The storage and preservation of audio material – records, tapes, film, cassettes, CDs, etc. – is hardly a new idea. Recorded audio material is more than a century old. The issues surrounding the care and handling of obsolete formats like wax cylinders or wire recordings and the nearobsolete DAT tape is well documented.
Additionally, media coverage regularly describes alternative strategies to “migrate” these recordings into the digital domain. The Library of Congress, with its vast collection, is spearheading one such effort. While looking ahead is important, it’s equally important to remember the fundamentals of preservation. It stands to reason that a successful program can only be built when the underlying foundation is strong, or as we say in audio preservation, “sound.” Listed below are some helpful reminders for building a sound foundation for an audio preservation program.
1. Thou Shalt Store Your Elements Properly
No question, proper
storage – cold and dry – is the number one
commandment. In a 1993 report issued by the Library of Congress, A Study of
the Current State of American Film Preservation, proper storage, and the need
to create it, was identified as the most significant factor. Proper storage
will keep old media from deteriorating, and new media will live the length
of its useful life. Unfortunately, meeting accepted standards like those discussed
in the ANSI or SMTPE publications is often very expensive. But that doesn’t
mean it can be ignored. Plans, budgets, and funds must be set aside to address
this issue, and steady progress must be made until proper storage conditions – either
on or off-site – are procured.
The overall cost should not be an excuse for inaction. For example, small amounts of really important programs could be kept in a refrigerator. Maintaining a good office climate like 68º F and 50% relative humidity (rh) is a substantial improvement over the temperatures that are typical of an attic, garage, or basement. Even modest efforts have yielded surprisingly good results.
The field of archival storage, however, is far too complex to be fully addressed in this article. For more information, please check out the resources listed at the conclusion of this piece.
2. Thou Shalt Separate Thy Distressed Assets
Part of a proper
storage plan involves separate storage to keep distressed elements, particularly
those with vinegar syndrome, away from uninfected elements.
Vinegar syndrome, which results from the decomposition of acetate cellulose-based
media, film, audiotape, and magnetic soundtracks (but not video tape), is caused
after the acetate breaks down into acetic acid (vinegar) and water. The nose
knows when this is a problem.
There is some evidence that suggests vinegar syndrome can spread from affected elements to non-affected elements when they are stored together. The solution is to move affected material to a separate area – like a closet – or better yet, off-site to a temperature controlled room. Either way, separate the good from the bad.
3. Thou Shalt Not Keep All Thine Eggs in One Basket
This funny
catch phrase really describes geographical separation. Geographical separation
means that important material is copied and stored
in a completely
different location, often in another state or province. This means more storage,
but how else can a collection of material be properly protected from a catastrophe
such as a fire, flood, tornado, or earthquake? If priceless, one-of-akind materials
are involved, they should be copied. Here’s a tip: the copy stays local
and the master gets sent to storage.
4. Honor Thy Assets By Inspecting and Evaluating
It’s only common sense to understand that the elements kept in an archive
are there for a reason. But do you know why? Inspection and evaluation are
ongoing processes – like painting the Golden Gate Bridge. A commitment
must be made to inspect, to actually see what elements are physically on hand,
and what kind of condition they are in. Often a thorough inspection of a pile
of tapes will result in unique and valuable surprises. By handling the element,
its physical condition and any potential problems will be apparent. Often that “pile” of
film or tapes is unlabeled or unmarked. When this happens, an evaluation with
the proper playback equipment is required. A good strategy is to make an affiliation
with a company that owns proper playback equipment. Then the evaluation, and
any subsequent copying work, can be bundled together to help defray upfront
costs.
5. Remember Thy Meta Data And Collect It
Meta data, which
can be defined as the data or information about a specific element, used
to be called the label.
Whether it’s meta data or a label, be sure to write it down. The “label” information,
which can be as simple as a reel number or as complex as an entire set of instructions
about how to play a special tape, are crucial pieces of information. Once the
box has disintegrated, or the label dried up and fallen off, this information
will be gone forever. So write it down, enter it in a word processor, and make
certain it’s referenced properly. When the original physical elements
and container are no longer in existence, you or your successor will be glad
you did.
6. Thou Shalt Properly Prepare For or Copying
At some point, all
physical media will arrive at the end of its useful life. Records get scratched,
tapes get sticky, film shrinks,
and so on. Hopefully
by following the first and fourth commandment, this won’t be your problem.
If it should happen, then copying is necessary. Unfortunately, before a good
copy can be made, the problems associated with the end-of-life deterioration
will make cleaning and preparation necessary. This process is best left to
professionals. Regardless of who does the work, make no mistake about it, it’s
work and hard work at that.
7. Thou Shalt Respect Thy Future Generations
If cleaning and preparing
old elements for a transfer is difficult, getting the best technical copy is
no less of a challenge. Again
look for a company
that has the right equipment and experience. Don’t be shy about asking
questions and checking references. If the new copy isn’t completed correctly,
future generations will be able to tell. Take the time and, if necessary, the
money to get it done right. For some elements there might not be a second chance.
8. Manage Thy New Assets
The very worst thing that can happen at the end of
this process is to set the new copy on a shelf and let history repeat itself.
Now is the time to fix
every fault in the vault. Starting with a new element is like a renewal process:
log it, store it, make it available to those who need it; keep it that way
for the life of the element, then copy it again.
It sounds so simple and yet the process spans disciplines across the sciences and arts. Like the real Ten Commandments, these are not simply rules, but guiding principles. The task is daunting but like every journey, it begins with a single step.
Additional Resources: Hollywood Vaults Media Storage www.hollywoodvaults.com 
