![]() I should point out that at the time, our archives consisted of more than 20,000 audio track records and have grown considerably since then. I noticed Crystal Reports had an option to export a report as a. PLAYBACKPRO PLAY MP4 HOW TOHowever, we had recently been taught a short class on how to use Crystal Reports with this data. This meant there was no way we'd be allowed to access the data directly. Unfortunately, in addition to being slow and frequently off-line, the library's database server on was on the ".mil" side of our network. For that we would have to log into the library's database and do a search. We might not know the name of the piece, the composer, the date of the performance, the venue, etc. However, one thing that bothered me was that if the file was looked at in isolation, there was nothing about it that told us anything about the recording itself. The ReadyNAS was placed on our local network, so we no longer had to grab a physical copy of a CD if we wanted to do anything with it, like make an excerpt of a track available as reference for someone. There would be one folder per album, named for the album's accession number, and each track would be saved as a PCM wav file with a name like USMB-CD-11219_05.wav. Karl took the lead on selecting the Netgear ReadyNAS as our storage appliance, creating presets in Exact Audio Copy, and ripping the discs in our archives into wav files. Any time I use the word "we" in this post, I'm referring to a joint effort between the two of us.) decided it was time to move as many of our recording as possible to spinning disk and consider the digital file to be our "master" copy. We (At this point, I should recognize Karl Jackson, the Marine Band's chief recording engineer and my boss from 2006-2014. Even though most of these discs had been written to "archival gold" quality media, they were producing unrecoverable read errors at an alarming rate. In 2007, we got a pretty good scare when we noticed that some of the earliest CD-R recordings in our archives were starting to have trouble playing back. Because we could link to sheet music and event records already in the library's database, it took relatively little effort to associate extensive metadata with each audio track record. The "CD" in that numbering scheme indicated the medium was compact disc, whereas "RR" was for reel to reel recordings, "DT" was for Digital Audio Tape cassettes, and "DB" was for audio stored on betamax cassettes. A CD would have an accession number like USMB-CD-11219 (numbers above 10000 indicated the recording was made by the band) and individual tracks would have accession numbers like USMB-CD-11219.5. There were always at least three copies made: one that stayed in the recording lab office, one that went in the hallway by the directors' offices, and one that went in a filing cabinet in our library.Īfter editing the recording, we would catalog it in the library's database using Selago Design's Mimsy XG. Several copies of this CD-R would be made, including ones for soloists and conductors. using SADiE, and burn an "archival master" to CD-R. We would record the concert using a variety of tools we had at our disposal (at the time, I believe we were using an Alesis Masterlink recording as 24/44.1), then edit that recording to remove excessive gaps, fade out applause, etc. When I joined the band in 2006, we had a pretty established routine for keeping the recordings we made of the band's public performances. It was just a project I kept working on that continued to grow. I really didn't mean for it to be my signature contribution to "The President's Own". This is the story of how the Marine Band Digital Archives Came into being. ![]()
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