archive

Dec

2016

Revealing Histories: North Staffordshire

Greatbear are delighted to be working with the Potteries Heritage Society to digitise a unique collection of tape recordings made in the 1970s and 80s by radio producer, jazz musician and canals enthusiast Arthur Wood, who died in 2005.

The project, funded by a £51,300 grant from the Heritage Lottery Fund (HLF), will digitise and make available hundreds of archive recordings that tell the people’s history of the North Staffordshire area. There will be a series of events based on the recordings, culminating in an exhibition in 2018.

The recordings were originally made for broadcast on BBC Radio Stoke, where Arthur Wood was education producer in the 1970s and 80s. They feature local history, oral history, schools broadcasts, programmes on industrial heritage, canals, railways, dialect, and many other topics of local interest.

There are spontaneous memoirs and voxpop interviews as well as full-blown scripted programmes such as the ‘Ranter Preachers of Biddulph Moor’ and ‘The “D”-Day of 3 Men of the Potteries’ and ‘Millicent: Lady of Compassion’, a programme about 19th century social reformer Millicent, Duchess of Sutherland.

Arthur Wood: Educational Visionary

In an obituary published in The Guardian, David Harding described Wood as ‘a visionary. He believed radio belonged to the audience, and that people could use it to find their own voice and record their history. He taught recording and editing to many of his contributors – miners, canal, steel and rail workers, potters, children, artists, historians and storytellers alike.’

The tapes Greatbear will be digitising reflect what Wood managed to retain from his career at the BBC.

Before BBC Radio Stoke moved premises in 2002, Wood picked up as many tapes as he could and stored them away. His plan was to transfer them to a more future proof format (which at the time was mini disc!) but was sadly unable to do this before he passed away.

‘About 2 years ago’ Arthur’s daughter Jane explains, ‘I thought I’d go and have a look at what we actually had. I was surprised there were quite so many tapes (about 700 in all), and that they weren’t mainly schools programmes, as I had expected.

I listened to a few of them on our old Revox open reel tape machine, and soon realised that a lot of the material should be in the city (and possibly national) archives, where people could hear it, not in a private loft. The rest of the family agreed, so I set about researching how to find funding for it.’

50th anniversary of BBC Local Radio

The Revealing Voices project coincides with an important cultural milestone: the 50th anniversary of BBC local radio. Between 1967 and 1968 the BBC was granted license to set up a number of local radio stations in Durham, Sheffield, Brighton, Leicester, Merseyside, Nottingham, Leeds and Stoke-on-Trent.

Education was central to how the social role of local radio was imagined at the time:

‘Education has been a major preoccupation of BBC Local Radio from the outset. Indeed, in one sense, the entire social purpose of local radio, as conceived by the BBC, may be described as educational. As it is a central concern of every civilised community, so too must any agency serving the aims of such a community treat it as an area of human activity demanding special regard and support. It has been so with us. Every one of our stations has an educationist on its production staff and allocates air-time for local educational purposes’ (Education and BBC Local Radio: A Combined Operation by Hal Bethell, 1972, 3).

Within his role as education producer Wood had a remit to produce education programmes in the broadest sense – for local schools, and also for the general local audience. Arthur ‘was essentially a teacher and an enthusiast, and he sought to share local knowledge and stimulate reflective interest in the local culture mainly by creating engaging programmes with carefully chosen contributors,’ Jane reflected.

Revealing Voices and Connecting Histories

Listening to old recordings of speech, like gazing at old photograph, can be very arresting. Sound recordings often contain an ‘element which rises from the scene, shoots out of it like an arrow, and pierces me’, akin to Roland Barthes might have called a sonic punctum.

The potency of recorded speech, especially in analogue form, arises from its indexicality—or what we might call ‘presence’. This ‘presence’ is accentuated by sound’s relational qualities, the fact that the person speaking was undeniably there in time, but when played back is heard but also felt here.

When Jane dropped off the tapes in the Greatbear studio she talked of the immediate impact of listening again to her father’s tape collection. The first tape she played back was a recording of a woman born in 1879, recalling, among other things, attending a bonfire to celebrate Queen Victoria’s jubilee.

Hearing the voice gave her a distinct sense of being connected to a woman’s life across three different centuries. This profound and unique experience was made possible by the recordings her father captured in the 1970s, unwinding slowly on magnetic tape.

The Revealing Voices project hope that other people, across north Staffordshire and beyond, will have a similar experiences of recognition and connection when they listen to the transferred tapes. It would be a fitting tribute to Arthur Wood’s life-work, who, Jane reflects, would be ‘glad that a solution has been found to preserve the tapes so that future generations can enjoy them.’

***

If you live in the North Staffordshire area and want to volunteer on the Revealing Voices project please contact Andy Perkin, Project Officer, on andy at revealing-voices dot org dot uk.

Many thanks to Jane Wood for her feedback and support during research for this article.

Sep

2016

Digital Video in Mixed-Content Archives

On a recent trip to one of Britain’s most significant community archives, I was lucky enough to watch a rare piece of digitised video footage from the late 1970s.

As the footage played it raised many questions in my mind: who shot it originally? What format was it originally created on? How was it edited? How was it distributed? What was the ‘life’ of the artefact after it ceased to actively circulate within communities of interest/ use? How and who digitised it?

As someone familiar with the grain of video images, I could make an educated guess about the format. I also made other assumptions about the video. I imagined there was a limited amount of tape available to capture the live events, for example, because a number of still images were used to sustain the rolling audio footage. This was unlikely to be an aesthetic decision given that the aim of the video was to document a historic event. I could be wrong about this, of course.

When I asked the archivist the questions flitting through my mind she had no answers. She knew who the donor of the digital copy was, but nothing about the file’s significant properties. Nor was this important information included in the artefact’s record.

This struck me as a hugely significant problem with the status of digitised material – and especially perhaps video – in mixed-content archives where the specificities of AV content are not accounted for.

Due to the haphazard and hand-to-mouth way mixed-content archives have acquired digital items, it seems more than likely this situation is the rule rather than the exception: acquired bit by bit (no pun intended), maintaining access is often privileged over preserving the context and context of the digitised video artefact.

As a researcher I was able to access the video footage, and this of course is better than nothing.

Yet I was viewing the item in an ahistoric black hole. It was profoundly decontextualised; an artefact extracted to its most barest of essences.

Standard instabilities

This is not in any way a criticism of the archive in question. In fact, this situation is wholly understandable given that digital video are examples of ‘media formats that exist in crisis.’

Video digitisation remains a complex and unstable area of digital preservation. It is, as we have written elsewhere on this blog, the final frontier of audiovisual archiving. This seems particularly true within the UK context where there is currently no systematic plan to digitise video collections, unlike film and audio.

The challenge with digital video preservation remains the bewildering number of potential codec/ wrapper combinations that can be used to preserve video content.

There are signs, however, that file-format stabilities are emerging. The No Time to Wait: Standardizing FFV1 & Matroska for Preservation symposium (Berlin, July 2016) brought together software developers and archivists who want to make the shared dream of an open source lossless video standard, fit for archival purpose, a reality.

It seems like the very best minds are working together to solve this problem, so Greatbear are quietly optimistic that a workable, open source standard for video digital preservation is in reach in the not too distant future.

Metadata

Yet as my experience in the archive makes clear, the challenge of video digitisation is not about file format alone.

There is a pressing need to think very carefully about the kind of metadata and other contextual material that need to be preserved within and alongside the digitised file.

Due to limited funding and dwindling technical capacity, there is likely to be only one opportunity to transfer material currently recorded on magnetic tape. This means that in 2016 there really can be no dress rehearsal for your video digitisation plans.

As Joshua Ranger strongly emphasises:

‘Digitization is preservation…For audiovisual materials. And this bears repeating over and over because the anti-digitization voice is much stronger and generally doesn’t include any nuance in regards to media type because the assumption is towards paper. When we speak about digitization for audio and video, we now are not speaking about simple online access. We are speaking about the continued viability, about the persistence and the existence of the media content.’

What information will future generations need to understand the digitised archive materials we produce?

An important point to reckon with here is that not all media are the same. The affordances of particular technologies, within specific historical contexts, have enabled new forms of community and communicative practice to emerge. Media are also disruptive (if not deterministic) – they influence how we see the world and what we can do.

On this blog, for example, Peter Sachs Collopy discussed how porta-pak technology enabled video artists and activists in the late 1960s/ early 1970s to document and re-play events quickly.

Such use of video is also evident in the 1975 documentary Les prostituées de Lyon parlent (The prostitutes of Lyon speak).

Les prostituées documents a wave of church occupations by feminist activists in France.

The film demonstrates how women used emergent videotape technology to transmit footage recorded within the church onto TV screens positioned outside. Here videotape technology, and in particular its capacity to broadcast uni-directional messages, was used to protect and project the integrity of the group’s political statements. Video, in this sense, was an important tool that enabled the women – many of whom were prostitutes and therefore without a voice in French society – to ‘speak’.

Peter’s interview and Les prostituées de Lyon parlent are specific examples of how AV formats are concretely embedded within a social-historical and technical context. The signal captured – when reduced to bit stream alone – is simply not an adequate archival source. Without sufficient context too much historical substance is shed.

In this respect I disagree with Ranger’s claim that ‘all that really may be needed moving ahead [for videotape digitisation] is a note in the record for the new digital preservation master that documents the source.’ To really preserve the material, the metadata record needs to be rich enough for a future researcher to understand how a format was used, and what it enabled users to do.

‘Rich enough’ will always be down to subjective judgement, but such judgements can be usefully informed by understanding what makes AV archive material unique, especially within the context of mixed-content archives.

Moving Forward

So, to think about this practically. How could the archive item I discuss at the beginning of the article be contextualised in a way that was useful to me, as a researcher?

At the most basic level the description would need to include:

The format it was recorded on, including details of tape stock and machine used to record material
When it was digitised
Who digitised it (an individual, an institution)

In an ideal world the metadata would include:

Images of the original artefact – particularly important if digital version is now the only remaining copy
Storage history (of original and copy)
Accompanying information (e.g., production sheets, distribution history – anything that can illuminate the ‘life’ of artefact, how it was used)

This information could be embedded in the container file or be stored in associated metadata records.

These suggestions may seem obvious, but it is surprising the extent to which they are overlooked, especially when the most pressing concern during digitisation is access alone.

In every other area of archival life, preserving the context of item is deemed important. The difference with AV material is that the context of use is often complex, and in the case of video, is always changing.

As stressed earlier: in 2016 and beyond you will probably only get one chance to transfer collections stored on magnetic tape, so it is important to integrate rich descriptions as part of the transfer.

Capturing the content alone is not sufficient to preserve the integrity of the video artefact. Creating a richer metadata record will take more planning and time, but it will definitely be worth it, especially if we try to imagine how future researchers might want to view and understand the material.

Aug

2016

Monstrous Regiment – Audio Cassette Digitisation

Monstrous Regiment were one of many trailblazing feminist theatre companies active in the 1970s-1990s. They were established as a collective very much built around performers, both (professional) actors such as Mary McCusker and (professional) musicians such as Helen Glavin.

Between 1975-1993 Monstrous Regiment produced a significant number of plays and cabarets. These included Scum: Death, Destruction and Dirty Laundry, Vinegar Tom, Floorshow, Kiss and Kill, Dialogue Between a Prostitute and One of Her Clients, Origin of the Species, My Sister in This House, Medea and many others.

Monstrous Regiment’s plays were not always received positively be feminists. A performance of Time Gentlemen Please (1978), for example, was controversially shut down in Leeds when some audience members stormed the stage. The play was, according to some commentators, seen to promote a ‘glossy, middle-class view of sexual liberation.’ [1]

As with any historical event there are many different accounts of what happened that evening. Mary McCusker and Gillian Hanna have discussed their perspective, as performers, in an interview conducted with Unfinished Histories: Recording the History of Alternative Theatre.

A detailed biography of the company can be also found on the Unfinished Histories website, which has loads more information about Women’s, Black, Gay and Lesbian Theatre companies active at the same time as Monstrous Regiment. Check it out!

An Archival Legacy

Monstrous Regiment still exist on paper, but ceased producing in 1993 after the Arts Council withdrew the company’s revenue funding.

To ensure a legacy for Monstrous Regiment’s work the company archive was deposited in the Women’s Library (then Fawcett Library).

Due to a large cataloguing backlog at the Women’s Library, however, the Monstrous Regiment collection was never made publicly available.

Co-founder Mary McCusker explains her frustration with this situation:

‘We were always keen to create a body of work that would be accessible to future practitioners that the work would not be hidden from history, but alas unknown to us it was not catalogued so available to no one. Script were meant to be performed, some of the unpublished plays have not been available for such a long time. I/we do want the ideas the energy of those times the talent and wonderful creativity to be there after we are gone. That goes for the plays’ readings we did as well as the performances.’

‘I admire writers immensely and even if some plays didn’t get the critical response hoped for I believe all the work deserves a space, somewhere to be discovered anew. I would also hope the idea a group of actors started this and kept going, took control over their work conditions and wanted their beliefs to inform what was written and how they worked with other creative beings would still resonate in the future.’

Monstrous Moves

To address the access problem the Monstrous Regiment archive was recently moved to a new home, the theatre collection at the V & A, where it will soon be catalogued.

The decision to relocate is part of a new effort to organise and publicly interpret the Monstrous Regiment archive.

Plans are in place to construct a new archival website that will tell the Monstrous Regiment Story. It will include photographs, fliers, scripts, ephemera and – yes – audiovisual material.

Russell Keat, a semi-retired academic and partner of Mary McCusker, has begun the process of looking through the collection at the V & A, selecting items for digitisation and contacting people who performed with Monstrous Regiment to ask for new material.

Russell has also been exploring McCusker’s personal audio cassette collection for traces of Monstrous Regiment. The fruits of this labour were sent to Great Bear for digitisation.

The recordings we transferred include performances of Gentlemen Prefer Blondes and Floorshow, a radio broadcast of Mourning Pictures, a spoken voice audio guide of the play The Colony Comes a Cropper for Visually Challenged Audiences, a tape made by a composer for Mary to rehearse with, songs from Vinegar Tom and Kiss and Kill recorded in a rehearsal studio and a sound tape for Love Story of a Century, comprising piano and rain effects.

The (live) Monstrous Regiment Archive

Making audiovisual documentation was an exceptional rather than everyday activity in the late 1970s and early 1980s. ‘We had a few things filmed; not whole plays but maybe snippets. Music taped. Radio interviews and magazine interviews were one way of spreading the word,’ Mary told us.

As a documentary form, the audiovisual recording exists in tension with the theatrical ideal of live performance: ‘It’s very difficult for a film to capture the experience of live theatre because of course you rehearse and produce the play to be experienced live. BUT naturally if that performance has gone and all you have is a script then any filmed documentation gives the reader/viewer all the visual clues about what a character is feeling when they speak but also the bigger picture about how they feel about what other characters are saying,’ Mary reflected.

Live and later recorded music performed a key role in Monstrous Regiment’s work. Unlike other theatre groups such as the Sadista Sisters, Spare Tyre and Gay Sweatshop, Monstrous Regiment never released an album of the music they performed. The tapes Great Bear have transferred will therefore help future researchers understand the musical dimension of the company’s work in a more nuanced way.

Mary explains that ‘from the very start we wanted live music to be part of the shows we produced and encouraged writers to write not only for the company of actors but also to put music as an integral part of the play; to have it as a theatrical force in a central position, not a scene change background filler.

This was true in all our early work and of course in the two cabarets. I think the songs in Vinegar Tom by Caryl Churchill still provoke much discussion. I know I loved singing them. Later as our musicians moved on and also money got tighter we had musicians like Lindsay Cooper and Joanna MacGregor write and perform scores for plays that were recorded and became used rather as you would in cinema.’

***

We are always delighted to learn about the histories of alternative theatre that occasionally grace the Greatbear studio.

We are hugely grateful to Mary and Russell for taking time to respond to our questions for this article.

We wish them the best of luck for their archive project, and will post links to the new website when it hits the servers.

Notes

[1] Aleks Sierz (2014) In-Yer-Face Theatre: British Drama Today, London: Faber and Faber.

Jul

2016

Deacon Blue Live – Betamax PCM recordings

We regularly work with Bristol Archive Records, for example, who keep the memory of Bristol’s post punk and reggae history alive, one release at a time.

Other ‘archival’ releases recently transferred include cult Yugoslav New Wave band Doktor Spira i Ljudska Bića’s Dijagnoza (available late 2016), John Peel favourites Bob and legendary acid-folk act The Courtyard Music Group.

Greatbear can deliver your files as high resolution stereo recordings or, if available, individual ‘stems’ ready for the new remix.

Deacon Blue Live – PCM Betamax transfer

We recently transferred several live concerts by Scottish pop sensations Deacon Blue.

Recorded in 1988, the concerts capture Deacon Blue in their prime.

The energetic performances feature many of their well-known hits, such as ‘Real Gone Kid’ and ‘Fergus Sings the Blues.’

As Pulse-Code Modulation (PCM) digital recordings on Betamax tape transferred at 24 bit/ 44 kHz, the recordings capture the technical proficiency of the band with exceptional clarity.

Introduced in the late 1970s, PCM digital audio harnessed the larger bandwidth of videotape technology to record digital audio signals.

‘A PCM adaptor has the analogue audio (stereo) signal as its input, and translates it into a series of binary digits, which, in turn, is coded and modulated into a monochrome (black and white) video signal, appearing as a vibrating checkerboard pattern, modulated with the audio, which can then be recorded as a video signal.’

PCM digital audio was widely used until the introduction of Digital Audio Tape (DAT) in 1987. Despite its portability and ability to record at different sampling rates, DAT was not immediately or widely adopted. Given that the Deacon Blue recordings were made on PCM/Betamax in 1988 is evidence of this. It also indicates a telling preference for digital over analogue formats in the late 1980s.

Deacon Blue Live at the Dominion Theatre, London, 26th October 1988 is available to download as part of Deacon Blue’s new album Believers, released 30th September 2016.

According to singer and main songwriter Ricky Ross, the new Deacon Blue album aims to conjure a sense of hope: ‘it’s our statement to the fact that belief in the possibilities of hope and a better tomorrow is the side we choose to come down on.’

Deacon Blue are touring the UK in Nov/ Dec, visiting Bristol’s Colston Hall on 18 November.

May

2016

The Genesis Archive – ¼” reel-to-reel tapes transferred

The early 21st century has been witness to numerous projects that document and interpret popular music histories. Whether dedicated to regional histories, such as the Manchester District Music Archive and Birmingham Music Archive, or genre specific, like the National Jazz archive or the English Folk Dance and Song Society's 'Full English', digitsation has helped curators organise and publish material in new and exciting ways.

A significant amount of archive material that exists on the web has been collected by dedicated amateurs, and a recent transfer in the Greatbear studio is an example of such endeavour.

The Genesis archive is powered by the passion of Mark Kenyon who spearheads a small team of Genesis enthusiasts. Together they have created a detailed, unofficial fan-resource dedicated to one of England's most successful rock bands, and the solo careers of its members.

The Genesis archive is not the only fan site dedicated to Genesis, a band that commands serious adoration from their followers.

Mark's site is unique, however, for its focus on artifacts, and his drive to share a range of ephemeral and well known material with other fans across the world.

The site is 'constantly expanding', and the aim is to continue 'adding and improving the site like a giant wiki.' As well as receiving donations of material from fans of the group, Mark buys many of the items featured on the website and he always welcomes paypal donations to fund the quest for more archival material.

Mark told me he had 'various headaches' with website design, before he settled on a template that would allow him to showcase the wide range of material he has collected, and continues to collect.

Of particular note is the timeline function, which enables the user to browse each subsection of the site chronologically. This helps break down the content into digestible bits, while presenting items in a manner that is visually appealing.

The transfers

Mark contacted Greatbear because he had acquired two open reel tapes of rare Genesis-related material. Both tapes were in perfect playable condition and are the first reel to reel tapes to grace the Genesis archive.

The first reel was an interview between John Shaw, who died in 2013 , and Phil Collins, recorded on Radio Trent on 27th January 1981. This interview captures Collins as his debut album, Face Value, is climbing the charts.

Mark acquired the tapes for a reasonable price from ebay, after a friend of Shaw had put them up for auction early this year.

Mark and his team have uploaded this interview to the archive website, the audio doesn't seem to be freely available any more but the text and images of the tape box are available..

The Lamb Lies Down on Broadway recordings

The second reel we transferred was picked up at a Flea Market in Brick Lane, London, in the early 1980s. It contains semi-finished versions of Genesis's iconic 1974 album, The Lamb Lies Down on Broadway.

The material on the tape demonstrate how Genesis used recording technology to write an album that commentators claim was fraught with difficulty because of financial pressures from their record label, Charisma, and the creative tensions between Gabriel and the rest of the band.

The tape includes guide and out of tune vocals, different time signatures and guitars are placed high in the mix. Michael, who helps Mark to run the archive, ran an A/B comparison with the original vinyl version. He found that vocals ran ahead or were missing in places, and Phil Collins' drum fills differed significantly to the finished versions.

The lack of vocals can perhaps be explained by Kevin Holm-Hudson's claim that Gabriel was 'still writing and revising lyrics a month after the backing tracks had been finished'.

Another interesting point about the tapes is that work-in-progress titles are written on the box. 'Sex Song' for example, became 'Counting Out Time', 'Countryman' refers to 'Chamber Of 32 Doors' and 'Broadway' is used to refer to the title track.

There is also a discrepancy between the titles written on the box and the material on the transferred tape which includes the following songs: 'Counting Out Time', 'The Supernatural Anesthetist', 'Back In NYC', 'Hairless Heart (Instrumental)'.

Mark cannot be 100% certain about the origin of the tape. It is equally likely they are from sessions recorded at the farm in Glaspant Wales, where Genesis used the Island mobile studio to record material for the album, or from sessions at Island studios in Basin Street, London. He has, however, seen photographic evidence of the sessions which indicate that around 10-15 tapes similar tapes were recorded.

Many of these tapes, of course, ended up in a skip once the final version had been 'laid down.' These tapes were never destined to be 'the final copy' of The Lamb Lies Down on Broadway. They may even be a source of embarrassment for the artists because they document their raw, unfinished moments of music making. Nonetheless, such tapes provide a fascinating insight into how 'classic' albums are recorded and written. For fans such recordings are gold dust. They help them to get closer to the moments when a magical piece of music was invented, or present evidence that it could have sounded very different.

The tapes also make clear that the recording itself can function as an instrument, integral to—rather than a one-dimensional document of—the writing process. Holm-Hudson wrote that 'occasionally, Gabriel would record over vocals over passages that some band members...thought would be instrumental.' Gabriel was using the recording, in other words, as a platform for vocal creativity, often against the creative vision of other band members.

It is no doubt that the Genesis archive will continue to evolve and grow in the future. The site Mark and his team have created is a resource for Genesis obsessives and popular music archivists.

It also more than that: an open, public site where visitors can learn about a range of popular music histories that intersect with the Genesis story. These include progressive rock and the concept album, 'World Music', the changing nature of both the music industry and its aesthetic expressions from the 60s-90s, to name a few examples.

***

Many thanks to Mark for discussing his archival work with us.

Oct

2015

William Golding’s Lord of the Flies Audio Cassette Transfer

William Golding’s Lord of the Flies is widely heralded as a classic of 20^th century English literature. The book adorns English Literature syllabuses throughout the UK, its provocative events continue to inspire debate about the nature of humanity and ‘civilisation.’

We recently transferred an audio cassette recording of the Nobel-prize winning author reading his famous novel.

The recordings were made, Golding’s daughter Judy Carver tells us, in ‘the space of a few days during September 1976. He went up to London and stayed for a few nights, spending the whole of each day reading the novel aloud in a studio. He found it very hard work, and was extremely tired by the time he’d finished. We all remember the date for a particular reason. He went to Waterloo to catch the train home, phoned my mother, and she greeted him with “Hello, Grandpa!” My eldest son, their first grandchild, had been born that morning.’

Excerpts from the transferred tapes will be uploaded to the commemorative and educational website www.william-golding.co.uk, helping to meet the ‘steady demand’ for Golding-related material from documentary makers.

Judy is currently organising the Golding family archive which ‘holds a great deal of material in written, audio and visual form.’ A large amount of the written archive will be lent to the University of Exeter, building on the landmark deposit of the handwritten draft of Lord of the Flies that was made in 2014. ‘We are giving some thought as to how to archive family photos and other items.’

As with organising any archive, Judy admits, ‘there are many and various tasks and problems, but it is a fascinating job and I am lucky to have it.’

***

Many thanks to Judy for answering questions about the recordings for this article.

Jul

2015

British Stand Up Comedy Archive’s audiovisual collections

Greatbear have recently worked with the British Stand Up Comedy Archive (BSUCA) to reformat a number of Digital Audio Tapes (DATs) and U-Matic video tapes from their collection.

Established in 2013 and based at the University of Kent’s Special Collections, the BSUCA aims ‘to celebrate, preserve, and provide access to the archives and records of British stand-up comedy and stand-up comedians.’

In 2014 the BSUCA became one of the University of Kent’s 50th anniversary ‘Beacon Projects‘.

Beacon Project funding will support work to ‘catalogue, preserve, digitise, and make accessible the existing collections, and identify new relevant collections.’

They will also hold a number of events which engage comedians ‘in conversation’ about their archives, excerpts from these events are documented here.

We are honoured that project archivist Elspeth Millar took time out of her busy archiving schedule to tell us a bit more about the BSUCA.

She told us:

‘I’m really enjoying the variety of material that I get to work on, including printed material (posters, flyers, letters, notebooks), audio-visual material on a range of formats (audio cassettes, VHS, DAT, MiniDisc, U-matic), and also born-digital records held on obsolete formats (such as 3.5” floppy disks).

In addition the content of the material is, of course, really interesting, and I feel that I am learning a lot from our collections, including about the history of stand-up comedy (from the alternative cabaret movement, to alternative comedy, to the comedy ‘industry’ today) but also political and social topics (for example Mark Thomas’ collection includes a lot of material on the arms trade and large corporations). We are also holding events with some fantastic comedians (Richard Herring, Stewart Lee, Mark Thomas, and at the Edinburgh Festival Fringe, Jo Brand, Alexei Sayle, Susan Calman) so it is wonderful to hear comedians themselves reflecting on their work and on material that they have deposited with the archive.’

You can keep up to date with the latest news from the BSUCA archive on twitter and view images from their collections on flickr.

Read on for more from Elspeth. Her answers cover issues such as selection and appraisal decisions, metadata and dissemination plans for the BSUCA.

They also provide useful insight into the digital preservation tools BSUCA use to manage their digitised and born-digital assets.

Once again, massive thanks to her for responding to our questions and best of luck to BSUCA in the future.

BSCUA Responses to Greatbear Questions

1. What motivated you to get the tapes you sent to us re-formatted now? i.e., what kinds of selection and appraisal processes were behind the decision?

The British Stand-Up Comedy Archive has AV material on a number of audio and moving image formats, magnetic and optical, including audio compact cassettes, MiniDiscs, DATs (Digital Audio Tapes), VHS, DVCams, Audio CD and U-matic tapes. None of these formats are suitable for archival storage and all material will need to be digitised or transferred from their original carrier to digital files. We can carry out the digitisation (or digital transfer) of some audio in-house and we have started our project by transferring material originally captured or stored on MiniDiscs, Audio CDs, and audio compact cassettes¹. After assessing all the formats we currently have it was decided to outsource the digitisation of DATs and U-matic tapes. Both of these are priority formats for transfer from a preservation perspective² and after some research I learnt that DATs can be problematic to transfer due to ‘DAT compatibility’ and dropout problems³. In addition, we have neither a DAT machine or U-matic machine already within Special Collections or within the University, and with the number of recordings on these formats currently limited, it was felt that it would not make sense to purchase already obsolete equipment, which would then need to be professionally maintained.

The other important reason for transferring the tapes of course was for accessibility, so that we can make the recordings accessible to researchers. In addition, our funding is currently only for one year⁴, so it is vital to ensure that audio-visual material on obsolete formats are transferred during this first phase of the project.

2. Can you tell us how metadata helps you to describe, preserve and aid discovery of the Stand Up Comedy archive.

Providing information about our audiovisual items (and resulting digital items) is incredibly important from both an access and preservation perspective. Metadata about analogue items (and subsequent digital files) and born-digital files will be included in the cataloguing collections management system used by the British Stand-Up Comedy Archive (which is part of the University of Kent’s Special Collections & Archives). The catalogue records will include descriptive metadata and administrative metadata. Metadata which comes under the ‘descriptive metadata’ heading describes the item/file and includes a summary of the contents of the recording, all of which helps to make recordings discoverable for researchers. This metadata is also vital from a preservation perspective as it allows archivists to retrieve and identify files. Metadata which comes under the ‘administrative metadata’ heading provides information to help manage the file(s)/recordings, and includes information related to Intellectual Property Rights (including copyright) and preservation information such as the file format and the digitisation/digital transfer. Researchers will be interested in some of these issues (e.g. copyright, as this determines how archived recordings can be used) but from a digital preservation perspective this metadata is extremely important as it records information about the format of the digital file, information about the original carrier, as well as fixity information, to measure whether the file has changed over time.

This metadata will be recorded in our catalogue and will be searchable via the University of Kent’s website and in the future some archive aggregators. However, we are also experimenting with different processes and tools for embedding metadata in files, and researching different metadata standards for this. The benefits of embedding some metadata within the file include the removal of the risk of losing the link between the metadata and the digital file that it is describing. In addition, metadata embedded in born-digital master and digitised master files can also be transferred to ‘access’ copies (generated at a lower specification/resolution) which will also assist in user accessibility. Embedded metadata has its limitations and it is not that flexible, which is why we are using a dual approach of embedding some metadata, but also keeping this information externally in our catalogue.

3. How do you manage, and plan to manage digital audio and audio visual materials in the Stand Up Archive? What digital preservation tools do you use?

The first process in managing digital AV materials in the BSUCA is to think about the file formats that we will use for long-term preservation and access. For audio material we are digitising as LPCM (Linear Pulse Code Modulation) in a Wave format (.wav) wrapper. The addition of embedding metadata into these wave files extends the file to become BWF .wav files, the standard recommended by the International Association of Audiovisual Archives (IASA).⁵

Deciding upon a file format for digitising moving image has been trickier, as the Greatbear team have already written about on this blog; we hope to get underway with digitisation of VHS in September and we are looking at using the FFv1 codec (an open-source lossless compressed codec) wrapped as either AVI or Matroska (MKV).

We are also experimenting with a number of digital preservation tools; one directory that has proved great for discovering such tools is the COPTR wiki (Community Owned digital Preservation Tool Registry), a really useful collated list of various digital preservation tools . One aspect of our digital preservation planning is the creation of checksums as early in the lifecycle of the digital file as possible. We are using a tool called Blackbush, which is a checksum tool⁶ which generates MD5 hash files which was developed for the British Library’s Sound Archive. To embed metadata into .wav files we are using the BWF MetaEdit tool, a free open-source tool developed by AV Preserve and the Federal Agencies Digitization Guidelines Initiative. When our archival master is a compressed format (such as an mp3 on a data or audio CD which has been deposited), we are using tools such as Adobe Bridge to embed metadata in the ID3 format (or Adobe Audition’s metadata tools as we transfer audio). The advantage of BWF MetaEdit for wav files is that it is a free open-source tool, which also has other functions such as batch editing (we can edit multiple wav files at once) and batch import and export functions, which will be useful for when we catalogue this material to item level.

Other tools that we have found useful include DROID (Digital Record Object Identification), developed by The National Archives, and, for other digital material we are using forensic imaging tools such as FTK Imager and ImDisk to mount virtual images of disk images.

4. How do you think the material will be used by future researchers? As a Stand Up Archive I imagine you get a lot of requests for material from broadcasters. How do you manage requests and expectations from different user communities?

The British Stand-Up Comedy Archive is still in its infancy; although we have had material since 2013, it has only been since the beginning of this year that we have been funded to digitise and preserve the material already deposited, start to catalogue it, make it accessible, and publicise what we have and what we are aiming to do.

But two of our core purposes are to ensure access (that these archives are universally discoverable and accessible), and to ensure that the archives are used, and used in a variety of ways (popular culture, academic research, teaching, journalism, general enjoyment). Our main user group at the moment is actually students studying stand-up and popular performance at the University of Kent (at BA and MA level) who have used AV material as part of their course, and we also have a number volunteering with the project, doing summaries of recorded interviews and stand-up performances.

Notes

[1] We have purchased an audio cassette deck (Denon DN-790R) and are using a MiniDisc deck on loan from colleagues within the University, and have also purchased an external audio capture card/A-D converter.

[2] https://psap.library.illinois.edu/format-id-guide/audiotape#dat and https://psap.library.illinois.edu/format-id-guide/videotape#umatic.

[3] https://siarchives.si.edu/sites/default/files/pdfs/digitalAudioTapesPreservation2010_0.pdf (page 5-8) and http://thegreatbear.co.uk/audio-tape/transferring-dats-to-digital-files/.

[4] The British Stand-Up Comedy Archive is part of the University of Kent’s Special Collections and Archives, but it currently has specific funding for one year (as a Beacon Project) to digitise and make accessible its current holdings; more about the Beacon projects can be found at http://www.kent.ac.uk/beacon/about.html.

[5] Guidelines on the Production and Preservation of Digital Audio Objects, IASA-TC 04, 2.8.2

[6] A checksum is ‘an algorithmically-computed numeric value for a file or a set of files used to validate the state and content of the file for the purpose of detecting accidental errors that may have been introduced during its transmission or storage. The integrity of the data can be checked at any later time by recomputing the checksum and comparing it with the stored one. If the checksums match, the data was almost certainly not altered’. National Digital Stewardship Alliance Glossary, http://www.digitalpreservation.gov/ndsa/ndsa-glossary.html.

Jul

2015

Save Our Sounds’ £9.5 million boost

This article is a bit late to break this news, but it is worth highlighting again in case you missed it first time round.

In May 2015 the British Library were awarded over £9.5 million pounds by the Heritage Lottery Fund to help them deliver their hugely important Save Our Sounds project.

We told you about Save Our Sounds earlier in the year.

As stated in a press release, ‘the funding will enable the British Library to digitise and make available 500,000 rare, unique and at-risk sound recordings from its own archive and other key collections around the country over 5 years (2017-2022).’

Funding will also help ‘develop a national preservation network via ten regional centres of archival excellence which will digitise, preserve and share the unique audio heritage found in their local area.’

Living Knowledge

Also worth a read is the recently published Living Knowledge: The British Library 2015-2023, which sets out the strategic priorities of the organisation in its 50^th anniversary year.

The short text outlines ‘what it means to be a national library in a digital age and what the British Library’s role is as one of the UK’s great public assets.’

These are set out in ‘a framework of six purposes which explain, as simply and clearly as we can, the enduring ways in which the public funding we receive helps to deliver tangible public value – in custodianship, research, business, culture, learning and international partnership.’

Within the strategy digitising ‘the 42 different physical formats which hold our 6.5 million audio items’ is highlighted as ‘the next great preservation challenge’ for the British Library.

As ever, we will keep you up to date with updates from the British Library’s Save Our Sounds project as it evolves.

Jun

2015

Type IV Metal Cassettes and Robert Chenciner’s Daghestan Collection

We recently received a fascinating collection of tapes from the archive of Robert Chenciner, an ethnographer with over thirty years experience studying the cultures, human rights and current affairs of Daghestan.

Daghestan is located in the north Caucasus region, its neighbouring countries are Azerbaijan, Chechnya and Georgia, while its eastern border is flanked by the Caspian Sea.

In the early 1980s Robert had unique access to Daghestan and other parts of the Soviet Caucasus in the twilight years of the USSR.

During visits Robert made recordings of Daghestan’s rich culture. This included music, documenting ethnic instruments such as the Chagana, as well as singing and dancing.

Although Robert believes that claims to authenticity must be treated with suspicion, he nonetheless told me that these recordings document the traditional folk culture that was practiced in the villages of Daghestan.

These tapes also document the 31 mutually unintelligible languages spoken in Daghestan such as Avar which is spoken by 900,000 people.

https://cdn.thegreatbear.co.uk/wp-content/uploads/2015/06/dagstan-audio-cassette-split-mouldy.mp3?_=1

Listen to excerpt of a tape from the collection. The tape had experienced mould growth and had snapped. It therefore needed to be repaired prior to transfer. Robert explains: ‘The recording was made in Untsukul c.March 1990. You can hear Russian being spoken with a heavy accent, some Kumyk and some Avar. It was joking and talk about who was I and where from.’

Type IV Metal Cassettes

When Robert travelled to Daghestan he was keen to get the most professional recordings he could. For this reason he used type IV metal audio cassette tapes, a tape formula that had been introduced in the late 1970s to offer better quality recordings.

By the mid 1980s, the tape tardis explains, these tapes

‘had been adopted by a lot of enthusiasts. They remained too expensive to be bought in bulk by the average consumer, but if you wanted to record something special – and particularly if you produced music yourself – you’d probably be highly attracted by the exceptional recording quality of a good metal cassette.’

The science behind the type IV cassette, according to the Museum of Obsolete Media, was to use ‘pure metal particles instead of metal oxides. This created a hard-wearing tape with superior frequency response and greater dynamic range.’

Since completing the recordings in the mid 1980s, as with so many of the tapes we receive at Greatbear, they have been tucked away in a drawer and out of circulation.

Due to being stored in poor conditions some of the tapes were displaying signs of mould growth.

Another problem some tapes exhibited was the degradation of the foam pressure pad. This had ‘stuck’ onto the tape and stopped it it from playing. In one case the tape had snapped as a result from a previous attempt at playback.

Fortunately this issue did not effect our ability to do the transfer. We use Nakamichi tape decks to do optimal audio cassette transfers. The transport design within Nakamichi machines doesn’t use the tape pressure pad to play back the tapes. This is because, Wikipedia tells us,

‘Nakamichi found that this pad provided uneven and fairly inaccurate pressure and was therefore inadequate for reliable tape/head contact. Furthermore, Nakamichi found that the pressure pad was a source of audible noise, particularly scrape flutter (the tape bouncing across the head, a result of uneven pressure), and also contributed to premature head wear. Nakamichi’s dual-capstan tape decks provide such accurate and precise tape tension that, unlike other decks, the cassette’s pressure pad is not needed at all.’

The insides of a Nakamichi machine that has no need of a pressure pad to play back tapes.

Re-publication plans

Recent interest from musicologist Stefan Williamson-Fa, the driving force behind getting the tapes transferred to digital files with Great Bear, will enable these unique recordings to be heard by new audiences.

These include what Robert believes to be the only recording of an Andi Zikr ritual. Banned by the Tsar and later the Soviets, the Zikr ritual proved to be a resilient part of Daghestan’s Sufi culture. Zikr involves a group rotating in a circle, stamping the ground and grunting in order to create a mystical and ecstatic experience.

Stefan and Robert have plans to make the transferred digital files available online.

Robert reflected that when he was collecting the tapes in the 1980s his imagined audience for the recordings was pretty small. With the possibility of online publication this audience has substantially increased.

Furthermore, through people uploading material to sites such as YouTube the amount of Daghestan’s culture that can be accessed on the internet continues to grow. Robert’s links with the academic community in Daghestan also means the recordings will gain exposure there as well.

It is no doubt that those interested in the cultural history of Daghestan will await the publication of these recordings with much excitement. When the website is available we will of course let you know!

***Many thanks to Robert Chenciner for talking to us about his collection, and to Stefan for putting us in touch***

Mar

2015

IASA – Resources and Research

There are an astonishing amount of online resources relating to the preservation and re-formatting of magnetic tape collections.

Whether you need help identifying and assessing your collection, getting to grips with the latest video codec saga or trying to uncover esoteric technical information relating to particular formats, the internet turns up trumps 95% of the time.

Marvel at the people who put together the U-Matic web resource, for example, which has been online since 1999, a comprehensive outline of the different models in the U-Matic ‘family.’ The site also hosts ‘chat pages’ relating to Betamax, Betacam, U-Matic and V2000, which are still very much active, with archives dating back to 1999. For video tape nerds willing to trawl the depths of these forums, nuggets of machine maintenance wisdom await you.

International Association of Sound and Audiovisual Archives

Sometimes you need to turn to rigorous, peer-reviewed research in order to learn from AV archive specialists.

Fortunately such material exists, and a good amount of it is collected and published by the International Association of Sound and Audiovisual Archives (IASA).

‘Established in 1969 in Amsterdam to function as a medium for international co-operation between archives that preserve recorded sound and audiovisual documents’, IASA holds expertise relating to the many different and specialist issues attached to the care of AV archives.

Comprised of several committees dealing with issues such as standards and best practices; National Archive policies; Broadcast archives; Technical Issues; Research Archives; Training and Education, IASA reflects the diverse communities of practice involved in this professional field.

As well as hosting a yearly international conference (check out this post on The Signal for a review of the 2014 meeting), IASA publish a bi-annual journal and many in-depth specialist reports.

Their Guidelines on the Production and Preservation of Digital Audio Objects (2^nd edition, 2009), written by the IASA Technical Committee, is available as a web resource, and provides advice on key issues such as small scale approaches to digital storage systems, metadata and signal extraction from original carriers, to name a few.

Most of the key IASA publications are accessible to members only, and therefore remain behind a paywall. It is definitely worth taking the plunge though, because there are comparably few specialist resources relating to AV archives written with an interdisciplinary—and international—audience in mind.

Examples of issues covered in member-only publications include Selection in Sound Archives, Decay of Polymers, Deterioration of Polymers and Ethical Principles for Sound and Audiovisual Archives.

The latest publication from the IASA Technical Committee, Handling and Storage of Audio and Video Carriers (2014) or TC05, provides detailed outlines of types of recording carriers, physical and chemical stability, environmental factors and ‘passive preservation,’ storage facilities and disaster planning.

The report comes with this important caveat:

‘TC 05 is not a catalogue of mere Dos and Don’ts. Optimal preservation measures are always a compromise between many, often conflicting parameters, superimposed by the individual situation of a collection in terms of climatic conditions, the available premises, personnel, and the financial situation. No meaningful advice can be given for all possible situations. TC 05 explains the principal problems and provides a basis for the archivist to take a responsible decision in accordance with a specific situation […] A general “Code of Practice” […] would hardly fit the diversity of structures, contents, tasks, environmental and financial circumstances of collections’ (6).

Member benefits

Being an IASA member gives Greatbear access to research and practitioner communities that enable us to understand, and respond to, the different needs of our customers.

Typically we work with a range of people such as individuals whose collections have complex preservation needs, large institutions, small-to-medium sized archives or those working in the broadcast industry.

Our main concern is reformatting the tapes you send us, and delivering high quality digital files that are appropriate for your plans to manage and re-use the data in the future.

If you have a collection that needs to be reformatted to digital files, do contact us to discuss how we can help.

Feb

2015

Digitising small audiovisual collections: making decisions and taking action

Deciding when to digitise your magnetic tape collections can be daunting.

The Presto Centre, an advocacy organisation working to help ‘keep audiovisual content alive,’ have a graphic on their website which asks: ‘how digital are our members?’

They chart the different stages of ‘uncertainty,’ ‘awakening’, ‘enlightenment’, ‘wisdom’ and ‘certainty’ that organisations move through as they appraise their collections and decide when to re-format to digital files.

Similarly, the folks at AV Preserve offer their opinion on the ‘Cost of Inaction‘ (COI), arguing that ‘incorporating the COI model and analyses into the decision making process around digitization of legacy physical audiovisual media helps organizations understand the implications and make well-informed decisions.’

They have even developed a COI calculator tool that organisations can use to analyse their collections. Their message is clear: ‘the cost of digitization may be great, but the cost of inaction may be greater.’

Digitising small-medium audiovisual collections

For small to medium size archives, digitising collections may provoke worries about a lack of specialist support or technical infrastructure. It may be felt that resources could be better used elsewhere in the organisation. Yet as we, and many other people working with audiovisual archives often stress, the decision to transfer material stored on magnetic tape has to be made sooner or later. With smaller archives, where funding is limited, the question of ‘later’ is not really a practical option.

Furthermore, the financial cost of re-formatting audiovisual archives is likely to increase significantly in the next five-ten years; machine obsolescence will become an aggravated problem and it is likely to take longer to restore tapes prior to transfer if the condition of carriers has dramatically deteriorated. The question has to be asked: can you afford not to take action now?

If this describes your situation, you might want to hear about other small to medium sized archives facing similar problems. We asked one of our customers who recently sent in a comparatively small collection of magnetic tapes to share their experience of deciding to take the digital plunge.

We are extremely grateful for Annaig from the Medical Mission Sisters for answering the questions below. We hope that it will be useful for other archives with similar issues.

1. First off, please tell us a little bit about the Medical Mission Sisters Archive, what kind of materials are in the collection?

The Medical Mission Sisters General Archives include the central archives of the congregation. They gather all the documents relating to the foundation and history of the congregation and also documents relating to the life of the foundress, Anna Dengel. The documents are mainly paper but there is a good collection of photographs, slides, films and audio documents. Some born digital documents are starting to enter the archives but they are still few.

2. As an archive with a modest collection of magnetic tapes, why did you decide to get the materials digitised now? Was it a question of resources, preservation concerns, access request (or a mixture of all these things!)

The main reason was accessibility. The documents on video tapes or audio tapes were the only usable ones because we still had machines to read them but all the older ones, or those with specific formats, where lost to the archives as there was no way to read them and know what was really on the tapes. Plus the Medical Mission Sisters is a congregation where Sisters are spread out on 5 continents and most of the time readers don’t come to the archives but send me queries by emails where I have to respond with scanned documents or digital files. Plus it was obvious that some of the tapes were degrading as that we’d better have the digitisation sooner than later if we wanted to still be able to read what was on them. Space and preservation was another issue. With a small collection but varied in formats, I had no resources to properly preserve every tape and some of the older formats had huge boxes and were consuming a lot of space on the shelves. Now, we have a reasonably sized collection of CDs and DVDs, which is easy to store in good conditions and is accessible everywhere as we can read them on computer here and I can send them to readers via email.

3. Digital preservation is a notoriously complex, and rapidly evolving field. As a small archive, how do you plan to manage your digital assets in the long term? What kinds of support, services and systems are your drawing on to design a system which is robust and resilient?

At the moment the digital collection is so small that it cannot justify any support service or system. So I have to build up my own home made system. I am using the archives management software (CALM) to enter data relating to the conservation of the CDs or DVDs, dates of creation, dates to check them and I plan to have regular checks on them and migrations or copies made when it will prove necessary.

4. Aside from the preservation issue, what are your plans to use the digitised material that Greatbear recently transferred?

It all depends on the content of the tapes. But I’ve already spotted a few documents of interest, and I haven’t been through everything yet. My main concern now is to make the documents known and used for their content. I was already able to deliver a file to one of the Sisters who was working on a person related to the foundation of the congregation, the most important document on her was an audio file that I had just received from Greatbear, I was able to send it to her. The document would have been unusable a few weeks before. I’ve come across small treasures, like a film, probably made by the foundress herself, which nobody was aware of. The Sisters are celebrating this year the 90th anniversary of their foundation. I plan to use as many audio or video documents as I can to support the events the archives are going to be involved into.

***

What is illuminating about Annaig’s answers is that her archive has no high tech plan in place to manage the collection – her solutions for managing the material very much draw on non-digital information management practices.

The main issues driving the decision to migrate the materials are fairly common to all archives: limited storage space and accessibility for the user-community.

What lesson can be learnt from this? Largely, that if you are trained as an archivist, you are likely to already have the skills you need to manage your digital collection.

So don’t let the more bewildering aspects of digital preservation put you off. But do take note of the changing conditions for playing back and accessing material stored on magnetic tape. There will come a time when it will be too costly to preserve recordings on a wide variety of formats – many of such formats we can help you with today.

If you want to discuss how Greatbear can help you re-format your audiovisual collections, get in touch and we can explore the options.

If you are a small-medium size archive and want to share your experiences of deciding to digitise, please do so in the comment box below.

Feb

2015

Save our Sounds – 2030 and the threat of audiovisual extinction

At the beginning of 2015, the British Library launched the landmark Save Our Sounds project.

The press release explained:

‘The nation’s sound collections are under threat, both from physical degradation and as the means of playing them disappear from production. Archival consensus internationally is that we have approximately 15 years in which to save our sound collections by digitising them before they become unreadable and are effectively lost.’

Yes you have read that correctly dear reader: by 2030 it is likely that we simply will not be able to play many, if not all of the tape formats we currently support at Greatbear. A combination of machine obsolescence, tape deterioration and, crucially, the widespread loss of skills necessary to repair, service and maintain playback machines are responsible for this astounding situation. They will make it ‘costly, difficult and, in many cases, impossible’ to preserve our recorded audio heritage beyond the proposed cut-off date.

While such news might (understandably) usher in a culture of utter panic, and, let’s face it, you’d have to have a strong disposition if you were charged with managing the Save Our Sounds project, the British Library are responding with stoic pragmatism. They are currently undertaking a national audit to map the conditions of sound archives which your organisation can contribute to.

Yet whatever way you look at it, there is need to take action to migrate any collections currently stored on obsolete media, particular if you are part of a small organisation with limited resources. The reality is it will become more expensive to transfer material as we move closer to 2030. The British Library project relates particularly to audio heritage, but the same principles apply to audiovisual collections too.

Yes that rumbling you can hear is the sound of archivists the world over engaged in flurry of selection and appraisal activities….

Extinction

One of the most interesting things about discussions of obsolete media is that the question of operability is often framed as a matter of life or death.

Formats are graded according to their ‘endangered statuses’ in more or less explicit terms, as demonstrated on this Video Preservation website which offers the following ‘obsolescence ratings’:

‘Extinct: Only one or two playback machines may exist at specialist laboratories. The tape itself is more than 20 years old.

Critically endangered: There is a small population of ageing playback machinery, with no or little engineering or manufacturing support. Anecdotal evidence indicates that there are fewer working machine-hours than total population of tapes. Tapes may range in age from 40 years to 10 years.

Endangered: The machine population may be robust, but the manufacture of the machinery has stopped. Manufacturing support for the machines and the tapes becomes unavailable. The tapes are often less expensive, and more vulnerable to deterioration.

Threatened: The playback machines are available; however, either the tape format itself is unstable or has less integrity than other available formats, or it is known that a more popular or updated format will be replacing this one in a short period of time.

Vulnerable: This is a current but highly proprietary format.

Lower risk: This format will be in use over the next five years (1998-2002).’

The ratings on the video preservation website were made over ten years ago. A more comprehensive and regularly updated resource to consult is the Preservation Self-Assessment Program (PSAP), ‘a free online tool that helps collection managers prioritize efforts to improve conditions of collections. Through guided evaluation of materials, storage/exhibit environments, and institutional policies, the PSAP produces reports on the factors that impact the health of cultural heritage materials, and defines the points from which to begin care.’ As well as audiovisual media, the resource covers photo and image material, paper and book preservation. It also has advice about disaster planning, metadata, access and a comprehensive bibliography.

The good news is that fantastic resources do exist to help archivists make informed decisions about reformatting collections.

A Digital Compact Cassette

The bad news, of course, is that the problem faced by audiovisual archivists is a time-limited one, exacerbated no doubt by the fact that digital preservation practices on the ‘output end’ are far from stable. Finding machines to playback your Digital Compact Cassette collection, in other words, will only be a small part of the preservation puzzle. A life of file migrations in yet to be designed wrappers and content-management systems awaits all kinds of reformatted audiovisual media in their life-to-come as a digital archival object.

Depending on the ‘content value’ of any collection stored on obsolete media, vexed decisions will need to be made about what to keep and what to throw away at this clinical moment in the history of recorded sound.

Sounding the fifteen-year warning

At such a juncture, when the fifteen year warning has been sounded, perhaps we can pause for a second to reflect on the potential extinction of large swathes of audio visual memory.

If we accept that any kind of recording both contains memory (of a particular historical event, or performance) and helps us to remember as an aide-mémoire, what are the consequences when memory storage devices which are, according to UNESCO, ‘the primary records of the 20th and 21st centuries’, can no longer be played back?

These questions are of course profound, and emerge in response to what are consequential historical circumstances. They are questions that we will continue to ponder on the blog as we reflect on our own work transferring obsolete media, and maintaining the machines that play them back. There are no easy answers!

As the 2030 deadline looms, our audiovisual context is a sobering retort to critics who framed the widespread availability of digitisation technologies in the first decade of the 21st century as indicative of cultural malaise—evidence of a culture infatuated with its ‘past’, rather than concerned with inventing the ‘future’.

Perhaps we will come to understand the 00s as a point of audiovisual transition, when mechanical operators still functioned and tape was still in fairly good shape. When it was an easy, almost throw away decision to make a digital copy, rather than an immense preservation conundrum. So where once there was a glut of archival data—and the potential to produce it—is now the threat of abrupt and irreversible dropout.

Play those tapes back while you can!

Oct

2014

World Day for Audiovisual Heritage – digitisation and digital preservation policy and research

Today, October 27, has been declared World Day for Audiovisual Heritage by UNESCO. We also blogged about it last year.

Since 2005, UNESCO have used the landmark to highlight the importance of audiovisual archives to ‘our common heritage’ which contain ‘the primary records of the 20th and 21st centuries.’ Increasingly, however, the day is used to highlight how audio and moving image archives are particularly threatened with by ‘neglect, natural decay to technological obsolescence, as well as deliberate destruction’.

Indeed, the theme for 2014 is ‘Archives at Risk: Much More to Do.’ The Swiss National Sound Archives have made this rather dramatic short film to promote awareness of the imminent threat to audiovisual formats, which is echoed by UNESCO’s insistence that ‘all of the world’s audiovisual heritage is endangered.’

As it is World Audiovisual Heritage Day, we thought it would be a good idea to take a look at some of the recent research and policy that has been collected and published relating to digitisation and digital preservation.

While the UNESCO anniversary is useful for raising awareness of the fragility of audiovisual mediums, what is the situation for organisations and institutions grappling with these challenges in practice?

Recent published research – NDSA

The first to consider are preliminary results from a survey published by the US-based NDSA Standards and Practices Working Group, full details can be accessed here.

The survey asked a range of organisations, institutions and collections to rank issues that are critical for the preservation of video collections. Respondents ‘identified the top three stumbling blocks in preserving video as:

Getting funding and other resources to start preserving video (18%)
Supporting appropriate digital storage to accommodate large and complex video files (14%)
Locating trustworthy technical guidance on video file formats including standards and best practices (11%)’

Interestingly in relation to the work we do at Great Bear, which often reveal the fragilities of digital recordings made on magnetic tape, ‘respondents report that analog/physical media is the most challenging type of video (73%) followed by born digital (42%) and digital on physical media (34%).’

It may well be that there is simply more video on analogue/ physical media than other mediums which can account for the higher response, and that archives are yet to grapple with the archival problem of digital video stored on physical mediums such as DVD and in particular, consumer grade DVD-Rs. Full details will be published on The Signal, the Library of Congress’ Digital Preservation blog, in due course.

Recent research – Digital Preservation Coalition (DPC)

Another piece of preliminary research published recently was the user consultation for the 2^nd edition of the Digital Preservation Coalition’s Digital Preservation Handbook. The first edition of the Handbook was published in 2000 but was regularly updated throughout the 00s. The consultation precedes what will be a fairly substantial overhaul of the resource.

Many respondents to the consultation welcomed that a new edition would be published, stating that much content is now ‘somewhat outdated’ given the rapid change that characterises digital preservation as a technological and professional field.

Survey respondents ranked storage and preservation (1), standards and best practices (2) and metadata and documentation (3) as the biggest challenges involved in digital preservation, and therefore converge with the NDSA findings. It must be stressed, however, that there wasn’t a massive difference across all the categories that included issues such as compression and encryption, access and creating digital materials.

Some of the responses ranged from the pragmatic…

‘digital preservation training etc tend to focus on technical solutions, tools and standards. The wider issues need to be stressed – the business case, the risks, significant properties’ (16)

‘increasingly archives are being approached by community archive groups looking for ways in which to create a digital archive. Some guidance on how archive services can respond effectively and the issues and challenges that must be considered in doing so would be very welcome’ (16)

…to the dramatic…

‘The Cloud is a lethal method of storing anything other than in Lo Res for Access, and the legality of Government access to items stored on The Cloud should make Curators very scared of it. Most digital curators have very little comprehension of the effect of solar flares on digital collections if they were hit by one. In the same way that presently part of the new method of “warfare” is economic hacking and attacks on financial institutions, the risks of cyber attacks on a country’s cultural heritage should be something of massive concern, as little could demoralise a population more rapidly. Large archives seem aware of this, but not many smaller ones that lack the skill to protect themselves’ (17)

…Others stressed legal issues related to rights management…

‘recording the rights to use digital content and ownership of digital content throughout its history/ life is critical. Because of the efforts to share bits of data and the ease of doing so (linked data, Europeana, commercial deals, the poaching of lines of code to be used in various tools/ services/ products etc.) this is increasingly important.’ (17)

It will be fascinating to see how the consultation are further contextualised and placed next to examples of best practice, case studies and innovative technological approaches within the fully revised 2^nd edition of the Handbook.

European Parliament Policy on Film Heritage

Our final example relates to the European Parliament and Council Recommendation on Film Heritage. The Recommendation was first decreed in 2005. It invited Member States to offer progress reports every two years about the protection of and access to European film heritage. The 4^th implementation report was published on 2 October 2014 and can be read in full here.

The language of the recommendation very much echoes the rationale laid out by UNESCO for establishing World Audiovisual Heritage Day, discussed above:

‘Cinematography is an art form contained on a fragile medium, which therefore requires positive action from the public authorities to ensure its preservation. Cinematographic works are an essential component of our cultural heritage and therefore merit full protection.’

Although the recommendation relates to preservation of cinematic works specifically, the implementation report offers wide ranging insight into the uneven ways ‘the digital revolution’ has affected different countries, at the level of film production/ consumption, archiving and preservation.

The report gravely states that ‘European film heritage risks missing the digital train,‘ a phrase that welcomes a bit more explanation. One way to understand is that it describes how countries, but also Europe as a geo-political space, is currently failing to capitalise on what digital technologies can offer culturally, but also economically.

The report reveals that the theoretical promise of interoperable digital technologies-smooth trading, transmission and distribution across economic, technical and cultural borders-was hindered in practice due to costly and complex copyright laws that make the cross border availability of film heritage, re-use (or ‘mash-up’) and online access difficult to implement. This means that EU member states are not able to monetise their assets or share their cultural worth. Furthermore, this is further emphasised by the fact that ‘85% of Europe’s film heritage is estimated to be out-of-commerce, and therefore, invisible for the European citizen’ (37).

In an age of biting austerity, the report makes very clear that there simply aren’t enough funds to implement robust digitization and digital preservation plans: ‘Financial and human resources devoted to film heritage have generally remained at the same level or have been reduced. The economic situation has indeed pushed Member States to change their priorities’ (38).

There is also the issue of preserving analogue expertise: ‘many private analogue laboratories have closed down following the definitive switch of the industry to digital. This raises the question on how to maintain technology and know-how related to analogue film’ (13).

The report gestures toward what is likely to be a splitting archival-headache-to-come for custodians of born digital films: ‘resources devoted to film heritage […] continue to represent a very small fraction of resources allocated to funding of new film productions by all Member States’ (38). Or, to put it in numerical terms, for every €97 invested by the public sector in the creation of new films, only €3 go to the preservation and digitisation of these films. Some countries, namely Greece and Ireland, are yet to make plans to collect contemporary digital cinema (see opposite infographic).

Keeping up to date

It is extremely useful to have access to the research featured in this article. Consulting these different resources helps us to understand the nuts and bolts of technical practices, but also how different parts of the world are unevenly responding to digitisation. If the clock is ticking to preserve audiovisual heritage in the abrupt manner presented in the Swiss National Archives Film, the EU research in particular indicates that it may well be too late already to preserve a significant proportion of audiovisual archives that we can currently listen to and watch.

As we have explored at other places in this blog, wanting to preserve everything is in many ways unrealistic; making clinical selection decisions is a necessary part of the archival process. The situation facing analogue audiovisual heritage is however both novel and unprecedented in archival history: the threat of catastrophic drop out in ten-fifteen years time looms large and ominous.

All that is left to say is: enjoy the Day for World Audiovisual Heritage! Treasure whatever endangered media species flash past your eyes and ears. Be sure to consider any practical steps you can take to ensure the films and audio recordings that are important to you remain operable for many years to come.

Jul

2014

Videokunstarkivet – Norway’s Digital Video Art Archive

We have recently digitised a U-matic video tape of eclectic Norwegian video art from the 1980s. The tape documents a performance by Kjartan Slettemark, an influential Norwegian/ Swedish artist who died in 2008. The tape is the ‘final mix’ of a video performance entitled Chromakey Identity Blue in which Slettemark live mixed several video sources onto one tape.

The theoretical and practical impossibility of documenting live performance has been hotly debated in recent times by performance theorists, and there is some truth to those claims when we consider the encounter with Slettemark’s work in the Greatbear studio. The recording is only one aspect of the overall performance which, arguably, was never meant as a stand alone piece. A Daily Mail-esque reaction to the video might be ‘Eh? Is this art?! I don’t get it!’.

Having access to the wider context of the performance is sometimes necessary if the intentions of the artist are to be appreciated. Thankfully, Slettemark’s website includes part-documentation of Chromakey Identity Blue, and we can see how the different video signals were played back on various screens, arranged on the stage in front of (what looks like) a live TV audience.

Upon seeing this documentation, the performance immediately evokes to the wider context of 70s/ 80s video art, that used the medium to explore the relationship between the body, space, screen and in Slettemark’s case, the audience. A key part of Chromakey Identity Blue is the interruption of the audience’s presence in the performance, realised when their images are screened across the face of the artist, whose wearing of a chroma key mask enables him to perform a ‘special effect’ which layers two images or video streams together.

What unfolds through Slettemark’s performance is at times humorous, suggestive and moving, largely because of the ways the faces of different people interact, perform or simply ignore their involvement in the spectacle. As Marina Abramovic‘s use of presence testifies, there can be something surprisingly raw and even confrontational about incorporating the face into relational art. As an ethical space, meeting with the ‘face’ of another became a key concept for twentieth century philosopher Emmanuel Levinas. The face locates, Bettina Bergo argues, ‘“being” as an indeterminate field’ in which ‘the Other as a face that addresses me […] The encounter with a face is inevitably personal.’

If an art work like Slettemark’s is moving then, it is because it stages moments where ‘faces’ reflect and interface across each other. Faces meet and become technically composed. Through the performance of personal-facial address in the artwork, it is possible to glimpse for a brief moment the social vulnerability and fragility such meetings engender. Brief because the seriousness is diffused Chromakey Identity Blue by a kitsch use of a disco ball that the artist moves across the screen to symbolically change the performed image, conjuring the magical feel of new technologies and how they facilitate different ways of seeing, being and acting in the world.

Videokunstarkivet (The Norwegian Video Art Archive)

The tape of Slettemark was sent to us by Videokunstarkivet, an exciting archival project mapping all the works of video art that have been made in Norway since the mid-1960s. Funded by the Norwegian Arts Council, the project has built the digital archival infrastructure from the bottom up, and those working on it have learnt a good many things along the way. Per Platou, who is managing the project, was generous enough to share some the insights for readers of our blog, and a selection of images from archive’s interface.

There are several things to be considered when creating a digital archive ‘from scratch’. Often at the beginning of a large project it is possible look around for examples of best practice within your field. This isn’t always the case for digital archives, particularly those working almost exclusively with video files, whose communities of practice are unsettled and established ways of working few and far between. The fact that even in 2014, when digital technologies have been widely adopted throughout society, there is still not any firm agreement on standard access and archival file formats for video files indicates the peculiar challenges of this work.

Because of this, projects such as Videokunstarkivet face multiple challenges, with significant amounts of improvisation required in the construction of the project infrastructure. An important consideration is the degree of access users will have to the archive material. As Per explained, publicly re-publishing the archive material from the site in an always open access form is not a concern of the Videokunstarkivet, largely due to the significant administrative issues involved in gaining licensing and copyright permissions. ‘I didn’t even think there was a difference between collecting and communicating the work yet after awhile I saw there is no point in showing everything, it has to be filtered and communicated in a certain way.’

Instead, interested users will be given a research key or pass word which enables them to access the data and edit metadata where appropriate. If users want to re-publish or show the art in some form, contact details for the artist/ copyright holder are included as part of the entry. Although the Videokunstarkivet deals largely with video art, entries on individual artists include information about other archival collections where their material may be stored in order to facilitate further research. Contemporary Norwegian video artists are also encouraged to deposit material in the database, ensuring that ongoing collecting practices are built-in to the long-term project infrastructure.

Another big consideration in constructing an archive is what to collect. Per told me that video art in Norway really took off in the early 80s. Artists who incorporated video into their work weren’t necessarily specialists in the medium, ‘there just happened to be a video camera nearby so they decided to use it.’ Video was therefore often used alongside films, graphics, performance and text, making the starting point for the archive, according to Per, ‘a bit of a mess really.’ Nonetheless, Videokunstarkivet ‘approaches every artist like it was Edvard Munch,’ because it is very hard to know now exactly what will be culturally valuable in 10, 20 or even 100 years from now. While it may not be appropriate to ‘save everything!’ for larger archival projects, for a self-contained and focused archival project such as the Videokunstarkivet, an inclusive approach may well be perfectly possible.

Building software infrastructures

Another important aspect of the project is technical considerations – the actual building of the back/ front end of the software infrastructure that will be used to manage newly migrated digital assets.

It was very important that the Videokunstarkivet archive was constructed using Open Source software. It was necessary to ensure resilience in a rapidly changing technological context, and so the project could benefit from any improvements in the code as they are tested out by user communities.

The project uses an adapted version of Digital Asset Management system Resource Space that was developed with LIMA, an organisation based in Holland that preserves, distributes and researches media art. Per explained that ‘since Resource Space was originally meant for photos and other “light” media files, we found it not so well suited for our actual tasks.’ Video files are of course far ‘heavier’ than image or even uncompressed audio files. This meant that there were some ‘pretty severe’ technical glitches in the process of establishing a database system that could effectively manage and playback large, uncompressed master and access copies. Through establishing the Videokunstarkivet archive they were ‘pushing the limits of what is technically possible in practice’, largely because internet servers are not built to handle large files, particularly not if those files are being transcoding back and forth across the file management system. In this respect, the project is very much ‘testing new ground’, creating an infrastructure capable of effectively managing, and enabling people to remotely access large amounts of high-quality video data.

Access files will be available to stream using open source encoded files Web M (hi and lo) and X264 (hi and lo), ensuring that streaming conditions can be adapted to individual server capabilities. The system is also set up to manage change large-scale file transcoding should there be substantial change in file format preferences. These changes can occur without compromising the integrity of the uncompressed master file.

The interface is built with Bootstrap which has been adapted to create ‘a very advanced access-layer system’ that enables Videokunstarkivet to define user groups and access requirements. Per outlined these user groups and access levels as follows:

‘- Admin: Access to everything (i.e.Videokunstarkivet team members)

– Research: Researchers/curators can see video works, and almost all the metadata (incl previews of the videos). They cannot download master files. They can edit metadata fields, however all their edits will be visible for other users (Wikipedia style). If a curator wants to SHOW a particular work, they’ll have to contact the artist or owner/gallery directly. If the artist agrees, they (or we) can generate a download link (or transcode a particular format) with a few clicks.

– Artist: Artists can up/download uncompressed master files freely, edit metadata and additional info (contact, cv, websites etc etc). They will be able to use the system to store digital master versions freely, and transcode files or previews to share with who they want. The ONLY catch is that they can never delete a master file – this is of course coming out of national archive needs.’

Per approached us to help migrate the Kjartan Slettemark tape because of the thorough approach and conscientious methodology we apply to digitisation work. As a media archaeology enthusiast, Per stressed that it was desirable for both aesthetic and archival reasons that the materiality of U-matic video was visible in the transferred file. He didn’t want the tape, in other words, to be ‘cleaned up’ in anyway. To migrate the tape to digital file we used our standardised transfer chain for U-matic tape. This includes using an appropriate time-based-corrector contemporary to U-matic era, and conversion of the dub signal using a dedicated external dub – y/c converter circuit.

We are very happy to be working with projects such as the Videokunstarkivet. It has been a great opportunity to learn about the nuts and bolts design of cutting-edge digital video archives, as well as discover the work of Kjartan Slettemark, whose work is not well-known in the UK. Massive thanks must go to Per for his generous sharing of time and knowledge in the process of writing this article. We wish the Videokunstarkivet every success and hope it will raise the profile of Norwegian video art across the world.

Jun

2014

Digitisation: methodologies, processing and archival practices

We work with a range of customers at Greatbear, digitising anything from personal collections to the content of institutional archives. Because of this, what customers need from a digitisation service can be very different.

A key issue relates to the question of how much we process the digital file, both as part of the transfer and in post-production. In other words, to what extent do we make alterations to the form of the recording when it becomes a digitised artifact. While this may seem like an innocuous problem, the question of whether or not to apply processing, and therefore radically transform the original recording, is a fraught, and for some people, ethical, consideration.

There are times when applying processing technologies is desirable and appropriate. With the transfer of video tape, for example, we always use time-based correctors or frame synchronisers to reduce or eliminate errors during play back. Some better quality video tape machines, such as the U-matic BVU-950P, already have time-based correctors built in which makes external processing unnecessary. As the AV Artifact Atlas explains however, time-based correction errors are very common with video tape:

‘When a different VTR is used to playback the same signal, there can be slight mechanical and electronic differences that prevent the tape from being read in the same way it was written. Perhaps the motors driving the tape in a playback VTR move slightly slower than they did in the camera that recorded the tape, or maybe the head of the playback VTR rotates a fraction quicker than the video head in the machine that recorded the tape. These tiny changes in timing can dramatically affect stability in a video image.’

We also utilise built in processes that are part of machine’s circuitry, such as drop out compensation and noise reduction. We use these, however, not in order to make the tape ‘look better.’ We do it rather as a standard calibration set up, which is necessary for the successful playback of the tape in a manner appropriate to its original operating environment.

After all, video tape machines were designed to be interchangeable. It is likely such stabilising processing would have been regularly used to play back tapes in machines that were different to those they were recorded on. Time-based correction and frame synchronisation are therefore integral to the machine/ playback circuitry, and using such processing tools is central to how we successfully migrate tape-based collections to digital files.

Digital processing tools

Our visual environment has changed dramatically since the days when domestic video tape was first introduced, let alone since the hay day of VHS. The only certainty is that it will continue to change. Once it was acceptable for images to be a bit grainy and low resolution, now only the crisp clarity of a 4K Ultra HD image will do. There is perhaps the assumption that ‘clearer is better’, that being able to watch moving images in minute detail is a marker of progress. Yet should this principle be applied to the kinds of digitisation work we do at Great Bear? There are processors that can transform the questionable analogue image into a bright, high definition, colour enriched digital copy. The teranex processor, for example, ‘includes extremely high quality de-interlacing, up conversion, down conversion, SD and HD cross/standards conversion, automatic cadence detection and removal even with edited content, noise reduction, adjustable scaling and aspect ratio conversion.’ ‘Upgrading’ analogue images in this way does come with certain ethical risks.

Talking about ethics in conjunction with video or audio tape might seem a bit melodramatic, but it is at the point of intervention/ non-intervention where the needs of our customers diverge the most. This is not to say that people who do want to process their tapes are unethical – far from it! We understand that for some customers it may be preferable for such processing to occur, or to apply other editing techniques such as noise reduction or amplification, so that audio can be heard with greater clarity.

Instead we want to emphasise that our priority is getting the best out of the tape and our playback machines, rather than relying on the latest processing technology that is also at risk from obsolescence. After all, a heavily processed file will always require further processing at an unknown point in future so that it can maintain visually relevant to whatever format is commercially dominant at the time. Such transformations of the digital file, which are necessarily destructive and permanent, contribute to the further circulation of what Hito Steyerl calls ‘poor images‘, ‘a rag or a rip; an AVI or a JPEG…The poor image has been uploaded, downloaded, shared, reformatted, and reedited. It transforms quality into accessibility, exhibition value into cult value, films into clips, contemplation into distraction.’

Maintaining the integrity, and as far as possible authenticity of the original recordings, is a core part of our methodology. In this way our approach corresponds with Jisc’s mantra of ‘reproduction not optimisation’ where they write:

‘Improving, altering or modifying media for optimisation may seem logical when presenting works to a public or maintaining perceived consistency. It should be remembered that following an often natural inclination to enhance what we perceive to be a poor level of quality is a subjective process prescribed by personal preference, technological trends and cultural influences. In many cases the intentions of a creator are likely to be unknown and this can cause difficulties in interpreting levels of quality. In these instances common sense alongside trepidation should prevail. On the one end of the spectrum unintelligible recordings may be of little use to anyone, whereas at the opposite end recordings from previous eras were not produced with modern standards of clarity in mind.’

It is important to bear in mind, however, that even if a file is subject to destructive editing there may come a time when the metadata created about the artefact can help to illuminate its context and provenance, and therefore help it maintain its authenticity. The debates regarding digital authenticity and archiving will of course shift as time passes and practices evolve.

In the meantime, we will continue to do what we are most skilled at: restoring, repairing and migrating magnetic tape to digital files in a manner that maintains both the integrity of the original operating environment and the recorded signal.

Apr

2014

Significant properties – technical challenges for digital preservation

A consistent focus of our blog is the technical and theoretical issues that emerge in the world of digital preservation. For example, we have explored the challenges archivists face when they have to appraise collections in order to select what materials are kept, and what are thrown away. Such complex questions take on specific dimensions within the world of digital preservation.

If you work in digital preservation then the term ‘significant properties’ will no doubt be familiar to you. The concept has been viewed as a hindrance due to being shrouded by foggy terminology, as well as a distinct impossibility because of the diversity of digital objects in the world which, like their analogue counterparts, cannot be universally generalised or reduced to a series of measurable characteristics.

In a technical sense, establishing a set of core characteristics for file formats has been important for initiatives like Archivematica, ‘a free and open-source digital preservation system that is designed to maintain standards-based, long-term access to collections of digital objects.’ Archivematica implement ‘default format policies based on an analysis of the significant characteristics of file formats.’ These systems manage digital information using an ‘agile software development methodology’ which ‘is focused on rapid, iterative release cycles, each of which improves upon the system’s architecture, requirements, tools, documentation, and development resources.’

Such a philosophy may elicit groans of frustration from information managers who may well want to leave their digital collections alone, and practice a culture of non-intervention. Yet this adaptive-style of project management, which is designed to respond rapidly to change, is often contrasted with predictive development that focuses on risk assessment and the planning of long-term projects. The argument against predictive methodologies is that, as a management model, it can be unwieldy and unresponsive to change. This can have damaging financial consequences, particularly when investing in expensive, risky and large scale digital preservation projects, as the BBC’s failed DMI initiative demonstrates.

Indeed, agile software development methodology may well be an important key to the sustainability of digital preservation systems which need to find practical ways of maneuvering technological innovations and the culture of perpetual upgrade. Agility in this context is synonymous with resilience, and the practical application of significant properties as a means to align file format interoperability offers a welcome anchor for a technological environment structured by persistent change.

Significant properties vs the authentic digital object

What significant properties imply, as archival concept and practice, is that desiring authenticity for the digitised and born-digital objects we create is likely to end in frustration. Simply put, preserving all the information that makes up a digital object is a hugely complex affair, and is a procedure that will require numerous and context-specific technical infrastructures.

As Trevor Owens explains: ‘you can’t just “preserve it” because the essence of what matters about “it” is something that is contextually dependent on the way of being and seeing in the world that you have decided to privilege.’ Owens uses the example of the Geocites web archiving project to demonstrate that if you don’t have the correct, let’s say ‘authentic’ tools to interpret a digital object (in this case, a website that is only discernible on certain browsers), you simply cannot see the information accurately. Part of the signal is always missing, even if something ‘significant’ remains (the text or parts of the graphics).

It may be desirable ‘to preserve all aspects of the platform in order to get at the historicity of the media practice’, Jonathan Sterne, author of MP3: Meaning of a Format suggests, but in a world that constantly displaces old technological knowledge with new, settling for the preservation of significant properties may be a pragmatic rather than ideal solution.

Analogue to digital issues

To bring these issues back to the tape we work we with at Great Bear, there are of course times when it is important to use the appropriate hardware to play the tapes back, and there is a certain amount of historically specific technical knowledge required to make the machines work in the first place. We often wonder what will happen to the specialised knowledge learnt by media engineers in the 70s, 80s and 90s, who operated tape machines that are now obsolete. There is the risk that when those people die, the knowledge will die with them. Of course it is possible to get hold of operating manuals, but this is by no means a guarantee that the mechanical techniques will be understood within a historical context that is increasingly tape-less and software-based. By keeping our wide selection of audio and video tape machines purring, we are sustaining a machinic-industrial folk knowledge which ultimately helps to keep our customer’s magnetic tape-based, media memories, alive.

Of course a certain degree of historical accuracy is required in the transfers because, very obviously, you can’t play a V2000 tape on a VHS machine, no matter how hard you try!

Yet the need to play back tapes on exactly the same machine becomes less important in instances where the original tape was recorded on a domestic reel-to-reel recorder, such as the Grundig TK series, which may not have been of the greatest quality in the first place. To get the best digital transfer it is desirable to play back tapes on a machine with higher specifications that can read the magnetic information on the tape as fully as possible. This is because you don’t want to add any more errors to the tape in the transfer process by playing it back on a lower quality machine, which would then of course become part of the digitised signal.

It is actually very difficult to remove things like wow and flutter after a tape has been digitised, so it is far better to ensure machines are calibrated appropriately before the tape is migrated, even if the tape was not originally recorded on a machine with professional specifications. What is ultimately at stake in transferring analogue tape to digital formats is the quality of the signal. Absolute authenticity is incidental here, particularly if things sound bad.

The moral of this story, if there can be one, is that with any act of transmission, the recorded signal is liable to change. These can be slight alterations or huge drop-outs and everything in-between. The agile software developers know that given the technological conditions in which current knowledge is produced and preserved, transformation is inevitable and must be responded to. Perhaps it is realistic to assume this is the norm in society today, and creating digital preservation systems that are adaptive is key to the survival of information, as well as accepting that preserving the ‘full picture’ cannot always be guaranteed.

Apr

2014

Mistress or master? Digitising the cultural heritage of women’s movements

The Women’s Liberation Movement (WLM) is full of quirky examples of how womyn tried to wrestle culture from the sordid grip of male domination.

Part of this process was reinventing the world in wimmin’s image, word and song; to create and reclaim a lasting herstory in which sisterhood could flourish.

A recent U-Matic video tape transfer conducted in the Greatbear studio offers a window into this cultural heritage.

State Your Destination was a film made by Bristol-based ’80s feminist film collective Women in Moving Pictures (W.I.M.P.S.), whose complete archive is stored at the Feminist Archive South.

We previously migrated another film by W.I.M.P.S called In Our Own Time, screened at the recent Translation/ Transmission Women’s Film Season which took place at Watershed.

The way women shirked the language of patriarchy is evident on the tape box. We digitised the ‘MISTRESS’ copy, not the master copy.

Seeing the mistress copy today is a reminder of the way gendered language influences how we can think about cultural forms. The master copy, of course, in conventional understanding, is the finished article, the final cut. The master of the house – the person in charge – is gendered male. Yet is this still the case?

Writing about a similar issue almost thirty years later, sound theorists Jonathan Sterne and Tara Rodgers seem to think so:

‘If we find that audio-technical discourse renders signal processing in terms of masculinist languages of mastery and domination of nature, can we help but wonder after its broader social implications? Does it not also suggest a gendered set of relations to these technologies? It is any wonder we still find the design, implementation, marketing, and use of audio-signal processing technologies to be male-dominated fields? [To change things] it will require fundamentally rethinking how we model, describe, interact, and sound with signal processing technologies’.

For feminist women who felt systematically excluded from certain kinds of cultural and economic activity, the gendering of language was an extension of violence they experienced because they were women.

Making the tape a MISTRESS may help rectify the problem, as does crossing out the very idea of a master copy.

Feb

2014

reel to reel audio tape restoration and digitising of Manchester Oi! band State Victims

Often the tapes we receive to digitise are ‘forgotten’ recordings. Buried under a pile of stuff in a dark, cold room, their owners think they are lost forever. Then, one day, a reel of the mysterious tape emerges from the shadows generating feelings of excitement and anticipation. What is stored on tape? Is the material in a playable condition? What will happen to the tape once it is in a digital format?

All of these things happened recently when Paul Travis sent us a ¼ inch AMPEX tape of the band he played in with his brother, the Salford Oi! punk outfit State Victims. The impetus for forming State Victims emerged when the two brothers ‘split from Salford bands, Terrorist Guitars and the Bouncing Czechs respectively, and were looking for a new musical vessel to express and reassert their DIY music ethic, but in a more vital and relevant way, searching for a new form of “working-class protest.”‘

The tape had been in the wilderness for the past 30 years, residing quietly in a shed in rural Cambridgeshire. It was in fairly good condition, displaying no signs of damage such as mould on the tape or spool. Like many of the AMPEX tapes we receive it did need some baking treatment because it was suffering from binder hydrolysis (a.k.a. Sticky Shed Syndrome). The baking, conducted at 49 Celsius for 8 hours in our customised oven, was successful and the transfer was completed without any problems. We created a high resolution stereo 24 bit/ 96 kHz WAV file which is recommended for archived audio, as well as a MP3 access copy that can be easily shared online.

Image of tape post-transfer. When it arrived the tape was not wound on neatly and there was no leder tape on it.

Finding old tapes and sending them to be digitised can be a process of discovery. Originally Paul thought the tape was of a 1983 session recorded at the Out of the Blue Studios in Ancoats, Manchester, but it became apparent that the tape was of an earlier recording. Soon after we digitised the first recording we received a message from Paul saying another State Victims tape had ‘popped up in an attic’, so it is amazing what you find when you start digging around!

Like many other bands connected to the Manchester area, the digital artefacts of State Victims are stored on the Manchester District Music Archive (MDMA), a user-led online archive established in 2003 in order to celebrate Greater Manchester music and its history. The MDMA is part of a wider trend of do it yourself archival activity that exploded in the 21st century due to the availability of cheap digital technologies. In what is arguably a unique archival moment, digital technologies have enabled marginal, subcultural and non/ anti-commercial music to widely circulate alongside the more conventional, commercial artefacts of popular music. This is reflected in the MDMA where the artefacts of famous Manchester bands such as The Smiths, The Fall, Oasis and Joy Division sit alongside the significantly less famous archives of the Manchester Musicians Collective, The Paranoids, Something Shady and many others.

Within the community-curated space of the MDMA all of the artefacts acquire a similar value, derived from their ability to illuminate the social history of the area told through its music. Much lip service has been paid to the potential of Web 2.0 technologies and social media to enable new forms of collaboration and ‘user-participation’, but involving people in the construction of web-based content is not always an automatic process. If you build it, people do not always come. As a user-led resource, however, the MDMA seems pretty effective. It is inviting to use, well organised and a wide range of people are clearly contributing, which is reflected in the vibrancy of its content. It is exciting that such an online depository exists, providing a new home for the errant tape, freshly digitised, that is part of Manchester’s music history.

Jan

2014

Digital Optical Technology System – ‘A non-magnetic, 100 year, green solution for data storage.’

‘A non-magnetic, 100 year, green solution for data storage.’

This is the stuff of digital information managers’ dreams. No more worrying about active data management, file obsolescence or that escalating energy bill.

Imagine how simple life would be if there was a way to store digital information that could last, without intervention, for nearly 100 years. Those precious digital archives could be stored in a warehouse that was not climate controlled, because the storage medium was resilient enough to withstand irregular temperatures.

Imagine after 100 years an archivist enters that very same warehouse to retrieve information requested by a researcher. The archivist pulls a box off the shelf and places it on the table. In their bag they have a powerful magnifying glass which they use to read the information. Having ascertained they have the correct item, they walk out the warehouse, taking the box with them. Later that day, instructions provided as part of the product licensing over 100 years ago are used to construct a reader that will retrieve the data. The information is recovered and, having assessed the condition of the storage medium which seems in pretty good nick, the digital optical technology storage is taken back to the warehouse where it sits for another 10 years, until it is subject to its life-cycle review.

Does this all sound too good to be true? For anyone exposed to the constantly changing world of digital preservation, the answer would almost definitely be yes. We have already covered on this blog numerous issues that the contemporary digital information manager may face. The lack of standardisation in technical practices and the bewildering array of theories about how to manage digital data mean there is currently no ‘one size fits all’ solution to tame the archive of born-digital and digitised content, which is estimated to swell to 3,000 Exabytes (thousands of petabytes) by 2020*. We have also covered the growing concerns about the ecological impact of digital technologies, such as e-waste and energy over-consumption. With this in mind, the news that a current technology exists that can by-pass many of these problems will seem like manna from heaven. What can this technology be and why have you never heard about it?

The technology in question is called DOTS, which stands for Digital Optical Technology System. The technology is owned and being developed by Group 47, who ‘formed in 2008 in order to secure the patents, designs, and manufacturing processes for DOTS, a proven 100-year archival technology developed by the Eastman Kodak Company.’ DOTS is refreshingly different from every other data storage solution on the market because it ‘eliminates media and energy waste from forced migration, costly power requirements, and rigid environmental control demands’. What’s more, DOTS are ‘designed to be “plug & play compatible” with the existing Linear Tape Open (LTO) tape-based archiving systems & workﬂow’.

In comparison with other digital information management systems that can employ complex software, the data imaged by DOTS does not use sophisticated technology. John Lafferty writes that at ‘the heart of DOTS technology is an extremely stable storage medium – metal alloy sputtered onto mylar tape – that undergoes a change in reflectivity when hit by a laser. The change is irreversible and doesn’t alter over time, making it a very simple yet reliable technology.’

DOTS can survive the benign neglect all data experiences over time, but can also withstand pretty extreme neglect. During research and development, for example, DOTS was exposed to a series of accelerated environmental age testing that concluded ‘there was no discernible damage to the media after the equivalent of 95.7 years.’ But the testing did not stop there. Since acquiring patents for the technology Group 47,

‘has subjected samples of DOTS media to over 72 hours of immersion each in water, benzine, isopropyl alcohol, and Clorox (™) Toilet Bowl Cleaner. In each case, there was no detectable damage to the DOTS media. However, when subjected to the citric acid of Sprite carbonated beverage, the metal had visibly deteriorated within six hours.’

Robust indeed! DOTS is also non-magnetic, chemically inert, immune from electromagnetic fields and can be stored in normal office environments or extremes ranging from -9º – 65º C. It ticks all the boxes really.

DOTS vs the (digital preservation) world

The only discernible benefit of the ‘open all hours’, random access digital information culture over a storage solution such as DOTS is accessibility. While it certainly is amazing how quick and easy it is to retrieve valuable data at the click of a button, it perhaps should not be the priority when we are planning how to best take care of the information we create, and are custodians of. The key words here are valuable data. Emerging norms in digital preservation, which emphasise the need to always be responsive to technological change, takes gambles with the very digital information it seeks to preserve because there is always a risk that migration will compromise the integrity of data.

The constant management of digital data is also costly, disruptive and time-consuming. In the realm of cultural heritage, where organisations are inevitably under resourced, making sure your digital archives are working and accessible can sap energy and morale. These issues of course affect commercial organisations too. The truth is the world is facing an information epidemic, and surely we would all rest easier if we knew our archives were safe and secure. Indeed, it seems counter-intuitive that amid the endless flashy devices and research expertise in the world today, we are yet to establish sustainable archival solutions for digital data.

Of course, using a technology like DOTS need not mean we abandon the culture of access enabled by file-based digital technologies. It may however mean that the digital collections available on instant recall are more carefully curated. Ultimately we have to ask if privileging the instant access of information is preferable to long-term considerations that will safeguard cultural heritage and our planetary resources.

If such a consideration errs on the side of moderation and care, technology’s role in shaping that hazy zone of expectancy known as ‘the future’ needs to shift from the ‘bigger, faster, quicker, newer’ model, to a more cautious appreciation of the long-term. Such an outlook is built-in to the DOTS technology, demonstrating that to be ‘future proof’ a technology need not only withstand environmental challenges, such as flooding or extreme temperature change, but must also be ‘innovation proof’ by being immune to the development of new technologies. As John Lafferty writes, the license bought with the product ‘would also mandate full backward compatibility to Generation Zero, achievable since readers capable of reading greater data densities should have no trouble reading lower density information.’ DOTS also do not use propriety codecs, as Chris Castaneda reports, ‘the company’s plan is to license the DOTS technology to manufacturers, who would develop and sell it as a non-proprietary system.’ Nor do they require specialist machines to be read. With breathtaking simplicity, ‘data can be recovered with a light and a lens.’

It would be wrong to assume that Group 47’s development of DOTS is not driven by commercial interests – it clearly is. DOTS do however seem to solve many of the real problems that currently afflict the responsible and long-term management of digital information. It will be interesting to see if the technology is adopted and by who. Watch this space!

* According to a 2011 Enterprise Strategy Group Archive TCO Study

Jan

2014

Digital Records of the First World War

Across the world, 2014-2018 will be remembered for its commitment to remembrance. The events being remembered are, of course, those related to the First World War.

What is most intriguing about the centenary of the First World War is that it is already an occasion for growing reflection on how such an event has been remembered, and the way this shapes contemporary perceptions of history.

The UK government has committed over £50 million pounds for commemoration events such as school trips to battlefields, new exhibitions and public ceremonies. If you think that seems like a little bit too much, take a visit to the No Glory in War website, the campaign group who are questioning the purposes of commemorating a war that caused so much devastation.

The concerns raised by No Glory about political appropriation are understandable, particularly if we take into account a recent Daily Mail article written by current Education Secretary Michael Gove. In it Gove stresses that it is

‘important that we commemorate, and learn from, that conflict in the right way in the next four years. […] The war was, of course, an unspeakable tragedy, which robbed this nation of our bravest and best. Our understanding of the war has been overlaid by misunderstandings, and misrepresentations which reflect an, at best, ambiguous attitude to this country and, at worst, an unhappy compulsion on the part of some to denigrate virtues such as patriotism, honour and courage.

The conflict has, for many, been seen through the fictional prism of dramas such as Oh! What a Lovely War, The Monocled Mutineer and Blackadder, as a misbegotten shambles – a series of catastrophic mistakes perpetrated by an out-of-touch elite. Even to this day there are Left-wing academics all too happy to feed those myths.’

Gove clearly understands the political consequences of public remembrance. In his view, popular cultural understanding of the First World War have distorted our knowledge and proper values ‘as a nation’. There is however a ‘right way to remember,’ and this must convey particular images and ideas of the conflict, and Britain’s role within it.

Digitisation and re-interpretation

While the remembrance of the First World War will undoubtedly become, if it has not already, a political struggle over social values, digital archives will play a key role ensuring the debates that take place are complex and well-rounded. Significant archive collections will be digitised and disseminated to wide audiences because of the centenary, leading to re-interpretation and debate.

The BBC are facilitating discussions through features on their significant commemoration site, including an interesting consideration of the enduring influence of poet Wilfred Owen. Jisc and Oxford University have also collaborated to create an Open Educational Resource supporting new directions in teaching the First World War.

If you want a less UK-centric take on remembrance you can visit the Europeana 1914-1918 Website or Centenary News, a not-for-profit organisation that has been set up to provide independent, impartial and international coverage of the Centenary of the First World War.

Other, less ‘curated’ resources, abound online. For example, the Daily Telegraph has digitised every newspaper published between 1914-1918, with each edition being ‘published’ on its centenary date. The British Library’s excellent timeline series include one relating to the First World War. Significant parts of the National Archives’ First World War collections are available to access online, including copies of war diaries, Victoria Cross and service registers for members of the Army, Navy, Airforce and War Nurses. You can also listen to ‘Voices of the Armistice,’ a series of recordings relating to Armistice Day. Similar to the Soldier’s Stories Audio Gallery on the BBC, these recordings are not the oral testimony of soldiers, but actors reading excerpts from their diaries or letters.

Oral Testimonies of the First World War

Large amounts of digitised material about the First World War are paper documents, given that portable recording technologies were not in wide scale use during the years of the conflict.

The first hand oral testimonies of First World War soldiers have usually been recorded several years after the event. What can such oral records tell us that other forms of archival evidence can’t?

Since it became popular in the 1960s and 1970s, oral histories have often been treated with suspicion by some professional historians who have questioned their status as ‘hard evidence’. The Oral History Society website describe however the unique value of oral histories: ‘Everyone forgets things as time goes by and we all remember things in different ways. All memories are a mixture of facts and opinions, and both are important. The way in which people make sense of their lives is valuable historical evidence in itself.’

We were recently sent some oral recordings of Frank Brash, a soldier who had served in the First World War. The tapes, that were recorded in 1975 by Frank’s son Robert, were sent in by his Great-Grandson Andrew who explained how they were made ‘as part of family history, so we could pass them down the generations.’ He goes on to say that ‘Frank died in 1980 at the age of 93, my father died in 2007. Most of the tapes are his recollections of the First World War. He served as a machine gunner in the battles of Messines and Paschendale amongst others. He survived despite a life expectancy for machine gunners of 6 days. He won the Military Medal but we never found out why.’

https://cdn.thegreatbear.co.uk/wp-content/uploads/2014/01/world-war-one-recollections-blog-extract.mp3?_=2

Excerpt used with kind permission

If you are curious to access the whole interview a transcript has been sent to the Imperial War Museum who also have a significant collection of sound recordings relating to conflicts since 1914.

The recordings themselves included a lot of tape hiss because they were recorded at a low sound level, and were second generation copies of the tapes (so copies of copies).

Our job was to digitise the tapes but reduce the noise so the voices could be heard better. This was a straightforward process because even though they were copies, the tapes were in good condition. The hiss however was often as loud as the voice and required a lot of work post-migration. Fortunately, because the recording was of a male voice, it was possible to reduce the higher frequency noise significantly without affecting the audibility of Frank speaking.

Remembering the interruption

Amid the rush of archive fever surrounding the First World War, it is important to remember how, as a series of events, it arguably changed the conditions of how we remember. It interrupted what Walter Benjamin called ‘communicable experience.’ In his essay ‘The Storyteller: Reflections on the Works of Nikolai Leskov’, Benjamin talks of men who ‘had returned from the battlefield grown silent’, unable to share what had happened to them. The image of the shell-shocked soldier, embodied by fictional characters such as Septimus Smith in Virginia Woolf’s Mrs. Dalloway, was emblematic of men whose experience had been radically interrupted. Benjamin went on to write:

‘Never has experience been contradicted more thoroughly than the strategic experience by tactical warfare, economic experience by inflation, bodily experience by mechanical warfare, moral experience by those in power. A generation that had gone to school on a horse drawn street-car now stood under the empty sky in a countryside in which nothing remained unchanged but the clouds, and beneath these clouds, in a field of force of torrents and explosions, was the tiny, fragile human body.’

Of course, it cannot be assumed that prior to the Great War all was fine, dandy and uncomplicated in the world. This would be a romantic and false portrayal. But the mechanical force of the Great War, and the way it delayed efforts to speak and remember in the immediate aftermath, also needs to be integrated into contemporary processes of remembrance. How will it be possible to do justice to the memory of the people who took part otherwise?

Jan

2014

Digital Preservation – Establishing Standards and Challenges for 2014

2014 will no doubt present a year of new challenges for those involved in digital preservation. A key issue remains the sustainability of digitisation practices within a world yet to establish firm standards and guidelines. Creating lasting procedures capable of working across varied and international institutions would bring some much needed stability to a profession often characterized by permanent change and innovation.

In 1969 The EIAJ-1 video tape was developed by the Electronic Industries Association of Japan. It was the first standardized format for industrial/non-broadcast video tape recording. Once implemented it enabled video tapes to be played on machines made by different manufacturers and it helped to make video use cheaper and more widespread, particularly within a domestic context.

The introduction of standards in the digitisation world would of course have very little impact on the widespread use of digital technologies which are, in the west, largely ubiquitous. It would however make the business of digital preservation economically more efficient, simply because organisations would not be constantly adapting to change. For example, think of the costs involved in keeping up with rapid waves of technological transformation: updating equipment, migrating data and ensuring file integrity and operability are maintained are a few costly and time consuming examples of what this would entail.

Although increasingly sophisticated digital forensic technology can help to manage some of these processes, highly trained (real life!) people will still be needed to oversee any large-scale preservation project. Within such a context resource allocation will always have to account for these processes of adaptation. It has to be asked then: could this money, time and energy be practically harnessed in other, more efficient ways? The costs of non-standardisation becomes ever more pressing when we consider the amount of the digital data preserved by large institutions such as the British Library, whose digital collection is estimated to amass up to 5 petabytes (5000 terabytes) by 2020. This is not a simple case of updating your iphone to the next model, but an extremely complex and risky venture where the stakes are high. Do we really want to jeopardise rich forms cultural heritage in the name of technological progress?

The US-based National Digital Stewardship Alliance (NDSA) National Agenda for Digital Stewardship 2014 echoes such a sentiment. They argue that ‘the need for integration, interoperability, portability, and related standards and protocols stands out as a theme across all of these areas of infrastructure development’ (3). The executive summary also stresses the negative impact rapid technological change can create, and the need to ‘coordinate to develop comprehensive coverage on critical standards bodies, and promote systematic community monitoring of technology changes relevant to digital preservation.’ (2)

File Format Action Plans

One step on the way to more secure standards is the establishment of File Format Action Plans, a practice which is being increasingly recommended by US institutions. The idea behind developing a file format action plan is to create a directory of file types that are in regular use by people in their day to day lives and by institutions. Getting it all down on paper can help us track what may be described as the implicit user-standards of digital culture. This is the basic idea behind Parsimonious Preservation, discussed on the blog last year: that through observing trends in file use we may come to the conclusion that the best preservation policy is to leave data well alone since in practice files don’t seem to change that much, rather than risk the integrity of information via constant intervention.

As Lee Nilsson, who is currently working as a National Digital Stewardship Resident at the US Library of Congress writes, ‘specific file format action plans are not very common’, and when created are often subject to constant revision. Nevertheless he argues that devising action plans can ‘be more than just an “analysis of risk.” It could contain actionable information about software and formats which could be a major resource for the busy data manager.’

Other Preservation Challenges

What are the other main challenges facing ‘digital stewards’ in 2014? In a world of exponential information growth, making decisions about what we keep and what we don’t becomes ever more pressing. When whole collections cannot be preserved digital curators are increasingly called upon to select material deemed representative and relevant. How is it possible to know now what material needs to be preserve for posterity? What values inform our decision making?

To take an example from our work at Great Bear: we often receive tapes from artists who have achieved little or no commercial success in their life times, but whose work is often of great quality and can tell us volumes about a particular community or musical style. How does such work stand up against commercially successful recordings? Which one is more valuable? The music that millions of people bought and enjoyed or the music that no one has ever heard?

Ultimately these questions will come to occupy a central concern for digital stewards of audio data, particularly with the explosion of born-digital music cultures which have enabled communities of informal and often non-commercial music makers to proliferate. How is it possible to know in advance what material will be valuable for people 20, 50 or 100 years from now? These are very difficult, if not impossible questions for large institutions to grapple with, and take responsibility for. Which is why, as members of a digital information management society, it is necessary to empower ourselves with relevant information so we can make considered decisions about our own personal archives.

A final point to stress is that among the ‘areas of concern’ for digital preservation cited by the NDSA, moving image and recorded sound figure highly, alongside other born-digital content such as electronic records, web and social media. Magnetic tape collections remain high risk and it is highly recommended that you migrate this content to a digital format as soon as possible. While digitisation certainly creates many problems as detailed above, magnetic tape is also threatened by physical deterioration and its own obsolescence challenges, in particular finding working machines to play back tape on. The simple truth is, if you want to access material in your tape collections it needs now to be stored in a resilient digital format. We can help, and offer other advice relating to digital information management, so don’t hesitate to get in touch.

Dec

2013

End of year thank yous to our customers

What a year it has been in the life of Greatbear Analogue and Digital Media. As always the material customers have sent us to digitise has been fascinating and diverse, both in terms of the recordings themselves and the technical challenges presented in the transfer process. At the end of a busy year we want to take this opportunity to thank our customers for sending us their valuable tape collections, which over the course of 2013 has amounted to a whopping 900 hours of digitised material.

We feel very honoured to play a part in preserving personal and institutional archives that are often incredibly rare, unique and, more often than not, very entertaining. It is a fairly regular occurrence in the Great Bear Studio to have radio jingles from the 60s, oral histories of war veterans, recordings of family get-togethers and video documentation of avant-garde 1970s art experiments simultaneously migrating in a vibrant melee of digitisation.

Throughout the year we have been transported to a breathtaking array of places and situations via the ‘mysterious little reddish-brown ribbon.’ Spoken word has featured heavily, with highlights including Brian Pimm-Smith‘s recordings of his drive across the Sahara desert, Pilot Officer Edwin Aldridge ‘Finn’ Haddock’s memories of World-War Two, and poet Paul Roche reading his translation of Sophocles’ Antigone.

We have also received a large amount of rare or ‘lost’ audio recordings through which we have encountered unique moments in popular music history. These include live recordings from the Couriers Folk Club in Leicester, demo tapes from artists who achieved niche success like 80s John Peel favourites BOB, and large archives of prolific but unknown songwriters such as the late Jack Hollingshead, who was briefly signed to the Beatles’ Apple label in the 1960s. We always have a steady stream of tapes from Bristol Archive Records, who continue to acquire rare recordings from bands active in the UK’s reggae and post-punk scenes. We have also migrated VHS footage of local band Meet Your Feet from the early 1990s.

On our blog we have delved into the wonderful world of digital preservation and information management, discussing issues such as ‘parsimonious preservation‘ which is advocated by the National Archives, as well as processes such as migration, normalisation and emulation. Our research suggests that there is still no ‘one-size-fits-all’ strategy in place for digital information management, and we will continue to monitor the debates and emerging practices in this field in the coming year. Migrating analogue and digital tapes to digital files remains strongly recommended for access and preservation reasons, with some experts bookmarking 15 April 2023 as the date when obsolescence for many formats will come into full effect.

We have been developing the blog into a source of information and advice for our customers, particularly relating to issues such as copyright and compression/ digital format delivery. We hope you have found it useful!

While the world is facing a growing electronic waste crisis, Great Bear is doing its bit to buck the trend by recycling old domestic and professional tape machines. In 2013 we have acquired over 20 ‘new’ old analogue and digital video machines. This has included early ’70s video cassette domestic machines such as the N1502, up to the most recent obsolete formats such as Digital Betacam. We are always looking for old machines, both working and not working, so do get in touch if your spring clean involves ridding yourself of obsolete tape machines!

Our collection of test equipment is also growing as we acquire more wave form monitors, rare time-based correctors and vectorscopes. In audio preservation we’ve invested heavily in early digital audio machines such as multi-track DTRS and ADAT machines which are rapidly becoming obsolete.

We are very much looking forward to new challenges in 2014 as we help more people migrate their tape-based collections to digital formats. We are particularly keen to develop our work with larger archives and memory institutions, and can offer consultation on technical issues that arise from planning and delivering a large-scale digitisation project, so please do get in touch if you want to benefit from our knowledge and experience.

Once again a big thank you from us at Greatbear, and we hope to hear from you in the new year.

Nov

2013

Digitising Shedding Magnetic Multi-track Tape & the history of John Peel favourites BOB

An important part of digitisation work we do is tape restoration. Often customers send us tape that have been stored in less than ideal conditions that are either too hot, cold or damp, which can lead to degradation.

In the excellent Council on Library and Information Sources’ report on Magnetic Storage and Handling (1995), they set the ideal archival storage conditions for magnetic tape at ‘significantly lower than room ambient (as low as 5 centrigade)’, with no less than 4 degrees variation in temperature at 20% room humidity. They suggest that ‘the conditions are specifically designed to reduce the rate of media deterioration through a lowering of the temperature and humidity content of the media.’

Of course most people do not have access to such temperature controlled environments, or are necessarily thinking about the future when they store their tape at home. Sometimes manufacturers recommended to store tape in a ‘cool, dark place’, but often tape is not adorned with any such advice. This leads to us receiving a lot of damaged tape!

As we are keen to emphasise to customers, it is possible to salvage most recordings made on magnetic analogue tape that appear to be seriously damaged, it just requires a lot more time and attention.

For example, we were recently sent a collection of 3” multi-track tapes that had been stored in fairly bad conditions. Nearly all the tapes were degraded and needed to be treated. A significant number of these tapes were AMPEX so were suffering from binder hydrolysis, a.k.a. sticky shed syndrome in the digitisation world. This is a chemical process where binder polymers used in magnetic tape constructions become fragmented because the tape has absorbed water from its immediate environment. When this happens tapes become sticky and sheds when it is played back.

Baking the AMPEX tapes is a temporary treatment for binder hydrolysis, and after baking they need to be migrated to digital format as soon as possible (no more than two weeks is recommended). Baking is by no means a universal treatment for all tapes – sticky shed occurs due to the specific chemicals AMPEX used in their magnetic tape.

Cleaning shedding tape

Other problems occur that require different kinds of treatment. For example, some of the 3” collection weren’t suffering from sticky shed syndrome but were still shedding. We were forewarned by notes on the box:

The tapes recorded on TDK were particularly bad, largely because of poor storage conditions. There was so much loose binder on these tapes that they needed cleaning 5 or 6 times before we could get a good playback.

We use an adapted Studer A80 solely for cleaning purposes. Tape is carefully wound and rewound and interlining curtain fabric is used to clean each section of the tape. The photo below demonstrates the extent of the tape shedding, both by the dirty marks on fabric, and the amount we have used to clean the collection.

You might think rigorous cleaning risks severely damaging the quality of the tape, but it is surprising how clear all the tapes have sounded on playback. The simple truth is, the only way to deal with dry shedding is to apply such treatment because it simply won’t be able to playback clearly through the machine if it is dirty.

Loss of lubricant

Another problem we have dealt with has been the loss of lubricant in the tape binder. Tape binder is made up of a number of chemicals that include lubricant reservoirs, polymers and magnetic particles.

Lubricants are normally added to the binder to reduce the friction of the magnetic topcoat layer of the tape. Over time, the level of the lubricant decreases because it is worn down every time the tape is played, potentially leading to tape seizures in the transport device due to high friction.

In such circumstances it is necessary to carefully re-lubricate the tape to ensure that it can run smoothly past the tape heads and play back. Lubrication must be done sparingly because the tape needs to be moist enough to function effectively, but not too wet so it exacerbates clogging in the tape head mechanism.

Restoration work can be very time consuming. Even though each 3″ tape plays for around 20 minutes, the preparation of tapes can take a lot longer.

Another thing to consider is these are multi-track recordings: eight tracks are being squeezed onto a 1/4″ tape. This means that it only takes a small amount of debris to come off, block the tape heads, dull the high frequencies and ultimately compromise the transfer quality.

It is important, therefore, to ensure tapes are baked, lubricated or cleaned, and heads are clear on the playback mechanism so the clarity of the recording can realised in the transfer process.

Now we’ve explored the technical life of the tape in detail, what about the content? If you are a regular visitor to this blog you will know we get a lot of really interesting tape to transfer that often has a great story behind it. We contacted Richard Blackborow, who sent the tapes, to tell us more. We were taken back to the world of late 80s indie-pop, John Peel Sessions, do it yourself record labels and a loving relationship with an 8 track recorder.

A Short History of BOB by Richard Blackborow

Back in 1983 I was a 17 year old aspiring drummer, still at school in North London and in an amateur band. Happily for me, at that time, my eldest brother, also a keen musician, bought a small cottage in a village called Banwell, which is 20 or so miles outside of Bristol, near Weston Super Mare. He moved there to be near his work. The cottage had a big attic room and he installed a modest 8-track studio into it so that he could record his own music during his spare time. The studio was based around a new Fostex A8 reel-to-reel machine and the little mixing desk that came with it.

The equipment fascinated me and I was a regular visitor to his place to learn how to use it and to start recording my own music when he wasn’t using it.

Skip forward a couple of years and I am now 19, out of school, deferring my place at university and in a new band with an old friend, Simon Armstrong. My brother’s work now takes him increasingly abroad, so the studio is just sitting there doing nothing. Simon and I begin to write songs with the express intention of going to Banwell every time we had a decent number of tunes to record. Over the next ten years it becomes part of the routine of our lives! We formed a band called BOB in 1986, and although we still lived in London, we spent a lot of time in that small studio in Banwell – writing, recording demos, having wild parties! By this time my brother had moved to the US, leaving me with open access to his little studio.

The band BOB had modest success. John Peel was a keen fan and a great supporter, we toured loads around the UK and Europe and made lots of singles and an album or two, as well as recording 5 BBC sessions.

To cut a long story short, we loved that little studio and wrote and recorded some 300 songs over the ensuing 10 years…the studio gear finally dying in about 1995. Most recordings were for/by BOB, but I also recorded bands called The Siddeleys and Reserve (amongst others).

The tapes we recorded have been lying around for years, waiting to be saved!

Recent interest in BOB has resulted in plans to release two double CDs. The first contains a re-issued album, all the BBC sessions and a few rarities. The second CD, planned for next year, will contain all of the BOB singles, plus a whole CD of the best of those demos we recorded. It was for this reason that all of those old tapes were sent to Adrian to be transferred to digital. I now have a studio near my home in West Cornwall, close to Land’s End, where I will be mixing all the material that Great Bear have been working on. The demos map our progression from pretty rubbish schoolboy aspirants to reasonably accomplished songwriters. Some of the material is just embarrassing, but a good chunk is work I am still proud of. We were very prolific and the sheer number of reels that Adrian has transferred is testament to that. There is enough material there for a number of CDs, and only time will tell how much is finally released.

https://cdn.thegreatbear.co.uk/wp-content/uploads/2013/11/Convenience-demo-version.mp3?_=3

Listen to the recently transferred Convenience demo

This is a bit of a rarity! It’s the demo (recorded on the little 8-track machine in Banwell) for a BOB single that came out in 1989. It’s called Convenience and I wrote and sang it. This early version is on one of the tapes that Adrian has transferred, so, like many of the rest of the songs, it will be re-mixed this winter for digital formats and released next year.

This is a link to the video we made for the song back in 1989 in a freezing warehouse in Hull! It appeared on Kats Karavan – The History of John Peel on the Radio compilation that was released in 2009.

***

If you want the latest news from BOB you can follow them on twitter. You can also pre-order the expanded edition of their 1991 album Leave the Straight Life Behind from Rough Trade. It will be available from the end of January 2014. A big thank you to Richard for sending us the photos, his writing and letting us include the recording too!

Nov

2013

Jack Hollingshead’s lost Apple recordings on reel-to-reel tape

Digital technologies have helped to salvage all manner of ‘lost’ or ‘forgotten’ recordings. Whole record labels, from the recently featured Bristol Archive Records to institutional collections like Smithsonian Folkways, are based on the principle of making ‘hard to access’ recordings available in digital form.

Occasionally we get such rare recordings in the Greatbear studio, and we are happy to turn the signal from analogue to digital so the music can be heard by new audiences. Last week we were sent a particularly interesting collection of tapes: a box of nearly 40 3”-10.5” reel to reel tapes from the songwriter and artist Jack Hollingshead, who sadly passed away in March 2013. The tapes are in good condition, although the spools are pretty dirty, most probably from being stored under the bed or at the back of a cupboard, as these things often are! Jack’s tape came to our attention after a phone call from the writer Stefan Granados, who wanted to arrange for a few songs to be digitised for a research project he is doing focused around the Beatles’ Apple Records company.

The Beatles set up Apple Records in 1968 as an outlet for their own and emerging artists’ recordings. Well known performers who were signed to Apple included Mary Hopkin, Ravi Shankar, James Taylor and many others. But there were also a number of artists who recorded sessions with Apple, but for one reason or another, their music was never released on the label. This is what happened to Jack’s music. Jack’s Apple sessions are psychedelic pop-folk songs with striking melodies, song cousins of drowsy Beatles hits like ‘Across the Universe’. He recorded seven songs in total, which we received on magnetic tape and acetate disc, the test cut of the recording that would have been printed on vinyl. We digitised from the magnetic tape because the disc was in fairly poor condition and we didn’t know how many times the disc had been played.

https://cdn.thegreatbear.co.uk/wp-content/uploads/2013/11/jack-hollingshead-mono-track-1.mp3?_=4

Listen to ‘Vote for ME’ by Jack Hollingshead

It wasn’t the first time that Jack’s work had aroused record company interest. When he was 16 he signed a contract with Aberbach publishers. Like his experience with Apple a few years later, nothing came of the sessions, and because the companies owned the recordings, he was not able to release them independently.

Jack soon became very frustrated by the record industry in the late 1960s and decided he would do it himself. This was ten years before home recording became widely accessible, so it was not easy, either financially or technically.

In the 1970s a series of serious accidents, and a spell in prison, proved to be disruptive for his musical career. Jack’s prison sentence, received for growing marijuana he was using for medical pain relief purposes, was however fairly positive. It gave him time to focus on playing guitar and he wrote his best songs while incarcerated.

The back of a test acetate is grooveless

He continued to write and record music throughout his life, and there is a significant amount of material that Trina Grygiel, who is responsible for managing Jack’s estate, is determined to organise and release in his memory.

Jack was also prodigiously talented artist in other mediums, and turned his hand to puppet making, wax painting, gardening and property restoration. His obituary described him as a ‘perfectionist, in all his artistic, creative and practical endeavours he would settle for nothing less.’

Oct

2013

UNESCO World Audiovisual Heritage Day – 27 October

In 2005 UNESCO (United Nations Education, Scientific and Cultural Organisation) decided to commemorate 27 October as World Audiovisual Heritage Day. The theme for 2013 was ‘Saving Our Heritage for the Next Generation’. Even though we are a day late, we wanted to write a post to mark the occasion.

UNESCO argue that audiovisual heritage is a unique vehicle for cultural memory because it can transcend ‘language and cultural boundaries’ and appeal ‘immediately to the eye and the ear.’

World Audiovisual Heritage Day aims to recognise both the value and vulnerability of audiovisual heritage. It aims to raise awareness that much important material will be lost unless ‘resources, skills, and structures’ are established and ‘international action’ taken.

Many important records of the 20th and 21st century are captured on film, yet digitally preserving this material generates specific problems, which we often discuss on this blog. Andrea Zarza Canova emphasises this point on the British Library’s blog:

‘World Day for Audiovisual Heritage is an important moment to celebrate and draw attention to the efforts currently being made in audiovisual preservation. But the story doesn’t end here as the digital environment raises its own preservation challenges concerning the ephemerality of websites and digital formats. Saving our heritage for the next generation involves engaging with the ongoing complexities of preservation in a rapidly changing environment.’

World Audiovisual Heritage Day is an ideal opportunity to delve into UNESCO’s Memory of the World collection whose audiovisual register features rare footage including photo and film documentation of Palestinian refugees, footage of Fritz Lang’s motion picture Metropolis (1927), documentary heritage of Los olvidados (“The Young and the Damned”), made in 1950 by Spanish-Mexican director Luis Buñuel, documentary heritage of Aram Khachaturian the world renowned Armenian composer and many others. Of the 301 items in the Memory of the World collection, 57 are audiovisual or have significant audiovisual elements.

Digital preservation is central to our work at the Greatbear. We see ourselves as an integral part of the wider preservation process, offering a service for archive professionals who may not always have access to obsolete playback machines, or expert technical knowledge about how best to transfer analogue tape to digital formats. So if you need help with a digitisation project why not get in touch?

UNESCO would surely approve of our work because we help keep the audiovisual memory of the world alive.

Oct

2013

Digital Preservation and Copyright

Most customers who send us tape to digitise own the copyright of their recording: it is material they have created themselves, be it music, spoken word or film.

Occasionally customers are not so sure if they own the full copyright to their recordings. This is because a single piece of work can have multiple copyright holders.

For example, films and songs can have many different contributors, such as the person who made the recording, the songwriter and performers. There are performing rights royalties which are paid to a songwriter, composer or publisher whenever their music is played or performed in any public space or place; mechanical rights royalties which are paid to the songwriter, composer or publisher when music is reproduced as a physical product or for broadcast or online, and performers rights royalties which are paid to the people performing on the record. It can seem like a bit of a minefield, and you do have to be really careful, particularly if want to re-publish the works in a commercial context.

A collection of tapes that include original recordings made by the customer

The simple truth is, if you do not have full permission of all copyright holders, you would break the law if you digitised a tape and re-published it commercially.

Copyright, Intellectual Property and Digital Preservation is a tricky area to negotiate. Currently ‘there is still no exception in UK law for preservation copying. For materials which are still in copyright, permissions should be sought from copyright holders prior to any copying being done. This area is under consideration though with museums, libraries and archives lobbying for change’ (Jisc Digital Media).

What this means basically is that archives, libraries and museums are effectively restricted in how much material they can legally preserve in digital form. Andrew Charlesworth explains in a very useful report for the Digital Preservation Coalition on ‘Intellectual Property Rights for Digital Preservation’ (2012)

‘In “Chapter III: Acts permitted in relation to copyright works”, the C opyright D esigns and P atents A ct 1988 provides for a series of permissible activities that would otherwise be barred for breach of a rights holder’s exclusive rights. These include the “fair dealing provisions” which, for example, state that making transient copies is an integral and essential part of certain technological processes (s.28), and using all or part of a copyright work for non-commercial research or private study (s.29), criticism or review, or reporting current events (s.30), do not constitute infringements’ (11).

Clearly copyright law as it stands places immense restrictions in a digital environment where copying and sharing all kinds of things is pretty much the norm. What are the arguments then for changing copyright laws? In Imagine there is no copyright and cultural conglomerates too by Joost Smiers and Marieke Van Schinjdel, published by the Institute of Network Cultures‘ Theory on Demand series, they argue that removing copyright from cultural products will ensure that ‘our past and present heritage of cultural expression, our public domain of artistic creativity and knowledge will no longer be privatised’ (6).

Making cultural heritage publicly available is an argument for transforming current copyright laws across the range of political positions. While Smiers and Van Schinjdel interpret privatisation embedded in copyright law as linked to commercial power, the implicit argument in the DPC report is that opening up current restrictions can only be good for business. In this particular domain we see how the value of archival information has shifted in the digital landscape, so that it is increasingly seen as a resource through which money can be made.

A transformation of copyright laws would not necessarily lead to a weakening of commercial interests as Smiers and Van Schinjdel speculate, but would most probably enable the re-use of information across a range of profit and profit-making initiatives. Charlesworth insists we are ‘clinging to copyright practices that reflect outdated business models rather than attempting to establish new practices to address the prevailing mixed analogue/digital environment’ (7).

The digital information revolution has required all sectors of society to change how they relate to, use, record, save and consume information. While we have all become, to a lesser or more degree, record keepers, this brief survey of copyright law may help us appreciate the challenges professional archivists face in negotiating this complex area. After all, ‘life would be much simpler for archivists if the law relating to the preservation of copyright works in general, and digital works in particular, was both clarified and, where necessary, extended to permit more robust strategies for collection, preservation and reuse of copyright works’ (5).

Oct

2013

Parsimonious Preservation – (another) different approach to digital information management

We have been featuring various theories about digital information management on this blog in order to highlight some of the debates involved in this complex and evolving field.

To offer a different perspective to those that we have focused on so far, take a moment to consider the principles of Parsimonious Preservation that has been developed by the National Archives, and in particular advocated by Tim Gollins who is Head of Preservation at the Institution.

In some senses the National Archives seem to be bucking the trend of panic, hysteria and (sometimes) confusion that can be found in other literature relating to digital information management. The advice given in the report, ‘Putting Parsimonious Preservation into Practice‘, is very much advocating a hands-off, rather than hands-on approach, which many other institutions, including the British Library, recommend.

The principle that digital information requires continual interference and management during its life cycle is rejected wholesale by the principles of parsimonious preservation, which instead argues that minimal intervention is preferable because this entails ‘minimal alteration, which brings the benefits of maximum integrity and authenticity’ of the digital data object.

As detailed in our previous posts, cycles of coding and encoding pose a very real threat to digital data. This is because it can change the structure of the files, and risk in the long run compromising the quality of the data object.

Minimal intervention in practice seems here like a good idea – if you leave something alone in a safe place, rather than continually move it from pillar to post, it is less likely to suffer from everyday wear and tear. With digital data however, the problem of obsolescence is the main factor that prevents a hands-off approach. This too is downplayed by the National Archives report, which suggests that obsolescence is something that, although undeniably a threat to digital information, it is not as a big a worry as it is often presented.

Gollins uses over ten years of experience at the National Archives, as well as the research conducted by David Rosenthal, to offer a different approach to obsolescence that takes note of the ‘common formats’ that have been used worldwide (such as PDF, .xls and .doc). The report therefore concludes ‘that without any action from even a national institution the data in these formats will be accessible for another 10 years at least.’

10 years may seem like a short period of time, but this is the timescale cited as practical and realistic for the management of digital data. Gollins writes:

‘While the overall aim may be (or in our case must be) for ―permanent preservation […] the best we can do in our (or any) generation is to take a stewardship role. This role focuses on ensuring the survival of material for the next generation – in the digital context the next generation of systems. We should also remember that in the digital context the next generation may only be 5 to10 years away!’

It is worth mentioning here that the Parsimonious Preservation report only includes references to file extensions that relate to image files, rather than sound or moving images, so it would be a mistake to assume that the principle of minimal intervention can be equally applied to these kinds of digital data objects. Furthermore, .doc files used in Microsoft Office are not always consistent over time – have you ever tried to open a word file from 1998 on an Office package from 2008? You might have a few problems….this is not to say that Gollins doesn’t know his stuff, he clearly must do to be Head of Preservation at the National Archives! It is just this ‘hands-off, don’t worry about it’ approach seems odd in relation to the other literature about digital information management available from reputable sources like The British Library and the Digital Preservation Coalition. Perhaps there is a middle ground to be struck between active intervention and leaving things alone, but it isn’t suggested here!

For Gollins, ‘the failure to capture digital material is the biggest single risk to its preservation,’ far greater than obsolescence. He goes on to state that ‘this is so much a matter of common sense that it can be overlooked; we can only preserve and process what is captured!’ Another issue here is the quality of the capture – it is far easier to preserve good quality files if they are captured at appropriate bit rates and resolution. In other words, there is no point making low resolution copies because they are less likely to survive the rapid successions of digital generations. As Gollins writes in a different article exploring the same theme, ‘some will argue that there is little point in preservation without access; I would argue that there is little point in access without preservation.’

This has been bit of a whirlwind tour through a very interesting and thought provoking report that explains how a large memory institution has put into practice a very different kind of digital preservation strategy. As Gollins concludes:

‘In all of the above discussion readers familiar with digital preservation literature will perhaps be surprised not to see any mention or discussion of “Migration” vs. “Emulation” or indeed of ―“Significant Properties”. This is perhaps one of the greatest benefits we have derived from adopting our parsimonious approach – no such capability is needed! We do not expect that any data we have or will receive in the foreseeable future (5 to 10 years) will require either action during the life of the system we are building.’

Whether or not such an approach is naïve, neglectful or very wise, only time will tell.

Oct

2013

Bristol Archive Records – ¼ inch studio master tapes, ½ inch 8 track multi-track tapes, audio cassettes, DAT recordings and Betamax digital audio recordings

Bristol Archive Records is more than a record label. It releases music, books and through its website, documents the history of Bristol’s punk and reggae scenes from 1977 onwards. You can get lost for hours trawling through the scans of rare zines and photographs, profiles of record labels, bands, discographies and gig lists. Its a huge amount of work that keeps on expanding as more tapes are found, lurking in basements or at that unforeseen place at the back of the wardrobe.

Greatbear has the privilege of being the go-to digitisation service for Bristol Archive Records, and many of the albums that grace the record store shelves of Bristol and beyond found their second digital life in the Greatbear Studio.

The tapes that Mike Darby has given us to digitise include ¼ inch studio master tapes, ½ inch 8 track multi-track tapes, audio cassettes, DAT recordings and Betamax digital audio recordings. The recordings were mostly made at home or in small commercial studios, often they were not stored in the best conditions. Some are demos, or other material which has never been released before. Many were recorded on Ampex tape, and therefore needed to be baked before they were played back, and we also had to deal with other physical problems with the tape, such as mould, but they have all, thankfully, been fixable.

After transfers we supply high quality WAV files as individual tracks or ‘stems’ to label manager Mike Darby, which are then re-mastered before they are released on CD, vinyl or downloads.

Bristol Archive Records have done an amazing job ensuring the cultural history of Bristol’s music scenes are not forgotten. As Mike explains in an interview on Stamp the Wax:

‘I’m trying to give a bit of respect to any individual that played in any band that we can find any music from. However famous or successful they were is irrelevant. For me it’s about acknowledging their existence. It’s not saying they were brilliant, some of it was not very good at all, but it’s about them having their two seconds of “I was in that scene”.’

While Darby admits in the interview that Bristol Archive Records is not exactly a money spinner, the cultural value of these recordings are immeasurable. We are delighted to be part of the wider project and hope that these rare tapes continue to be found so that contemporary audiences can enjoy the musical legacies of Bristol.

Oct

2013

1/2 inch EIAJ skipfield reel to reel videos transferred for Stephen Bell

We recently digitised a collection of 1/2 inch EIAJ skipfield reel to reel videos for Dr Stephen Bell, Lecturer in Computer Animation at Bournemouth University.

CLEWS SB 01 from Stephen Bell on Vimeo.

Stephen wrote about the piece:

‘The participatory art installation that I called “Clews” took place in “The White Room”, a bookable studio space at the Slade School of Art, over three days in 1979. People entering the space found that the room had been divided in half by a wooden wall that they could not see beyond, but they could enter the part nearest the entrance. In that half of the room there was a video monitor on a table with a camera above it pointing in the direction of anyone viewing the screen. There was also some seating so that they could comfortably view the monitor. Pinned to the wall next to the monitor was a notice including cryptic instructions that referred to part of a maze that could be seen on the screen. Participants could instruct the person with the video camera to change the view by giving simple verbal instructions, such as ‘up’, “down”, “left”, “right”, “stop”, etc. until they found a symbol that indicated an “exit”.’

My plan was to edit the video recordings of the event into a separate, dual screen piece but it was too technically challenging for me at the time. I kept the tapes though, with the intention of completing the piece when time and resources became available. This eventually happened in 2012 when, researching ways to get the tapes digitized, I discovered Greatbear in Bristol. They have done a great job of digitizing the material and this is the first version of piece I envisaged all those years ago.’

Nice to have a satisfied customer!

Sep

2013

A word about metadata and digital collections

Metadata is data about data. Maybe that sounds pretty boring, but archivists love it, and it is really important for digitisation work.

As mentioned in the previous post that focused on the British Library’s digital preservation strategies, as well as many other features on this blog, it is fairly easy to change a digital file without knowing because you can’t see the changes. Sometimes changing a file is reversible (as in non-destructive editing) but sometimes it is not (destructive editing). What is important to realise is changing a digital file irrevocably, or applying lossy instead of lossless compression, will affect the integrity and authenticity of the data.

What is perhaps worse in the professional archive sector than changing the structure of the data, is not making a record of it in the metadata.

Metadata is a way to record all the journeys a data object has gone through in its lifetime. It can be used to highlight preservation concerns if, for example, a file has undergone several cycles of coding and decoding that potentially make it vulnerable to degradation.

Metadata can in fact be split into three kinds, as Ian Ireland writes in this article:

‘technical data (info on resolution, image size, file format, version, size), structural metadata (describes how digital objects are put together such as a structure of files in different folders) and descriptive (info on title, subject, description and covering dates) with each type providing important information about the digital object.’

As the previous blog entry detailed, digital preservation is a dynamic, constantly changing sector. Furthermore, digital data requires far greater intervention to manage collections than physical objects and even analogue media. In such a context data objects undergo rapid changes as they adapt to the technical systems they are opened by and moved between. This would produce, one would speculate, a large stream of metadata.

What is most revealing about metadata surrounding digital objects, is they create a trail of information not only about the objects themselves. They also document our changing relationship to, and knowledge about, digital preservation. Metadata can help tell the story about how a digital object is transformed as different technical systems are adopted and then left behind. The marks of those changes are carried in the data object’s file structure, and the metadata that further elaborate those changes.

Like those who preserve physical heritage collections, a practice of minimal intervention is the ideal for maintaining both the integrity and authenticity of digital collections. But mistakes are made, and attempts to ‘clean up’ or otherwise clarify digital data do happen, so when they do, it is important to record those changes because they help guide how we look after archives in the long term.

Sep

2013

Digitisation strategies – back up, bit rot, decay and long term preservation

In a blog post a few weeks ago we reflected on several practical and ethical questions emerging from our digitisation work. To explore these issues further we decided to take an in-depth look at the British Library’s Digital Preservation Strategy 2013-2016 that was launched in March 2013. The British Library is an interesting case study because they were an ‘early adopter’ of digital technology (2002), and are also committed to ensuring their digital archives are accessible in the long term.

Making sure the UK’s digital archives are available for subsequent generations seems like an obvious aim for an institution like the British Library. That’s what they should be doing, right? Yet it is clear from reading the strategy report that digital preservation is an unsettled and complex field, one that is certainly ‘not straightforward. It requires action and intervention throughout the lifecycle, far earlier and more frequently than does our physical collection (3).’

The British Library’s collection is huge and therefore requires coherent systems capable of managing its vast quantities of information.

‘In all, we estimate we already have over 280 terabytes of collection content – or over 11,500,000 million items – stored in our long term digital library system, with more awaiting ingest. The onset of non-print legal deposit legislation will significantly increase our annual digital acquisitions: 4.8 million websites, 120,000 e-journal articles and 12,000 e-books will be collected in the first year alone (FY 13/14). We expect that the total size of our collection will increase massively in future years to around 5 petabytes [that’s 5000 terabytes] by 2020.’

All that data needs to be backed up as well. In some cases valuable digital collections are backed up in different locations/ servers seven times (amounting to 35 petabytes/ 3500 terabytes). So imagine it is 2020, and you walk into a large room crammed full of rack upon rack of hard drives bursting with digital information. The data files – which include everything from a BWAV audio file of a speech by Natalie Bennett, leader of the Green Party after her election victory in 2015, to 3-D data files of cunieform scripts from Mesopotamia, are constantly being monitored by algorithms designed to maintain the integrity of data objects. The algorithms measure bit rot and data decay and produce further volumes of metadata as each wave of file validation is initiated. The back up systems consume large amounts of energy and are costly, but in beholding them you stand in the same room as the memory of the world, automatically checked, corrected and repaired in monthly cycles.

Such a scenario is gestured toward in the British Library’s long term preservation strategy, but it is clear that it remains a work in progress, largely because the field of digital preservation is always changing. While the British Library has well-established procedures in place to manage their physical collections, they have not yet achieved this with their digital ones. Not surprisingly ‘technological obsolescence is often regarded as the greatest technical threat to preserving digital material: as technology changes, it becomes increasingly difficult to reliably access content created on and intended to be accessed on older computing platforms.’ An article from The Economist in 2012 reflected on this problem too: ‘The stakes are high. Mistakes 30 years ago mean that much of the early digital age is already a closed book (or no book at all) to historians.’

There are also shorter term digital preservation challenges, which encompass ‘everything from media integrity and bit rot to digital rights management and metadata.’ Bit rot is one of those terms capable of inducing widespread panic. It refers to how storage media, in particular optical media like CDs and DVDs, decay over time often because they have not been stored correctly. When bit rot occurs, a small electric charge of a ‘bit’ in memory disperses, possibly altering program code or stored data, making the media difficult to read and at worst, unreadable. Higher level software systems used by large institutional archives mitigate the risk of such underlying failures by implementing integrity checking and self-repairing algorithms (as imagined in the 2020 digital archive fantasy above). These technological processes help maintain ‘integrity and fixity checking, content stabilisation, format validation and file characterisation.’

300 years, are you sure?

Preservation differences between analogue and digital media

The British Library isolate three main areas where digital technologies differ from their analogue counterparts. Firstly there is the issue of ‘proactive lifestyle management‘. This refers to how preservation interventions for digital data need to happen earlier, and be reviewed more frequently, than analogue data. Secondly there is the issue of file ‘integrity and validation.’ This refers to how it is far easier to make changes to a digital file without noticing, while with a physical object it is usually clear if it has decayed or a bit has fallen off. This means there are greater risks to the authenticity and integrity of digital objects, and any changes need to be carefully managed and recorded properly in metadata.

Finally, and perhaps most worrying, is the ‘fragility of storage media‘. Here the British Library explain:

‘The media upon which digital materials are stored is often unstable and its reliability diminishes over time. This can be exacerbated by unsuitable storage conditions and handling. The resulting bit rot can prevent files from rendering correctly if at all; this can happen with no notice and within just a few years, sometimes less, of the media being produced’.

A holistic approach to digital preservation involves taking and assessing significant risks, as well as adapting to vast technological change. ‘The strategies we implement must be regularly re-assessed: technologies and technical infrastructures will continue to evolve, so preservation solutions may themselves become obsolete if not regularly re-validated in each new technological environment.’

Establishing best practice for digital preservation remains a bit of an experiment, and different strategies such as migration, emulation and normalisation are tested to find out what model best helps counter the real threats of inaccessibility and obsolescence we may face in 5-10 years from now. What is encouraging about the British Library’s strategic vision is they are committed to ensuring digital archives are accessible for years to come despite the very clear challenges they face.

Sep

2013

Measuring signals – challenges for the digitisation of sound and video

In a 2012 report entitled ‘Preserving Sound and Moving Pictures’ for the Digital Preservation Coalition’s Technology Watch Report series, Richard Wright outlines the unique challenges involved in digitising audio and audiovisual material. ‘Preserving the quality of the digitized signal’ across a range of migration processes that can negotiate ‘cycles of lossy encoding, decoding and reformatting is one major digital preservation challenge for audiovisual files’ (1).

Wright highlights a key issue: understanding how data changes as it is played back, or moved from location to location, is important for thinking about digitisation as a long term project. When data is encoded, decoded or reformatted it alters shape, therefore potentially leading to a compromise in quality. This is a technical way of describing how elements of a data object are added to, taken away or otherwise transformed when they are played back across a range of systems and software that are different from the original data object.

To think about this in terms which will be familiar to people today, imagine converting an uncompressed WAV into an MP3 file. You then burn your MP3s onto a CD as a WAV file so it will play back on your friend’s CD player. The WAV file you started off with is not the same as the WAV file you end up with – its been squished and squashed, and in terms of data storage, is far smaller. While smaller file size may be a bonus, the loss of quality isn’t. But this is what happens when files are encoded, decoded and reformatted.

Subjecting data to multiple layers of encoding and decoding does not only apply to digital data. Take Betacam video for instance, a component analogue video format introduced by SONY in 1982. If your video was played back using composite output, the circuity within the Betacam video machine would have needed to encode it. The difference may have looked subtle, and you may not have even noticed any change, but the structure of the signal would be altered in a ‘lossy’ way and can not be recovered to it’s original form. The encoding of a component signal, which is split into two or more channels, to a composite signal, which essentially squashes the channels together, is comparable to the lossy compression applied to digital formats such as mp3 audio, mpeg2 video, etc.

A central part of the work we do at Greatbear is to understand the changes that may have occurred to the signal over time, and try to minimise further losses in the digitisation process. We use a range of specialist equipment so we can carefully measure the quality of the analogue signal, including external time based correctors and wave form monitors. We also make educated decisions about which machine to play back tapes in line with what we expect the original recording was made on.

If we take for granted that any kind of data file, whether analogue or digital, will have been altered in its lifetime in some way, either through changes to the signal, file structure or because of poor storage, an important question arises from an archival point of view. What do we do with the quality of the data customers send us to digitise? If the signal of a video tape is fuzzy, should we try to stabilise the image? If there is hiss and other forms of noise on tape, should we reduce it? Should we apply the same conservation values to audio and film as we do to historic buildings, such as ruins, or great works of art? Should we practice minimal intervention, use appropriate materials and methods that aim to be reversible, while ensuring that full documentation of all work undertaken is made, creating a trail of endless metadata as we go along?

Do we need to preserve the ways magnetic tape, optical media and digital files degrade and deteriorate over time, or are the rules different for media objects that store information which is not necessarily exclusive to them (the same recording can be played back on a vinyl record, a cassette tape, a CD player, an 8 track cartridge or a MP3 file, for example)? Or should we ensure that we can hear and see clearly, and risk altering the original recording so we can watch a digitised VHS on a flat screen HD television, in line with our current expectations of media quality?

Richard Wright suggests it is the data, rather than operating facility, which is the important thing about the digital preservation of audio and audiovisual media.

‘These patterns (for film) and signals (for video and audio) are more like data than like artefacts. The preservation requirement is not to keep the original recording media, but to keep the data, the information, recovered from that media’ (3).

Yet it is not always easy to understand what parts of the data should be discarded, and which parts should kept. Audiovisual and audio data are a production of both form and content, and it is worth taking care over the practices we use to preserve our collections in case we overlook the significance of this point and lose something valuable – culturally, historically and technologically.

Jul

2013

Greatbear Studio Visit – Archive for Mathematical Sciences and Philosophy

This week in the Greatbear Studio we are being visited by Michael Wright, Director of The Archive Trust for Research in Mathematical Sciences and Philosophy.

The Archive Trust for Research in Mathematical Sciences and Philosophy holds an extensive collection of audio and video recordings on subjects in mathematics, physics and philosophy, particularly the philosophy and foundations of mathematics and the exact sciences recorded since the early 1970s.

The website explains further the rationale for collecting the recordings:

Such recordings allow historians of science and mathematics to form a better appreciation of the background to the emergence of new ideas; and also of the complex pattern formed by “roads not taken” – ideas which for whatever reason were laid aside, or apparently subsumed in other developments. Those ideas may later re-emerge in ways yielding a new perspective on those developments. Such a rich archive of primary oral source material naturally aids historical study of the Sciences and the conceptual and philosophical questions to which they give rise.

The project started in 1973 when Michael recorded lectures, seminars and courses relating to Maths and Philosophy when he was a doctoral student. The early recordings were made in Oxford, London and Cambridge and were done on an enthusiastic, if amateur basis. In the 1980s and 1990s the recording process became more systematic, and more video recordings were taken. The archive is still collecting material, and Michael often travels to conferences and lectures to record contemporary debates in the field, as he is this week when he travels to Warsaw for Samuel Eilenberg Centenary conference (there are recordings of Eilenberg’s lectures and an interview collected in the archive).

What started as a hobby for Michael has now become a full time commitment. The archive contains a staggering 37,000 recordings, those he made and ones solicited from other individuals. They include recordings of figures such as Imre Lakatos, Ilya Prigogine, contemporary philosopher Alain Badiou and many more.

The majority of recordings from 1973-2003 were recorded on audio cassette format, although some were done on reel-to-reel recorders. Many of these recordings remain on analogue tape, and the biggest challenge for the archive is now to find the funds to migrate several thousand hours of recordings to digital format.

The archive also track downs and publishes existing material that may be collected in other archives, or are stored in people’s personal collections. For Michael the biggest revelation in constructing the archive was finding out about the amount of material people have that are sitting in the back of their cupboards. This is either because people have forgotten they exist, or because they simply do not known what to do with them.

The archive became a charitable trust in 2008 and names among its trustees English mathematical physicist and philosopher Sir Roger Penrose, and Martin Rees, former Master of Trinity College and Emeritus Professor of Cosmology at the University of Cambridge and President of the Royal Society.

Its an exciting, and transitional, time for the archive as it plans to take its next steps. In the coming years there are plans to develop the website through uploading ‘born digital’ information, attain funds for wholesale digitisation of tape and paper resources and continue to collect recordings. This ambitious project is well on its way to becoming a vital and unique contribution to the subject, and will interest many other people who are simply curious about these rich and complex topics.

Jul

2013

What is the future of analogue media?

In a recent blog article on the Presto Centre website, Richard Wright argues that ‘the audiovisual collections of the 20th century were analogue, and we are now at a critical time for considering the digital future of that analogue content.’ He goes on to say, emphatically:

‘All analogue audio and video formats are obsolete. Digital content walks through walls, travels at the speed of light, can be in many places at the same time, and can (with care) be perfectly copied, again and again. So digitisation has become the solution to the obsolescence of all analogue audio and video formats.’

Although careful not to make too clinical a statement, he bookmarks 15 April 2023 as the date when analogue obsolescence really kicks in.

We have written extensively on this blog about the problem of obsolescence, and how we collect machines and learn the skills to fix them.

A major problem is finding spare parts for machines after manufacturers stop producing them. Many components were made according to very precise specifications that are hard to make from scratch. When machines and their parts wear out it will therefore be difficult, if not impossible, to keep them working.

This means that the cost of transfers will rise due to machine scarcity. At an institutional level this may lead to selective decisions about what gets digitised and what doesn’t.

There is one analogue format that has flourished in the 21st century: vinyl.

Writing for music magazine The Wire, Numero Group’s Rob Sevier and Ken Shipley describe how ‘vinyl’s violent sales spike has been a lonely bright spot in what has been a 14 year deterioration in sales of recorded music’.

Yet the resilience of vinyl and other contemporary fringe uses of analogue media, such as the cassette tape and floppy disk, is not enough to stop the march of digitisation. For experts like Wright the digital future for the majority of people is inevitable, irresistible even, given how it enables collections to be open, replicable and accessible.

Yet committing to digital technologies as a preservation and access strategy does not solve our information problems, as we have been keen to stress on this blog. There is also a worrying lack of long term strategy for managing digital information, a problem which is ever more pronounced in film preservation where analogue tape is still marked as the original from which digital copies are made.

It is clear that the information we create, store and use is in transition. It probably always has been. The emergence of digital technologies has just made this a pressing issue, not only for large institutions, but for people as we go about our day to day lives.

‘Digitise now!!’ is Richard Wright’s advice – and of course we agree.

Jul

2013

4 track 1/4 inch reel to reel tape recorded in mono – The Couriers Folk Club, Leicester

We were recently sent a ¼ inch tape by Ed Bates that included recordings from the Couriers Folk Club in Leicester, which ran from Autumn 1964 – June 1974.

The tape features performances from The Couriers (Jack Harris and Rex Brisland), George and Thadeus Kaye, Bill Pickering, Mark Newman and Mick Odam.

Jack Harris, who alongside Rex Brisland ran the club, describes how ‘traditional singers like Bert Lloyd, Ewan MacColl and Pete Seeger, Bob Davenport were regular visitors together with ageing ploughboys, miners and fishermen who were often so infirm or unlikely to make their own way to Leicester they had to be fetched by car.’

As well as supporting grassroots folk music from the local area, well known performers such as musical superstar Barbara Dickson, Paul Simon and Joni Mitchell graced the stage.

The tape recordings we received span five years. The first recording was made on 6 August 1966, then 3 September 1966, 8 February 1970 and finally 9 April 1971.

Each performance was recorded on a separate track in mono. This means that the 7” long spool contains 8 hours of music!

Like today’s MP3 digital files, the quality of the recorded sound is compromised because so much information is squeezed into a smaller space on the tape. A better quality recording would have been made if all four channels were used for a single performance, rather than one track for each performance.

The speed at which recordings were made also effects the quality of the recordings, simply because you can record more information per second at a faster rate. The tapes we were sent were recorded at 7 ½ per second on what is likely to have been a domestic tape recorder such as the Sony TC-263D. Ed’s letter to us speaks volumes about the conditions in which the recordings were made:

‘I was present at the Couriers Folk Club in Leicester when they were recorded so I can say that the recording quality is not good. The Sony recorder was used as an amplifier and on some occasions (if someone remembered) a tape was recorded.’

While the recordings certainly would have benefited from less haphazard recording conditions, the quality of the transfer is surprisingly crisp, as you can hear from this excerpt.

https://dl.dropboxusercontent.com/u/54164190/couriers-folk-club-leicester-example.mp3?_=5

Excerpt from the digitised recordings of the Couriers folk club

The tape was in good condition, as Philips magnetic reel-to-reel tape often survives well over time, which aided a good transfer. One thing we were especially attentive to in the transfer process was carefully adjusting the azimuth, because of the slow speed of the original recording and the narrow track width.

Image taken from the BASF magnetic tape manual that illustrates how four tracks can be recorded on magnetic tape

The emergence of recordings of the Couriers Club is especially timely given the recent launch of the English and Folk Dance Society‘s The Full English online digital archive . This contains a massive 44,000 records and over 58,000 digitised images about English folk history.

With a dozen or more tapes recently found from the Club, we look forward to helping this unique part of cultural heritage become accessible again.

Jun

2013

Digital Preservation – Planning for the Long Term

There are plenty of reflections on the Great Bear tape blog about the fragility of digital data, and the need to think about digitisation as part of a wider process of data migration your information will need to make in its lifetime.

We have also explored how fast moving technological change can sometimes compromise our capacity to construct long term strategies for the survival of digital data.

This why it is so important that organisations such as the Digital Preservation Coalition, founded in February 2002, articulate a vision that aims to make ‘digital memory accessible tomorrow.’ Their website goes on to say:

Our generation has invested as never before in digital resources and we’ve done so because of the opportunity they bring. They have grown in volume, complexity and importance to the point that our children are baffled by the inefficiencies of the analogue age. Pervasive, fluid and fragile: digital data is a defining feature of our age. Industry, commerce, government, law, research, health, social care, education, the creative industries, the heritage sector and private life depend on digital materials to satisfy ubiquitous information needs and expectations. Digital preservation is an issue which all organisations, particularly in the knowledge sector, will need to address sooner or later.

As providers of a digitisation service it is important for us to understand digitisation in line with the ideas articulated above. This means creating high quality, uncompressed files that will make it as easy as possible for data migrations to happen in the future should they need to.

Organisations such as the Digital Preservation Coalition are providing sensible advice and creating forums for learning and debate about the problems and possibilities of digital preservation.

These are two things that are needed as we come to navigate an information environment heavily populated by ‘pervasive, fluid and fragile’ digital data.

Arthur Wood: Educational Visionary

50th anniversary of BBC Local Radio

Revealing Voices and Connecting Histories

Standard instabilities

Metadata

Moving Forward

An Archival Legacy

Monstrous Moves

The (live) Monstrous Regiment Archive

The transfers

The Lamb Lies Down on Broadway recordings

BSCUA Responses to Greatbear Questions

Living Knowledge

Type IV Metal Cassettes

Re-publication plans

International Association of Sound and Audiovisual Archives

Member benefits

Digitising small-medium audiovisual collections

Extinction

Sounding the fifteen-year warning

Recent published research – NDSA

Recent research – Digital Preservation Coalition (DPC)

European Parliament Policy on Film Heritage

Keeping up to date

Videokunstarkivet (The Norwegian Video Art Archive)

Building software infrastructures

Digital processing tools <img loading="lazy" decoding="async" src="https://cdn.thegreatbear.co.uk/wp-content/uploads/2014/06/DSC050951.jpg" alt="Time Based Correction - Close Up" width="500" height="66">

Significant properties vs the authentic digital object

Analogue to digital issues

DOTS vs the (digital preservation) world

Digitisation and re-interpretation

Oral Testimonies of the First World War

Remembering the interruption

File Format Action Plans

Other Preservation Challenges

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