ΨΗΦΙΟΠΟΙΗΣΗ ΗΧΟΥ ΚΑΙ ΜΟΥΣΙΚΗΣ

2000-2006
: 1 -
: 1.3 ,
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[ ] (.. [AES])
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50%-60% ,
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Format
2 4 ,

1888 1929
(Shellac, )
5.5" 16"
(transcription records).
78.26rpm (72-82).
60
130rpm 1930.
1890 - 1960
, 7"
45rpm, 10 12" 33
1/3rpm.
.
1949 -
,
15-30 ,
1945 - 1955
()
1/4"-2 , 3-10
1
7/8, 3 7 15 30 IPS
( ) (
4.75, 9.5, 19 38 cm/sec)
1945 -
Stereo 4-track cartridge
1.4" , 3.75 IPS
1962 - 1970
Compact cassette
1 7/8 IPS,
1965 -
Microcassette/ MiniCassette
2-4 cm , 1 7/8-3.75
1977
Stereo 8-track cartridge*
1.4" , 3.75 IPS,
1965 - 1975

film

1918 - 1950
PCM-F1,DAT, VIDEO PCM,
ADAT
1985
* .
.
2: -

:
1.
2. (Unique Identifier - UI)
3.
4.
5.
6.
7.
8.
9. metadata: (Dublin core, MPEG-7, ..)
.. - UI
10. format

11.
12. ..
13.
14.
' .
CD ,

.
.
(unique identifier),
.
/D

;
(quality control)
OXI
NAI

format

,
.

.
( )
(.. air-condition ).

.

.
( )

H/Y H/Y
,
.

1925
. 1947 .
acetate
.
80

.
.

.
, .

.
,
,
.
.
. ,
.
, .
,
. 1948-1970
acetate 1970

10
.
,
( 1984
).

,
(tail
out). ,

(. )
.
,

.
[!

. , '
,
( ).]
STUDER
Test tapes

:
, )
(. )
11
(1/4 4 track)

(1 7/8, 3 , 7.5 15 IPS)

.

.

(
, pinch roller).
.
. ,
, , .
{}
(
). {}
20-30
,
.

. (7 1/2ips 15ips )
EQ
. (CCIR NAB - AES ...)
1.
,
.
2.
,
test tape, .
12
1. test tapes EQ
test tape :
(Level) 1 kHz
( 10kHz 12kHz 16 kHz)
( 40 Hz 60 Hz 100 Hz)
( 12,5 16 kHz).
MONO AND POLE

. (.
).
Dolby (A,SR)
.
Dolby, Dolby

.
13

/D

:
0 Vu +4dB -14
dbfs (peak meter/ DAW meter).
(quality control)
, drop out
, Server DVD-R,
(bit identical).

, ,

.
, , ,
, , , Dolby,
..
.
Baking -
To (baking)

1970-1984,

.
, ,
.
,

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,
.
1970
1984, .
.

55 C .
, .
(") (2")
.
.
14
.

.

. (.. AMPEX)
,
48 .
( POLE AND MONO)

.
.
. software /
.
(cancellation) .

.
EDITING SPLICES
(2-3 .) ()
.
45 .
.
.
( . 75 .)
.

.

.
DOLBY
Dolby
. Dolby A, Dolby SR

.
(Spectrum Analyzer)

, , , .
15

33 1/3 rpm/ 45rpm
1948
78rpm.
: 12
33 1/3 rpm 30 (long playing),
7 45rpm .
20-22 ,
.
.
78

.
, .
'50 .
,
, 20
CD, .
(cliks) ,

(--).

- .
16

(laminated, shellack, soft lacqker ).*

, . [
]
,
,
78 .
.
. wow

.
,
, .
CD

. 33 rpm 45 rpm
.
,
. [. ]
X RIAA

antiscating. [. ]
17
wow-flutter
,
.
6.0 78 rpm
78
1890 1960.
(short playing) long playing 331/2 .
78 1930-1932
60 -130 !!
1925 72-82 .
Edison Diamond Disc 80 rpm.
78 33
16" , 16" 33 ..

shellac.

.
78 .
(laminated, shellack, soft lacquer)

, .

78 .

78
.
.
. wow

.
. 78
76 80 .
60-90 .
pitch
.
18

.
.
,
. [. ].
.
!! 78 RIAA.
E vertical lateral
.[. ].

antiscating [. ].

.
wow-flutter,
78

( ) ,

.

.
,
. , .
.
,
,
.

.
,
,

.
:
The
Archivist
http://audio-restoration.com/monks5.php
Keith Monk
4.950$
19
Record
machine
cleaning
Loricraft PRC2/3
http://www.smartdev.com/loricraft.html
Smart Devices
1.795$
MKII Moth Record

cleaning machine
http://www.britishaudio.co.uk/rcm.htm
Moth
821
HW-16.5/17
http://www.vpiindustries.com/hw17.htm
VPI
399.95$
2.5Fi Mk II Record
cleaning machine
http://www.nittygrittyinc.com/
Nitty
Record
Products
Gritty
Care
579$
.
http://www.teresaudio.com/haven/cleaner/cleaner.html
Lart du son
http://www.positivefeedback.com/Issue12/LArtduSon.htm
5lt
46
8oz
9.95$
Smart mild
Nitty
Gritty
Purifier 2
www.garage-a-records.com/nitty.html
2 lt
34.95$
Phoenix
II
record
cleaning fluid
www.sleevetown.com/vinyl-cleaning.shtml
4 lt
25.95$
Phoenix
record
cleaning
spray
www.sleevetown.com/vinyl-cleaning.shtml
8oz
15.95$
Groovy
cleaner
www.vinylconnect.com/
catalog/product_info.php?products_id=693
4oz
10.00$
RRL
Super
Record Wash
www.amusicdirect.com/products/search.asp?
mfr=REC
32oz
29.95$

.
.
(.. Columbia Edison Diamond Disks)
. ,
.
.
1.2.5
.
. :
Steven Rochlin
isopropyl
20
Steven Rochlin
isopropyl
1 Triton X-100
Steven Rochlin
denatured
alcohol
10 Photoflo
Laura
Dearborn
isopropyl
1 Triton
Monolan 2000
Don Roderick
isopropyl
(91%)
7-8

Jonathan Scull
1 NONlanolin
isopropyl
10 Photo-Flo + 10
"Direct" tile cleaner
Library
Congress
4lt
Triton
XL-80N
20
ml,
Ammonia
liquor
(analytical
reagent grade), 20 ml, Alkyl
dimethyl
benzyl
ammonium
chloride, 0.5 ml
of
X-114
* ! (78
) (shellac).
,
CD DVD:
.

( , ) :
1.20 ml (0.5%) TritonTM.
. Union Carbide
Corporation, Dow Chemicals.
, .
2.20ml (0.5%) (analytical reagent grade).
.
,

. ,
.
3.0.5ml
(0,13%)
Alkyl
)
dimethyl
benzyl
ammonium
chloride

.
, .

.
21

. ,

.
, ,
.
.

.

.
,
.
Pick-ups
pick-ups .

.
,
.
, ,

, .
pick-up :
equalization
78 45
.
COARSE GROOVE ('78 rpm')
SYSTEM
Treble
turnover
Bass turnover
Lower bass Cut at 10 Boost at 50

t/o
kHz
hz
DECCA 78
3.4 kHz
150 Hz
9 dB
11 dB
ffrr 78
6.36 kHz
250 Hz
40 Hz
5 dB
12 dB
WESTREX
Flat
200 Hz
15 db
BLUMLEIN
Flat
250 Hz
50 Hz
12 dB
BSI 78
3.18 kHz
353 Hz
50 hz
10.5 dB
14 dB
MICROGROOVE (lps 45 rpm)

SYSTEM
Treble
turnover
Bass Turnover

t/o
kHz
hz
RIAA (CCIR)
2.1215 kHz
500.5 Hz
50.5 Hz
13.6 dB
17 dB
ffrr LP
3 kHz
500 Hz
100 hz
10.5 dB
12.5 dB
EMI LP
2.5 kHz
500 Hz
70 Hz
12 dB
14.5 dB
22
NARTB
1.6 kHz
500 Hz`
16 dB
16 dB
COLUMBIA
1590 Hz
500 Hz
100 Hz
16 dB
12.5 dB
Pick-up various speed 65 85 RPM (.. Rek-O-Kut

Rondine, Murray/Ramses-II) .
various speed 71.26,

76.59, 78.26 & 80 rpm ,
.
2.5 3
.
, 78
, ,
60 90 .

. (RIAA
) ,
. (
,
).
-
78 .
.
.
, ,
.
90% 78 .
, Edison, Operaphone, Par-O-Ket, Pathe ..,
.
, .

. ,
,

. 78
(coarse groove),
78 45 33 (micro groove),
.

, ,
.

'60 ,
Philips,
, .
1/8 1,875
.
23

.

.

.
.
.
pitch correction
.

.

.

.

.
, ,
.
.

.

.
.
oscilloscope software computer .

.
24
(A/D converter)
( )
,
.
(convertor) (errors)
.

workstation PC ac .

, computer
.
3.1
,
. ,
,( ),

(errors).
,
.

.
(signal to noise ratio).
,
.
+12dB ( ),
.
( +9,+10dB, 2,1dB).

software ,
.
bit
.
25

: bit.
H
. KHz.
2

( Nyquist).
CD .. 44.1 KHz
(22.KHz).
Nyquist
,

(aliasing)
.
(96 192 KHz).
..
.. 96 KHz
.
(.. ) .. 44.1 48 KHz (
44.1 KHz Audio CD).
, bit , bit.
( dB). CD
16 bit ( 14) 96dB. H
(120 dB)
.
bit 24 ( 20)
144 dB.
(. ) 16 bit.
.
Megabyte stereo

Bits
32
44,1
48
16
24
460,8
635,04
691,2
1272,96
1382,4
691,2
952,56
1036,8
1909,44
2073,6
88,4
96
26
3

/
.
/.
,
. , , editing (
)
.
CD-R DVD-R.

tracks.

(.. ). , ,

.
(..
MPEG-7).
fade-in fade-out,

(2-3 )
.
master files
.
Format .
, (format),
.
.
Digital Master
Digital Master ,
, bit ,
.
bit depth Digital Master
.
(.. DAT)
. , DAT 44.1kHz 16bit
digital master 44.1kHz 16bit,
D/D.
Service Files
service files .
o
.
bit ,
.
. service files
27
lower fidelity higher fidelity .

service files, digital master .
Format
format
, .
Digital master: 96kHz 24bit wav or aiff uncompressed, stereo mono

. stereo
96 kHz 24 bits
2.025 G.
Service file (higher fidelity): 44.1kHz 16bit wav or aiff uncompressed, stereo mono
.. stereo
format 620,156 MB.
Service file (lower fidelity compressed): 128 256 kbps MP3, Quicktime, Windows Media
Audio (WMA) Realmedia. stereo
MP3 128 kbps 56,25 , MP3 256 kbps
112,5 .

.
(back-up)
.
, ,
DVD.
1
DVD
WAV, AIFF
24bit 96kHz
2 025 GB
2,2
620 MB
WAV, AIFF 16bit, 44.1kHz

MP3
256 kbps
112 MB
5,5
37,5
WMA
128 kbps
62 MB
10
75
AC3
128 kbps
56 MB
11
78,5
MP3
128 kbps
56 MB
11
78,5
MP3
64 kbps
28 MB
22
157
OGG
48 kbps
20 MB
31
220
RM
56 kbps
16,3 MB
38
270
MP3
28 kbps
10,6 MB
58
415
RM
28 kbps
9,6 MB
64
460
6. : , CD-R, DVD-R, Digital Audio Tape (DAT), Hexabyte

..
: IDE, SCSI, SATA .

,
. ,
,
.
28
Cd-Rom: ,
. .
DVD-R Cd-Rom, .
.
Hexabyte: backup,
. .
Dat: ,
data audio.

format 96/24.
.
, , ,
.
* (96/24)
SCSI
9.82
ATAPI
1.68
SATA
6.51
EXTERNAL
2.38
2,5 inch
5.65
CD-r
0.76
DVD-R
0.29
ZIP
112
JAZZ
97
DDS Tape
1.39
Data cartridge
3.9
Optical disks
22.3
*
(metadata)

.
.
metadata,
.
:
Mpeg-7
Dublin core
metadata
. metadata
,
metadata .
, metadata
:
29
metadata
metadata
metadata
metadata

, ,

, /
plugins ..
( )
9. [WW],[BW]
watermarking,
.
audio watermarking
. watermarking
.
:
header
-.

(spread spectrum modulation).
,

.
watermarking :
Bitstream watermarking watermarking

audio
PCM watermarking audio
30
watermarking. ()
() .
watermarking ,
,
Metadata .. ,
...
watermarking
.
:
:
.
.
.

0-5 min
30 sec
5-10 min
45 sec
10min <
60 sec
31

50 % 20 %. ,
25 C.
, 32 C .
8 C
.
(%)
(%)
20
20 - 30
15
20 - 40
10
20 - 50
23 C
20 - 50

,
, . ,
/
. ,
,
25 C 8 C .
, ,
.
24 +/5% +/- 2 C.

d.c.
4kA/m (50 Oe) a.c. 800
A/m (10 Oe).
, , .
(.. )
, .
, ,

. .
32
() , .
,
. , ,

.
.
20 C
50 +/-10 %. .
, .
print-through,
tails-out.

,
.
. (

).
, ,
. ,

.
.

/ .

,
, .

.
, .
, 10-20
C 40-50%. 24
2 C 5%. ,
,
(.. ).

.
33

.

.
( Denoising)
( ) ,
.

(1-2 )
. montage
.

.
, (threshold),
(attack) (release) ...
.

.
1985.
.
NoNoise Sonic Solutions
Cedar. plug-ins
Audio Cube, X-noise Waves DINR Digidesign.
2-3 96kHz/24bit

.
:
Decklicking: "", "", ""

78 rpm.
Decrackling: ,
.
Denoiser:
.
Filtering: ,

.
34
Manual Decklicking: ,
Manual Decklicking .
.
click crackle.
decklicking.
decrackle.
. (
)
, 78 .
,

.
mastering.
mastering EQ, multi-band equalization, multiband compression, phase correction,spatialization .
, DSP
. bit-depth
(32 bit float -48 bit fix-40 bit float)
.
workstation (PC, Mac)
(Sonic Solutions, Cedar audio, Sadie, Audio Cube ..),
hardware rack software plug-in.
, .
35

60 Hz
36
4: -

.
- -
.
,
.

.

.

.
:
1.
,
.
2. .
3.
4.
.
5.

1.
2.
3.
4.
5.
6. AD/DA
7.
( stand alone CD-Recorder
)
,
:

/
(24 bit/96kHz)
(>160Gb) (.. SATA, >=7200rpm) DVDR / CD-R (>=8).
.
37

:
) (Windows,
Linux, Apple OS) .
)
,
AD/DA .
) (, ,
).

.
)
(
,
)

.

.

.
38
39
5:-
:

.
:
:
10-30 ltr
100-300 W
Max.Continuous SPL (1m)
103 108 db minimum
Gain
Tweeter protection
reduction
ATC,Dynaudio,PMC,Genelec
(Line PreAmp)
(Line In) :
5-7
Signal to Noise A-weighted :
> 98 db
Frequency Response :
20-20 kHz 0.1 db
THD :
< 0.002 %
Maximum Output Level :
> 14V
Balanced
Balanced .
NAD, ARCAM,ATC
CD Players
Disk Capacity :
1x120mm 80mm CD, CD-R
40
CD-RW
(DigitalOut) :
Coaxial (unbalanced)
AES/EBU (balanced)
5-20 kHz 0.5 db
THD :
< 0.0035 %
Dynamic Range :
96db
Signal to Noise A-weighted :
108 db
SONY,MARANTZ,TASCAM,NAD
PCI/FIREWIRE
PCI card, plug and play

Sample frequencies stereo: 44.1,48,88.2,96,192kHZ kzh input output.
(real time)
Full Dublex.

monitoring ,
record mode playback soundfile.
H (Analog nput) +4dBu -10dBu
Windows Mac Drivers bugs.
>108db > 112db ( 24bit/96kHZ)
clock jitter
: SADIE,MERGING,METRIC HALO,RME, LYNX,M-AUDIO
- (DAW)
44,1kHz - 192kHz / 16 24 bit
BWF (Broadcast Wave Files), AIFF, Wave, SD2

,
AD/DA
41
.
32 bit floating point
48 fix - 64 floating
Wave, AIFF, SD2 BWF.-

AAC, MP3 ..
Sonic Studio, Sadie, Wavelab, Samplitude
AD .

,
(capture) .
:
44,1kHz - 192kHz
16 24 bit
(Line In):
Balanced Unbalanced
@fs =44.1/48kHz : 20Hz.. 20kHz +-0.3db
@fs =88.2/96kHz : 20Hz.. 30kHz +-0.3db

@fs =176.4/192kHz : 20Hz40kHz +-0.3db
THD+N@ 1 kHz
103 dBFS @ - 3dBFs output level,

unweighted
Crosstalk :
< 120 db, 020 kHz
Interchannel phase tracking :
+- 0.3
20Hz 20 kHz
> 90 db @ 1kHz
CMRR:
> 80 db @ 20kHz
> 60 db @ 20 Hz
SNR @ - 40 dBFS input :
> 110 db unweighted
(Line Out -Digital Out) :
Balanced Unbalanced
- Noise Shaping 16bit.
-
Jitter
-

AD :
D/A
Weiss, Prism, DCS, DAD, Mytek

.
:
44,1kHz - 192kHz
16 24 bit
42
(Digital In) :
2-3 Balanced (AES/EBU) Unbalanced

(coaxial) optical
(Line Out) :
Balanced Unbalanced
Jitter
Weiss, Benchmark, Mytec, Prism, DCS
43
, 2 track , 2 channel
7-1/2 ips +-0.09 % peak (DIN/IEC/ANSI weighted)
7-1/2 ips +-0.14 % peak (DIN/IEC/ANSI unweighted)
Wow & Flutter :
15 ips +- 0.08% peak (DIN/IEC/ANSI weighted)

15 ips
+- 0.12 % peak (DIN/IEC/ANSI unweighted)
3,75ips (9.5cm/sec) - 71/2ips (19cm/sec) 15ips (38cm/sec)

30ips (76cm/sec)
+- 0.3 %
- PLL (Phase Lock Loop )
- capstan reel
- Direct drive capstan
Equalization :
NAB IEC/CCIR
7-1/2 ips 30Hz 22 kHz , +- 2 db at 0VU
30Hz 24 kHz , +- 2 db at - 10VU
15 ips
30Hz 16 kHz , +- 2 db at 0VU

30Hz 20 kHz , +- 2 db at - 10VU
S/N :
55dB 7.5 IPS

dolby A -45dB dolby A.
- :
3 Hard Metal alloy
Normal, CrO2, Metal
DC Servo
Wow and Flutter :
< 0.07%
Normal (Type 1) 20-16 kHz +3/-3 db
CrO2 (Type 2) 20-17 kHz +3/-3 db

No Reduction 56 db
Signal -to-Noise :
Dolby B
66 db
Dolby C
72 db
capstan ,

Tascam, Marantz
Test Tapes
Test tapes

.
tapes MRL.
44
IEC/CCIR equalization
7- 1/2 ips 15 ips
: test tapes MRL
--
vari speed 78 rpm

65 85 rpm .
Vari Speed :
0.025% WRMS (JIS C5521) +/-0.035% Weighted,
Wow and Flutter:
Zero to Peak (DIN 45507)

-50
dB
-70 dB (DIN 45539B)
Rumble:

:
(DIN
45539A)
Direct Drive
.
Technics, Simon York, Thorens,
Lateral Bearing friction :
< 20mg
Lateral Bearing friction :
<20 mg
Effective mass :
8 12 gr
Cartridge adjustment :
0-3 gr ( 78 rpm 5-6

)
Cartridge range :
3 9 gr
SME, Rega, Graham, EMT
78 rpm
78 rpm .
78 rpm 1910 - 1922
Conical 0.040
78 rpm 1920 - 1935
rancated elliptical 0.035
78 rpm 1930 - 1955
rancated elliptical 0.028
Pathe vertical.
Expert Stylus, EMT
33 rpm
Channel Balance at 1 kHz :
< 1.5 db
Channel Seperation at 1 kHz :
> 25 db
Tracking Ability at 315 Hz :
> 60 m
45
20Hz 20 kHz +- 1.5db
MC

.
Ortofon, Lyra, Denon, Grado
Phono LP 78 rpm EQ curves

equalization
78 , 45 33
/ **
EQ Curves
Minimum 41db
Gain :
Minimum 65db
Noise :
- 68db CCIR peak 20Hz - 20kHz
RIAA :
0.5 db
Channel Balance :
0.2 db
Channel Seperation :
64 db
GSP JAZZ CLUB, ELDBERG MD12 mkII
**
SYSTEM
Treble turnover Bass turnover
Lower
t/o
bass Cut at 10 Boost at 50

kHz
hz
DECCA 78
3.4 kHz
150 Hz
9 dB
11 dB
ffrr 78
6.36 kHz
250 Hz
40 Hz
5 dB
12 dB
WESTREX
Flat
200 Hz
15 db
BLUMLEIN
Flat
250 Hz
50 Hz
12 dB
BSI 78
3.18 kHz
353 Hz
50 hz
10.5 dB
14 dB

SYSTEM
Treble turnover Bass Turnover
Lower
t/o
RIAA (CCIR)
2.1215 kHz
500.5 Hz
50.5 Hz
13.6 dB
17 dB
ffrr LP
3 kHz
500 Hz
100 hz
10.5 dB
12.5 dB
EMI LP
2.5 kHz
500 Hz
70 Hz
12 dB
14.5 dB
NARTB
1.6 kHz
500 Hz`
16 dB
16 dB
COLUMBIA
1590 Hz
500 Hz
100 Hz
16 dB
12.5 dB
bass Cut at 10 Boost at 50

kHz
hz
46
[CDP] Colorado digitization program digital audio working group, Digital audio best
practices version 1.2 http://www.cdpheritage.org/
Canadian Digital Cultural Content Initiative, Standards and guidelines for digitization
projects, http://www.pch.gc.ca/progs/pcce-ccop/pubs/ccop-pcceguide_e.pdf
Richard Wright BBC information and archives Marit Grimstad NRK Digital radio archives,
EBU technical review No. 290 Metadata
AES recommended practice for audio preservation and restoration AES22-1997(r2003)
Audio restoration by Graham Newton.http://audio-restoration.com
British
Library
National
Sound
Archive,
International
Music
Collection
-http://www.bl.uk/collections/sound-archive/imc.html
Library of Congress, Recorded Sound Reference Center http://lcweb.loc.gov/rr/record/
American National Standards Institute (ANSI) http://www.ansi.org/
IASA (International Association of Sound and Audiovisual Archives) - Standards, Recommended
Practices and Strategies http://www.iasa-web.org/iasa0013.htm

Committee on Preservation of Historical Records
National Library of Australia, digitisation policies http://www.nla.gov.au/policy/digitisation.html
National library of New Zealand http://www.natlib.govt.nz/en/services/index.html

Daniel
Teruggi,
Can
we
save
our
audiovisual
http://www.ariadne.ac.uk/issue39/teruggi/
Audio watermarking http://www.iis.fraunhofer.de/amm/techinf/water/
heritage
MINERVA (Ministerial NEtork for Valorising Activities in digitisation)
Archiving the Audiovisual Heritage, a Joint Technical Symposium. -- FIAF (Federation

International des Archives du Film), FIAT (Federation International des Archives de
Television), IASA (International Association of Sound Archives). -- Berlin: Stiftung Deutsche
Kinemathek, 1988.
Association for Recorded Sound Collections, Associated Audio Archives Committee. -- Final
Performance Report: Audio Preservation: A Planning Study. -- Silver Spring, Maryland:
Association for Recorded Sound Collections, 1987.
Borwick, John -- Sound Recording Practice, Third Edition. -- Oxford University Press, 1989.
Committee on Preservation of Historical Records, et al. -- "Magnetic Recording Media" in
Preservation of Historical Records. -- Washington, D.C.: National Academy Press, 1986, pp.
61-69.
[CDP] Colorado digitization program digital audio working group
Digital audio best practices version 1.2
[CDCCI] Canadian digital cultural content initiative
Standards and guidelines for digitization projects
Richard Wright BBC information and archives Marit Grimstad NRK Digital radio archives,
EBU technical review No. 290 Metadata
[AES1] AES22-1997(r2003) AES recommended practice for audio preservation and

restoration - Storage and handling Storage of polyester-base magnetic tape
[GN]Audio restoration by Graham Newton. http://audio-restoration.com
British Library National Sound Archive, International

http://www.bl.uk/collections/sound-archive/imc.html
Library of Congress, Recorded Sound Reference Center http://lcweb.loc.gov/rr/record/
Music
Collection
47
National library of New Zealand http://www.natlib.govt.nz/en/services/index.html
Amigos library services, Imaging Nuggets: Audio Digitization IV: Technical Issues in
Digitizing 78s and Other Early Discs, Or, When to Call a Vendor
Daniel
Teruggi,
Can
we
Vintage audio history
http://www.videointerchange.com/audio_history.htm
MPEG-7 Home Page
http://www.ipsi.fhg.de/delite/projects/MPEG7/index.html
[WW] www.watermarkingworld.org
[BW]Audiowatermarking Bob Walker, BBC R&D
ANSI/AES Work Group II. -- Environmental Storage Conditions (Draft 2). January 25, 1991.
Archiving the Audiovisual Heritage, a Joint Technical Symposium. -- FIAF (Federation

International des Archives du Film), FIAT (Federation International des Archives de
Television), IASA (International Association of Sound Archives). -- Berlin: Stiftung Deutsche
Kinemathek, 1988.
Association for Recorded Sound Collections, Associated Audio Archives Committee. -- Final
Performance Report: Audio Preservation: A Planning Study. -- Silver Spring, Maryland:
Association for Recorded Sound Collections, 1987.
Borwick, John -- Sound Recording Practice, Third Edition. -- Oxford University Press, 1989.
Bradshaw, R.; Bhushan, B.,; Kalthoff, C.; Warne, M. -- "Chemical and Mechanical
Performance of Flexible Magnetic Tape Containing Chromium Dioxide". -- IBM Journal of
Research Development. Vol. 30, No. 2, March 1986. pp. 203-216.
Brown, Daniel W.; Lowry, Robert E.; Smith, Leslie E. -- Prediction of the Long Term Stability
of Polyester-Based Recording Media. NBSIR 83-2750. --US Department of Commerce,
August 1983.
Brown, Daniel W.; Lowry, Robert E.; Smith, Leslie E. -- Prediction of the Long Term Stability
June 1982.
Committee on Preservation of Historical Records, et al. -- "Magnetic Recording Media" in

Preservation of Historical Records. -- Washington, D.C.: National Academy Press, 1986, pp.
61-69.
Cuddihy, E.F. -- "Aging of Magnetic Recording Tape". -- IEEE Transaction on Magnetics.

Vol. 16, No. 4, July 1980. -- pp. 558-568.
Cuddihy, E.F. -- "Stability and Preservation of Magnetic Tape". -- Proceedings of the

International Symposium: Conservation in Archives. --Conseil international des archives
1989, pp. 191-206
Fontaine, Jean-Marc. -- "Conservation des Enregistrements Sonores sur Bandes

Magntiques, tude bibliographique". -- Analyse et Conservation des documents
graphiques et sonores. -- Paris, France: ditions du centre de la recherche scientifique.
1984.
Fontaine, Jean-Marc. -- Degradation de L'Enregistrement Magnetique Audio/Degradation of

Magnetic Audio Recording.-- 1987. (unpublished) [An English translation, Degradation of
Magnetic Audio Recording, was prepared by the National Library of Canada.]
"The Handling & Storage of Magnetic Tape" -- Sound Talk. Volume III No. 1, 3M, 1970.
Jorgensen, Finn -- The Complete Handbook of Magnetic Recording: 3rd Edition--Blue Ridge
Summit, PA: Tab Professional and Reference Books-- 1988.
save
our
audiovisual
heritage?
48
Kalil, F., (Ed.) -- Magnetic Tape Recording for the Eighties: NASA Reference Publication
1075. -- Tape Head Interface Committee, 1982.
Lehn, Anna -- Appendix IV "Recommended Procedures for Handling Audiovisual Material" -Final Report: Working Group on the Preservation of Recorded Sound Recordings. -- Ottawa:
National Library of Canada, 1990. [Unpublished].
Morgan, John -- Conservation of Plastics: An introduction to their history, manufacture,

deterioration, identification and care. London, England: Plastics Historical Society; The
Conservation Unit, Museums & Galleries Commission, 1991.
Moncrieff, Anne; Weaver, Graham -- Science for Conservators: Cleaning. --London: Crafts
Council, 1983.
Pickett, A.G.; Lemcoe, M.M. -- Preservation and Storage of Sound Recordings. -Washington, D.C.: Library of Congress, 1959.
Pohlmann, Ken C. -- The Compact Disc: A Handbook of Theory and Use. --Madison,
Wisconsin: A-R Editions Inc, 1989.
Preservation and Restoration of Moving Images and Sound -- FIAF (Fdration

International des Archives du Film), 1986.
Smith, Leslie E.; Brown, Daniel W.; Lowry, Robert E. -- Prediction of the Long Term Stability
June 1986.
Storage of Magnetic Tapes and Cinefilms -- European Broadcasting Union, Technical

Centre, Brussels, 1974.
Wheeler, Jim -- Increasing the Life of Your Audio Tapes. -- Ampex Corporation, 1987.
Woram, John M. -- The Recording Studio Handbook.-- Plainview, New York: Sagamore
Publishing Company Inc., 1980.
49
1.
1.1.

( ),
( ),
(video, DVD, film),
(, ...),
(, , , ...)
(, ...)
1.2.
,
.
1.3.
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3
(format) . )

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,
.
.
WAV, BWF, AIFF
MP3, WMA, AC3 ...
AVI, MPG
MPEG-4, WMV ...
TIFF
JPG, GIF, PNG, PDF ...
2.2.

- (
)
:

(txt)
(doc, html)
(Fnl. Sib,
NIFF,
MusicXML1
..)
MusicXML XML
(http:// www.music-notation.info/en/musixml/MusiXML.html)
50
(MIDI)
2.3.

.
, ,
- .
3.
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.
,

.

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(metadata).
2 ,

.

.

.
,

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.

Dublin Core Metadata Set

.

()
2
Defining metadata,
http://www.getty.edu/research/institute/standards/intrometadata/2_articles/swetland/content.html
(American Library Association)

.

, , .
, Dublin Core,
.
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51
Dublin Core Schema

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Standards

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90
.
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.
standards
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.
standards
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.
standards.

XML (eXtensible Markup Language)
Anglo-American Cataloguing Rules 2

Library of Congress
ISO 23950 - ANSI Z39.50
52
Anglo-American Cataloguing Rules 2 (AACR2)

AACR2 .
,
.
Anglo-American
Cataloguing Rules, 2nd ed., 1988 rev. (AACR2)
1997 (- , 2 ., .
1988. . -. :
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ISO 10324 ISO 832:1994, Information and documentationBibliographic description and references-Rules for the abbreviation of bibliographic terms ISO
53
8601:1998, Data elements and interchange formats-Information interchange-Representation of

dates and times. 822-94
.

(ISO 23950 - ANSI Z39.50)
39.50 (150 23950, 1998)
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,
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Dublin Core
To Dublin Core (DC) 15
. 15
, ,

World Wide Web Consortium (W3C). DC
,

...13.
3 :
15

.
DC
.
3
12 Decker S., Harmelen van F., Broekstra J.: The Semantic Web- on the respective Roles of XML and RDF.,
http://www.ontoknowledge/oil/downl/IEEE00.pdf (1).
13 Perkins J.,Spinaze A.: Finding Museum Information in the Internet Commons: a Report on the CIMI Dublin
Core Metadata Tested Project, Bearman D., Trant J. (eds.): Cultural Heritage Informatics 1999, Archives
and Museum Informatics, 1999, (175).

31
54
,
,
.
,
.

.
3.4.
OPAC
DATA METADATA
metadata
()
,
Metadata
. :
OPAC. O OPAC
metadata. O metadata
, ,

XML
XML (
) .
XML . XML
, . XML
: ,
. XML
Unicode.
3.5.
XML Dublin Core Set

(indexed) .
( )
1. . / Identifier
2. / Title
3. / Creator
4. / Subject
5. / Description
6. / Contributor
7. / Publisher
8. / Date
9. / Type
10. / Format
11. / Source
55
12. / Language
13. / Relation
14. / Extent
15. / Rights
elements tag names
xml.
- 2 (AACR2) xml
<?xml version="1.0" encoding="UTF-8" ?>

<metadata>
<title>
<mainTitle>Waltzing Matilda</mainTitle>
<subtitle>song /</subtitle>
<otherTitle>For voice and piano.</otherTitle>
<otherTitle>At head of title page: Sung with immense success!!!! The popular song.</otherTitle>
<otherTitle>Lithography by Turner & Henderson.</otherTitle>
<otherTitle>Believed to have been issued as promotional material for James Inglis & Co. Ltd, Sydney, whose
advertisement for Billy tea appears on the back cover.</otherTitle>
</title>
<contributor>
<principalRole>Cowan, Marie.</principalRole>
<composer>Cowan, Marie.</composer>
<unqualifiedContributor>Paterson, A. B.(Andrew Barton),1864-1941.</unqualifiedContributor>
</contributor>
<publisher>
<namePublisher>Printed and published for the proprietors,</namePublisher>
<place>[Sydney?] :</place>
</publisher>
<date>
<published>[1905?]</published>
</date>
<type>Printed music</type>
<format>
<extentSource>1 score ([2] p.) ;36 cm.</extentSource>
</format>
<identifier>
<persistentIdentifier>
<PI>nla.mus-an7412026-s1-t</PI>
<objectType>Thumbnail</objectType>
<mimeType>image/jpeg</mimeType>
<URI>http://nla.gov.au/nla.mus-an7412026-s1-t</URI>
56
</persistentIdentifier>
<PI>nla.mus-an7412026</PI>
<objectType>Sheet music/Scores</objectType>
<mimeType>text/html</mimeType>
<URI>http://nla.gov.au/nla.mus-an7412026</URI>
<PI>nla.mus-an7412026</PI>
<objectType>Multimedia resources</objectType>
<mimeType>application/smil</mimeType>
<URI>/data/smil/nla.mus-an7412026.smil</URI>
<systemNo>an7412026</systemNo>
</identifier>
<source>
<institution>National Library of Australia</institution>
</source>
<language>English</language>
<relation>
<isVersionOf>an4784490</isVersionOf>
<hasPerformance>MAVIS: 184122</hasPerformance>
<hasPerformance>MAVIS: 471322</hasPerformance>
<hasPerformance>an8847307</hasPerformance>
<isRelatedTo>an13027891</isRelatedTo>
</relation>
<subject>
<heading>National songs; Australia.</heading>
<classification>783.24215990994; 20</classification>
<name>Paterson, A. B.; (Andrew Barton),; 1864-1941.; Musical settings.</name>
</subject>
<description>words by A.B. Paterson ; music arranged by Marie Cowan.For voice and piano.At head of title
page: Sung with immense success!!!! The popular song.Lithography by Turner & Henderson.Believed to have
been issued as promotional material for James Inglis & Co. Ltd, Sydney, whose advertisement for Billy tea
appears on the back cover.</description>
</metadata>
57
H web .
Dublin Core
Metadata Schema
2.
AACR2 (- )
On the Pulse of Morning
58
3. -

, , , ,
...
Principal Role*, composer*, lyricist*, librettist*, musician*, group*, arranger*,

conductor*, singer*
Angelou, Maya
AACR2
.
4.
59
5.
, , ...
1 sound disc (20 min.): 6 microfilm reels:

analog, 33 1/3rpm, mono
35mm
AACR2.
6.
, , ,
, ...
60
AACR2

.
7. ID
, , , ,
...
University of Virginia Electronic Text Centre
AACR2
.
8.
1993-01-23
61
ISO 8601 format YYYY-MM-DD
9.

( ):
( )
au
10.
N, FR, GRE
62
RFC 1766 [RFC1766]

( ISO 639 standard [ISO639]),
standard (taken from the ISO 3166
standard [ISO3166]).
'en' English, 'fr' French, 'en-uk' for English - United Kingdom4
11. ( )
jpeg

standards
12.
http://www.loc.gov/standards/iso639-2/englangn.html
63
13.

(urn)
14.
1946-1952
64
15.
copyright, IPR

Dublin Core metadata Schema Standard USMarc
Dublin Core element
USMARC
Subject
653 Index Term -- Uncontrolled, or

650 Subject Added Entry -- Topical Term.
Title
245 Title Statement.
Author
100 Main Entry -- Personal Name, or

110 Main Entry -- Corporate Name, or
700 Added Entry -- Personal Name, or
710 Added Entry -- Corporate Name.
Publisher
260$b Name of Publisher, Distributor, etc.
OtherAgent
700 Added Entry -- Personal Name, or

710 Added Entry -- Corporate Name.
Date
260$c Date of Publication, Distribution, etc.
ObjectType
Leader/06 Type of Record.
Form
538 System Details Note.
65
Identifier
010 LC Control Number, or

020 ISBN, or
022 ISSN, or
024 Other Standard Identifier, or
856$u Uniform Resource Locator.
Relation
772 Parent Record Entry, or

773 Host Item Entry, or
775 Other Edition Entry, or
776 Additional Physical Form Entry, or
780 Preceding Entry, or
785 Succeeding Entry, or
787 Non-specific Relationship Entry.
Source
786 Data Source Entry, or

776 Additional Form Entry.
Language
041 Language Code, or

546 Language Note.
copyright
Spatial: 034 Coded Cartographic Mathematical Data, or

255 Cartographic Mathematical Data.
Temporal: 045 Time Period of Content, or
513 Type of Report and Period Covered
http://www.lub.lu.se/cgi-bin/nmdc.pl
Dublin Core
http://www.sics.se/~preben/DC/DC_guide.html
User Guidelines for Dublin Core Creation
3.6.
MPEG-7 standard
1996 MPEG (Moving Pictures Experts Group)

project Multimedia Content Description Interface, MPEG-7. To
MPEG-7 ISO/IEC standard,
. MPEG-7

,
.
MPEG-7 standard
,
. MPEG-7
.
.
66
MPEG-7 -
MPEG-7
: , , , , , video
().
MPEG-7
.
MPEG-7 .
MPEG-7 standard
MPEG-7 standard,
. MPEG-7 standard :
: Descriptors (D),
- (Description Schemes (DS))
Descriptors
.
(DDL) MPEG-7
Description Schemes
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, , ,
,
.
MPEG-7 ,
DDL
.
MPEG-7
MPEG-7 :

.

(format, )
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.
(, ,
, ...).
.
( ,
).
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.
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, MPEG-7
.
, MPEG-7
. Links
3.7.
Dublin Core MPEG-7
67
DC Element Definition
MPEG-7 Path
Title
A name given to
CreationInformation.Creation.Title[@type="main"]
a resource.
Creator
An entity primarily
responsible
for
CreationInformation/Creation/Creator[Role/Name="creator"]/A
making
the
gent/Name
content of the
resource
Subject
The topic of the

content of the CreationInformation/Classification/Subject
resource
Description
An account of the
content of the CreationInformation/Creation/Abstract
resource
Publisher
An
entity
CreationInformation/Creation/Creator[Role/Name="Publisher"]
responsible
for
/Agent/Name
making
the
UsageInformation/Availability/Dissemination/Disseminator[Rol
resource
e="Publisher"]/Agent/Name
available
Contributor
An
entity
responsible
for
making
CreationInformation/Creation/Creator[Role/Name="contributor
contributions to "]/Agent/Name
the content of the
resource
Date
CreationInformation/Creation/CreationCoordinates/Date
CreationInformation/Classification/Release[@date]
A date associated
DescriptionMetadata/CreationTime (date at which MPEG-7
with an event in
metadata
description
was
created)
the life cycle of
UsageInformation/Availability/AvailabilityPeriod (date, time
the resource
and duration of broadcast or date of publication if availability is
persistent.)
Type
The nature or
genre
of
the
CreationInformation/Classification/Genre
content of the
resource
Format
The physical or
digital
manifestation of
MediaInformation/MediaProfile/MediaFormat/FileFormat
the resource e.g.,
file format or
mime type
Identifier
MediaInformation/MediaIdentification/EntityIdentifier
An unambiguous
MediaInformation/MediaProfile/MediaInstance/InstanceIdentifi
reference to the
er
resource within a
MediaInformation/MediaProfile/MediaInstance/MediaLocator/
given context
MediaUri
Source
A Reference to a Variation/Source/Video/MediaLocator/MediaUri
resource
from VariationSet/Source/Video/MediaLocator/MediaUri
68
which the present MediaInformation/MediaIdentification/EntityIdentifier

resource
is MediaInformation/MediaProfile[@master="true]/MediaInstanc
derived
e/MediaLocator/MediaUri
Language
A language of the
CreationInformation/Classification/Language[@type="original"
intellectual
|"dubbed"|background"];
content of the
CreationInformation/Classification/CaptionLanguage
resource
Relation
CreationInformation/RelatedMaterial/MediaLocator/MediaUri
A reference to a MediaInformation/MediaProfile/MediaInstance/MediaLocator/
related resource MediaUri
VariationSet/Variation/VariationRelationship
Coverage
The extent or
scope
of
the SemanticBase[@xsi:type="SemanticTimeType"]/Time
content of the SemanticBase[@xsi:type="SemanticPlaceType"]/Place
resource
Rights
Information about
CreationInformation/Creation/CopyrightString
rights held in and
UsageInformation/Rights/RightsID
over the resource
69
4.
1.
1.
2.
3.
4.
REFERENCE
5.
:

.
(, unique identifier) ,
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, , ...

. () (-)

. .. ,
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.
.
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( ..).

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Horizon DB.
70
.

(, , ,
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service files.

, DVD-Data, streamer ... ( ).

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,
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drop down menus.
71
1
2
3
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)
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72
(..
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tmp
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r78
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33
r33
tpe
45
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Tapes
rtp
tpa
Cassettes
rcs
tpc
Mini-Disk
rmd
tpj
DAT
rdt
tpp
Audio VHS
rvh
tpl
Audio ADAT
rad
tpd
Audio Hi8
rh8
tmk
tpk
s(co)
sme
prn
smb
pbo
spe
ppe
spb
pjl
smg
pcp
spg
par
-
-
pcl
paf
2dp
2ph
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2pn
pca
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2pd
mov
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video VHS
mvh
2tb
video analog beta
mvb
Mini DV
mmd
t(xt)
DVCPRO
mdp
tms
Digital beta
mdb
tpr
film super 8 mm
ms8
film 16mm
m16
tmm
film 35 mm
m35
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3do
tmc
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74
* = /
6.
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.
75
SOUND DIGITIZATION SPECIFICATIONS5
FOREWORD
This text briefly reports the minimum requisite specifications for the digitization
and administration of audio and music records. These include the description of
the procedure, the recommended resolutions, the file-types, as well as all
equipment necessary for the digitization workstation, machinery for the
preparation and reading of the records as well as the storage media. There is also
a commentary on the suggested manner of recording and manipulating the data
(metadata) for the records. It should be particularly remarked that this report
constitutes just a synopsis of all specifications, which will be published after the
completion of this study.
SCHEMATIC PRESENTATION OF THE DIGITIZATION PROCEDURE
Digitization procedure can be briefly described like this
Storing
Analog
to
In next page's table there is
a schematic
presentation of the sub-stages of the
Sound
digital signal
Documentation
proposed
digitization
procedure.
Playback
conversion
Promotion
Comments:
Selection: Priority is given to:
a) fragile material,
b) unique and rare records,
c) representative records of Greek music
EQUIPMENT
The sound digitization unit includes
8. Computer
9. Appropriate software
10. Audio equipment
11. Record-preparation machines
12. Playback machines
13. AD/DA Converter
14. Storage media
(Stand-alone digitization systems (like a stand alone CD-Recorder) are not
advisable, because they do not support high sampling rates)
1. Computer
The computer should be of recent technology so as it is able to easily
manipulate large sound files in high resolution (24 bit/96kHz), it should
have a high-capacity (>160Mb) and fast-access (e.g. SATA, >=7200rpm)
TH IS S TU DY HA S B EEN WO RK ED O U T B Y TH E IN S TITU TE FO R RES EA RCH ON

MU S IC A N D A CO US TICS ( )
76
hard disk, as well as a DVD / CD Recorder of relatively high speed (>=8).

The processor should be fast enough in order to save time.
77
2.
2.
Software
Selection of material
Recording of
material's
properties in
a Database
Is the
material
problematic?
YES
Preparation of the
material
NO
Playback machines
adjustment
Playback /D Conversion
Is the quality
satisfactory?
(Quality
control)
NO
YES
Storage in high
resolution
Does it
consist of
more than
one part?
YES
Separation of parts
NO
Recording of
contents in
D.B.
Conversion to other
formats
Storage in digital
media
Recording of
media
in
D.B.s
Preparation for
promotion - Copyright
Safe-keeping of
digital media

and original
material
Promotion Exploitation
78
Appropriate software includes

a) Operating system that can be any recent version of Windows, Linux,
Apple OS.
b) Digitization software that should be able to support the sampling
rates and file types mentioned before, work well with the AD/DA
converter and have some essential processing functions.
c) Software for metadata administration (technical, descriptive,
structural and administrative). This should permit both updating
metadata files and organizing the data in Databases, being able to
refer to the sound file and to administer information.
d) CD / DVD Recording Softwarea
(Alternatively, ready-made complete packages of sound digitization units, that
include both the hardware and software and can automatically extract
metadata, can also be used)
3. Audio Equipment
Audio equipment is used for listening during digitization. It should be of
good quality, so that the user can find possible problems and act
accordingly to solve them. Monitor speakers should be carefully selected
and headphones should have a quite flat and natural response in the
whole sound spectrum, as well being able to reproduce details.
4. Record-preparation machinery
In the case of digitizing old magneto-phone tapes that have not been
reproduced for a long time, apart from rolling them over once, it is likely
that a special de-hydration oven should also be used.
In the case of gramophone records, a special disk-washing-machine
using the appropriate liquid (depending on the record's material) would
be necessary.
5. Record playback machinery
Tape-players
It is advised that only professional tape-players should used, which should
possess:
excellent tape manipulation (smooth acceleration, soft

breaks, rolling guides)
electronics and amplifiers of very good quality (see

Technical Specifications)
memory-settings for calibrating each tape separately
the ability to adjust the head's azimuth
option for changing heads (1/4 monophonic 4 track) to

match every tape
crosstalk -50 dB between neighboring audio tracks
playback in all speeds (1 7/8 , 3 , 7-1/2 15 and 30 ips),

that can match the recording's speed
easiness in finding spare parts and accessories

It is also important that it has fine adjustment of playback speed.
Cassette-players
79
Only professional cassette-players should be used, that have
good tape movement control
electronics and amplifiers of very good quality (see

Technical Specifications)
double "capstans"
selector of multiple cassette types (simple, chrome, metal)
fine speed adjustment (pitch control)
signal to noise ratio of at least 50dB (with Dolby B) or

-40dB (without dolby).
frequency response 50Hz 20kHz +/- 6dB
crosstalk -45 dB between neighboring audio tracks

Record-player- Arm Head
The proper reproduction of vinyl disks is a quite complicated matter.
Different disks have been manufactured using different methods, this
resulting in requiring different heads and pre-amplifiers for their
reproduction.
Different manipulation for each record is essential, due to factors like the
different speeds in which it has been recorded, the manner in which the
channels have been graved, as well as its current condition / state.
6. AD/DA Converter
The analog to digital signal converter is the most important link in the
digitization chain, therefore it should employ absolute balance in the
frequency spectrum, and be able to "capture" with precision the sound
source.
The converter can be a Sound card installed in a computer, it is however
preferable that it is a separate device of high standards, since a
computer's box is vulnerable to many interferences.
DIGITIZATION RESOLUTION
An important aspect of the fidelity of the digital copy as compared to the original
is the sampling resolution. Sampling resolution is characterized by two factors:
sampling frequency and bit-depth (that corresponds to the depth of dynamic
range).
Suggested resolution (based on current technology) for the digitization of audio
files is:
For recorded music and other important
audio files with a large frequency range
high resolution (24 bit depth / 96kHz

sampling frequency)
For files of narrow frequency range

(e.g. speech)
medium resolution -> (16 bit depth /

48 or 44.1 kHz sampling frequency)
For transferring digital recordings from

magnetic media (e.g. DAT)
original sampling resolution.
DIGITAL FILE TYPES
80
Digital file types can be divided in two categories: a) digital master (main copy)
and b) service files (digital copies of the master in lower resolution) that help the
avoidance of access to the master but in the same time they are also more
useful because of their spread format and smaller size.
Digital masters
In the pre-mentioned resolutions, in the

following file-types: BWF (Broadcast
Wav File, with a metadata header) or,
simply,
WAV
or
AIFF
or
SD2
(uncompressed,
stereo
or
mono
according
to
the
prototype)
accompanied by a metadata file (MPEG7).
CD-quality service files
(44.1kHz 16bit) wav or aiff or SD2

uncompressed, stereo. These files can
be written to audio CD for use in
conventional CD Players.
Compressed service files
128 or 256 kbps MP3, AC3, Quicktime,

Windows
Media
Audio
(WMA),
Realmedia etc.
Compressed files can contain the whole recording or an extract and are handy
reference-files that can be used in databases and the Internet.
There should be at least two copies (back-ups) of the Masters, each kept in a
different place, for safety reasons.
7. Storage media
We propose DVDs or RAID array, as well as CDs for service files. DVD for
the Masters should be of good quality and guaranteed for long-life by the
maker.
SAFE-KEEPING OF ORIGINALS AND COPIES
Premises for safe-keeping originals and copies should comply with the following
specifications
In the store-room only long-lasting chemically stable materials should

be used, that do not produce dust
Maintenance of special temperature, humidity and lighting conditions

for short-term and long-term storing.
Short-term Storing
Maximum
Temperature
23 C
Average
humidity (%)
Long-term Storing
Maximum
Temperature
Average
(%)
20 C
20 - 30
15 C
20 - 40
humidity
20 - 50
10 C
20 - 50
For original records in magnetic media, the maximum external d.c. magnetic
fields should not exceed 4kA/m (50 Oe) and maximum a.c. magnetic fields
should be below 800 A/m (10 Oe)
Placement should be done in a proper manner (usually vertically, so that no
extra weight acts on them).
81
Tapes should be rolled to their end (tail-out) with the magnetic surface
upside-down so that the 'pre-through' phenomenon is avoided.
COPYRIGHT PROTECTION
For service files that will be promoted in the Internet the following ways of
protection are suggested (either separately or combined):
Very high compression
Audible watermark (Audio signals inserted periodically)
In-audible watermark (a hidden coded identity entry
)
Use of extracts from the work
Usual practice:
Piece's duration
Extract
0-5 min
30 sec
5-10 min
45 sec
10min <
60 sec
OTHER MUSIC RECORDS

Other music records can be briefly divided in the following categories
1) Scores (western or byzantine notation)
2) Texts (printed or hand-written)
3) Images (photographs sketches etc.)
4) Three-dimensional objects (e.g. Musical instruments)
For these categories it is advised to follow the general digitization techniques
for 2- and 3-dimensional records.
Especially for scores, we suggest scanning 600-1200 dpi (8 bit black/white or
24 bit colour) for the main digital master, and then make lower-resolution PDF
files for handy use.
DOCUMENTATION PROCEDURES
Documenting the material is essential fir its administration, promotion and
exploitation. We suggest using relational databases, depending on the type of the
record, which however work as one body. Each independent recording is assigned
a unique identity code (Unique Identifier) to which everything refers. A basic
scheme of these databases is:
1) physical records. This Database is actually a cataloguing of the archive
and constitutes the base, to which all other Database-entries refer.
2) Entity-ontology records. In this DB are registered the one or more
independent contents of the physical records
3) digitized records. This database includes the digitized forms of the
archives, which are connected to the entity record.
4) digital storage media. Considering the fact that a storage medium may
contain many digitized records, the Database should also be able to
describe each medium's contents.
5) safe-keeping premises. This database lists the places / premises were
the actual and the digitized records are kept
6) people (composers, performers, producers etc.). This can be extracted
from already-inserted entries, and groups together records by their
producer (e.g. digitized works of a composer)
82
7) glossary of terms (Thesaurus of Hellenic Music). This database is not

necessarily produced by the records, but it can be filled up with them. This
is useful both for going along with the terms, and for enriching their
documentation (e.g. biography of a composer, data of a work, description
of a rhythm or a dance etc.).
Defining the fields for the database and coding should comply with the following
standards: Dublin Core, MPEG-7, MPEG-21, Ontologies, RDF(S), XML, MusicXML.
Databases should also be able to run in open-code platforms (e.g. php, my-sql).
83
TECHNICAL SPECIFICATIONS TABLE

SOFTWARE
Sampling Frequency:
44,1kHz - 192kHz / 16 24 bit
Sound Files Support:
BWF (Broadcast Wave Files), AIFF, Wave, SD2
Digitization software:
Should be supporting sampling resolutions and files

types mentioned earlier, work well with the AD/DA
converters and have some basic editing functions.
32 bit floating point minimum
Internal Resolution:
Necessary
characteristics:
48 fix - 64 floating suggested

specialized
Companies (indicative):
Conversion of Wave, AIFF, SD2 to BWF. -Conversion of

any audio format to AAC, MP3 etc.
Sonic Studio, Sadie, Wavelab, Samplitude
AD Converter
Minimum requirements:
Sampling Frequency:
44,1kHz - 192kHz
Resolution:
16 24 bit
Line Inputs (Line In):
Analog Balanced Unbalanced

@fs =44.1/48kHz: 20Hz.. 20kHz +-0.3db
Frequency Response:
@fs =88.2/96kHz: 20Hz.. 30kHz +-0.3db

@fs =176.4/192kHz: 20Hz40kHz +-0.3db
THD+N@ 1 kHz
Less than 103 dBFS @ - 3dBFs output level,

unweighted
Crosstalk:
< 120 db, 020 kHz
Interchannel phase tracking:
Better than +- 0.3 degrees from

20Hz 20 kHz
> 90 db @ 1kHz
CMRR:
> 80 db @ 20kHz
> 60 db @ 20 Hz
SNR @ - 40 dBFS input:
> 110 db unweighted
Line Out - Digital Out:
Analog and Digital Balanced and Unbalanced

- Noise Shaping in 16bit.
Essential special features:
Reduction
phenomenon
or
elimination
of
'Jitter'
- Independent gain control for the left and right

channels
Weiss, Prism, DCS, DAD, Mytek
D/A Converter
Sampling:
44,1kHz - 192kHz
Resolution:
16 24 bit
84
Digital Inputs (Digital In):
2-3 Digital Balanced (AES/EBU) Unbalanced

(coaxial) and, optionally, optical
Line outputs (Line Out):
Analog Balanced and Unbalanced
Reduction
or
phenomenon
Weiss, Benchmark, Mytec, Prism, DCS
elimination
of
'Jitter'
TAPE PLAYERS
Minimum required features:
Tape types for the most of cases:
7-1/2 ips +- 0.09 % peak (DIN/IEC/ANSI weighted)

Wow & Flutter:
7-1/2 ips +- 0.14 % peak (DIN/IEC/ANSI unweighted)

15 ips
+- 0.08 % peak (DIN/IEC/ANSI weighted)
15 ips
+- 0.12 % peak (DIN/IEC/ANSI unweighted)
Playback Speed:
3,75ips (9.5cm/sec) - 71/2ips (19cm/sec)

(38cm/sec) 30ips (76cm/sec)
Precision of rotation :
+- 0.3 %
Motor:
Equalization:
PLL (Phase Lock Loop ) for the Precision of rotation
Double motors for capstan and reel
Direct drive capstan
NAB and IEC/CCIR

7-1/2 ips
Frequency Response:
15ips
30Hz 22 kHz , +- 2 db at
0VU
30Hz 24 kHz , +- 2 db at - 10VU

15 ips
30Hz 16 kHz , +- 2 db at
0VU
30Hz 20 kHz , +- 2 db at - 10VU

S/N:
Signal to noise ratio of at least 55dB at 7.5 IPS with

dolby A or 45dB without dolby A.
CASSETTE PLAYERS
Suggested minimum features:
Number and type of heads:
Preferably 3 Hard Metal alloy heads
Cassette types support:
Normal, CrO2, Metal
Motor type
DC Servo
Wow and Flutter:
< 0.07%
Frequency Response:
Signal -to-Noise:
Normal (Type 1) 20-16 kHz +3/-3 db

CrO2
(Type 2) 20-17 kHz +3/-3 db
No Reduction
56 db
Dolby B
66 db
85
Dolby C
72 db
Double 'capstans' for precise rotation,

azimuth adjustment
Tascam, Marantz
Test Tapes for tape-players

Tapes that support and IEC/CCIR equalization
Tapes that support (minimum) speeds 7- 1/2 ips 15 ips
Companies (indicative): The only company which still makes test tapes is MRL
RECORD PLAYERS HEADS ARMS

Suggested record player minimum features
Vari-Speed:
Wow and Flutter:
Vari-speed feature, especially for 78 rpm disks, ranging from 65

to
0.025% WRMS (JIS C5521) +/-0.035% Weighted,
Zero to Peak (DIN 45507)
Rumble:
-50
dB
-70 dB (DIN 45539B)
(DIN
45539A)
Direct-Drive Pick-ups are preferable (compared to the beltdriven ones) because of greater easiness in their use and
greater precision in speed adjustments.
Technics, Simon York, Thorens,
ARMS
Lateral Bearing friction:
< 20mg
Lateral Bearing friction:
<20 mg
Effective mass:
8 12 gr
Cartridge adjustment:
0 3 gr. for 78 rpm than can go as heavy as 5-6 gr.

(external weighing-machine necessary)
Cartridge range:
3 9 gr
SME, Rega, Graham, EMT
78 rpm heads
There is a need to use different heads for playing 78 rpm disks manufactured in different
periods.
Suggested minimum technical features for 78 rpm heads
78 rpm disks from 1910 to 1922
Conical 0.040
78 rpm disks from 1920 to 1935
Truncated elliptical 0.035
86
78 rpm from 1930 to 1955
Truncated elliptical 0.028
Path disks require special heads that can read vertically
Expert Stylus, EMT
33 rpm heads
Suggested minimum technical features for 33 rpm heads
Channel Balance at 1 kHz:
< 1.5 db
Channel Separation at 1 kHz:
> 25 db
Tracking Ability at 315 Hz:
> 60 m
Frequency Response:
20Hz 20 kHz +- 1.5db
Moving-coil MC heads are preferable because of their

better technical features and better sound, compared to
the moving magnet heads.
Ortofon, Lyra, Denon, Grado
Phono Pre-amplification for LP and 78 rpm disks, with special EQ curves

Suggested minimum features for pre-amplifiers:
Pre-amplifiers with suitable equalization to match the
ways 78 , 45 33 rpm disks were manufactured in
each period, according to the next table **
EQ Curves
Minimum 41db for heads
Gain:
Minimum 65db for heads
Noise:
- 68db CCIR peak 20Hz - 20kHz
RIAA Curve Precision:
0.5 db
Channel Balance:
0.2 db
Channel Separation:
64 db
GSP JAZZ CLUB, ELDBERG MD12 mkII
**
SYSTEM
Treble
turnover
Bass turnover

t/o
kHz
hz
DECCA 78
3.4 kHz
150 Hz
9 dB
11 dB
ffrr 78
6.36 kHz
250 Hz
40 Hz
5 dB
12 dB
WESTREX
Flat
200 Hz
15 db
BLUMLEIN
Flat
250 Hz
50 Hz
12 dB
BSI 78
3.18 kHz
353 Hz
50 hz
10.5 dB
14 dB

SYSTEM
Treble
turnover
Bass Turnover

t/o
kHz
hz
87
RIAA (CCIR)
2.1215 kHz
500.5 Hz
50.5 Hz
13.6 dB
17 dB
ffrr LP
3 kHz
500 Hz
100 hz
10.5 dB
12.5 dB
EMI LP
2.5 kHz
500 Hz
70 Hz
12 dB
14.5 dB
NARTB
1.6 kHz
500 Hz`
16 dB
16 dB
COLUMBIA
1590 Hz
500 Hz
100 Hz
16 dB
12.5 dB
REFERENCES - BIBLIOGRAPHY
Colorado Digitization Program digital audio working group, Digital audio
best practices version 1.2 http://www.cdpheritage.org/
Canadian Digital Cultural Content Iinitiative, Standards and guidelines for
digitization projects
Richard Wright BBC information and archives Marit Grimstad NRK Digital
radio archives, EBU technical review No. 290 Metadata
AES22-1997(r2003) AES recommended practice for audio preservation
and restoration - Storage and handling Storage of polyester-base
magnetic tape
Audio restoration by Graham Newton. http://audio-restoration.com
British Library National Sound Archive, International Music Collection
-http://www.bl.uk/collections/sound-archive/imc.html
Library of Congress, Recorded Sound Reference Center
http://lcweb.loc.gov/rr/record/
National Library of Australia, dig. policies
http://www.nla.gov.au/policy/digitisation.html
National library of New Zealand
http://www.natlib.govt.nz/en/services/index.html
Amigos library services, Imaging Nuggets: Audio Digitization IV: Technical
Issues in Digitizing 78s and Other Early Discs, Or, When to Call a Vendor
Daniel Teruggi, Can we save our audiovisual heritage
Audio watermarking
http://www.iis.fraunhofer.de/amm/techinf/water/index.html#3
Archiving the Audiovisual Heritage, a Joint Technical Symposium. -- FIAF
(Federation International des Archives du Film), FIAT (Federation
International des Archives de Television), IASA (International Association
of Sound Archives). -- Berlin: Stiftung Deutsche Kinemathek, 1988.
Association for Recorded Sound Collections, Associated Audio Archives
Committee. -- Final Performance Report: Audio Preservation: A Planning
Study. -- Silver Spring, Maryland: Association for Recorded Sound
Collections, 1987.
Borwick, John -- Sound Recording Practice, Third Edition. -- Oxford
University Press, 1989.
Committee on Preservation of Historical Records, et al. -- "Magnetic
Recording Media" in Preservation of Historical Records. -- Washington,
D.C.: National Academy Press, 1986, pp. 61-69.
________________
88

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2000-2006

Stereo 4-track cartridge

1.4" , 3.75 IPS

Stereo 8-track cartridge*

1.4" , 3.75 IPS,

(1 7/8, 3 , 7.5 15 IPS)

( 10kHz 12kHz 16 kHz)

MONO AND POLE

MKII Moth Record

Lower bass Cut at 10 Boost at 50

MICROGROOVE (lps 45 rpm)

Lower bass Cut at 10 Boost at 50

Pick-up various speed 65 85 RPM (.. Rek-O-Kut

various speed 71.26,

lower fidelity higher fidelity .

Digital master: 96kHz 24bit wav or aiff uncompressed, stereo mono

WAV, AIFF 16bit, 44.1kHz

6. : , CD-R, DVD-R, Digital Audio Tape (DAT), Hexabyte

: IDE, SCSI, SATA .

Bitstream watermarking watermarking

PCM watermarking audio

Decklicking: "", "", ""

Max.Continuous SPL (1m)

103 108 db minimum

Signal to Noise A-weighted :

20-20 kHz 0.1 db

Maximum Output Level :

1x120mm 80mm CD, CD-R

5-20 kHz 0.5 db

Signal to Noise A-weighted :

PCI card, plug and play

44,1kHz - 192kHz / 16 24 bit

BWF (Broadcast Wave Files), AIFF, Wave, SD2

Wave, AIFF, SD2 BWF.-

@fs =88.2/96kHz : 20Hz.. 30kHz +-0.3db

103 dBFS @ - 3dBFs output level,

< 120 db, 020 kHz

Interchannel phase tracking :

SNR @ - 40 dBFS input :

> 110 db unweighted

(Line Out -Digital Out) :

Weiss, Prism, DCS, DAD, Mytek

2-3 Balanced (AES/EBU) Unbalanced

Weiss, Benchmark, Mytec, Prism, DCS

Wow & Flutter :

15 ips +- 0.08% peak (DIN/IEC/ANSI weighted)

+- 0.12 % peak (DIN/IEC/ANSI unweighted)

3,75ips (9.5cm/sec) - 71/2ips (19cm/sec) 15ips (38cm/sec)

30Hz 16 kHz , +- 2 db at 0VU

55dB 7.5 IPS

3 Hard Metal alloy

Normal, CrO2, Metal

Wow and Flutter :

CrO2 (Type 2) 20-17 kHz +3/-3 db

vari speed 78 rpm

0.025% WRMS (JIS C5521) +/-0.035% Weighted,

Wow and Flutter:

Zero to Peak (DIN 45507)

Lateral Bearing friction :

Lateral Bearing friction :

0-3 gr ( 78 rpm 5-6

SME, Rega, Graham, EMT

78 rpm 1920 - 1935

rancated elliptical 0.035

Principal Role, composer, lyricist, librettist, musician, group, arranger*,