{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/kd1qf8k19g/manifest","type":"Manifest","label":{"en":["IRENE: Messiah or False Prophet"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["George Blood (Presenter)","David Seubert (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2016-05-13 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eTHE END IS NEAR! This is not news to ARSC members. We have all closely followed the evolution of optical scanning of grooved media known as IRENE. The technology makes it possible to recover damaged media that would have otherwise been lost. But there are strong disagreements about whether it can be a replacement for the traditional stylus playback methods. This presentation will review the status of IRENE, its strengths and weaknesses, consider the arguments made for and against, and discuss how and whether IRENE and other replacement-for-dead-or-dying-formats technologies are the promise of a new life or abandon all hope we who enter here.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},{"label":{"en":["Video Editor"]},"value":{"en":["Nathan Georgitis"]}}],"summary":{"en":["\u003cp\u003eTHE END IS NEAR! This is not news to ARSC members. We have all closely followed the evolution of optical scanning of grooved media known as IRENE. The technology makes it possible to recover damaged media that would have otherwise been lost. But there are strong disagreements about whether it can be a replacement for the traditional stylus playback methods. This presentation will review the status of IRENE, its strengths and weaknesses, consider the arguments made for and against, and discuss how and whether IRENE and other replacement-for-dead-or-dying-formats technologies are the promise of a new life or abandon all hope we who enter here.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/511/small/open-uri20200922-6764-1uwbgdd_1600815941.jpg?1600801565","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511","type":"Canvas","label":{"en":["Media File 1 of 3 - open-uri20200922-6764-1uwbgdd.mp4"]},"duration":2674.28267,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/511/small/open-uri20200922-6764-1uwbgdd_1600815941.jpg?1600801565","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/511/original/open-uri20200922-6764-1uwbgdd.mp4?1600801509","type":"Video","format":"video/mp4","duration":2674.28267,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022","type":"AnnotationPage","label":{"en":["AUTO_TRINT_IRENE: Messiah or False Prophet [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Good morning, welcome to the concurrent session this morning. I'm David Slivered. I'm the curator of the performing arts collection at University of California, Santa Barbara. And I'll be chairing the session this morning. We've got a three interesting speakers today and we're gonna dove right in. I don't need to spend a whole lot of time introducing that. I will give brief introductions. Our session this morning is titled Irene and Other Digitization Issues. We're going to start off with George Blood, a longtime ask member. George Blood graduated from the University of Chicago and has been an active recording engineer recording live concerts and has documented over 4000 live events in his career from 1984 to 1989. He was a producer at WFM in Chicago and he was also producer and engineer at the Philadelphia Orchestra for 21 years. He's recorded and produced over 250 C.D., five of which have been nominated for Grammy Awards. He's been active in the preservation community for many years, including the Ask Technical Committee, the Yasa Technical Committee, the AMA. MSF asked a seven standards committee ALJ Committees on Preservation Standards for Audio. He's the author of a family document Guidelines on Target Formats for Preserving Video and coauthored with Meghan Morrell, a paper on information instruction for archivists on how to recover failing optical discs. He is the proprietor of George Block Audio Visual Video, as many of you know, and this year his company will digitize over hundred thousand sound and moving image and media documents. This morning he will be talking about Irene and his session is provocatively titled Anasuya or False Prophet. So I welcome George Blood. And I want to remind you also that his firm has nine or seven nine nine job openings right now. So if you're interested in working in the preservation field on the vendor side, look him up or look on their Web site.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=6.96,130.74"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Please give a warm round of applause for George Blood. I am extremely fortunate. For 35 years, I've made my living in recorded sound during my years at the Philadelphia Orchestra on through the hundreds of thousands of recordings that company has preserved. I had the great fortune to know, meet and learn from many, many committed and interesting people. These people and others have taught me more about grooves media than I could have ever learned on my own. As I learned from and befriended them, I can personally attest. They share a common goal, the highest quality preservation of recorded sound, especially sound on group media. As I prepared this presentation, they generously shared their knowledge and their slides. Many of the slides you'll see, will be familiar to those of you who follow the subject. It is my intent in this presentation to pay my dues to their knowledge and generosity, to me and to the field to respect their friendships and to honor the enormous passion they bring to this topic. Many words have been used to describe, ask and ask members. Well, though, ask members disagree about many things. Some might say everything. I think we can agree that one word that describes all parties. Ask members is passionate. I share that passion on arts topics. I've even been known to unleash my passion toward other ask members. If there's one thing that generates passion and ask members, it's Irene and Irene is the contraption on the table, the young lady in the picture is competing the ask about a Web editor and co-chair with Sandy Rodriguez. This is during a tour of the pullback of solely the Library of Congress. And like any other passionate artist member touring the Culpeper facility, she wanted her picture taken with Irene.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=131.34,276.78"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Is there anything else that people people get their picture taken with at Radiophone snarky about it? Yes. So what is it about Irene that in that incites passion? I think we did three. There are some things Irene does better than a stylist's and a groove. It would be impossible to get any meaningful audio off medias such as these without Irene. Thirty four million bucks at a problem and a solution emerges will hopefully score one for Irene. A million bucks. What's the value proposition there? As Bobby Polet at Yale has said, libraries don't do cost benefit analysis. Well, and under a lot of circumstances this is a good thing. We cannot know what future generations will find valuable. So the keepers of the cultural record are taught to be dispassionate about choosing what to preserve. Nonetheless, resources are finite and we will not save everything when the existing 80 machines wear out. There will be media left on digitized. These issues are familiar to everyone in this room. The development of Irene has caused some number of millions of dollars. I'm going to stick with one million for my examples because it makes the math easy. It's essentially an arbitrary, large number. Let's consider how many disks could have been saved for that million dollars at one hundred dollars a disk. We could preserve a thousand disks and disk transferred at this rate would probably be fragile lacquer, disks that are and still playable condition for more routine transfers, say garden variety shellbacks. If you're a vendor, 20 bucks per disc is the price you can expect to lose a job to another vendor for at that price at a million buck, a million bucks saves fifty thousand discs. Their costs go into the price of doing something.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=278.89,408.69"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In this example, million bucks was the development cost of creating a new tool. The cost of developing any technology gets you a new way of doing things. It doesn't get anything done for that. You also need spend on labor. That's a fee for service such as my company or your company or any DCC charge for digitizing a disk. It includes the operators, labor, their benefits, the cost of managing the project, administrative overhead rent and so on. Let's say it costs 250 dollars to use Irene to recover a disk. This is a somewhat arbitrary point of reference because there are many factors that go into how long it takes to capture an object with Irene, its duration, its condition, expectations, the unpredictable behavior. When imaging the object bill be at the director of any DCC told me it would be a pleasure to work with stuff that's in better condition, that we've been getting quite large. The stuff going to any DCC is in sorry shape, so the price varies. But let's pick a number that's at least plausible. Do they still play a little bit fragile, like fragile lacquers at two hundred and fifty dollars versus one hundred dollars in my prior example? Two and a half times as many fragile discs can be digitized using stylus as you would pay for an Irene transfer at this arbitrary price. This argues that you should digitize your fragile lacquers while they can safely be done with the stylus rather than wait a little longer and find the you spend two and half times as much using another technology. This is the cost of inaction. Christmas cynic. In my case, he talked so much about. And it was the topic of the Arts Technical Committee's joint presentation in 2012.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=409.74,517.789"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"My time those five was 10 or 15 or 20 years. Whatever we say seemed to tick off in five year increments for the garden variety shellac transfers, 12 and half times as many routine transfers can be digitized for the same money. Multiply that times. One hundred Irene transfers. You're talking a twelve thousand five hundred discs and that kind of adds up for routine work. Score one for the traditional way of doing things. No, I'm not going to spend 20 minutes scoring one way over another because there are many variables to consider and sometimes one consideration outweighs all others. Optical is the only way to recover damaged media. That makes it the best period. On the other hand, if price is a consideration, all other things being equal, which is we know they rarely are for routine playback. The Irene of today cannot compete with the efficiency of stylus playback. But it's not just about cost, is it? We must consider cost and all we do. It costs does not always equal value, especially with regards to the cultural record. Some work is higher value than other work, and we can know that today some things will cost more and some things will be more highly valued. Such as these things. Well, I don't know about reasonable, but I do know that there are disagreements. And what would ask be without them? There are really smart folks who have dedicated a great deal of time to optical scan for labor, both Warnell Bass and Banjo Luck. Gene Piddock. It's the final call query to name just a few. I am fortunate to pull most of them my friends dinner with and any of them is a fascinating and passionate discourse on recorded sound. There are plenty of areas where David Giovannoni and I disagree.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=519.559,648.06"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But there's one thing that I know that is something that he's given his passion to. It's worth my time to hear him out. Likewise, Carl Haber, Earl Cornell are steeped in groove media, what we'll call the ask level. They're fresh perspectives on the problems of playback with their skill sets that are very different from most ask. Members have brought us a tool that will preserve media that would otherwise already be a complete loss. And Irene has provide us with the foundation upon which to discuss how and whether future technological developments will allow us to overcome the demise of the existing stock of playback equipment, supplies and expertize. Is there a teacher beyond the hours available in the remaining playback machines? Irene has made for a real and not abstract discussion on this topic. We may conclude it's a failure. We may conclude it's not worth the price. But we cannot conclude that someone hasn't tried to do something about it. As David Gergen only calculate for us during his 2015 Arz presentation based on simple daily production. Irene is twelvefold, as expensive as playback with stylus. This is just another way of looking at the cost factors that I did a few days ago. A few slides ago, David and I came to the same conclusion, looking at the problem from two different directions. Now, this isn't an all things equal being that all things being equal comparison, someone digitizing 60 cylinders a day has their nose to the grindstone or at least to their sonor machine. If you're using Irene, you have plenty of time while the scans happen to do other things. We could be digitizing cassettes or using a stylus to digitize some quality, shall X. Or you could attempt to stay current with our cycliste.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=649.65,764.8"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We all know things are rare. All things are rarely equal. For one thing, R\u0026D continues. Earl Cornell has continued his software development and the daily yield has increased by about 60 percent in the last year. Laboratory developments at the Lawrence Berkeley National Laboratory and could double that again by next year. A bit of full disclosure here. There are many factors that go into calculating these numbers. The production numbers and the price slide are not data directly from either ATCC or they'll BNL. They are my interpretations of the discussions that I've had early meant to be representative of the magnitude and the direction there was. Further, the number one reason Irene productivity is low is it throughput hasn't been a primary design criteria and the quality has been emphasized over speed. And this is my interpretation of the developers, and your opinions will probably vary. Last year, Rebecca Fineberg shared her master's thesis findings on frequency response of Waxler of what? Of the frequency response that wax cylinders are capable of. This was to establish a baseline for investigating whether playing wax cylinders were the mouth. Her research showed cylinder's were capable of reproducing beyond nine kilohertz. For those of you who are not accustomed to reading spectrograms, time goes from left to right. Frequency goes on the vertical axis that we have DC zero hertz at the bottom. In this slide. Forty eight kilohertz at the top. At the top. And the difference in intensity is loudness about volume amplitude. In this particular example. This is an introduction spoking introduction pregnancy's response suite, individual frequency's the Cluster of Pregnancy and Whiteman's. In their presentations at last year's arts conference, David Giovannoni and John Levin discussed the issue of stylist's pressure in Edisons de Stylist's pressure could be as high as 54 grams.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=770.12,927.57"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Assuming that the machine was set up properly, John showed us that if we reduced the stylus size, that pressure would pair upon a smaller portion of the groove. If you keep the overall pressure the same and have the surface area, the pressure on the area of the groove touched by the stylus doubles. If I stand on one foot, I weigh the same. But there's twice as much weight on the foot that's still touching the ground by reducing the tracking force below two grams. John's machine is capable is able to use an extremely fine stylus, capturing more detailed quoting from John's presentation style assizes. Important seven 1/2 mo style are too fat to track the narrow undulations at higher frequencies so they simply aren't reproduced. John continues. The only way to track these tighter undulations is with a more narrow stylus. But how narrow does it have to be? The CYLINDER subcommittee developed algorithms to calculate this based on various stylus geometries. Look at health frequency response extends as you narrow the front to back dimensions of the stylus. Here's another image of different frequencies. Low frequencies at the top have long wavelengths. He use a large stylus for a low tracking pressure. Higher frequencies. Those at the bottom have short wavelengths. So you need a small stylus which results in a high tracking force for a stylist to reproduce the entire amplitude of a frequency. It must fit all the way to the bottom of a groove. However, just because a large stylus doesn't fit all the way in doesn't mean it can't reproduce the frequency. It will still bump up and down along the uneven surface. In this situation, the frequency is reproduced. The frequency is reproduced, but at a lower amplitude. And this is what we see in the spectrograms that Rebecca produced that we see the the the intensity fading out as the frequency goes up.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=928.77,1063.44"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And likewise, in the pink noise that it fades away as the frequency goes up. This is a sine wave. Clipping an audio signal, especially asymmetrically, produces a very harsh sound when writing just the tops of the wave forms, such as when a stylus cannot fit all the way into the grooves, it produces a great deal of harmonic distortion. That is all things aren't equal and you sacrifice not only amplitude, you decrease the amplitude and increase distortion. And this was physical tracing distortion. And this was already being studied in the 1930s. In this image, we see how the size of a stylus compares to the frequency it's trying to reproduce as the wavelength of the frequencies gets smaller. The stylus size is too large to reproduce them. In this image, we can see all the stylus in the middle struggles to reproduce three kilohertz on the right. It cannot reproduce six kilohertz. It's simply too large to fit into the groove. Yet Rebecca's test showed frequency information out to nine kilohertz. This is one of the primary design criteria of John Leavens CPS. One, the low tracking force enables him to use a very small stylus that will fit all the way into the tiny grooves of high frequencies at full amplitude and low distortion. Make the stylus infinitely small and a stylist. Pressure becomes infinite. Think of the frequencies that she could capture. Now imagine a stylus with zero pressure at any size. An optical pick up the stylus to mention this. These stylus dimensions of the confocal probe is approximately one micron 3000 times finer than John's. Phenomenal achievement. The stylus size of Irene's 3D version is one pixel, which is one micron. The bottom right is blown up to show how small a pixel is compared to the wavelength in the groove.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=1064.16,1212.1"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Irene can resolve the 50 kilohertz. The dark blue in this image is the frequency spectrum of a stylus playing a cylinder. And as Rebecca showed, there is plenty of amplitude out to nine kilohertz. Even with the traditional seven 1/2 mil stylus that point. And it's hard to see the gradations on this chart. But that's that nine kilohertz. It's about 60 BDM. The light blue is the same recording reproduced with Irene. Is it little wonder that Irene sounds different? Isn't this the same reason that John Levin, CPS one, produces so much more high frequency information? It's so much less distortion. Carl explained to me that he noticed this phenomenon early on when playing with a style is the high frequency response of a cylinder dropped off rapidly above three kilohertz. This is a spectrogram of a traditional stylus playback. And here's the frequency response with Irene extending to 20 kilohertz and beyond, since the Irene optical probe can see and measure all the way to the bottom of any groove or any irregularity on the surface, it reproduce. It reproduces all frequencies on a on attenuated and without the harmonic distortion from the tracing distortion study by the Tauro, Lewis and Hornstein, as demonstrated last year by John Lewis. What's in the groove isn't always pretty. On the left is a diamond stylus that needs to be cleaned, can reasonably expect there to be grunge in our style. After we play disc, so somewhere along the line, it accumulates that that grunge is played on the right is a highly magnified groove. Our analog media have textured cylinders. Shellbacks lacquers L PS and tape. We experience that texture as noise. The resolution of Irene is so high it reproduces the texture of the recording medium. And this image from David's 20 15 presentation.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=1213.15,1350.06"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There is a there is frequency information, the Irene scam that is not present when is played with the same cylinders played with a stylus. Is Irene adding this information or merely capturing the defect in the recording medium that a stylist would otherwise not be able to? What causes the periodicity of the banding? This image is the banding in sync with the rotation of the cylinder. Is Irene capturing variations in the texture of the wax? Is this Irene? Is this the Irene software stitching together rotation's of the cylinder? Well, that should be curable. Simple matter of programing. Is there a calibration in the system, either in hardware during the imaging or options during the post-processing software that would eliminate these artifacts? That is is the result the result of an operator's choice? We all know how a stylus size will give a particular star sized mug that gives us more detail, may also produce more noise. The system is highly dynamic. A change in one area often yields undesirable consequence and the other further are all Irene scams like this or just this one. We're just a few. Are the results repeatable? Would another Irene operator get the same results? Have the results independently verified? Does this Rusev represent an issue that has been resolved in subsequent versions of the software? It is critical that we challenge each other. This is something our members do very well. This is how all fields expand thesis antithesis synthesis back and forth and back and forth again and again. We don't know what we don't know and often we don't know what we think we know. The periodicity of the bad things in this image are scratches. They extend well into the high frequencies because clicks and scratches contain a lot of high energy.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=1351.26,1473.19"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Too much of what's been happening about Irene is parties talking past each other. We could really use some constructive engagement. We found this artifact. Do you know what this is? I've encountered this problem. How can we solve this? We've updated the code to address X. Can you please review and tell me what you find? My evaluation and your evaluation don't align. Let's see if we're looking at this the same way. That's an interesting problem. We hadn't considered this. There are tradeoffs. We chose to focus on this part. You've made a convincing case to focus on a different part. Let me see what we can do. A common misconception about Irene is that it measures the 3D geometry of a groove and converts that audio. Intuitively, we think of a stylus spitting hand glove into the groove with the entire surface in touch with the groove. The reality is the stylist's, when viewed in two dimensions, will touch only two points at a time. At the next moment in time, the shape of the groove will change and both the wave cut into the to the groove and the surface texture of the medium. As the stylus moves along the groove, one point will be higher than the one currently being touched and one of the pair changes and it will touch somewhere else different on the surface of the stylus. When you do three dimensions, that is across the profile of the groove and the length of the groove, the maximum number of touching points will be three and a relationship to each other is constantly changing. Just like a three legged stool on an uneven surface, the only time there's a perfect fit is during cutting in his paper. The assessment of Irene David takes the specifications from the manufacturer of the optical camera used to produce 3D, the image with Irene, and calculates that it has approximately 10 d 10 bits of resolution.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=1474.63,1599.92"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"However, this is not how Irene captures frequency and amplitude rather than touching the groove. Only two points. Irene captures between 20 and 80 points of light is one micron pixels at each sample point as its raw data. This is repeated a hundred thousand times a second and then the data is processed. Irene's scan technology does not create a 3-D model of the group topology and convert it to PCM, other optical scanning technology does work in that way. But not Irene. One of the original complaints about digital was that it produced discrete steps. Each sample had a finite number of steps. Even if the bit depth was high and the steps were small, they were still discrete. Analog is continuous with smooth and without steps. Irene is not calculating a 3D tup logical map. It has turned directly the PCN in each point in time. The sample rate is 48, 96 or 100 kilohertz. It takes not one sample at 16 and 24 bids is PCM does, but 20 to 80. So we have this set of samples here. These are then processed in a combination of averaging and smoothing and produces an audio signal. I berghain a cold sweat when I was first producing this, figuring I was going to have to prove the central central theorem of calculus in order to get us past here. But I managed to find a workaround. So in this way, Irene is able to produce a resolution finer than the number of steps, discrete steps that we would calculate from its optical scanning. So Dither works much the same way. Within limits, you can get one or maybe two bits of additional resolution using dither, but you're not going to get 60 bits of additional resolution. If you've ever seen, like rubbings of gravestones, you can't otherwise read them.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=1601.12,1748.77"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You put a sheet sheet of paper on it and you rub it, which our caller quray on information is then readable. And that's the way that debtor works. The stylists in a room is a highly dynamic process. A mixture of amplitude and velocity. The size and shape of stylus, the transducer, technology and so on. This has been studied for a very long time. This is an example and tracing distortion by Lewis and Hunton, published in 1940. And this is the way when you ask Carl questions. This is what he gives you. This is what he you for. Well, it's right here. A moving coil cartridge on a linear tracking tone arm behaves differently than a moving magnet cartridge on a traditional pivoting toner. Electrical reproduction behaves differently from acoustical reproduction. A horn, the state of the art, an analog cylinder reproduction, whether it be the Arkia phone, the CPS one and burgs machines are all different and they will have their merits and false modeling. An analog process and digital is not simply a matter of throwing a certain number of bits at the problem. Kupe tech tried to model Beebee and gave up. They couldn't get it to sound right and certainly not to Dolby's satisfaction. It's difficult to model digitally complex analog interactive systems. The software that models, they are key. A phone will be different from the software that models the CPS one. You know, these are. Both of these are raw data. The cylinder can be played with a horn or Anakie iPhone or John or machines work can be played with Irene. There is no inherent reason you couldn't take the data from the Irene image. It's stored as a high resolution TEF by a touch. It is stored in a high definition to file and process it in a different way from the only two points of contact to the size of the stylus, to the ballistics of the stylus in the groove and the impact of massive tracking force.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=1749.28,1877.79"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The complaints of the cantilever, simply put. You could model any many or potentially all of the many interactive components of the dynamic analog tactile play system. Just the software's have developed plugins to make Pro Tools sound just like tape. There's nothing keeping you from doing this. May be an advanced degree in high energy particle physics and a MacArthur award. And because it where it asks, we pay homage to David Giovannoni and Patrick Feaster and include such and say Phonautograph on our slimier. And this timeline shows the evolution of recorded sound in terms of formats. Let's look at just one help, one format evolve substantially over that time. Magnetic recording continue to make substantial progress for 50 to 60 years, depending on how you define the start and end point. Many people, many companies, many, many millions of dollars were spent getting us from the primitive work of Jack Mullin's machines to the Ampex H.E.R. One who chooses Duric 20s. The first publications on Irene are from 2002. These include the earliest recordings beyond the proof of concept stage. So let's say Irene is fifteen years old. Of to lead engineers and some graduate students have worked on this brand new concept. Irene is still young. Compare this to the sums spent by Ampex to develop the brand new technology. We now know is videotape. And Irene cannot compete not for the total dollar spent. Not for the sustained effort. Again, all things are not equal. And Irene is not intended to be a commercial product that will sell for four hundred thousand dollars a pop on an inflation adjusted basis. I thought this was where Patrick was going to look forward into the future and say that we had to have an Irene in everybody's living room, but that was it.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=1878.18,2005.59"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This just gives us a yardstick, yardstick for just how incredibly expensive developing new technology can be. Ampex had 20 million dollars in sales the first week, and they didn't have a plan for how they were going to manufacture the machines. They just had prototypes. And we would scoff at the picture quality of these early machines compared to what we get on our cell phones today. Nineteen fifty six. It was more important about what they had achieved. And yet. And yet there was much more to do. It was only black and white. Irene has a long way to go. With regards to sonic quality, the first Pyfrom also had pretty poor features. It took almost 50 years to get from the invention of cylinder to the most primitive forms of electrical playback. First were modified cylinder machines. There were some interesting diversions along the way, like being able to find video with. Retrofits of modern cartridges to existing machines. Community coalescing around the Stanton 500 now discontinued until someone does it really well. And then it's done better. Remember the early days of restoration tools? It's a long way from the pack bird through no noise to the tools from Cedar Isotope, Adobe, Sonic Studio and others. And along the way, many of us did really terrible things with these tools. Some of that was the result of our own poor choices and some of that were clients, poor choices. Almost one hundred and forty years after Edison recorded, Mary had a little lamb analog cylinder. Reproduction continues to improve. Imagine would another hundred years of hardware and software development might bring to Irene and her successors. Our role is audio professionals is to give as much information as our clients are ready to receive. The screen capture from an any DCC webinar shows that they are pushing information to the market.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=2007.39,2161.42"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We can disagree about this assessment, but we cannot say that any DCC is smiling to the bank every time the phone rings. It is up to the client to use the information they've been provided and their own research to decide how much to spend and on what is any disease seeing wrong to accept work that arguably could be done better with a stylus that he was in this room who has never taken a well-paying if ill-conceived job cast the first stone. We must respect curators opinions and choices as we ask everyone else to respect our own opinions and choices. For me, these two images summarize the state of pop, the politics with Irene. No, it's not about the red and blue. I look at these images and seem more alike than different. However, there are different resolutions. They're different objects. They're different scaling. To me, they demonstrate different points. They don't refute each other. One doesn't make the point better than the other. They are only different. That doesn't make one better. I stare at two spectrograms and I do not feel informed. David interprets this data to show Irene has only seven bits of resolution, while a modern HD converter works at 24 bits. Carl interprets this data to show that cylinder's have only seven bits of content, so wife throw twenty four bits at it. George says Carl is wrong because it's what happens between the piece that matters. That is the resolution of the system, not the range of the system. George says Dave is wrong because although the 8D converter operates at 24 bits, the noise floor of the universe. That is, the noise generated by atoms is about twenty one and a half bits. And Queensland state of spurting noise and an analog playback system is only about 67 or 68 or about eleven and a half bits.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=2163.01,2288.31"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You only being eleven have bits and you're 24 bits converter. There are flaws in both arguments and we're not talking about the same thing because it doesn't work this way. This is not how analog to digital conversion works. This is just its conceptualization to anyone who designs analog to digital converter. This is how it works. Potentially in the interpretation of the data led to what I hope will be my biggest impact on the topic of Irene. For years we've been told we should look outside our field for solutions to the problems of deteriorating and obsolete and obsolescence that's was born Irene. After discussing the interpretation of this data with the clearly frustrated Carl Haber, I proposed introducing to a few more of my friends Ian Dennis, John Reichenbach and anymore. And Dennis is the chief designer at Prison Sound, the person who tries to explain how things work to me with SINC functions. It's a struggle for him. John Rick Mbox, the head programmer at Sonic Studio who does work on making Internet audio playback sound better. Andy Moore was the original programmer. Sonic Solutions. He solved the problem of digital reverberation. Most of new noise and demonstrated how DSP it for audio sounds better at 24 bit integer than 30 Cubitt flute. And he spent the last 15 years of his career at Adobe. He might contribute meaningfully to the transform between imaging and high resolution audio. These guys speak khaos language and have spent their their careers solving these kinds of subtle problems that plague. I read Kralev doesn't yet know these engineers, but he has said he is happy to speak with them. So where then does this leave us? I sent these slides to Nick Berg a couple days ago and he's a set many really good comments, many very good challenges to the Irene of today and how much serious work needs to be done.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=2288.57,2418.47"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I had another week I might have incorporated more of Nick's excellent thoughts. There are two that I want to address. First was his observation that my presentation sounded like it was done by a PR firm working for Irene. Ouch. That's when you know, you have good friends, someone who will tell you like it is without pulling any punches. The other was that I don't really answer my starting premise. So I've rewritten my ending. This was to be my final slide that I read is just a tool and has us up to us as individuals and as a community to use it responsible responsibly. And when it comes to audio preservation tools. I strongly support open carry on campus. So let me attempt to answer the questions of my title slide for strange stuff. I think Irene take I think Irene could be called the Messiah or damaged and fragile media. Yeah, I think we'll get this one though. Irene, with marginal media such as mildly crazing lacquers. How about the Smalling? Median good condition. Use a stylus. Actually, this is not what I think. This is what I think. And that means it's time for another one of these slides. Familiar aphorisms. Those who fail to learn from the past are doomed to repeat it. As Mark Twain told us, history doesn't repeat, but it does rhyme. And as long as I'm taking responsibility for the things that I'm saying. Let me. Allow me to extrapolate my title and perform some blasphemies if Irene fails. There will be no second coming if Irene isn't up to the task. It's up to us. It's up to ask. We are the keepers of the knowledge. We hold the flame for audio preservation and we ought to be carrying the banner to make Irene a success.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=2419.82,2579.36"},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This means being grateful for what it already does. This means engaging and challenging Earl and Carl on its limitations and helping them to do better. When we point out a flaw and they apply for a grant and they ask us for a letter of support, then we write a strong letter of support. Can we develop a body to evaluate Irene's developments? Is this a job for G.M. to be a third party evaluator that applauds the improvements and holds their feet to the flame when there is need for further improvement? If we fail to do all these things, not just rail against what has not yet been achieved, then when the day comes, whether in 2028 or 2048 or whenever the last audio visual machine no longer runs, it will be the end and the cultural record held on legacy SoundCloud carriers will go silent. If we kill Irene and with my apologies to the Gospel of St.. John, the world will remember Irene was denied by her own people not having been struck by lightning. And if I have any left, I would like to thank all my friends whose passion made this presentation possible. Thank you.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511#t=2580.53,2656.97"}]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/97511/transcript/19022/annotation/21","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/022/original/open-uri20200924-1401-19l7622?1600953589","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/022/original/open-uri20200924-1401-19l7622?1600953589"}]}]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/255743","type":"Canvas","label":{"en":["Media File 2 of 3 - ARSC_conf_2016_Blood_audio.mp3"]},"duration":2681.45125,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/255743/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/255743/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/743/original/ARSC_conf_2016_Blood_audio.mp3?1730749272","type":"Audio","format":"audio/mpeg","duration":2681.45125,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/255743","metadata":[]}]}],"annotations":[]},{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/255742","type":"Canvas","label":{"en":["Media File 3 of 3 - ARSC_conf_2016_Blood_qa_audio.mp3"]},"duration":666.96638,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/255742/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/255742/content/3/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/742/original/ARSC_conf_2016_Blood_qa_audio.mp3?1730749270","type":"Audio","format":"audio/mpeg","duration":666.96638,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1145/collection_resources/29694/file/255742","metadata":[]}]}],"annotations":[]}]}