed and produces 22050 sample/second WAV files,
> limiting the upper bandwidth to about 10 kHz and is stereo.
>
>
> http://www.graffdigitalcopiers.co.uk/digitiser-stereo-model-lc60553-p-61.html
> offers a 4x speed and 44100 s/s WAV files.
>
> These appear to do both sides in one pass so at 4 x the run time is 12
> minutes for a C90 and 6 minutes at 8 x.
>
> If you went with the high-speed model, I would still consider two or
> three units running in parallel and get a spare transport module.
>
> If you opted to run 8 x with two units, that would be 100 C90s per day,
> so you could conceivably finish the job in 100 days. With 8 cassette
> recorders I doubt you could keep the 40 tapes/day throughput but, if you
> could, then it would take 250 days.
>
> Compare that to doing one at a time in real time...that would be 2000
> days...8.3 years based on a 240-day work year.
>
> If you digitized MONO at 22050 s/s for 10,000 tapes at 16 bits that
> would be about 250 MB per tape. Go to 44100 s/s and it would be about
> 500 MB per tape. Stereo, of course, would double that. Let's figure 500
> MB per tape so that would be about 5000 GB for one copy of the project
> (5 TB)...in very round numbers.
>
> Any problematic tapes should be immediately reshelled and take it from
> there.
>
> Reshelling hints:
> http://richardhess.com/notes/2006/03/06/loading-c-0-cassettes/
>
> As a further note, I came across this as a useful bit of information
> about digitizing:
>
> http://wiki.ubc.ca/Documentation:Toolkit_for_the_Digitization_of_First_Nations_Knowledge/SECTION_D:_Audio_Digitization/D1:_Audio_Cassette_Tape/D1.1_Planning:_Before_starting_an_audio_cassette_digitization_project
>
> There might be additional useful information in TB30 which I co-authored
> available here:
> http://www.cci-icc.gc.ca/bookstore/viewCategory_e.aspx?id=18
>
> The reference for this type of work is IASA TC-04
> IASA's TC04 on audio preservation is available online (and for a fee in
> a print edition)
> http://www.iasa-web.org/tc04/audio-preservation
>
> Cheers,
>
> Richard
>
>
>
>
>
>
> On 2013-02-21 6:19 AM, Tom Fine wrote:
> > The real efficient way is to call up Richard Hess. This is the kind of
> > cassette job he's set up to do. Trying to do 1000+ cassettes yourself,
> > unless you are an expert with lots of half-decent audio gear at your
> > disposal, is a fool's errand.
> >
> > -- Tom Fine
>
> --
> Richard L. Hess                   email: [log in to unmask]
> Aurora, Ontario, Canada                             647 479 2800
> http://www.richardhess.com/tape/contact.htm
> Quality tape transfers -- even from hard-to-play tapes.
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 06:56:59 -0800
> From:    Michael Fox <[log in to unmask]>
> Subject: Re: a segue from wires to recordings of music performed on organs
>
> I believe his name is Porter HEAPS.
>
> Michael Fox
>
>
> On Wed, Feb 20, 2013 at 9:21 PM, Art Shifrin <[log in to unmask]>
> wrote:
>
> > I have a one hour wire of Porter Heath lecturing / demonstrating a
> Hammond
> > to a group of church organists, circa 1950.  Might such musical &
> tutorial
> > contents be of interest to some group, collection, or institution?  It
> > played through in real time in an uninterrupted & otherwise trouble-free
> > transfer to digits a few days ago & will remain tails out for posterity.
> >
> > Art (Shiffy) Shifrin
> >
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 08:06:35 -0700
> From:    Michael Biel <[log in to unmask]>
> Subject: Re: Digitizing 10,000+ audio cassettes
>
> On 2/20/2013 3:31 PM, Joel Alperson wrote:=0A>>> I have the task of
> digitiz=
> ing over 10,000 audio cassettes =0AFrom: Paul Stamler <[log in to unmask]
> >=
> =0A>> The first question: are you being paid for this work? And if
> so,=0A>>=
>  how? By the hour? Piecework? Or a flat fee for the whole job?=0A>> Peace,
> =
> Paul=0AFrom: Joel Alperson <[log in to unmask]>=0A> Thanks
> for =
> your reply, Paul.=0A> No payment.  This project is a labor of love.  Joel=
> =0A=0AGuys and Gals of the ARSCList -- I think we have all just heard the
> r=
> eal=0Adefinition of true love!  In the background I think I hear a
> concerti=
> na,=0ABing Crosby, and Grace Kelly . . . =0Ahttp://
> www.youtube.com/watch?v=
> =3Dm4awCZr7GwY=0A=0AMike Biel  [log in to unmask]  =0A
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 10:32:22 -0500
> From:    "Randy A. Riddle" <[log in to unmask]>
> Subject: Re: Digitizing 10,000+ audio cassettes
>
> I'll ask a very simple question:  Why does all of it have to be digitized?
>
> I'd start with a triage process to prioritize the material.
>
> There's a point when you have to look at something and determine if
> the material - or significant parts of the material - are worth
> saving.  If you're really doing this as a "labor of love", you will
> likely find out that the love affair will end when you consider the
> time and cost involved.
>
> Archivists and collectors have to make these decisions all of the
> time.  I would consider getting advice from a professional with some
> familiarity with the material to see if making it available for
> researchers at some point is going to be really useful or just
> marginally "nice to have".  It might be that the content is available
> in other forms or is similar to something already being archived and
> not as useful as something unique.
>
> Randy
>
> On Thu, Feb 21, 2013 at 10:06 AM, Michael Biel <[log in to unmask]> wrote:
> > On 2/20/2013 3:31 PM, Joel Alperson wrote:
> >>>> I have the task of digitizing over 10,000 audio cassettes
> > From: Paul Stamler <[log in to unmask]>
> >>> The first question: are you being paid for this work? And if so,
> >>> how? By the hour? Piecework? Or a flat fee for the whole job?
> >>> Peace, Paul
> > From: Joel Alperson <[log in to unmask]>
> >> Thanks for your reply, Paul.
> >> No payment.  This project is a labor of love.  Joel
> >
> > Guys and Gals of the ARSCList -- I think we have all just heard the real
> > definition of true love!  In the background I think I hear a concertina,
> > Bing Crosby, and Grace Kelly . . .
> > http://www.youtube.com/watch?v=m4awCZr7GwY
> >
> > Mike Biel  [log in to unmask]
> >
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 16:04:35 +0000
> From:    "Gordon, Bruce" <[log in to unmask]>
> Subject: IASA: Applications for Travel Grants 2013 now open
>
> Dear folks,
>
> Please forgive the cross posting and consider this timely information:
>
> IASA: Applications for Travel Grants 2013 now open Applications for Travel
> =
> Grants have opened and IASA members are welcome to apply for a travel
> grant=
>  to the attend the Joint IASA-BAAC 2013 conference in Vilnius, Lithuania 6
> =
> - 10 October. For more information please visit
> http://www.iasa-web.org/tra=
> vel-grant. Please note that Travel Grant applications will close on the
> 30 =
> April 2013. Also be reminded that the IASA - BAAC Call for Papers close on
> =
> the 28 February 2013. For more information about the Call for Papers visit
> =
> http://2013.iasa-web.org/
>
> Thank-you!
>
> -Bruce
>
> Bruce J. Gordon
> Audio Engineer
> Audio Preservation Services
> Harvard University
> Cambridge, Massachusetts 02138
> U.S.A
> tel. +1(617) 495-1241
> fax +1(617) 496-4636
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 17:07:00 +0000
> From:    Don Cox <[log in to unmask]>
> Subject: Re: Digitizing 10,000+ audio cassettes
>
> On 21/02/2013, Randy A. Riddle wrote:
>
> > I'll ask a very simple question: Why does all of it have to be
> > digitized?
> >
> Especially as the cassettes will probably be easier to preserve than
> digital copies.
>
> > I'd start with a triage process to prioritize the material.
> >
> > There's a point when you have to look at something and determine if
> > the material - or significant parts of the material - are worth
> > saving.  If you're really doing this as a "labor of love", you will
> > likely find out that the love affair will end when you consider the
> > time and cost involved.
> >
> > Archivists and collectors have to make these decisions all of the
> > time.  I would consider getting advice from a professional with some
> > familiarity with the material to see if making it available for
> > researchers at some point is going to be really useful or just
> > marginally "nice to have".  It might be that the content is available
> > in other forms or is similar to something already being archived and
> > not as useful as something unique.
> >
>
> Regards
> --
> Don Cox
> [log in to unmask]
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 09:03:54 -0800
> From:    Roderic G Stephens <[log in to unmask]>
> Subject: Re: a segue from wires to recordings of music performed on organs
>
> Or, playing a saw with a bow......... =A0Or a Theremin, now there's an
> ense=
> mble to dream of.
>
> --- On Thu, 2/21/13, Tom Fine <[log in to unmask]> wrote:
>
> From: Tom Fine <[log in to unmask]>
> Subject: Re: [ARSCLIST] a segue from wires to recordings of music
> performed=
>  on organs
> To: [log in to unmask]
> Date: Thursday, February 21, 2013, 5:34 AM
>
> When you combine a wire recording with a Hammond Organ, you are talking
> cut=
> ting edge music and audio technology circa early 1930s.
>
> -- Tom Fine
>
> ----- Original Message ----- From: "Richard L. Hess" <[log in to unmask]
> =
> COM>
> To: <[log in to unmask]>
> Sent: Thursday, February 21, 2013 8:12 AM
> Subject: Re: [ARSCLIST] a segue from wires to recordings of music
> performed=
>  on organs
>
>
> > Hi, Art,
> >=20
> > At one point I had a fleeting interest in Hammond Organs and acquired
> one=
>  used as another musical toy for our home...I don't really play, but my
> son=
>  Robert is studying music at the university level. Personally, I was
> fascin=
> ated with the technology of the Hammond Organ (but telegraphs have
> fascinat=
> ed me, too), and I had never really dug into how they worked until my
> brief=
>  foray in 2010. I had always wondered why you had to oil them--I never
> real=
> ized they were electric, rather than electronic, instruments. Each
> tonewhee=
> l is a miniature generator (as in dynamo). One of the interesting things
> is=
>  that the tonewheels are friction coupled to the drive shaft and their
> spin=
> ning can be heard on power up. This provides the interesting property that
> =
> the phase relationship between any two notes is totally random--I guess
> not=
>  unlike a pipe organ which is so temperature sensitive.
> >=20
> > When I was interested in learning about Hammond organs, I found there
> wer=
> e several communities on the Web that offered support for the addiction.
> >=20
> > One group I subscribed to in 2010 was
> > [log in to unmask]
> >=20
> > You might ask there.
> >=20
> > Cheers,
> >=20
> > Richard
> >=20
> > On 2013-02-21 12:21 AM, Art Shifrin wrote:
> >> I have a one hour wire of Porter Heath lecturing / demonstrating a
> Hammo=
> nd
> >> to a group of church organists, circa 1950.=A0 Might such musical &
> tuto=
> rial
> >> contents be of interest to some group, collection, or institution?=A0 It
> >> played through in real time in an uninterrupted & otherwise trouble-free
> >> transfer to digits a few days ago & will remain tails out for posterity.
> >>=20
> >> Art (Shiffy) Shifrin
> >>=20
> >=20
> > -- Richard L. Hess=A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0=A0=A0email:
> richard=
> @richardhess.com
> > Aurora, Ontario, Canada=A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =
> =A0 =A0=A0=A0647 479 2800
> > http://www.richardhess.com/tape/contact.htm
> > Quality tape transfers -- even from hard-to-play tapes.
> >=20
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 09:07:03 -0800
> From:    Roderic G Stephens <[log in to unmask]>
> Subject: Re: Digitizing 10,000+ audio cassettes
>
> Yeah, but you've got to have that sailboat with an orchestra following in
> a=
>  dingy.
>
> --- On Thu, 2/21/13, Michael Biel <[log in to unmask]> wrote:
>
> From: Michael Biel <[log in to unmask]>
> Subject: Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
> To: [log in to unmask]
> Date: Thursday, February 21, 2013, 7:06 AM
>
> On 2/20/2013 3:31 PM, Joel Alperson wrote:
> >>> I have the task of digitizing over 10,000 audio cassettes=20
> From: Paul Stamler <[log in to unmask]>
> >> The first question: are you being paid for this work? And if so,
> >> how? By the hour? Piecework? Or a flat fee for the whole job?
> >> Peace, Paul
> From: Joel Alperson <[log in to unmask]>
> > Thanks for your reply, Paul.
> > No payment.=A0 This project is a labor of love.=A0 Joel
>
> Guys and Gals of the ARSCList -- I think we have all just heard the real
> definition of true love!=A0 In the background I think I hear a concertina,
> Bing Crosby, and Grace Kelly . . .=20
> http://www.youtube.com/watch?v=3Dm4awCZr7GwY
>
> Mike Biel=A0 [log in to unmask]
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 12:10:21 -0600
> From:    Joel Alperson <[log in to unmask]>
> Subject: Re: Digitizing 10,000+ audio cassettes
>
> What tremendous replies both in content and variety.
>
> Thanks to everyone for your comments.
>
> As to labor of love first, this material does not exist anywhere else.
>
> These tapes in most cases are the only recordings which exist.
>
> The reasons for digitizing are, one to preserve them as some are over 30
> years old. Two, to more easily listen to search through them. And
> finally, to ultimately digitally transcribe to text the recordings at
> some time in the future, although that's a far less important goal for
> now.
>
> It seems to me that using an outside service would be tremendously
> expensive, certainly well into five figures if not more.
>
> And I have the advantage of not having a hard deadline for this work
> meaning if the job takes me several years to complete that is far better
> than leaving the tapes to deteriorate without preservation.
>
> For now, deleting silence at the beginning or end of the recordings is
> not critical. Just getting the material digitized is my priority.
>
> I currently have an M-Audio Ultra Lite Mk3 audio interface.
>
> The big questions for me then (I think) are what software to use and
> some step-by-step instructions as to how I connect several audio
> cassette recorders to the audio interface and on operating the software
> I would use.
>
> I'm sure there are questions I don't even know to ask.
>
> So let me just say one more time, thanks to everyone.
>
> What a great community you have here.
>
> Joel
>
> -----Original Message-----
> From: Association for Recorded Sound Discussion List
> [mailto:[log in to unmask]] On Behalf Of Don Cox
> Sent: Thursday, February 21, 2013 11:07 AM
> To: [log in to unmask]
> Subject: [GRAYMAIL] Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
> On 21/02/2013, Randy A. Riddle wrote:
>
> > I'll ask a very simple question: Why does all of it have to be=20
> > digitized?
> >=20
> Especially as the cassettes will probably be easier to preserve than
> digital copies.
>
> > I'd start with a triage process to prioritize the material.
> >=20
> > There's a point when you have to look at something and determine if=20
> > the material - or significant parts of the material - are worth=20
> > saving.  If you're really doing this as a "labor of love", you will=20
> > likely find out that the love affair will end when you consider the=20
> > time and cost involved.
> >=20
> > Archivists and collectors have to make these decisions all of the=20
> > time.  I would consider getting advice from a professional with some=20
> > familiarity with the material to see if making it available for=20
> > researchers at some point is going to be really useful or just=20
> > marginally "nice to have".  It might be that the content is available=20
> > in other forms or is similar to something already being archived and=20
> > not as useful as something unique.
> >=20
>
> Regards
> --
> Don Cox
> [log in to unmask]
>
>
>
> The information in this email is confidential and may be legally
> privileged=
> . It
> is intended solely for the addressee. Access to this email by anyone else
> is
> unauthorized. Any review by others or distribution to others is strictly
> prohibited. If you are not the intended recipient please contact the
> sender=
>  and
> delete all copies. Thank You!
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 13:35:29 -0500
> From:    Tom Fine <[log in to unmask]>
> Subject: Re: Digitizing 10,000+ audio cassettes
>
> Hi Joel:
>
> This reminds me of the beginning to my favorite "reality show" on TV,
> "Swamp People." In the opening
> montage, one of the alligator hunters is voiced-over saying, "if you think
> you can come out here and
> do this, good luck to ya."
>
> 1000+ cassettes is a huge undertaking and yes you should expect that it
> will take years. Can you
> tell us more about the contents? Is it spoken-word? Music? High-fidelity
> recordings? Audio
> transcriptions (for instance recordings of court proceding, or conferene
> presentation recordings)?
> Field recordings (ie oral histories, amateur/family recordings)? If we
> knew more about the contents,
> we could probably give better advice.
>
> -- Tom Fine
>
> ----- Original Message -----
> From: "Joel Alperson" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Thursday, February 21, 2013 1:10 PM
> Subject: Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
>
> What tremendous replies both in content and variety.
>
> Thanks to everyone for your comments.
>
> As to labor of love first, this material does not exist anywhere else.
>
> These tapes in most cases are the only recordings which exist.
>
> The reasons for digitizing are, one to preserve them as some are over 30
> years old. Two, to more easily listen to search through them. And
> finally, to ultimately digitally transcribe to text the recordings at
> some time in the future, although that's a far less important goal for
> now.
>
> It seems to me that using an outside service would be tremendously
> expensive, certainly well into five figures if not more.
>
> And I have the advantage of not having a hard deadline for this work
> meaning if the job takes me several years to complete that is far better
> than leaving the tapes to deteriorate without preservation.
>
> For now, deleting silence at the beginning or end of the recordings is
> not critical. Just getting the material digitized is my priority.
>
> I currently have an M-Audio Ultra Lite Mk3 audio interface.
>
> The big questions for me then (I think) are what software to use and
> some step-by-step instructions as to how I connect several audio
> cassette recorders to the audio interface and on operating the software
> I would use.
>
> I'm sure there are questions I don't even know to ask.
>
> So let me just say one more time, thanks to everyone.
>
> What a great community you have here.
>
> Joel
>
> -----Original Message-----
> From: Association for Recorded Sound Discussion List
> [mailto:[log in to unmask]] On Behalf Of Don Cox
> Sent: Thursday, February 21, 2013 11:07 AM
> To: [log in to unmask]
> Subject: [GRAYMAIL] Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
> On 21/02/2013, Randy A. Riddle wrote:
>
> > I'll ask a very simple question: Why does all of it have to be
> > digitized?
> >
> Especially as the cassettes will probably be easier to preserve than
> digital copies.
>
> > I'd start with a triage process to prioritize the material.
> >
> > There's a point when you have to look at something and determine if
> > the material - or significant parts of the material - are worth
> > saving.  If you're really doing this as a "labor of love", you will
> > likely find out that the love affair will end when you consider the
> > time and cost involved.
> >
> > Archivists and collectors have to make these decisions all of the
> > time.  I would consider getting advice from a professional with some
> > familiarity with the material to see if making it available for
> > researchers at some point is going to be really useful or just
> > marginally "nice to have".  It might be that the content is available
> > in other forms or is similar to something already being archived and
> > not as useful as something unique.
> >
>
> Regards
> --
> Don Cox
> [log in to unmask]
>
>
>
> The information in this email is confidential and may be legally
> privileged. It
> is intended solely for the addressee. Access to this email by anyone else
> is
> unauthorized. Any review by others or distribution to others is strictly
> prohibited. If you are not the intended recipient please contact the
> sender and
> delete all copies. Thank You!
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 13:58:21 -0500
> From:    Steven Smolian <[log in to unmask]>
> Subject: Re: Digitizing 10,000+ audio cassettes
>
> And someone to turn off the bubble machine.
>
> Steve Smolian
>
> -----Original Message-----
> From: Association for Recorded Sound Discussion List
> [mailto:[log in to unmask]] On Behalf Of Roderic G Stephens
> Sent: Thursday, February 21, 2013 12:07 PM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
> Yeah, but you've got to have that sailboat with an orchestra following =
> in a
> dingy.
>
> --- On Thu, 2/21/13, Michael Biel <[log in to unmask]> wrote:
>
> From: Michael Biel <[log in to unmask]>
> Subject: Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
> To: [log in to unmask]
> Date: Thursday, February 21, 2013, 7:06 AM
>
> On 2/20/2013 3:31 PM, Joel Alperson wrote:
> >>> I have the task of digitizing over 10,000 audio cassettes
> From: Paul Stamler <[log in to unmask]>
> >> The first question: are you being paid for this work? And if so, how? =
>
> >> By the hour? Piecework? Or a flat fee for the whole job?
> >> Peace, Paul
> From: Joel Alperson <[log in to unmask]>
> > Thanks for your reply, Paul.
> > No payment.=A0 This project is a labor of love.=A0 Joel
>
> Guys and Gals of the ARSCList -- I think we have all just heard the real
> definition of true love!=A0 In the background I think I hear a =
> concertina,
> Bing Crosby, and Grace Kelly . . .=20
> http://www.youtube.com/watch?v=3Dm4awCZr7GwY
>
> Mike Biel=A0 [log in to unmask]
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 12:59:39 -0600
> From:    Joel Alperson <[log in to unmask]>
> Subject: Re: [GRAYMAIL] Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
> Hi Tom,
>
> Everyone is off the hook. I can clearly say that I've been fairly warned
> about this project. : )
>
> These are spoken word recordings. Radio shows and lectures mostly.
>
> Just to be clear, it's not 1,000+ cassettes but rather 10,000+
> cassettes.
>
> I think I can hear the sounds of hands slapping foreheads from here.
>
> Joel
>
> -----Original Message-----
> From: Association for Recorded Sound Discussion List
> [mailto:[log in to unmask]] On Behalf Of Tom Fine
> Sent: Thursday, February 21, 2013 12:35 PM
> To: [log in to unmask]
> Subject: [GRAYMAIL] Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
> Hi Joel:
>
> This reminds me of the beginning to my favorite "reality show" on TV,
> "Swamp People." In the opening montage, one of the alligator hunters is
> voiced-over saying, "if you think you can come out here and do this,
> good luck to ya."
>
> 1000+ cassettes is a huge undertaking and yes you should expect that it=20
> 1000+ will take years. Can you
> tell us more about the contents? Is it spoken-word? Music? High-fidelity
> recordings? Audio transcriptions (for instance recordings of court
> proceding, or conferene presentation recordings)?=20
> Field recordings (ie oral histories, amateur/family recordings)? If we
> knew more about the contents, we could probably give better advice.
>
> -- Tom Fine
>
> ----- Original Message -----
> From: "Joel Alperson" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Thursday, February 21, 2013 1:10 PM
> Subject: Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
>
> What tremendous replies both in content and variety.
>
> Thanks to everyone for your comments.
>
> As to labor of love first, this material does not exist anywhere else.
>
> These tapes in most cases are the only recordings which exist.
>
> The reasons for digitizing are, one to preserve them as some are over 30
> years old. Two, to more easily listen to search through them. And
> finally, to ultimately digitally transcribe to text the recordings at
> some time in the future, although that's a far less important goal for
> now.
>
> It seems to me that using an outside service would be tremendously
> expensive, certainly well into five figures if not more.
>
> And I have the advantage of not having a hard deadline for this work
> meaning if the job takes me several years to complete that is far better
> than leaving the tapes to deteriorate without preservation.
>
> For now, deleting silence at the beginning or end of the recordings is
> not critical. Just getting the material digitized is my priority.
>
> I currently have an M-Audio Ultra Lite Mk3 audio interface.
>
> The big questions for me then (I think) are what software to use and
> some step-by-step instructions as to how I connect several audio
> cassette recorders to the audio interface and on operating the software
> I would use.
>
> I'm sure there are questions I don't even know to ask.
>
> So let me just say one more time, thanks to everyone.
>
> What a great community you have here.
>
> Joel
>
> -----Original Message-----
> From: Association for Recorded Sound Discussion List
> [mailto:[log in to unmask]] On Behalf Of Don Cox
> Sent: Thursday, February 21, 2013 11:07 AM
> To: [log in to unmask]
> Subject: [GRAYMAIL] Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
> On 21/02/2013, Randy A. Riddle wrote:
>
> > I'll ask a very simple question: Why does all of it have to be
> > digitized?
> >
> Especially as the cassettes will probably be easier to preserve than
> digital copies.
>
> > I'd start with a triage process to prioritize the material.
> >
> > There's a point when you have to look at something and determine if
> > the material - or significant parts of the material - are worth
> > saving.  If you're really doing this as a "labor of love", you will
> > likely find out that the love affair will end when you consider the
> > time and cost involved.
> >
> > Archivists and collectors have to make these decisions all of the
> > time.  I would consider getting advice from a professional with some
> > familiarity with the material to see if making it available for
> > researchers at some point is going to be really useful or just
> > marginally "nice to have".  It might be that the content is available
> > in other forms or is similar to something already being archived and
> > not as useful as something unique.
> >
>
> Regards
> --
> Don Cox
> [log in to unmask]
>
>
>
> The information in this email is confidential and may be legally
> privileged. It
> is intended solely for the addressee. Access to this email by anyone
> else is
> unauthorized. Any review by others or distribution to others is strictly
> prohibited. If you are not the intended recipient please contact the
> sender and
> delete all copies. Thank You!
>
>
>
> The information in this email is confidential and may be legally
> privileged=
> . It
> is intended solely for the addressee. Access to this email by anyone else
> is
> unauthorized. Any review by others or distribution to others is strictly
> prohibited. If you are not the intended recipient please contact the
> sender=
>  and
> delete all copies. Thank You!
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 11:24:25 -0800
> From:    Mickey Clark <[log in to unmask]>
> Subject: Arthur Todd Mystery
>
> Hello - I have just finished digitizing four of Arthur Todd's recordings
> for
> the Bluebird label. I just received 7434 - Thanks for the Memory/Good Night
> Sweet Dreams Good Night. The other record is Bluebird 7446-Any Old Lane Is
> Lover's Lane. All four have guitar accompaniment by Arthur Todd and the
> vocals are all a high tenor. Reminiscent of Nick Lucas's recordings, I
> believe the connection to Dick Todd is a misconception, made even more
> confusing in that they were both born in 1914, and both recorded for
> Bluebird. Dick Todd is said to play trumpet, not guitar. Art Todd married
> Dottie and had a big hit with 'Chanson D'amour' and 'Broken Wings' in the
> mid fifties.
> If this is all true, I would like to know what happened to Arthur Todd
> between 1938 and 1953? I have checked later years for the Bluebird label to
> no avail. I am wondering if RCA would still have the accounts with regard
> to
> payment for these sessions and the names associated therof. -
>
> A mystery waiting to be solved - thanks for your help -  Mickey Clark
>
>
> Follow me on Twitter
> https://twitter.com/MickeyRClark
> M.C.Productions Vintage Recordings
>     710 Westminster Ave. West
>              Penticton BC
>                 V2A 1K8
> http://mcproductions.shawbiz.ca
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 14:30:28 -0500
> From:    Tom Fine <[log in to unmask]>
> Subject: Re: [GRAYMAIL] Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
> One thing to check right away -- are the radio shows already digitized?
> Many OTR shows, for
> instance, are digitized and sold in box sets by Radio Spirits. If your
> time is worth anything, it's
> cheaper to buy the CD box sets. If you don't mind low-quality MP3, OTRCat
> and other online sellers
> are even cheaper.
>
> If it's more contemporary off-air recording, is there any wider interest
> in the radio-fan community.
> There are some pretty rabid radio aircheck tape collectors out there, and
> you may get help from
> them.
>
> Otherwise, I would say approach this from two angles -- low-fidelity
> material and high-fidelity
> material. The lofi stuff can be treated differently, for instance
> high-speed dubbing, summing to
> mono, etc. The hifi stuff should be treated with more care, make sure your
> results sound as good as
> the original recording.
>
> I'm interested in what you end up doing. One of those very low-priority
> projects I've had out there
> as a possibility is transferring audio of all of my company's conferences
> from before we started
> making digital recordings. It's all on cassettes, hundreds of them. No one
> here has the appetite for
> it, because there's no commercial market for it. If there were some way
> where I could just
> periodically feed a maw and everything was automated, I might do it, but I
> know from scanning
> documents that it's never as simple as promised and it always take a lot
> of time if you want usable
> results.
>
> -- Tom Fine
>
> ----- Original Message -----
> From: "Joel Alperson" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Thursday, February 21, 2013 1:59 PM
> Subject: Re: [ARSCLIST] [GRAYMAIL] Re: [ARSCLIST] Digitizing 10,000+ audio
> cassettes
>
>
> Hi Tom,
>
> Everyone is off the hook. I can clearly say that I've been fairly warned
> about this project. : )
>
> These are spoken word recordings. Radio shows and lectures mostly.
>
> Just to be clear, it's not 1,000+ cassettes but rather 10,000+
> cassettes.
>
> I think I can hear the sounds of hands slapping foreheads from here.
>
> Joel
>
> -----Original Message-----
> From: Association for Recorded Sound Discussion List
> [mailto:[log in to unmask]] On Behalf Of Tom Fine
> Sent: Thursday, February 21, 2013 12:35 PM
> To: [log in to unmask]
> Subject: [GRAYMAIL] Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
> Hi Joel:
>
> This reminds me of the beginning to my favorite "reality show" on TV,
> "Swamp People." In the opening montage, one of the alligator hunters is
> voiced-over saying, "if you think you can come out here and do this,
> good luck to ya."
>
> 1000+ cassettes is a huge undertaking and yes you should expect that it
> 1000+ will take years. Can you
> tell us more about the contents? Is it spoken-word? Music? High-fidelity
> recordings? Audio transcriptions (for instance recordings of court
> proceding, or conferene presentation recordings)?
> Field recordings (ie oral histories, amateur/family recordings)? If we
> knew more about the contents, we could probably give better advice.
>
> -- Tom Fine
>
> ----- Original Message -----
> From: "Joel Alperson" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Thursday, February 21, 2013 1:10 PM
> Subject: Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
>
> What tremendous replies both in content and variety.
>
> Thanks to everyone for your comments.
>
> As to labor of love first, this material does not exist anywhere else.
>
> These tapes in most cases are the only recordings which exist.
>
> The reasons for digitizing are, one to preserve them as some are over 30
> years old. Two, to more easily listen to search through them. And
> finally, to ultimately digitally transcribe to text the recordings at
> some time in the future, although that's a far less important goal for
> now.
>
> It seems to me that using an outside service would be tremendously
> expensive, certainly well into five figures if not more.
>
> And I have the advantage of not having a hard deadline for this work
> meaning if the job takes me several years to complete that is far better
> than leaving the tapes to deteriorate without preservation.
>
> For now, deleting silence at the beginning or end of the recordings is
> not critical. Just getting the material digitized is my priority.
>
> I currently have an M-Audio Ultra Lite Mk3 audio interface.
>
> The big questions for me then (I think) are what software to use and
> some step-by-step instructions as to how I connect several audio
> cassette recorders to the audio interface and on operating the software
> I would use.
>
> I'm sure there are questions I don't even know to ask.
>
> So let me just say one more time, thanks to everyone.
>
> What a great community you have here.
>
> Joel
>
> -----Original Message-----
> From: Association for Recorded Sound Discussion List
> [mailto:[log in to unmask]] On Behalf Of Don Cox
> Sent: Thursday, February 21, 2013 11:07 AM
> To: [log in to unmask]
> Subject: [GRAYMAIL] Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
> On 21/02/2013, Randy A. Riddle wrote:
>
> > I'll ask a very simple question: Why does all of it have to be
> > digitized?
> >
> Especially as the cassettes will probably be easier to preserve than
> digital copies.
>
> > I'd start with a triage process to prioritize the material.
> >
> > There's a point when you have to look at something and determine if
> > the material - or significant parts of the material - are worth
> > saving.  If you're really doing this as a "labor of love", you will
> > likely find out that the love affair will end when you consider the
> > time and cost involved.
> >
> > Archivists and collectors have to make these decisions all of the
> > time.  I would consider getting advice from a professional with some
> > familiarity with the material to see if making it available for
> > researchers at some point is going to be really useful or just
> > marginally "nice to have".  It might be that the content is available
> > in other forms or is similar to something already being archived and
> > not as useful as something unique.
> >
>
> Regards
> --
> Don Cox
> [log in to unmask]
>
>
>
> The information in this email is confidential and may be legally
> privileged. It
> is intended solely for the addressee. Access to this email by anyone
> else is
> unauthorized. Any review by others or distribution to others is strictly
> prohibited. If you are not the intended recipient please contact the
> sender and
> delete all copies. Thank You!
>
>
>
> The information in this email is confidential and may be legally
> privileged. It
> is intended solely for the addressee. Access to this email by anyone else
> is
> unauthorized. Any review by others or distribution to others is strictly
> prohibited. If you are not the intended recipient please contact the
> sender and
> delete all copies. Thank You!
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 14:29:44 -0500
> From:    David Lewis <[log in to unmask]>
> Subject: Re: Arthur Todd Mystery
>
> from Wikipedia, "Art and Dotty Todd"
>
>  the pair met as a result of the Biltmore accidentally booking them into
> the same suite. The couple married in 1941 and - subsequent to Art Todd's
> stint in the army where he worked in an entertainment unit - they settled
> in Sherman Oaks California (as of 1947) with a gig at the Shadow Mountain
> Club in Palm Desert,
> California<http://en.wikipedia.org/wiki/Palm_Desert,_California
> >inaugurating
> a career on the California lounge circuit; the Todds also
> eventually sang on their own radio show. The duo cut records including
> "Heavenly Heavenly" for RCA Victor
> <http://en.wikipedia.org/wiki/RCA_Victor>in 1952: the single flopped
> but when the song which served as its
> B-side <http://en.wikipedia.org/wiki/A-side_and_B-side>: "Broken
> Wings<http://en.wikipedia.org/wiki/Broken_Wings_(1953_song)>"
> became a hit in the UK for the
> Stargazers<
> http://en.wikipedia.org/wiki/The_Stargazers_(1940s%E2%80%931950s_group)>,
> the Art and Dotty Todd version had a UK release charting at #6 (the
> Stargazers' version reached #1 while another version by Dickie
> Valentine<http://en.wikipedia.org/wiki/Dickie_Valentine>reached #12).
>
> UD
> Lebanon, OH
>
> On Thu, Feb 21, 2013 at 2:24 PM, Mickey Clark <[log in to unmask]> wrote:
>
> > Hello - I have just finished digitizing four of Arthur Todd's recordings
> > for the Bluebird label. I just received 7434 - Thanks for the Memory/Good
> > Night Sweet Dreams Good Night. The other record is Bluebird 7446-Any Old
> > Lane Is Lover's Lane. All four have guitar accompaniment by Arthur Todd
> and
> > the vocals are all a high tenor. Reminiscent of Nick Lucas's recordings,
> I
> > believe the connection to Dick Todd is a misconception, made even more
> > confusing in that they were both born in 1914, and both recorded for
> > Bluebird. Dick Todd is said to play trumpet, not guitar. Art Todd married
> > Dottie and had a big hit with 'Chanson D'amour' and 'Broken Wings' in the
> > mid fifties.
> > If this is all true, I would like to know what happened to Arthur Todd
> > between 1938 and 1953? I have checked later years for the Bluebird label
> to
> > no avail. I am wondering if RCA would still have the accounts with regard
> > to payment for these sessions and the names associated therof. -
> >
> > A mystery waiting to be solved - thanks for your help -  Mickey Clark
> >
> >
> > Follow me on Twitter
> > https://twitter.com/**MickeyRClark <https://twitter.com/MickeyRClark>
> > M.C.Productions Vintage Recordings
> >    710 Westminster Ave. West
> >             Penticton BC
> >                V2A 1K8
> > http://mcproductions.shawbiz.**ca <http://mcproductions.shawbiz.ca>
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 19:55:06 +0000
> From:    "Gordon, Bruce" <[log in to unmask]>
> Subject: Re: [GRAYMAIL] Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
> Joel,
>
> Yes, 10,000 cassettes is a significantly larger task than 1,000, however,
> t=
> he principles of preservation practice do not differ. I came late to the
> di=
> scussion, but your first stop should be the ARSC website where you can
> find=
>  the ARSC Technical Committee's excellent preservation statement:
>
> http://www.arsc-audio.org/pdf/ARSCTC_preservation.pdf
>
> From there, you can delve deeper into the nuts and bolts--starting from
> col=
> lection assessment, and selection through digitization and documentation
> to=
>  storage, access and migration. For 10,000 cassettes you'll need a plan
> tha=
> t provides the resources to keep the content alive and accessible. No
> sense=
>  digitizing something that can't be maintained. In your budget you should
> i=
> nclude consultation with a preservation planner. While you are on the ARSC
> =
> website, you might want to consider talking to some of these folks in
> perso=
> n. E-mail list consultation though handy can take an eternity, and you
> migh=
> t not get all the answers if you don't ask the right questions. Despite
> the=
>  advancement of technology, I find that effective communication of this
> nat=
> ure takes a certain amount of eye contact and waving of hands.
>
> http://www.arsc-audio.org/pdf/Directory2013-01.pdf
>
> Best regards,
>
> -Bruce
>
> Bruce J. Gordon
> Audio Engineer
> Audio Preservation Services
> Harvard University
> Cambridge, Massachusetts 02138
> U.S.A
> tel. +1(617) 495-1241
> fax +1(617) 496-4636
>
>
>
>
>
>
>
>
> On Feb 21, 2013, at 1:59 PM, Joel Alperson <[log in to unmask]
> <=
> mailto:[log in to unmask]>> wrote:
>
> Hi Tom,
>
> Everyone is off the hook. I can clearly say that I've been fairly warned
> about this project. : )
>
> These are spoken word recordings. Radio shows and lectures mostly.
>
> Just to be clear, it's not 1,000+ cassettes but rather 10,000+
> cassettes.
>
> I think I can hear the sounds of hands slapping foreheads from here.
>
> Joel
>
> -----Original Message-----
> From: Association for Recorded Sound Discussion List
> [mailto:[log in to unmask]<http://LISTSERV.LOC.GOV>] On Behalf Of
> To=
> m Fine
> Sent: Thursday, February 21, 2013 12:35 PM
> To: [log in to unmask]<mailto:[log in to unmask]>
> Subject: [GRAYMAIL] Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
> Hi Joel:
>
> This reminds me of the beginning to my favorite "reality show" on TV,
> "Swamp People." In the opening montage, one of the alligator hunters is
> voiced-over saying, "if you think you can come out here and do this,
> good luck to ya."
>
> 1000+ cassettes is a huge undertaking and yes you should expect that it
> 1000+ will take years. Can you
> tell us more about the contents? Is it spoken-word? Music? High-fidelity
> recordings? Audio transcriptions (for instance recordings of court
> proceding, or conferene presentation recordings)?
> Field recordings (ie oral histories, amateur/family recordings)? If we
> knew more about the contents, we could probably give better advice.
>
> -- Tom Fine
>
> ----- Original Message -----
> From: "Joel Alperson" <[log in to unmask]<mailto:
> Joel.Alperson@=
> OMAHAFIXTURE.COM>>
> To: <[log in to unmask]<mailto:[log in to unmask]>>
> Sent: Thursday, February 21, 2013 1:10 PM
> Subject: Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
>
> What tremendous replies both in content and variety.
>
> Thanks to everyone for your comments.
>
> As to labor of love first, this material does not exist anywhere else.
>
> These tapes in most cases are the only recordings which exist.
>
> The reasons for digitizing are, one to preserve them as some are over 30
> years old. Two, to more easily listen to search through them. And
> finally, to ultimately digitally transcribe to text the recordings at
> some time in the future, although that's a far less important goal for
> now.
>
> It seems to me that using an outside service would be tremendously
> expensive, certainly well into five figures if not more.
>
> And I have the advantage of not having a hard deadline for this work
> meaning if the job takes me several years to complete that is far better
> than leaving the tapes to deteriorate without preservation.
>
> For now, deleting silence at the beginning or end of the recordings is
> not critical. Just getting the material digitized is my priority.
>
> I currently have an M-Audio Ultra Lite Mk3 audio interface.
>
> The big questions for me then (I think) are what software to use and
> some step-by-step instructions as to how I connect several audio
> cassette recorders to the audio interface and on operating the software
> I would use.
>
> I'm sure there are questions I don't even know to ask.
>
> So let me just say one more time, thanks to everyone.
>
> What a great community you have here.
>
> Joel
>
> -----Original Message-----
> From: Association for Recorded Sound Discussion List
> [mailto:[log in to unmask]<http://LISTSERV.LOC.GOV>] On Behalf Of
> Do=
> n Cox
> Sent: Thursday, February 21, 2013 11:07 AM
> To: [log in to unmask]<mailto:[log in to unmask]>
> Subject: [GRAYMAIL] Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
> On 21/02/2013, Randy A. Riddle wrote:
>
> I'll ask a very simple question: Why does all of it have to be
> digitized?
>
> Especially as the cassettes will probably be easier to preserve than
> digital copies.
>
> I'd start with a triage process to prioritize the material.
>
> There's a point when you have to look at something and determine if
> the material - or significant parts of the material - are worth
> saving.  If you're really doing this as a "labor of love", you will
> likely find out that the love affair will end when you consider the
> time and cost involved.
>
> Archivists and collectors have to make these decisions all of the
> time.  I would consider getting advice from a professional with some
> familiarity with the material to see if making it available for
> researchers at some point is going to be really useful or just
> marginally "nice to have".  It might be that the content is available
> in other forms or is similar to something already being archived and
> not as useful as something unique.
>
>
> Regards
> --
> Don Cox
> [log in to unmask]<mailto:[log in to unmask]>
>
>
>
> The information in this email is confidential and may be legally
> privileged. It
> is intended solely for the addressee. Access to this email by anyone
> else is
> unauthorized. Any review by others or distribution to others is strictly
> prohibited. If you are not the intended recipient please contact the
> sender and
> delete all copies. Thank You!
>
>
>
> The information in this email is confidential and may be legally
> privileged=
> . It
> is intended solely for the addressee. Access to this email by anyone else
> i=
> s
> unauthorized. Any review by others or distribution to others is strictly
> prohibited. If you are not the intended recipient please contact the
> sender=
>  and
> delete all copies. Thank You!
>
> ------------------------------
>
> Date:    Fri, 22 Feb 2013 09:17:21 +1300
> From:    Marie O'Connell <[log in to unmask]>
> Subject: Re: Squealing Audio Cassette Tapes
>
> Hi Karl
>
> I would definitely re-house the cassettes as others have suggested, I have
> had very good success with this.
>
> I have also baked 'open' cassettes and have even, in severe cases,
> eye-dropped a little isopropyl alcohol over the tape, let it evaporate
> before baking with one side of the shell removed.
>
> First port of call has been the rehousing.
>
> Cheers
> Marie
>
> On Thu, Feb 21, 2013 at 7:20 AM, Karl Fitzke <[log in to unmask]
> >wrote:
>
> > Greetings, and thanks right away for your interest and potential help
> with
> > the following:
> >
> > We have a set of approximately 30 SKC Brand, GX and LX model, Type I
> > cassette tapes on hand to transfer. They are 60 minute tapes.
> >
> > The original field recordist is from New Zealand, where these tapes were
> > recorded.
> >
> > A number of the tapes start squealing after five to twenty minutes of
> > play, and this happens on at least three different Nak CR-7A machines
> (dual
> > capstan).
> >
> > The squeal is a rather constant tone in amplitude and frequency (2 kHz or
> > so is a guess).  The decks have even stopped themselves in some
> instances.
> >  The squealing in some instances has stopped when I stopped the deck,
> > remove the cassette from it for inspection, replaced, and played again.
> >  But, only to likely start again a little later.
> >
> > Tapes have been fast forwarded and rewound before being played.  I
> believe
> > the squealing has happened when the tape is packed even better, e.g.
> after
> > a play on one side (which didn't have noticeable issues).  But play of
> the
> > first side may not have been monitored very closely by personnel, so
> don't
> > give that all too much weight.
> >
> > I've occasionally seen conical wrapping at the outside of the pack (the
> > outside 1/8" or so, thinking radially).
> >
> > I've transferred some of these tapes to new Maxell shells, removed
> > friction sheets in the original shells, removed pressure pads in the
> > original shells, loosened case screws in both shells, threaded tape on
> the
> > inside (instead of outside) of the posts near the cassette shell rollers
> in
> > the Maxell shell.
> >
> > I checked W/F specs on all machines.  They are okay, or just out of spec,
> > which does not concern me here (yet).
> >
> > The best I've done is maybe reduced the amplitude and regularity of the
> > squealing with playback of one tape I recall, but I haven't gotten rid of
> > it.
> >
> > My current belief is that we have lubricant issues, and I'm off to
> > read/reread everything I can find in old emails from Richard Hess, Marie
> > O'Connell, Steve Smolian that I saved for future reference, like the ones
> > I've forwarded below.
> >
> > I'd be happy to hear anything else someone may have to offer. Even moral
> > support!  ;-D   Thanks again for your interest.
> >
> > Best wishes,
> > Karl F.
> >
> > --
> >
> > Karl Fitzke
> > Audio Engineer
> > Macaulay Library
> > Cornell Lab of Ornithology
> > 159 Sapsucker Woods Road
> > Ithaca, NY 14850
> >
> > 607-254-1100
> >
> > [log in to unmask]
> >
> > Our Mission:
> > To interpret and conserve the Earth's biological diversity through
> > research, education, and citizen science focused on birds.
> >
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 15:32:14 -0500
> From:    "Richard L. Hess" <[log in to unmask]>
> Subject: Re: Digitizing 10,000+ audio cassettes
>
> Hi, Joel,
>
> Please see comments in-line.
>
> On 2013-02-21 1:10 PM, Joel Alperson wrote:
> > These tapes in most cases are the only recordings which exist.
> As others have said, are you certain?
> Another thought is that perhaps an archive would be interested in them?
> One thing comes to mind that KPFK in LA has broadcast a whole bunch of
> philosophy over the years but I don't know how much has been preserved
> in the Pacifica Archive and how much was preserved externally. When I
> lived in LA, I recall many late-night broadcasts of Alan Watts (
> http://en.wikipedia.org/wiki/Alan_Watts ) in the 1980s and 1990s (after
> his death). It was my impression that they were being broadcast from
> duplicated cassettes. I am assuming this is something similar in
> concept. I have a big project in house (for too long as there are issues
> with it) of a major Roman Catholic theologian which I really need to
> finish. They are most patient, but part of it was bigger than originally
> presented and the metadata on the reels is less good than hoped.
> > The reasons for digitizing are, one to preserve them as some are over 30
> > years old.
> This seems like the correct approach. I would not trust these tapes to
> be easily playable (from the tape and the machine perspective) in the
> next two to three decades. Right now there are competent choices
> available. I received a tape transferred in MP3 format on one of the Ion
> or similar machines to clean up and it cleaned up well...it was spoken
> word. I disagree with a previous statement concerning just archive the
> cassettes. The material will become less and less accessible and who
> better to do this than you who has the motivation, interest, and caring
> to want to see this done.
> > Two, to more easily listen to search through them.
> Still takes oodles of time to search. Develop a controlled vocabulary
> and whenever you listen note the time (and don't trim the heads after
> logging the time).
> >   And finally, to ultimately digitally transcribe to text the recordings
> at
> > some time in the future, although that's a far less important goal for
> > now.
> I still hear mixed reports on this. Someone I know is trying to use
> Dragon Naturally Speaking, but has not started yet. This is an
> interesting discussion by a friend of mine (caution, very slow loading
> here and I've just written her about it).
>
> http://familyoralhistory.us/news/view/transcription_or_dictation_will_hal_open_the_pod_bay_doors
> > It seems to me that using an outside service would be tremendously
> > expensive, certainly well into five figures if not more.
> I was thinking just nudging into seven, but could probably do it for six
> figures, but it means growing my business larger than I want and hiring
> employees which I don't want.
> > And I have the advantage of not having a hard deadline for this work
> > meaning if the job takes me several years to complete that is far better
> > than leaving the tapes to deteriorate without preservation.
> If you're doing it on the side figure a few years no matter what. It
> gets old. Tirage is good, if not triage, start with the oldest first.
> > For now, deleting silence at the beginning or end of the recordings is
> > not critical. Just getting the material digitized is my priority.
> That's a good move, just recall you'll need more than a little storage.
> NAS units are good. At least two, with backups to a third set of USB
> 2.5-inch Hard Drives is how I convince myself it's safe.
> http://richardhess.com/notes/category/computer-data/data-storage/
> > I currently have an M-Audio Ultra Lite Mk3 audio interface.
> You mean MOTU UltraLite Mk3, right? Is it the Mk3 or the Mk3 Hybrid? (I
> don't know the precise difference, actually.)
>
> MOTU UlraLite Mk3 Hybrid has six line inputs and two mic/instrument
> inputs. The safest thing to do is to use up to three cassette machines.
> It would still only work in real time as getting faster than real time
> players is difficult unless you go get the UK high-speed stuff.
> > The big questions for me then (I think) are what software to use and
> > some step-by-step instructions as to how I connect several audio
> > cassette recorders to the audio interface and on operating the software
> > I would use.
> You could use any software that could record multiple stereo WAV files.
> I use www.samplitude.com and it is pretty good. The newest version
> allows easier naming of multiple files from the mixer interface (with an
> option).
> > I'm sure there are questions I don't even know to ask.
> Many of them might already be answered in my blog at
> www.richardhess.com/notes/
> Perhaps starting with this which is a dump on everything I have tagged
> cassettes
> http://richardhess.com/notes/category/audio/cassettes/
> > So let me just say one more time, thanks to everyone.
> You're welcome!
>
> Good luck with it!
>
> Cheers,
>
> Richard
>
> --
> Richard L. Hess                   email: [log in to unmask]
> Aurora, Ontario, Canada                             647 479 2800
> http://www.richardhess.com/tape/contact.htm
> Quality tape transfers -- even from hard-to-play tapes.
>
> ------------------------------
>
> Date:    Fri, 22 Feb 2013 09:51:56 +1300
> From:    Gennady Lyskin <[log in to unmask]>
> Subject: Re: a segue from wires to recordings of music performed on organs
>
> I agree with you, Richard.
>
> The phase relationship between any two notes in real (tonewheel) Hammond
> organs
>
> is totally random.
>
> To answer the question from the similar group "Why we love Hammond organ
> sound?"
>
> I performed phase measurements using digital storage oscilloscope on my
>
> Hammond A100 made in 1964 during its restoration.
>
> Still have video clips of those tests. The phase changing speed is totally
> random too.
>
> Depending on the phase changing speed and depth we can hear different sound
> effects
>
> (phase shifter, phaser, chorus, flanger) in random sequence.
>
> Add here the Doppler effects from connected rotating Leslie speakers and,
>
> finally we can hear flying "Voice from Heaven".
>
> You can see The Hammond restoration project in pictures on 3 pages of my
> website
>
> http://www.gennlab.com/a100.html
>
>
>
> Regards,
>
>
>
> Gennady Lyskin
>
> G e n n L a b
> http://www.gennlab.com
> [log in to unmask]
> Tel: +64 21 238 3056
> New Zealand
> ----- Original Message -----
> From: "Richard L. Hess" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Friday, February 22, 2013 2:12 AM
> Subject: Re: [ARSCLIST] a segue from wires to recordings of music performed
> on organs
>
>
> > Hi, Art,
> >
> > At one point I had a fleeting interest in Hammond Organs and acquired one
> > used as another musical toy for our home...I don't really play, but my
> son
> > Robert is studying music at the university level. Personally, I was
> > fascinated with the technology of the Hammond Organ (but telegraphs have
> > fascinated me, too), and I had never really dug into how they worked
> until
> > my brief foray in 2010. I had always wondered why you had to oil them--I
> > never realized they were electric, rather than electronic, instruments.
> > Each tonewheel is a miniature generator (as in dynamo). One of the
> > interesting things is that the tonewheels are friction coupled to the
> > drive shaft and their spinning can be heard on power up. This provides
> the
> > interesting property that the phase relationship between any two notes is
> > totally random--I guess not unlike a pipe organ which is so temperature
> > sensitive.
> >
> > When I was interested in learning about Hammond organs, I found there
> were
> > several communities on the Web that offered support for the addiction.
> >
> > One group I subscribed to in 2010 was
> > [log in to unmask]
> >
> > You might ask there.
> >
> > Cheers,
> >
> > Richard
> >
> > On 2013-02-21 12:21 AM, Art Shifrin wrote:
> >> I have a one hour wire of Porter Heath lecturing / demonstrating a
> >> Hammond
> >> to a group of church organists, circa 1950.  Might such musical &
> >> tutorial
> >> contents be of interest to some group, collection, or institution?  It
> >> played through in real time in an uninterrupted & otherwise trouble-free
> >> transfer to digits a few days ago & will remain tails out for posterity.
> >>
> >> Art (Shiffy) Shifrin
> >>
> >
> > --
> > Richard L. Hess                   email: [log in to unmask]
> > Aurora, Ontario, Canada                             647 479 2800
> > http://www.richardhess.com/tape/contact.htm
> > Quality tape transfers -- even from hard-to-play tapes.
> >
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 16:12:09 -0600
> From:    Paul Stamler <[log in to unmask]>
> Subject: Re: Digitizing 10,000+ audio cassettes
>
> On 2/21/2013 12:10 PM, Joel Alperson wrote:
> > What tremendous replies both in content and variety.
> >
> > Thanks to everyone for your comments.
> >
> > As to labor of love first, this material does not exist anywhere else.
> >
> > These tapes in most cases are the only recordings which exist.
>
> What is the nature of the material. You mention that it's only voice --
> is it a collection of speeches, sermons, class lectures?
>
>
> > The reasons for digitizing are, one to preserve them as some are over 30
> > years old. Two, to more easily listen to search through them. And
> > finally, to ultimately digitally transcribe to text the recordings at
> > some time in the future, although that's a far less important goal for
> > now.
>
> As Don pointed out, preserving cassettes is likely to be easier than
> preserving digital recordings. The latter, unless pressed onto regular
> CDs (not CD-Rs) are iffy -- it's necessary to copy the entire archive to
> a new storage device every couple of years.
>
> > It seems to me that using an outside service would be tremendously
> > expensive, certainly well into five figures if not more.
>
> Yep.
>
> >
> > And I have the advantage of not having a hard deadline for this work
> > meaning if the job takes me several years to complete that is far better
> > than leaving the tapes to deteriorate without preservation.
> In what environment are they stored? Do you have access to a
> temperature- and humidity-controlled storage facility?
>
> >
> > For now, deleting silence at the beginning or end of the recordings is
> > not critical. Just getting the material digitized is my priority.
> >
> > I currently have an M-Audio Ultra Lite Mk3 audio interface.
> Actually, I believe the Ultralite is made by MOTU; it's one of several
> multi-channel interfaces that can do the job.
>
> >
> > The big questions for me then (I think) are what software to use and
> > some step-by-step instructions as to how I connect several audio
> > cassette recorders to the audio interface and on operating the software
> > I would use.
>
> Your biggest challenge will almost certainly be hardware -- it usually
> is, in any major digitization effort. Job One is always to get good
> playback of the original analog material.
>
> If these are mono tapes (same material on both channels) you can connect
> six cassette decks to the six inputs of the Ultralite, using a single
> channel of each cassette deck. You'll need a connector that also lets
> you connect that channel to your monitoring setup (which can be as
> simple as a home audio receiver -- but you'll need a switchbox to hook
> up all six cassette decks; perhaps a patchbay would be easier to manage.
>
> (If these are stereo tapes, with different material on the two channels,
> of course you'll only be able to do three at a time, but then again
> you'll only need three good cassette decks. Of course, the project will
> take twice as long and use up 2x as much storage.)
>
> Getting six decent cassette decks, in this day and age, will take some
> soing. Old cassette decks, unless they're three-motor machines (which
> are preferred), often need all their belts replaced to function at all.
> Often they need new pinch rollers too.
>
> Okay, so you've got six working cassette decks. For each tape, you'll
> need to set the playback head azimuth properly. The best way to do that
> is by ear; feed both channels into your monitor setup and sum them to
> mono (most receivers have a stereo/mono switch, but you may need to rig
> one up). One useful trick is to take your monitor feed from the cassette
> deck's headphone output (if there is one) and run it to the
> switchbox/patchbay/receiver.
>
> Anyw3ay, you're listening to the tape with the two channels mono'd.
> There is a small screw next to the playback head that you can adjust
> with a small screwdriver. Ideally this screwdriver will be non-magnetic
> (you can get small all-plastic screwdrivers at electronic supply
> houses). Play the tape, preferably from someplace in the middle, and
> tweak the screw until you find the position that gives the most audible
> treble. Your azimuth is now set.
>
> If the cassette squeals or has other motion-related problems, you'll
> need to open the cassette and move the tape to a new shell, with fresh
> slipsheets, rollers and pressure pad. You can use a good new cassette
> for this (Maxells are good), but if you're going to need a lot of new
> shells, you're probably better off buying new shells.
>
> Anyway, your azimuth is right, and you've maybe replaced the shell. It's
> very likely that these tapes were recorded without Dolby noise
> reduction, so turn that off. Set the playback EQ switch, if there is
> one, to match the tape type -- probably Type 1.
>
> Go through these procedures on all six decks. Rewind all tapes to the
> beginning. Bring up your multi-channel recording software, set it to
> 24-bit/44.1kHz, set each channel of the software to the corresponding
> channel of the Ultralite. Put each channel into Record-Ready, and play
> each tape in turn to make sure the level doesn't go above about -6dBFS.
> Rewind all tapes to their heads. Roll the recording software, then push
> PLAY on all six cassette decks. Go away for 45 minutes (or however long
> each cassette side lasts), come back, and when all cassette decks have
> stopped, stop the recording software. Label each track with the
> appropriate tape name and Side One. Save all tracks.
>
> Flip all the tapes. You may need to redo the azimuth alignment for the
> second side -- fast-forward the tape to the middle, then check using the
> mono-monitoring hookup. If necessary, adjust all six azimuths, then
> rewind all tapes to the beginning of the second side, and repeat all the
> recording steps. Later, rinse and repeat for the next six tapes.
>
> It's critically important to adjust the azimuth, or at least check it,
> for *each cassette*. Azimuth alignment was the Achilles' Heel of
> cassette recording; most decks came from the factory set wrong, and
> cassettes themselves were sufficiently cheesy that they differed on the
> two sides.
>
> As I said before, the big task is to get the analog playback right. If
> you can do that (eith cassettes it's not easy), the digital side is
> trivial by comparison.
>
> Plan on spending some serious money on hardware. A good cassette deck in
> good condition can cost a couple of hundred dollars; if not in good
> condition, the repairs might cost a couple of hundred.
>
> I could go on for a lot longer, but enough for the moment.
>
> Peace,
> Paul
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 16:30:24 -0600
> From:    Paul Stamler <[log in to unmask]>
> Subject: Re: Digitizing 10,000+ audio cassettes
>
> On 2/21/2013 4:12 PM, Paul Stamler wrote:
> > Later, rinse and repeat for the next six tapes.
>
> Make that LATHER rinse and repeat. Sorry for all the typos.
>
> Peace,
> Paul
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 17:34:42 -0500
> From:    Steve Ramm <[log in to unmask]>
> Subject: Long time ARSC member David Hamilton died on Tuesday...
>
> I was informed by Seth Winner yesterday that David Hamilton - an ARSC
> member almost from the beginning died on Tuesday. Knowing David, hanging
> with
> him at the ARSC conventions and finding a common denominator between my
> "pop" interests  and his "classical" interests (BTW, that common  interest
> was
> Stan Freberg!) was one of the great joys of my life. David has been  ill
> for
> a few years and I think the Washington DC Conference was the first one I
> did not see him at.
>
> There hasn't been a published obituary yet and Seth said there may be a
> memorial service in the future but - having not seen a posting here yet - I
> thought I should pass on the sad news (though he is not suffering  any
>  more)
> to his many friends in ARSC. David was a "class act", by all means, and
> I'm  sure he is tuning in the Saturday Met Opera broadcasts from "on high".
> There will be an article about him in the next ARSC Newsletter.
>
> Peace be with you David.
>
> Steve Ramm
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 17:43:41 -0500
> From:    Donald Tait <[log in to unmask]>
> Subject: Re: Digitizing 10,000+ audio cassettes
>
>   Regarding Steve's message: Stan Freeberg (and the bubble machine)
> forever=
> .
>
>   Incidentally, speaking of Welk, my late dear friend Andy Karzas's father
> =
> and uncle built and owned the Aragon and Trianon ballrooms in Chicago from
> =
> the 1920s. After his father's death, Andy owned and managed the Aragon.
> 195=
> 7 afterward. The Trianon was sold around 1954/5. Andy told me many great
> st=
> ories about the great pop stars and bandleaders of the 1940s, who would
> com=
> e to his parents' house in Chicago's South Shore neighborhood. Sometimes
> to=
>  stay. Andy always said that the nicest, gentlest, most completely honest
> o=
> f all was Lawrence Welk. He said the persona Welk projected on television
> w=
> as really his sincere self.
>
>   Andy told me a few other great stories, including about Dick Jurgens
> drun=
> k and in BIG trouble. And more about Andy's efforts to run the Aragon when
> =
> rock came along. Maybe later.
>
>   Don Tait
>
> =20
>
> =20
>
> =20
>
> -----Original Message-----
> From: Steven Smolian <[log in to unmask]>
> To: ARSCLIST <[log in to unmask]>
> Sent: Thu, Feb 21, 2013 1:06 pm
> Subject: Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
>
> And someone to turn off the bubble machine.
>
> Steve Smolian
>
> -----Original Message-----
> From: Association for Recorded Sound Discussion List
> [mailto:[log in to unmask]] On Behalf Of Roderic G Stephens
> Sent: Thursday, February 21, 2013 12:07 PM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
>
> Yeah, but you've got to have that sailboat with an orchestra following in a
> dingy.
>
> --- On Thu, 2/21/13, Michael Biel <[log in to unmask]> wrote:
>
> From: Michael Biel <[log in to unmask]>
> Subject: Re: [ARSCLIST] Digitizing 10,000+ audio cassettes
> To: [log in to unmask]
> Date: Thursday, February 21, 2013, 7:06 AM
>
> On 2/20/2013 3:31 PM, Joel Alperson wrote:
> >>> I have the task of digitizing over 10,000 audio cassettes
> From: Paul Stamler <[log in to unmask]>
> >> The first question: are you being paid for this work? And if so, how?=20
> >> By the hour? Piecework? Or a flat fee for the whole job?
> >> Peace, Paul
> From: Joel Alperson <[log in to unmask]>
> > Thanks for your reply, Paul.
> > No payment.  This project is a labor of love.  Joel
>
> Guys and Gals of the ARSCList -- I think we have all just heard the real
> definition of true love!  In the background I think I hear a concertina,
> Bing Crosby, and Grace Kelly . . .=20
> http://www.youtube.com/watch?v=3Dm4awCZr7GwY
>
> Mike Biel  [log in to unmask] =20
>
> =20
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 17:50:18 -0500
> From:    Donald Tait <[log in to unmask]>
> Subject: Re: Long time ARSC member David Hamilton died on Tuesday...
>
>   Oh no! What dreadful news.
>
>   David Hamilton was the best there is. Thanks to Mike Gray, I was
> privileg=
> ed to meet and spend a delightful dinner evening with David, plus David
> Hal=
> l and Mike, during the 1993 ARSC convention in Chicago.
>
>   Sorrow.
>
>   Don Tait
>
> =20
>
> =20
>
> =20
>
> -----Original Message-----
> From: Steve Ramm <[log in to unmask]>
> To: ARSCLIST <[log in to unmask]>
> Sent: Thu, Feb 21, 2013 4:36 pm
> Subject: [ARSCLIST] Long time ARSC member David Hamilton died on Tuesday...
>
>
> I was informed by Seth Winner yesterday that David Hamilton - an ARSC =20
> member almost from the beginning died on Tuesday. Knowing David, hanging
> wi=
> th =20
> him at the ARSC conventions and finding a common denominator between my =20
> "pop" interests  and his "classical" interests (BTW, that common  interest
> =
> was=20
> Stan Freberg!) was one of the great joys of my life. David has been  ill
> fo=
> r=20
> a few years and I think the Washington DC Conference was the first one I =
> =20
> did not see him at.=20
> =20
> There hasn't been a published obituary yet and Seth said there may be a =20
> memorial service in the future but - having not seen a posting here yet -
> I=
>  =20
> thought I should pass on the sad news (though he is not suffering  any
>  mor=
> e)=20
> to his many friends in ARSC. David was a "class act", by all means, and =20
> I'm  sure he is tuning in the Saturday Met Opera broadcasts from "on
> high".=
>  =20
> There will be an article about him in the next ARSC Newsletter.
> =20
> Peace be with you David.
> =20
> Steve Ramm
>
> =20
>
> ------------------------------
>
> Date:    Fri, 22 Feb 2013 00:20:53 +0000
> From:    "Gray, Mike" <[log in to unmask]>
> Subject: Re: Long time ARSC member David Hamilton died on Tuesday...
>
> Yes, I remember that dinner very well ...
>
>
> Mike
>
> ------------------------------
>
> Date:    Fri, 22 Feb 2013 02:17:10 +0000
> From:    "Gordon, Bruce" <[log in to unmask]>
> Subject: Re: Digitizing 10,000+ audio cassettes
>
> Just a couple of further comments since we insist on getting into the
> weeds=
> .
>
> The accepted wisdom recognized by the ARSC Technical Committee, which in
> it=
> s Preservation Statement recognizes the work of IASA in its documents
> IASA-=
> TC 03 and IASA-TC 04, states that the minimum suggested sample rate is 48
> k=
> Hz, but preferably 96 kHz, and a minimum 24-bit word. This wisdom also
> stat=
> es that due to the complex nature of speech, it not be treated any
> differen=
> t than music. So unless you are ingesting sources that are at a lower
> sampl=
> e rate and lesser word depth, you should adhere to the minimums just
> mentio=
> ned. If you are ingesting digital material created at a lower resolution
> su=
> ch as CDs and R-DAT, then that material should be ingested at its original
> =
> resolution.
>
> Regarding cassette playback machines, if you can find TASCAM 122 MKIII
> deck=
> s, their azimuth is adjusted very easily and as of last year the
> manufactur=
> er was still willing to service them.
>
> Best,
>
> -Bruce
>
> Bruce J. Gordon
> Audio Engineer
> Audio Preservation Services
> Harvard University
> Cambridge, Massachusetts 02138
> U.S.A
> tel. +1(617) 495-1241
> fax +1(617) 496-4636
>
>
>
>
>
>
>
>
> On Feb 21, 2013, at 5:12 PM, Paul Stamler <[log in to unmask]>
>  wrote:
>
> > On 2/21/2013 12:10 PM, Joel Alperson wrote:
> >> What tremendous replies both in content and variety.
> >>=20
> >> Thanks to everyone for your comments.
> >>=20
> >> As to labor of love first, this material does not exist anywhere else.
> >>=20
> >> These tapes in most cases are the only recordings which exist.
> >=20
> > What is the nature of the material. You mention that it's only voice --
> i=
> s it a collection of speeches, sermons, class lectures?
> >=20
> >=20
> >> The reasons for digitizing are, one to preserve them as some are over 30
> >> years old. Two, to more easily listen to search through them. And
> >> finally, to ultimately digitally transcribe to text the recordings at
> >> some time in the future, although that's a far less important goal for
> >> now.
> >=20
> > As Don pointed out, preserving cassettes is likely to be easier than
> pres=
> erving digital recordings. The latter, unless pressed onto regular CDs
> (not=
>  CD-Rs) are iffy -- it's necessary to copy the entire archive to a new
> stor=
> age device every couple of years.
> >=20
> >> It seems to me that using an outside service would be tremendously
> >> expensive, certainly well into five figures if not more.
> >=20
> > Yep.
> >=20
> >>=20
> >> And I have the advantage of not having a hard deadline for this work
> >> meaning if the job takes me several years to complete that is far better
> >> than leaving the tapes to deteriorate without preservation.
> > In what environment are they stored? Do you have access to a
> temperature-=
>  and humidity-controlled storage facility?
> >=20
> >>=20
> >> For now, deleting silence at the beginning or end of the recordings is
> >> not critical. Just getting the material digitized is my priority.
> >>=20
> >> I currently have an M-Audio Ultra Lite Mk3 audio interface.
> > Actually, I believe the Ultralite is made by MOTU; it's one of several
> mu=
> lti-channel interfaces that can do the job.
> >=20
> >>=20
> >> The big questions for me then (I think) are what software to use and
> >> some step-by-step instructions as to how I connect several audio
> >> cassette recorders to the audio interface and on operating the software
> >> I would use.
> >=20
> > Your biggest challenge will almost certainly be hardware -- it usually
> is=
> , in any major digitization effort. Job One is always to get good playback
> =
> of the original analog material.
> >=20
> > If these are mono tapes (same material on both channels) you can connect
> =
> six cassette decks to the six inputs of the Ultralite, using a single
> chann=
> el of each cassette deck. You'll need a connector that also lets you
> connec=
> t that channel to your monitoring setup (which can be as simple as a home
> a=
> udio receiver -- but you'll need a switchbox to hook up all six cassette
> de=
> cks; perhaps a patchbay would be easier to manage.
> >=20
> > (If these are stereo tapes, with different material on the two channels,
> =
> of course you'll only be able to do three at a time, but then again you'll
> =
> only need three good cassette decks. Of course, the project will take
> twice=
>  as long and use up 2x as much storage.)
> >=20
> > Getting six decent cassette decks, in this day and age, will take some
> so=
> ing. Old cassette decks, unless they're three-motor machines (which are
> pre=
> ferred), often need all their belts replaced to function at all. Often
> they=
>  need new pinch rollers too.
> >=20
> > Okay, so you've got six working cassette decks. For each tape, you'll
> nee=
> d to set the playback head azimuth properly. The best way to do that is by
> =
> ear; feed both channels into your monitor setup and sum them to mono (most
> =
> receivers have a stereo/mono switch, but you may need to rig one up). One
> u=
> seful trick is to take your monitor feed from the cassette deck's
> headphone=
>  output (if there is one) and run it to the switchbox/patchbay/receiver.
> >=20
> > Anyw3ay, you're listening to the tape with the two channels mono'd.
> There=
>  is a small screw next to the playback head that you can adjust with a
> smal=
> l screwdriver. Ideally this screwdriver will be non-magnetic (you can get
> s=
> mall all-plastic screwdrivers at electronic supply houses). Play the tape,
> =
> preferably from someplace in the middle, and tweak the screw until you
> find=
>  the position that gives the most audible treble. Your azimuth is now set.
> >=20
> > If the cassette squeals or has other motion-related problems, you'll
> need=
>  to open the cassette and move the tape to a new shell, with fresh
> slipshee=
> ts, rollers and pressure pad. You can use a good new cassette for this
> (Max=
> ells are good), but if you're going to need a lot of new shells, you're
> pro=
> bably better off buying new shells.
> >=20
> > Anyway, your azimuth is right, and you've maybe replaced the shell. It's
> =
> very likely that these tapes were recorded without Dolby noise reduction,
> s=
> o turn that off. Set the playback EQ switch, if there is one, to match the
> =
> tape type -- probably Type 1.
> >=20
> > Go through these procedures on all six decks. Rewind all tapes to the
> beg=
> inning. Bring up your multi-channel recording software, set it to
> 24-bit/44=
> .1kHz, set each channel of the software to the corresponding channel of
> the=
>  Ultralite. Put each channel into Record-Ready, and play each tape in turn
> =
> to make sure the level doesn't go above about -6dBFS. Rewind all tapes to
> t=
> heir heads. Roll the recording software, then push PLAY on all six
> cassette=
>  decks. Go away for 45 minutes (or however long each cassette side lasts),
> =
> come back, and when all cassette decks have stopped, stop the recording
> sof=
> tware. Label each track with the appropriate tape name and Side One. Save
> a=
> ll tracks.
> >=20
> > Flip all the tapes. You may need to redo the azimuth alignment for the
> se=
> cond side -- fast-forward the tape to the middle, then check using the
> mono=
> -monitoring hookup. If necessary, adjust all six azimuths, then rewind all
> =
> tapes to the beginning of the second side, and repeat all the recording
> ste=
> ps. Later, rinse and repeat for the next six tapes.
> >=20
> > It's critically important to adjust the azimuth, or at least check it,
> fo=
> r *each cassette*. Azimuth alignment was the Achilles' Heel of cassette
> rec=
> ording; most decks came from the factory set wrong, and cassettes
> themselve=
> s were sufficiently cheesy that they differed on the two sides.
> >=20
> > As I said before, the big task is to get the analog playback right. If
> yo=
> u can do that (eith cassettes it's not easy), the digital side is trivial
> b=
> y comparison.
> >=20
> > Plan on spending some serious money on hardware. A good cassette deck in
> =
> good condition can cost a couple of hundred dollars; if not in good
> conditi=
> on, the repairs might cost a couple of hundred.
> >=20
> > I could go on for a lot longer, but enough for the moment.
> >=20
> > Peace,
> > Paul
>
> ------------------------------
>
> Date:    Thu, 21 Feb 2013 21:42:46 -0600
> From:    Paul Stamler <[log in to unmask]>
> Subject: Re: Digitizing 10,000+ audio cassettes
>
> One caution about this project: if you're working with tapes of radio
> broadcasts, there may be intellectual property issues -- yes, even if
> you're just copying to preserve them. The law on this may change soon,
> and I hope it does.
>
> Peace,
> Paul
>
> ------------------------------
>
> End of ARSCLIST Digest - 20 Feb 2013 to 21 Feb 2013 (#2013-52)
> **************************************************************
>

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