Attachment J1 - Vendor Specs for Files and Transfers Versions 1 (17 pages).pdf
PDF 275 KB Posted
- Solicitation number
- 2026-LGR-0019
- Issued by
-
Library of Congress
About this file
This Standard Operating Procedure (SOP) details quality standards for vendors providing preservation services for analog and digital audio materials at the Packard Campus for Audio Visual Conservation, Library of Congress. The document provides comprehensive technical specifications for three primary transfer scenarios: analog disk preservation, analog tape preservation, and media-based digital transfers.
The SOP outlines precise requirements for file types (primarily BWF broadcast wave), sampling rates (96 kHz for preservation masters, 44.1 kHz for access copies), bit depths (24-bit and 16-bit respectively), peak gain ranges, and metadata embedding. For each transfer type, the document specifies detailed instructions on equipment alignment, playback techniques, file naming conventions, checksum verification, and documentation requirements. Vendors must follow strict guidelines including avoiding digital processing, maintaining original signal levels, and delivering both preservation master and access reference files with accompanying metadata and checksums. A test batch of ten complete sets must be approved by the Library of Congress before full digitization can proceed.
View the file
Other files
| File | Type | Posted |
|---|---|---|
| Attachment J3 - SOW_RS_Audio_Digitization_final (6 Pages).pdf | ||
| JA_RS_Audio_Digitization_final_Redacted.pdf | ||
| Attachment J2 - Digitization Wire Inventory (1 Tab).xlsx | XLSX spreadsheet |
On GovTribe
Work with this file
- Download the original file
- Contacts named in this file
- Similar government files
- Ask GovTribe AI about this file
Text version
Packard Campus for Audio Visual Conservation Standard Operating Procedure (SOP)
Vendor Specs for Files and Transfers
Version 1
August 31, 2017
Executive Summary
This Standard Operating Procedure (SOP) details the quality standards for vendors who provide preservation services.
Contents
Executive Summary
1. Appendix A: Analog Preservation – Disk
2. Appendix B: Analog Preservation – Tape
3. Appendix C: Media-Based Digital Transfers
1. Appendix A: Analog Preservation – Disk
QA/QC Checklist
Analog Preservation – Disk
1. Preservation Master File
Number Specification Quality Standard Comment
1. File Type BWF (broadcast wave)
2. Rate 96 kHz
3. Bit depth 24 bit
4. Playback equalization curve Flat (none)
5. Target peak gain range -6db to -3db below “digital 0”
Peaks can exceed –3db but still must stay below 0, including pops and clicks within the program.
Squared off waveforms are not acceptable.
6.
7.
8.
9.
10.
Additional Instructions
Number Instructions
1. Stereo cartridge will be used to capture both groove walls as a two-channel, interleaved file
2. Appropriate stylus shape and size is selected by transfer engineer in order to minimize distortion and optimize frequency response and signal to noise ratio.
3. Discs will be speed corrected and pitched in the analog domain based on transfer engineer’s best judgment.
4. Edison discs will be played at straight 80 rpm.
5. Vertically cut discs will be phase corrected (one channel is polarity inverted)
6. Audio will be recorded and delivered with no processing such as EQ, compression, limiting, dither, noise shaping, etc.
7. The gain of all digitized preservation files is not to be changed or “normalized” in the digital domain.
All optimization of levels must be performed in the analog domain before A-D conversion.
8. File should include the sound of the stylus hitting the lead-in groove and the stylus being picked up following the run-out groove.
2. Access/Reference File
1. File Type BWF (broadcast wave)
2. Rate 44.1 kHz
3. Bit depth 16 bit
4. Peak Normalized -1.0 dbFS True Peak (digital scale)
5.
6.
7.
8.
1. Derived from preservation master file
2. Apparent volume (loudness) may be optimized in the digital domain if necessary to achieve a target RMS level between -18 and -12 dbFS, while peaks are not to exceed -1.0 dbFS True Peak (digital scale). The method used to optimize gain will be discussed ahead of any digitization.
3. Audio processing, such as a very light equalization, may be used where appropriate.
4. Trim heads and tails according to the following sequence:
One second fade in / Sound begins.
One second after music ends \ One second fade out.
5. Both channels to be summed to dual mono (interleaved) unless one channel is distinctly better than the other. In that case, the better channel may be duplicated to dual mono.
6. File created using a high quality SRC for sample rate conversion and word length reduction with dither. Bit truncation is not acceptable.
7.
8.
3. Checksum File
1. Checksum formats SHA1 or MD5
2. Checksum name The checksum should be named after the file it represents (e.g.
FileName.wav.md5).
3.
4.
5.
6.
7.
8.
1. All Checksums must verify before the shipment can be approved.
2. Recommended checksum software:
• The Fsum Frontend - http://fsumfe.sourceforge.net/
• BWF MetaEdit - http://sourceforge.net/projects/bwfmetaedit/
3.
4.
5.
6.
7.
8.
4. Image File http://fsumfe.sourceforge.net/ http://sourceforge.net/projects/bwfmetaedit/
1. File format 16bit TIFF
2. Resolution 400 pixels per inch
3. Color Full color
4.
5.
6.
7.
8.
1. No custom metadata from vendor
2. Image cropped to include label, run-out groove, and matrix number
3.
4.
5.
6.
7.
8.
5. File Naming Conventions
1. Each sleeve contains a barcode for the sides to be digitized.
2. Deliverable Set Folder containing all the relevant files supplied Barcode
3. Preservation Master:
supplied Barcode & sequential number from” _01” & “_m” & .wav ex.: suppliedBarcode_01_m.wav Note: use of additional sequential numbers is unlikely, but possible
4. Access/Reference Copy:
Barcode on item & sequential number from” _01” & .wav ex.: suppliedBarcode_01.wav Note: use of additional sequential numbers is unlikely, but possible
6. Folder Nest
Plain text is folder Italics is a file Shipment Folder (Root Level)
----------Archive*
--------------------Deliverables, Set 1 ----------------------------------------Access/Reference Copy.wav ----------------------------------------Access/Reference Copy.wav.md5
----------------------------------------Preservation Master_m.wav ----------------------------------------Preservation Master_m.wav.md5
--------------------Deliverables, Set 2 ----------------------------------------Access/Reference Copy.wav ----------------------------------------Access/Reference Copy.wav.md5
----------------------------------------Preservation Master_m.wav ----------------------------------------Preservation Master_m.wav.md5
--------------------Deliverables, Set 3 etc.
----------RS5*
--------------------Deliverables Set 1 ----------------------------------------Access/Reference Copy.wav ----------------------------------------Access/Reference Copy.wav.md5 ----------------------------------------Image.tif
--------------------Deliverables Set 2 ----------------------------------------Access/Reference Copy.wav ----------------------------------------Access/Reference Copy.wav.md5 ----------------------------------------Image.tif
--------------------Deliverables Set 3 etc.
* “Archive” and “RS5” are folder designations required for input to LC storage systems.
7. Documentation
1. Complete signal chain, processing notes, equipment list including DAW, playback speed, should be included with deliverables in .XLS or.PDF format.
2.
3.
8. Test Files
1. A test batch of ten ('10) complete sets of deliverables will be sent to LOC and approved before additional digitization continues
2.
3.
2. Appendix B: Analog Preservation – Tape
Analog Preservation – Tape
1. File Type BWF (broadcast wave)
2. Rate 96 kHz
3. Bit depth 24 bit
4. Playback equalization curve NAB
5. Target peak gain range -6db to -3db below “digital 0”
Peaks may exceed –3db but still must stay below 0, including pops and clicks within the program.
Squared off waveforms are not acceptable.
6. Crosstalk specification greater that 65db A listening check prior to transfer should be performed to verify crosstalk
7.
8.
1. Files will reflect tape source. Example; a single track will be a single mono digital file.
2. 1/4 inch playback tape machine(s) must be aligned with at 250 nanowebers per meter (nWb/m)
3. Tapes will be transferred in real time at its native speed.
4. Dual track tapes may have one side transferred in reverse. Reversed track files must be delivered with corrected playback direction and polarity.
5. Audio will be recorded and delivered with no processing such as EQ, compression, limiting, dither, noise shaping, etc.
6. The gain of all digitized preservation files is not to be changed or "normalized" in the digital domain.
All optimization of levels must be performed in the analog domain before A-D conversion.
7. Files should include all slates; however, peak levels are to be determined by the program content, NOT the slates. In cases of very poor recordings, where there may be occasional disturbances that peak much higher than the rest of the material, the Library will advise whether or not to disregard these peaks.
8. Tape deck selection should be consistent throughout digitization contract.
9. All tapes will be library wound prior to transfer.
10. Tapes that are determined to be sticky will be baked according to Library of Congress specifications.
1. File Type BWF (broadcast wave)
2. Rate 44.1 kHz
3. Bit depth 16 bit
4. Peak Normalized to -1.0 dbFS True Peak (digital scale)
7.
8.
1. Derived from preservation master file
2. Trim heads and tails according to reflect program start and end:
One second fade in / Sound begins.
One second after music ends \ One second fade out.
3. Single mono files will be made into a dual mono interleaved file.
4. File created using a high quality SRC for sample rate conversion and word length reduction with dither. Bit truncation is not acceptable.
5.
7.
8.
1. Checksum formats SHA1 or MD5
2. Checksum name The checksum should be named after the file it
5.
6.
7.
8.
1. All Checksums must verify before the shipment can be approved.
2. Recommended checksum software:
• The Fsum Frontend - http://fsumfe.sourceforge.net/
• BWF MetaEdit - http://sourceforge.net/projects/bwfmetaedit/
3.
4.
5.
6.
7.
8.
9.
4. Metadata
1. A fixed set of administrative and technical metadata embedded into the headers of all delivered wave files using BWF MetaEdit may be required.
2.
3.
4.
5.
6.
7.
8.
1. Each tape box has a shelf number label (eg RWA1234 ; LWO1234r'1)
2. Deliverable a set folder for each container (tape box) containing all the relevant files
3. Preservation Master:
Shelf number_side_ "_m" .wav Side one example: LWO1234_1_m.wav Side two example: LWO1234_2_m.wav
4. Access/Reference Copy:
Shelf number_side_ "_m" .wav Side one example: LWO1234*1_a.wav Side two example: LWO1234_2-a.wav
5. Full track tapes will have only two audio files per folder
Italics is a file
Shipment Folder (Root Level)
----------Tape number (eg RWA1234 ; LWO 1234r1) ----------------------------Access/Reference side 1.wav ----------------------------Access/Reference side 1.wav.md5 ----------------------------Preservation M aster side 1.wav ---------------------------- Preservation Master side 1.wav.md5
----------------------------Access/Reference side 2.wav ----------------------------Access/Reference side 2.wav.md5 ----------------------------Preservation Master side 2.wav ---------------------------- Preservation Master side 2.wav.md5
1. Complete signal chain, processing notes, equipment list including DAW, sample rate, should be included with deliverables in .XLS or.PDF format.
2.
3.
1. A test batch of ten ('10) complete sets of deliverables will be sent to LOC and approved before additional digitization continues
2.
3.
3. Appendix C: Media-Based Digital Transfers
Media-Based Digital Transfers
1. File Type BWF (broadcast wave) In the case of DSD, file shall be preserved as .dff, .dsf, or .dsd. LC will give guideline to vendor.
2. Rate Variable Native resolution of format
3. Bit depth Variable
4.
5. Target peak gain range Digital transfer files should reflect absolute record levels of source media
7.
8.
1.
2.
3.
4.
5.
6.
7.
8.
1. File Type BWF (broadcast wave)
2. Rate 44.1 kHz
3. Bit depth 16 bit
4. Peak Normalize to -1.0 dbFS True Peak (digital scale)
7.
8.
1. Derived from preservation master file
2.
3.
4.
5.
6.
7.
8.
1. Checksum formats SHA1 or MD5
2. Checksum name The checksum should be named after the file it
5.
6.
7.
8.
1. All Checksums must verify before the shipment can be approved.
2. Recommended checksum software:
• The Fsum Frontend - http://fsumfe.sourceforge.net/
• BWF MetaEdit - http://sourceforge.net/projects/bwfmetaedit/
3.
4.
5.
6.
7.
8.
4. Metadata
1. A fixed set of administrative and technical metadata embedded into the headers of all delivered wave files using BWF MetaEdit may be required.
2.
3.
5.
6.
7.
8.
1.
2.
3.
Italics is a file
Shipment Folder (Root Level)
----------Tape number (eg RWA1234 ; LWO 1234r1) ----------------------------Access/Reference side 1.wav ----------------------------Access/Reference side 1.wav.md5 ----------------------------Preservation M aster side 1.wav ---------------------------- Preservation Master side 1.wav.md5
----------------------------Access/Reference side 2.wav ----------------------------Access/Reference side 2.wav.md5 ----------------------------Preservation Master side 2.wav ---------------------------- Preservation Master side 2.wav.md5
1. Complete signal chain, processing notes, equipment list including DAW, playback speed, should be included with deliverables in .XLS or.PDF format.
2.
3.
1. A test batch of ten ('10) complete sets of deliverables will be sent to LOC and approved before additional digitization continues
2.
3.
| Executive Summary |
| 1. Appendix A: Analog Preservation – Disk |
| 2. Appendix B: Analog Preservation – Tape |
| 3. Appendix C: Media-Based Digital Transfers |
File details come from the government source that posted it. Updated .