AHDS Guides to Good Practice
 

Creating Digital Audio Resources
A Guide to Good Practice

 
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Advice
 Guides to Good Practice
  1. Overview
  2. Working with Copyright
  3. Digitising audio: an outline
  4. Playing back audio media
  5. Computers for audio
  6. Other resources: skills and time
  7. Creating the digital audio files: a step-by-step guide
  8. Documenting digital audio resources
  9. Presentation and delivery
  10. Preservation
  11. APPENDIX A: Case studies
  12. APPENDIX B: Glossary
  13. APPENDIX C: Bibliography
 Performing Arts Data Service
Guide to Good Practice
Creating Digital Audio Resources

Nick Fells, Pauline Donachy and Catherine Owen

Editors: Catherine Owen, Kate Iles

Contents

1. Overview

2. Working with Copyright

2.1. Introduction

2.2. Copyright in practice

2.3. Summary of the law

2.3.1. What is copyright?
2.3.2. Who owns it?
2.3.3. How long does it last?
2.3.4. What is 'infringement'?
2.3.5. What about 'Fair Dealing'?
2.3.6. What about 'Moral Rights'?

2.4. Making original recordings

2.5. Using existing recordings

2.6. If you cannot identify who owns copyright…

2.7. Applying for copyright

2.8. What next?

2.9. And finally…

3. Digitising audio: an outline

3.1. What is digitisation?

3.2. Why digitise sound recordings?

3.3. What are the pitfalls?

3.4. What resources are needed to digitise audio?

3.5. Technical appendix: digital audio

3.5.1. Analogue and digital sound
3.5.2. Resolution and sound quality

4. Playing back audio media

4.1. Early sound recording media

4.1.1. The cylinder phonograph
4.1.2. The gramophone

4.2. LP and EP records

4.3. Open reel tape

4.3.1. Noise reduction

4.4. Cassette

4.4.1. Noise reduction

4.5. Audio from film

4.5.1. Film soundtrack formats

4.6. Audio from video

5. Computers for audio

5.1. DAT

5.2. Apple Macintosh

5.3. PC: Microsoft Windows

5.4. PC: Linux

5.5. PC: BeOS

5.6. What to look for in a soundcard

5.7. Connections and additional equipment

5.8. Storing the sound

6. Other resources: skills and time

6.1. Skills summary

6.2. Factors influencing project duration

7. Creating the digital audio files: a step-by-step guide

7.1. Final preparations

7.1.1. Setting up audio connections
7.1.2. Monitoring
7.1.3. Organising the process

7.2. Recording from analogue sources

7.3. Digital transfers from DAT

7.4. Digital extraction from audio CD

7.5. Post-digitisation tasks

8. Documenting digital audio resources

8.1 Introduction

8.2. Developing Metadata - understanding the environment

8.2.1. Identifying the needs of your primary user group(s)

8.2.2. Identifying the potential for further re-use of your data

8.2.3. Understanding the local environment

8.4 What information should be included in my record?

8.5 Understanding the status of your metadata record - what are you describing?

8.6 Using standards

8.6.1 Why should we use standards?

8.6.2 Which standards?

8.7 Metadata standards - Dublin Core (DC) and The Resource Discovery Framework (RDF)

8.7.1 Interoperability

8.7.2 The Dublin Core Metadata Set

8.8 Conclusion

9. Presentation and delivery

9.1. Cd-rom

9.2. Networks and the web

9.2.1. Delivering audio via networks and the web
9.2.2. Data compression
9.2.3. What difference does compression make?
9.2.4. Streaming
9.2.5. Usage considerations

9.3. Distribution and access issues

9.4. Design considerations

10. Preservation

10.1. Storage media

10.2. Audio file formats

11. APPENDIX A: Case studies

12. APPENDIX B: Glossary

13. APPENDIX C: Bibliography

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The right of Nick Fells, Pauline Donachy and Catherine Owen to be identified as the Authors of this Work has been asserted by them in accordance with the Copyright, Designs and Patents Act 1988.
All material supplied via the Arts and Humanities Data Service is protected by copyright, and duplication or sale of all or part of any of it is not permitted, except that material may be duplicated by you for your personal research use or educational purposes in electronic or print form.
Permission for any other use must be obtained from the
Arts and Humanities Data Service

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Electronic or print copies may not be offered, whether for sale or otherwise, to any third party.

Pauline Donachy is a member of the MusicWeb Consortium.

 
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