{"id":1617,"date":"2019-07-30T15:50:19","date_gmt":"2019-07-30T19:50:19","guid":{"rendered":"http:\/\/resources.culturalheritage.org\/emg-review\/?page_id=1617"},"modified":"2019-11-01T16:04:20","modified_gmt":"2019-11-01T20:04:20","slug":"walker","status":"publish","type":"page","link":"https:\/\/resources.culturalheritage.org\/emg-review\/volume-5-2017-2018\/walker\/","title":{"rendered":"Getting It On Record: Stabilization, Enhanced Imaging, and Documentation of Archival Instantaneous Audio Discs"},"content":{"rendered":"\n

David M. Walker
The Electronic Media Review, Volume Five: 2017-2018<\/em> <\/p>\n\n\n\n

ABSTRACT<\/h2>\n\n\n\n

In 2017, audio media conservators at the Center\nfor Folklife and Cultural Heritage, Smithsonian Institution, conducted\nconservation documentation and rehousing for over 4,100 unique audio discs. The\ndocumentation process involved assessing, stabilizing, and identifying\ntreatment priorities for fragile lacquer and aluminum discs, many of which\ncomprise one of the largest collections of early 20th century ethnographic\nrecordings. Nearly 70 years after their creation, many of the recordings\ndisplay a range of condition issues not uncommon to the media format, including\nphysical damage, delamination, plasticizer exudation, warping, crazing, and\nevidence of biological growth. As part of this project, high-resolution digital\nimages were created using efficient workflows to generate enhanced views of\neach disc to highlight material condition and to document unique surface\nfeatures, such as etched-in song titles, performer names, matrix numbers, and\nintentional groove destruction. Their documentation provided archivists with a\nframework for establishing holistic treatment plans and highlighting\npreservation digitization priorities. This case study describes the procedures\ndeveloped over the course of the project and assesses the immediate and\nlong-term benefits of conservation documentation outside of direct treatment.\nThe paper will be of most interest to time-based media conservators,\ncollections managers, preservation specialists, and archivists working with\nlegacy recorded sound media.<\/p>\n\n\n\n

INTRODUCTION<\/h2>\n\n\n\n

From October 2017 to March 2018, audio media\nconservation specialists at the Center for Folklife and Cultural Heritage,\nSmithsonian Institution, completed a conservation documentation and rehousing\nproject for over 4,100 instantaneous audio discs and unique test pressings. The\nprimary goal of the collections care project was to assess, stabilize, and\nidentify treatment priorities for each disc. Their documentation provided\narchivists with a framework for establishing holistic treatment plans and\npreservation digitization priorities.<\/p>\n\n\n\n

As part of this project, high-resolution digital\nimages were created during the inspection process for each disc using efficient\nworkflows to generate enhanced views. The images produced highlight the range\nof condition issues that this format experiences and document the unique\nsurface features, such as etched-in song titles, performer names, matrix\nnumbers, and intentional groove destruction. Once completed, an additional\neight-week digital asset management project was carried out to properly steward\nover 12,000 digital images of the recordings and their associated papers. The\nprojects were supported by the Smithsonian National Collections Program through\nthe Collections Care and Preservation Fund and by the Smithsonian Collections\nInformation Management Committee through the Collections Information System and\nInformation Resource Management Fund.<\/p>\n\n\n\n

PROJECT BACKGROUND<\/h2>\n\n\n\n

In 2015, the Moses and Frances Asch Collection\u2014held\nby the Center for Folklife and Cultural Heritage\u2014was recognized as a veritable\n\u201cencyclopedia of sound\u201d by the United Nations Educational, Scientific, and\nCultural Organization (UNESCO) and added to the organization\u2019s Memory of the\nWorld Register (UNESCO 1). Of the many thousands of papers and audio recordings\nin this collection are unique examples of early and mid-20th century studio\nperformances, radio transcriptions, and field recordings by famous and lesser-known\nartists, writers, documentarians, ethnographers, and grass roots musicians from\naround the world. This collection represents the largest majority of\ninstantaneous discs held by the Center for Folklife and Cultural Heritage and\nthe earliest recordings are in the form of highly fragile lacquer or aluminum\ndiscs. To better preserve these significant but volatile recordings, archive\nstaff had to first gather item-level condition information to establish future\npreservation goals.<\/p>\n\n\n\n

Format\nCharacteristics and Ideal Storage Conditions<\/em><\/p>\n\n\n\n

While format migration from physical carriers to digital files is the accepted long-term preservation strategy for archival audiovisual content, stabilizing and documenting the conditions of the physical carrier is the cornerstone of any sustainable digitization plan. Lacquer and aluminum discs present unique collections care challenges for museums, archives, and libraries, typically requiring stabilization and treatment before preservation digitization can be attempted. These materials can be easily damaged through improper storage and handling and they can also experience accelerated deterioration owing to moderate fluctuations in temperature and relative humidity. The International Association for Sound and Audiovisual Archives recommends storing instantaneous discs in cool, dry environments with around 40% to 50% relative humidity (RH) at a temperature around 68\u00b0F, with a narrow variability of \u00b1 3% RH, \u00b1 2\u00b0F (Sch\u00fcller 2014, 34) to slow the rate of deterioration. Storage outside of the recommended range can lead to a number of permanent material changes, including plasticizer exudation, shrinkage, crazing, cracking, biological growth, and delamination, all of which considerably lengthen the amount of time required to perform preservation digitization or can hinder it completely. For the discs in the Moses and Frances Asch Collection, the quickest and most effective way to improve the physical and environmental conditions around the materials and slow their rate of decay was to replace their housing and relocate them to a more appropriate section of the archival repository. Prior to the rehousing project, the discs were packed tightly in vertical mail slot\u2013style shelving units that were insufficient for withstanding the combined weight of the materials (fig. 1). It was decided that the shelves, too, needed to be replaced with sturdy open shelving to allow archivists to select more appropriate housing options aligning with preservation and access needs. <\/p>\n\n\n\n

\"\"
Figure 1. View of replaced shelving <\/figcaption><\/figure>\n\n\n\n

METHODOLOGY AND WORKFLOW<\/h2>\n\n\n\n

Replacing\nHousing<\/em><\/p>\n\n\n\n

For this project, it was necessary to replace all old sleeves with acid-free buffered sleeves that could be safely inserted into boxes of the correct dimension. Storing discs vertically in reinforced acid-free boxes designed to accommodate 10-inch, 12-inch, and 16-inch discs allowed them to maintain a vertical orientation without adding extra pressure on either side (fig. 2). Boxes provide an environmental barrier that helps to stabilize the micro-climate around the discs and adds an extra layer of protection against physical damage or moisture. Using boxes also increased the intellectual control and accessibility of the materials, as they can be clearly labeled with the range of items inside. Each box was filled with no more than 30 discs each to avoid overcrowding or adding excess weight. For severely delaminated, cracked, or oversized discs, flat boxes were used as temporary storage until custom housing can be created for each disc in future projects.<\/p>\n\n\n\n

\"\"
Figure 2. View of completed rehousing, including reinforced disc boxes, archival sleeves, and spacers <\/figcaption><\/figure>\n\n\n\n

Condition Documentation<\/em><\/p>\n\n\n\n

Several of the discs were already known to have\nbeen damaged before rehousing began, but there was very little specific\ncondition information available except for the occasional handwritten note on\nthe original sleeve. It made sense, then, to gather critical material and\ncondition information for each disc during the rehousing process. The key\nfields documented included base material type; dimension; and evidence of\ndamage, such as delamination, crazing, biological growth, intentional groove\ndestruction, and other common issues with the format. At the beginning of the\nproject, the condition-reporting process for these discs took the form of\nitem-level assessment and logging into an Excel spreadsheet. However, the\nproject took a significant turn when the media conservators realized that the\nwork could be improved with the addition of digital photography. Not only did\nphotography allow for easier measurement and enhanced viewing of surface\nfeatures but it also enabled non-condition information to be documented, such\nas descriptions contained on the sleeves and labels or impressions in the discs\nindicating date or matrix number. With some consultation with photography\nprofessionals at other Smithsonian units and initial experimentation, a system\nwas developed that allowed media conservators to generate high-resolution\ndigital surrogates that reduce the need to handle the materials in the future\nto verify visible technical, condition, or descriptive information.<\/p>\n\n\n\n

Digital\nPhotography<\/em><\/p>\n\n\n\n

Using The\nAIC Guide to DIGITAL Photography and Conservation Documentation, second edition\n<\/em>(Warda et al. 2011) as the foundation for the photographic stage of this\nproject, the audio media conservation specialists designed a setup that made\nthe condition-reporting process more efficient and reliable. The most common way\nto photograph fragile two-dimensional objects is from an overhead position using\nsome combination of a camera mounted on a copy stand surrounded by\nstrategically placed lighting. For the highly reflective flat discs with subtle\nsurface details, the setup that yielded the most consistent and accurate\nresults consisted of a DSLR camera back with interchangeable 50-mm and 100-mm\nfixed focal length art lenses, an adjustable copy stand, and four continuous\nLED light panels positioned at each corner of the stand.<\/p>\n\n\n\n

There were some initial challenges, however,\nwith arranging the equipment to produce images that were compliant with the\nFederal Agencies Digital Guidelines Initiative four-star rating system. In\norder to achieve a four-star image, the shooting platform needed to have evenly\ndiffused lighting to illuminate the surface details of the dark reflective\ndiscs. Initial tests with two lights yielded images with areas of high contrast\nthat failed image quality assessment tests. By placing four diffused continuous\nlights equidistant from the center of the shooting platform, the surface\nfeatures and grooves emerged and the camera rendered accurate representations\nof the discs under normal light. Also problematic were reflections of the\noverhead photography equipment on the glossy surfaces. In the end, this issue\nwas remediated by placing a large black foam board at the end of the lens to\nserve as a neutral backdrop. Consultations early on with staff photographers at\nthe National Museum of African American History and Culture and the Smithsonian\nInstitution Archives were essential in resolving some of these photography\nissues.<\/p>\n\n\n\n

Here are some of the specific technical\nmethodologies employed during the photographic stage:<\/p>\n\n\n\n

  1. Device-level image targets were used and verified at the beginning of each photo session to confirm accurate equipment alignment and calibration.<\/li>
  2. Image-level targets were included in each photo to ensure color and spatial accuracy in each shot.<\/li>
  3. A laser parallel alignment tool was used weekly to verify lens alignment.<\/li>
  4. A neutral gray board was chosen as the background for each disc, as it provided a soft shooting surface and was easily cleaned before each session.<\/li>
  5. Discs were placed on the shooting platform and minimally adjusted to align the center hole with a fixed point on the board.<\/li>
  6. The Canon EOS photo utility was used to control camera values and shoot remotely to minimize vibrations caused by manual operation of the camera (fig. 3).<\/li>
  7. Discs were shot in ranges according to size to reduce the amount of height adjustment needed to get the best quality images.<\/li>
  8. For each disc, at least three images were produced: one of the old sleeve and one of each side.<\/li>
  9. Additional shots were taken for severely deteriorated items, notable features, and associated papers or documentation.<\/li><\/ol>\n\n\n\n

    Throughout the condition-reporting process, all types of deterioration were observed: from structural issues such as shrinkage, crazing, and loose cores, to exudation and discoloration, to delamination and physical damage. The majority of the discs were noted to be relatively stable and housed normally, but a small portion of around 150 had to be segregated from the bulk of the collection for custom housing. Figures 4 to 11 showcase some notable examples of the main issues observed.<\/p>\n\n\n\n

    \"\"
    Figure 3. Overview of remote shooting software application and camera settings <\/figcaption><\/figure>\n\n\n\n
    \"\"
    Figure 4. Normal lacquer disc with minor delamination <\/figcaption><\/figure>\n\n\n\n
    \"\"
    Figure 5. Lacquer disc exhibiting discoloration
    <\/figcaption><\/figure>\n\n\n\n
    \"\"
    Figure 6. Close up view of crazing on lacquer disc<\/em>
    <\/em><\/figcaption><\/figure>\n\n\n\n
    \"\"
    Figure 7. Close up view of moderate plasticizer exudation on lacquer disc<\/em>
    <\/figcaption><\/figure>\n\n\n\n
    \"\"
    Figure 8. Close up view of glass-based lacquer disc with loose core<\/em>
    <\/figcaption><\/figure>\n\n\n\n
    \"\"
    Figure 9. Close up view of severe plasticizer exudation on lacquer disc<\/em>
    <\/figcaption><\/figure>\n\n\n\n
    \"\"
    Figure 10. Lacquer disc exhibiting delamination<\/em>
    <\/figcaption><\/figure>\n\n\n\n
    \"\"
    Figure 11. Broken glass\u2013based lacquer disc<\/em><\/figcaption><\/figure>\n\n\n\n

    Digital\nAsset Management<\/em><\/p>\n\n\n\n

    After the photography and condition-reporting\nstages were complete, it was necessary to manage the many thousands of files\ngenerated throughout the course of this collections care project. A digital\nasset management technician was hired to transform camera raw images into\ndigital negatives (DNG) embedded with IPTC metadata and to produce\nimage-adjusted TIF derivatives. Over the course of eight weeks, the technician\ninspected each file\u2014performing quality control assessments; recommending\nre-photography as needed; and conducting general image file maintenance, such\nas converting and rotating the images. A second set of derivative images was created\nfrom the raw originals by shifting the black levels up to bring out subtle\ndetails etched into the disc surface without introducing additional image noise\nor distortion. A bulk metadata spreadsheet was then created by collating the\nadministrative and descriptive information from other sources and combining it with\nthe condition and material information captured in the reporting stage. Using\nAdobe Bridge CC and IPTC plugins, metadata was imported in batches and then the\nimages were ingested by the Smithsonian Institution\u2019s Digital Asset Management\nSystem. Embedding condition notes into the image metadata proved to be a\nreliable way to ensure that the item-level information captured during the\ncondition-reporting stage persisted with each individual file. Since the\nDigital Asset Management System can read IPTC metadata files, all notes are\neasily searchable within the network.<\/p>\n\n\n\n

    The last step in the digital asset management project was to begin linking the final images with the finding aid records for their publication on the Smithsonian Online Virtual Archive. As noted previously, access to the physical discs is limited to prevent further damage to the discs. The digital surrogates, when presented online alongside the finding aid, enable researchers to access information about each instantaneous disc held by the Center for Folklife and Cultural Heritage (fig. 12). <\/p>\n\n\n\n

    \"\"
    Figure 12. Overview of enhanced views published on Smithsonian Online Virtual Archive <\/figcaption><\/figure>\n\n\n\n

    CONCLUSION AND FUTURE WORK<\/h2>\n\n\n\n

    From the data gathered in this condition-reporting\nproject, new preservation plans have been established to improve the condition\nof these historic recordings, including disc cleaning, digitization of stable\ndiscs using in-house means, custom rehousing of the segregated broken discs,\nand eventual digitization of the broken discs using emerging noncontact methods\nof transfer. The digital images of the recordings, however, will continue to\nserve as an archival record for staff and researchers alike and will augment\nthe research experience when displayed alongside the digitized recorded\ncontent.<\/p>\n\n\n\n

    ACKNOWLEDGMENTS<\/h2>\n\n\n\n

    The author would like\nto thank the following people and organizations for their support of this\nproject: William G. Tompkins, Director, National Collections Program,\nWashington, DC; Ken Rahaim, Senior Mass Digitization Program Officer,\nSmithsonian Digitization Program Office, Washington, DC; Nora Lockshin, Senior\nConservator, Smithsonian Institution Archives, Washington, DC; Catharine Hawks,\nConservation Specialist, Smithsonian National Museum of Natural History,\nWashington, DC; Mary Coughlin, Assistant Professor of Museum Studies, Corcoran\nSchool of the Arts & Design, Washington, DC; Stephanie Smith, Archives\nDirector, Ralph Rinzler Folklife Archives & Collections, Center for\nFolklife and Cultural Heritage, Smithsonian Institution, Washington, DC; Rori\nSmith and Crystal Rie, Archives Technicians, Ralph Rinzler Folklife Archives\n& Collections, Center for Folklife and Cultural Heritage, Smithsonian\nInstitution, Washington, DC.<\/p>\n\n\n\n

    REFERENCES<\/h2>\n\n\n\n

    Sch\u00fcller, D., A. H\u00e4fner,\nand G. Boston. 2014. \u201cHandling and storage of audio and video carriers:\ntechnical committee standards, recommended practices, and strategies.\u201d London:\nInternational Association of Sound and Audiovisual Archives.<\/p>\n\n\n\n

    United Nations Educational, Scientific and Cultural Organization. 2015. \u201cMoses and Frances Asch Collection. Center for Folklife and Cultural Heritage, Smithsonian Institution.\u201d http:\/\/www.unesco.org\/new\/en\/communication-and-information\/memory-of-the-world\/register\/full-list-of-registered-heritage\/registered-heritage-page-5\/moses-and-frances-asch-collection-center-for-folklife-and-cultural-heritage-smithsonian-institution\/<\/a> (accessed 02\/01\/18).<\/p>\n\n\n\n

    Warda, J., F. Frey, D.\nHeller, D. Kushel, T. Vitale, and G. Weaver. 2011. AIC guide to digital photography and conservation documentation<\/em>.3rd ed. Washington, DC: American\nInstitute for Conservation of Historic and Artistic Works.<\/p>\n\n\n\n

    FURTHER READING<\/h2>\n\n\n\n

    Breitung, E. and E. Hartig.\n2014. \u201cIdentification of a safe cleaning solution to treat white crystalline\ndeposits on lacquer discs.\u201d Presentation, ARSC Annual Conference, Chapel Hill,\nNC, May 15, 2014.<\/p>\n\n\n\n

    Hopkins, H. P., C. Paton, R.\nB. Simmons, and S. E. Young. 1997. \u201cA review and discussion of selected acetate\ndisc cleaning methods: anecdotal, experiential and investigative findings.\u201d ARSC Journal<\/em> 28 (1): 1\u201323.<\/p>\n\n\n\n

    List, G., A. G. Pickett, and\nM. M. Lemcoe. 1960. \u201cPreservation and storage of sound recordings.\u201d The Journal of American Folklore <\/em>73\n(289): 280.<\/p>\n\n\n\n

    University of Illinois Urbana-Champaign. 2015. \u201cLacquer Disc.\u201d Preservation Self-Assessment Program<\/em>. https:\/\/psap.library.illinois.edu\/collection-id-guide\/phonodisc.html<\/a> (accessed 07\/01\/17).<\/p>\n\n\n\n

    SOURCES OF MATERIALS<\/h2>\n\n\n\n

    Rehousing Supplies<\/em>
    HOLLINGER METAL EDGE
    PRS-7
    PRS-10\/PD-10
    PRS-12\/PD-12
    PRS-16\/PD-16
    https:\/\/www.hollingermetaledge.com<\/a><\/p>\n\n\n\n

    Photography Equipment<\/em>
    Canon 5DSR
    Genaray SpectroLED Essential 500 Daylight LED Light (4)
    Image Science Associates Device Level and Object Level targets
    Kaiser Copy Stand RSX with RTX Arm
    Sigma 50mm f\/1.4 DG HSM Art Lens for Canon EF
    Sigma 105mm f\/2.8 EX DG OS HSM Macro Lens for Canon EOS Cameras
    Versalab Parallel Alignment Gauge
    B&H Foto & Electronics Corp.
    420 9th Ave.
    New York, NY 10001
    800-606-6969
    www.bhphotovideo.com<\/p>\n\n\n\n

    Software and Utilities<\/em>
    ADOBE SYSTEMS
    Adobe Bridge CC 2018
    Adobe Camera Raw 10
    Adobe Photoshop CC 2018

    CANON USA
    Canon EOS Utility 3.8.20 for Windows
    <\/p>\n\n\n\n

    PICTURAE
    Delt.ae image calibration utility

    OPEN SOURCE
    IPTC Cultural Heritage Metadata Panel for Adobe Bridge <\/p>\n\n\n\n

    David M. Walker
    Audio Media Conservator
    Center for Folklife and Cultural Heritage, Smithsonian Institution
    WalkerDM@si.edu
    <\/p>\n","protected":false},"excerpt":{"rendered":"

    David M. WalkerThe Electronic Media Review, Volume Five: 2017-2018 ABSTRACT In 2017, audio media conservators at the Center for Folklife and Cultural Heritage, Smithsonian Institution, conducted conservation documentation and rehousing for over 4,100 unique audio discs. The documentation process involved assessing, stabilizing, and identifying treatment priorities for fragile lacquer and aluminum discs, many of which … Continue reading “Getting It On Record: Stabilization, Enhanced Imaging, and Documentation of Archival Instantaneous Audio Discs”<\/span><\/a><\/p>\n","protected":false},"author":37,"featured_media":0,"parent":618,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1617","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/1617","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/users\/37"}],"replies":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/comments?post=1617"}],"version-history":[{"count":0,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/1617\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/618"}],"wp:attachment":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/media?parent=1617"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}