Here's what Naropa Audio Archive is doing - can't help with SoundForge. Try David Glasser at www.airshowmastering.com. He's our grammy-winning restoration engineer. If doesn't know, he can direct you. In the meantime - hope this info is helpful: 1. We used SADiE for a year (loaner machine) and it was great, but concur as overkill. Had to set up signal path to go around the SADiE to burn data files. Hot swapped. When we rec'd grant money, we opted for ProTools - inexpensive, MAC-based, and we are HAPPY. ProTools Digi002 can do more than we need to merely transfer the audio, but at 5K it's a good value - and we're looking forward to the functionality as outside demand for material in the collection is growing. That is, we anticipate being able to cut radio programs and educational material out of the material sometime soon. 2. Pro audio engineers are consultants and trainers on our project, as well as part of our QC process; we train students to run the workstations. This is our 2nd year of operation, and for our collection (30 years of rather esoteric spoken word poetics) it's been much more valuable to hire grad students who love the content than to hire an audio engineer who may be disinterested. The students collect all the metadata necessary for MARC21 catalog record creation (also Dublin Core) during the transfer from analog to digital, as well as log the content for further indexing. No uninterested person, no matter how well trained for sonics, electrical engineering, etc., could stand to do it for long. The archival work we're doing isn't any more difficult than the current crop of computer using 25 and under crowd is used to. And to make sure we're doing the right thing, we've got one of our transfer labs set up at an audio restoration facility. They're a vendor, but they're state-of-the-art as far as audio and engineering goes. 3. We transfer from original record cassettes through Lucid A-D converter into ProTools in real time. It's a flat transfer, no alteration. It's the only time we touch the originals. We output to several formats: CD-DA - flat audio copy to gold CD as reference copy; CD-R - BWAV files to two different manufacturers of CD (mitsui and taiyo yuden; this is back-up to account for random physical defects in the manufacture of CDs); AIT - BWAV file also gets laid off onto Sony AIT tape in case the CDs experience catastrophic failure sometime in the future in the hopes that the AIT tape will last longer than whenever that is). All of these are protection copies and go into cold storage along with the original cassette. We could be striking another unaltered full resolution dub to BWAV at this time to use as production masters - but we're doing the restoration at this time...... We go back to the digitized material in ProTools and put the file through mild EQ - hiss and noise reduction programs (plug ins)- as appropriate. If there are any long pauses in the original recording, we take them out. This gets output to CD-DA audio. These listening copies are our access and production masters until we finalize our server configuration. All of our digitized material is uncompressed. 44/24. We'd like to be at 96, but can't afford to at this time. -----Original Message----- From: David Seubert [mailto:[log in to unmask]] Sent: Friday, October 03, 2003 2:03 PM To: [log in to unmask] Subject: [ARSCLIST] audio workstation help We've encountered a problem that I hope somebody can assist with. We'd like to be able to use external signal processing equipment on audio that we've digitized. When we make preservation copies of analog source material, we capture a flat transfer on our audio workstation. (PC with Sound Forge 6.0) If we want to use an external piece of equipment (e.g. Cedar, EQ, Packburn etc.) to modify the signal we are unable to do so. Unless I am missing something, Sound Forge cannot playback the original file and record a new file at the same time. Our sound card (DAL CardDelux) supports full duplex, our software apparently doesn't. I even tried playing back a wav file with Media Player, then looping it out to an external equalizer and then back into the computer and recording in Sound Forge, but this creates a feedback loop. How to you make this work?