{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/xs5j960z2c/manifest","type":"Manifest","label":{"en":["Is Anyone Listening?"]},"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 Cawley (Presenter)","Rebecca Chandler (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2018-05-12 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eWith the rapidly approaching deadline for digitization of audio collections before the remaining hardware dies, parallel workflows are fast becoming the norm. These require a deep and thorough re-thinking for how to maintain quality for what will almost certainly be the only time these media will be played. Software tools aid in quality review. However, there are many things software tools can’t do—know if the content has changed, or the track or speed format, or that a tape is sticky, or many other things that require a human ear and brain. Managing audio monitoring during digitization has been discussed previously at ARSC by Mark Hood and Mike Casey. George Blood, LP, collaborating with TimeStep, Ltd has developed a monitoring system for parallel preservation workflows. George Blood will present on the conceptual framework and features of the hardware. Dave Cawley will present on the hardware and software design, and manufacturing of the Scanning Audio Monitor.\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\u003eWith the rapidly approaching deadline for digitization of audio collections before the remaining hardware dies, parallel workflows are fast becoming the norm. These require a deep and thorough re-thinking for how to maintain quality for what will almost certainly be the only time these media will be played. Software tools aid in quality review. However, there are many things software tools can\u0026rsquo;t do\u0026mdash;know if the content has changed, or the track or speed format, or that a tape is sticky, or many other things that require a human ear and brain. Managing audio monitoring during digitization has been discussed previously at ARSC by Mark Hood and Mike Casey. George Blood, LP, collaborating with TimeStep, Ltd has developed a monitoring system for parallel preservation workflows. George Blood will present on the conceptual framework and features of the hardware. Dave Cawley will present on the hardware and software design, and manufacturing of the Scanning Audio Monitor.\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/000/097/552/small/open-uri20200922-6764-2enfy0_1600816533.jpg?1600802169","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-2enfy0.mp4"]},"duration":2208.512,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/552/small/open-uri20200922-6764-2enfy0_1600816533.jpg?1600802169","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/552/original/open-uri20200922-6764-2enfy0.mp4?1600802119","type":"Video","format":"video/mp4","duration":2208.512,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Is Anyone Listening? [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Obsolescence. I'm Rebecca Chandler and I'll be M.C. for this performance. Our first speaker needs no introduction, but he's going to get one anyway. George Blood graduated from the University of Chicago. He was engineer at the Philadelphia Orchestra for 21 years and has recorded over 4000 live concerts and produced over 250 cities with five Grammy nominations. He's a member of the technical committees of both. Niassa. He has contributed two chapters to the forthcoming TCO six on video preservation. He's the author of two best practices. Documents for the Library of Congress has served on several standards. Committees for Audiovisual Preservation, is a regular faculty member for workshops such as the Arzt Conference two days ago and is a frequent presenter. He'll be followed by Dave Cawley, Steve Collie's founder and director of TimeStep, a company which specializes in products aimed at analog disc reproduction. Among the products designed by Dave are the TEIL one Didi's. S Digital Speed controller and the two on EKU 78 R.P.M. Equalizer Preamp with fire. David's on research on mono cartridges, has worked on a cylinder player and has given toxic A-s on archiving. He is a full member of the A-S. So this is their talk. Is anyone listening? A detour a little bit to start with, a little bit of a plug for the great Seventy-eight project. Give an update on this. This is one of the things that was found in the boxes is a recording by a nine year old, John, to kill us. Then called Sunny. And later, we'll hear his mother singing. His widow donated 2000 thousand discs and traditional open music that he collected from 1988 to his death in 2012. And he hosted the European ethnic Momeni show leaders, his radio station. And about a year after we posted this, we got a call from.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552#t=12.39,136.63"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"From the family, they were listening to the recordings, they they didn't they. They heard this. They had no idea that the record existed. It was just hidden in the boxes of boxes and the record collection. And they were overjoyed that this is a digital copy music of their father, music that he loved, recorded and collected his entire life. This is the kind of thing that's popping up with Great 78 project, which is to say somewhat indiscriminate. And we're just doing whatever comes along with intent of finding jewels such as this. If you haven't yet found it, you'll archive that word, plug George, pull it in here and come up. You can search a great 78 project. These should be top hit from Google. We're at sixty five thousand. Visit the upload of new titles. The third week of each month will be just shy of 70000 sites. As of next week. We have 18 institutions participating from USF to the Boston Public Library donated their entire annual discussion to a project that is one month of production. That's the rate at which we're going to reach those boxes. Holds about a hundred sixty discs. So this question of. Onto the presentation. Since there are always new comers to ask. I don't want to assume that everybody knows the problem are going to talk about. In case you missed it. Sure. Well, no longer making phono cartridges. And in the article, a quote sure is saying that at one point they were making twenty nine thousand phono cartridges a day. And this drives home the issue that we know that we have a severe problem of obsolescence, that the tools that we need to do this work generally aren't available. And although we have the likes of Dave Cawley and H.E.R services, others who are contributing new hardware to this problem.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552#t=139.58,279.22"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"By and large, we're dealt. We're dealing with equipment that exists and that is dying and getting parts is no small challenge. The article the committee did a presentation in 2012, and I prepared this list of things that you could no longer get, things that were not available. And the list grows and we add to it every couple of months. And it has not stopped down to the fact that. So not even SODI makes c.D. They didn't make any tape machines and standard def for high def. Yeah, it just keeps going and we add more and more. And now I can append Shaw brothers. No longer makes mono cartridges. And that's all before we get to this problem of the deterioration of the media. And some formats are getting actually quite squirrely to try to reproduce. For those of you who know this format, this is a bit of a challenge. The machines that made these are dwindling. The Dakotas are dwindling, and the quality of the video that's feeding the digital output of this machine are becoming especially problematic. So this the urgency of this race against time has led to the heavy use of what some call parallel workflows, where you listen to more than one machine at a time and, you know, it takes common forms and it's a fairly straightforward process with cassettes and but it's fairly straightforward with real real. But it's a different modality. You have to have a different workflow handling Real's than cassettes because of, you know, nothing else. It's unlikely that the cassette will change speed, but it is very likely that the real will. So and, you know, cassettes are only so many to so many modalities. Our first choice of these 80s, but the early seven and a half and fifteen.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552#t=280.09,399.82"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So we run slower as tapes here and we have machines that maybe one in seven eighths. They're unusual formats and wrapping around the back of this picture, a bunch of multi tracks that the strategies usually you use for running more than one tape can can be pretty convoluted. And then we also have the problem of this is the turntable we used in grade seven eight project where we have a different stylus size in each of the tone arms. And you want to be able to listen to those in rotation, if nothing else, to find out that they're all behaving, that one of them isn't skipping and also has the advantage that we'll talk about that every. But one thing we can do with that and the same problem exists when doing multiple and just four videos so you can put a monitor wall and see all the videos going. But what's happening with the audio while all that video was running? We're going to speak specifically to the monitoring challenge rather than the juggle of all the data and handling as our friends. Mike Casey. And more could've presented on this topic previously. And they had experimented with things like having three Monov sources and three speakers marked kind of plug in for protocols that would switch between each of the inputs at a time that you could designate. And then that's all before we get to the problem of of the you know, if you if you're transferring things that well, maybe an operative interest in this topic or if it's in a foreign language, how do you keep the engineers engaged during this time, especially with our listeners? So what can we do to to make these workflows effective? We found this one solution.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552#t=401.29,512.11"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This is how we deal with cell phone problems. There's a basket outside every room and you deposit your cell phone there and, you know, somebody walks by and your phone's not in there and you're in the room knocking on the door because as you may know, cell phones operate in frequency that's going to go. But what's going on inside your 8D converter? Cell phone goes off. It goes off inside your 80 converter as well, and leaves artifacts and digital files that you may not find for decades. So our digitization workflows are based on our years of experience and informed by well-established practices and in process control and human psychology. We draw the distinction between parallel transfers and semi monitored transfers. It's a concept we play here about 20 years ago. So it's easy to put lots of tapes on machines and many of the vendors do. This was more of a challenge is to build a system that shows that each item is complete and correct. In psychology, there's a maxim, the rule of seven. This is the approximate number of steps in a process that an individual can routinely master. And remember, as the process becomes longer than seven steps, it becomes error prone due to the limits of human cognition. To be able to know that the engineer may have heard something. The digitization engineer must be listening to the tapes. The overwhelming majority of tapes played without a problem. However, you must monitored the tapes because speech change and dramatic changes and level are common. That engineer has many steps already selecting the tape for a machine, getting in, setting a file name, optimizing for playback with azimuth and level and so on. And it's difficult for them also to juggle changing which machine they're monitoring, especially to do it regularly.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552#t=512.59,632.17"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And when I get beyond my career or three, five years ago, syndicated radio programs, everybody remembers the regular symphony orchestra broadcasts wandering around on the radio. That's where I got my start. They were distributed on quarter inch tape and there'll be a frontier from Chicago where it was. Engineer and audio producer for the Philadelphia Orchestra. They built a system that monitored the output of the duplication decks and there was a variable speed on the scan rate. And that's about it. Nonetheless, it served as the inspiration of the design that we developed with our staff engineers. The technicians worked for me. Gordon Carter, the former chief engineer WFM T. and Dave Hawley. And with that, we introduce Sam Iris scanning audio monitor, how we listen to multiple sources and maintain high assurance of quality digitization. Jeans barefoot. Can we do this? That's. Is techno technologically challenged? Well, thank you for that, George. I was the guy that George came to to produce the unit that you see here, which will continuously scan and monitor 16 stereo feeds. So that's thirty two channels in one go. And obviously, the subject of this talk is anybody listening? Well, it'll dog is listening. In a nutshell, Sam, which is the scanning audio monitor, monitors up to 16 parallel archiving stations, or it'll monitor multi tracks on one machine or inputs and outputs on HD, et cetera. And it allows a single operator to validate those 16 inputs from wherever they come from. The job was challenging because everybody had different ideas on exactly how we were going to do it. And this is the kindest frame that I could think of. There were 14 front panel iterations. Well, there were actually far more than that. But, you know, we started off a version one 1.0, one point out, you know, and eventually got to 14 Pamplin iterations before we got what was required.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552#t=633.76,821.71"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"13, as I would say, circuit iterations as blocks. Fifteen back panel iterations and over 20 different proposals in to every one. All of us agreed that we had what we were looking for. And at the end of that, we were remarkably still talking to each other. This I don't think this projector is particularly well focused, but this is a block diagram of the project and it enabled us to see roughly where we were. It's a simplified block diagram in reality. In this box, there are 20 different printed circuit boards and the majority of them being channel cards, which take the audio and bus it around the system. This was the from panel. I didn't expect to have this unit here, but you can see that it is remarkably similar. I'll go through all the buttons and controls in a moment. And the rear panel that you cannot see has all the inputs and outputs required, including test outputs and some other functions which will come to in a moment. Okay, so we've got effectively 16 stereo pairs and we've got three different scam rates. Now, this is my interpretation of those scam rates because I had to imagine what this system was going to do for George. And if, for example, it's three seconds, it'll do one channel, next channel, next channel, obviously separated by three seconds. You can't determine a lot in that time, but you can determine if if something is very poor. So I put this for non-critical bulk archiving, but then I'm not an archivist, so it just just made me feel happier. Six seconds, which is much longer, could be for problematic media, 10 seconds for critical archiving and 20 seconds for very critical. Bear in mind, though, that 16 channels at 20 seconds is is actually quite a long time before it comes back to the beginning again.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552#t=822.82,968.11"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's important to look exactly what the audio is doing. We use to RTA audio analyzes, which are embedded into the from panel. And we will come to a slide in a minute. But basically, it allows you to look at frequency spectrum which are on coming to later a vector scope for phase-in mono stereo. There have been some discussions at this conference, whether it's a vector scope or a lizard jue scope. I'm firmly of the opinion. It is a vector scope. We've got peak level and a stereo phase correlated. Now, what what this slide is showing is a single tone, which is not what you want to hear. Obviously, you can see the spectrum analysis. There is one. Sick tone there. The fight. The level here. It's obviously very high. The vector scope is showing that it's it's mono and in phase because it's vertical. And what's probably difficult to see what is projector is. There is a green line here and it starts halfway up. And if it's green, it's definitely in phase, as you would want it to be. And if it drops below halfway, it turns red. And it's out of phase. And if your stereo soon is out of phase for more than a second or two at any time, you're really in in trouble. And you need to look at that channel to see what's happening. OK. Right. This is a single tone again, and this is to illustrate what the analyzers are doing. If you've got music running through it, then, of course, you know, it is much more difficult. But this is an example of what's happening again. The analyzers showing a single tone. It's 90 degrees out of phase. So instead of a straight vertical line, it's a circle.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552#t=970.81,1103.91"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And the stereo. Kalita because it's neither stereo in phase or out of phase. It's actually not showing anything at all. There's just a little green dot in the middle. So that that tells you that it's it's okay. And the last one is a single tone out of phase. Now, the RTW analyzer on the left is something left and right. So the output has dropped significantly because if you some had a face signal, there isn't much left. The vector scope is showing that it's completely out of phase because it should be vertical and horizontal. And you can see the stereo correlate. Is is red all the way down. So, you know, if you have a program music source which is displaying any of these, then you really have an issue and it needs to be sorted. Now, if I can remember to press the right button. Okay, this is obviously some music looking at the spectrum analyzer display with which we can see that there's a fairly good distribution for about 50 hertz to which 12 kilohertz. So we know that it's it's looking good. It's proper music. The vector scope is showing that it's it's okay. It's mainly mono with some stereo spread. And the stereo correlate is sort of half green, which is absolutely okay. So this is what you'd expect to see. Okay. This is good music gain with all the same characteristics. And we're going to go into the meters here, the view meters, the peak. You can see probably there's just a little green. Pete is is holding there for probably about one to two seconds and then going back down again. Now, the reason for that is that when you've got peak hold. And this button marked peak hold his pristine.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552#t=1106.04,1241.82"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It will obviously hold the peak for as long as that button's pressed in. And you can see that at some time that meter has indicated red. And that's just not not very good. OK. The big bar graph, which will come to in a moment, is is quite unique. The software was written by an Australian company and it shows obviously peak level and dynamic range. There are two individual instantaneous rows of metering, which if we look at it here, the yellow is an average or of EU reading. And the green is peak. And the reason that we've got two is that if you've got music with some dynamic range, as you would expect it to have, you would expect to see a peak was higher than the average. And if you've got any sort of like three or four green segments lit, then you know that the music is is actually it's OK. It's got dynamic range and it's not noise. And this is a function that is really very, very good, maybe difficult to explain. But once you've used it, you only just have to glance at it and live it. It tells you whether it's okay or not. Now, there are many modes that Sam operates in online and offline. If it's online, all 16 stations are being monitored simultaneous. One after the other in division, individual monitoring stations or inputs can be skipped. So if you don't have 16, you just press the buttons on the front and it locks it out so that you don't have to scan channels or inputs with nothing on it. If it's Off-line where you've got a problem, you can switch all of the metering permanently for as long as you want to to one of the inputs.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552#t=1243.67,1372.97"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And this also puts the information on front and back channels so you can connect other instruments to if you want to. And it's also got test outputs, which are raw data with no buffering at all. You're connected by relays directly to the source. And we have lamb. Look at me, which was a late entry into the project. You could imagine that each machine being monitored would have one of these pretty red buttons. They probably won't have that lovely chrome surround. But, you know, it's a nice representation. And if an operator of of a station is thinking to themselves, you know, I'm not happy with this. I'd really like some help. Then they press the Lamberton, which lights up red and it sends a signal to Sam. So Lamb is talking to Sam. And Sam goes, Oh, look, there's there's a problem. And the particular channel or station on Sam lights up and the operator of Sam, the scanning monitor can go, okay. I need to look at this and do some work with it. So Sam will default to effectively solo mode when a remote operator presses the land button. If if it's a false alarm, then it can simply be canceled. And the operator. No, those it's been canceled because the limelight will go out. And if this sounds a bit complicated, remember, there's an awful lot in here and it's it's very difficult to get this all done in twelve minutes. But it's it's intuitive. And it does what you expect it to do. The test jacks, which I mentioned earlier, there are Bufford outputs on the front and back for speaker monitoring or headphone jacks. And because they're Bufford, whatever you do to them, it's not going to get into the the main signal path, a button.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552#t=1374.53,1503.33"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There are also raw on buffer data on Acceleron B and C where you can see it like it really is if you have any issues. So this is my take on the project and George is gonna take over from me in a moment. The summary is that Sam monitors up to 16 parallel archiving stations or inputs using a single skilled operator who validates those 16 stations or inputs. And the result should achieve better archiving, faster archiving and low cost, lower cost archiving. And that's probably the final frame. So I'll pass it back to to George. So actually, if you could put that Leslye back up. Right. So why 16? Because as a practical matter, you can get that many tape machines going. But what we're thinking about is we wanted more than we would ever need. And then we found a use for it so we could even if you have only four. You could do the output of hate machine and the output of the entire signal chain output, a tape machine output, the entire single chain. So you can hear that the everything that you're doing is working. If you had multitracking of a 24 track machine running, you hook up to 12 pairs and then you can listen to the pairs of the channels to keep track of what's going on. Or if you have a lot of machines in the room, as you saw with a quarter inch room. If you have to go from a seven 1/2 hip's tape to a quarter track, one and seven eighths, you can disable one channel and pull it back up on the monitor just that quickly. Dave had a very good. Technology. Brian. Dave spoke rather eloquently of the advantages of the meeting, meteors and analyzing you saw them.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552#t=1503.64,1638.14"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You get full level, great looking bar graph meters and find out that your Carlita's and your Lissa's. You are telling you something different. Dave has this at his booth that you could actually be 20 or 30 feet away from this. We worked very hard to ensure that the display was bright enough to see it from across the room so that if you're moving around in the room, you can hear, see, see what's going on and the remote controls with lamb. And so it has a variety of modalities that she could work even is actually no reason whatsoever. You can't just solo a single channel and do a single transfer at one time. But so is designed mostly to be flexible. And we'll have these in each of our rooms, including for moving of migration questions, thoughts. And it's not done. And so it's it's all analog. Sir, it's digitally controlled analog. So Dave keeps reminding us if we change our mind, we can change what it does. Listen. Is there a general figure of what something like this runs? Well, I can tell you that it's cost to me well into five figures. So Dave Davies done custom development for for me on this. Although there's been some interest and we're strongly considering making this something that others could use in their workflows. But this is just something they've done for us. I have two questions. The land button, is that on the front of the SAM panel or is it on the machine? There's a multi panel the back that feeds out all of the machine. So if you think of a rack of cassettes and there's a lamp button next to each one, or as you spread out around the quarters machines, you can walk up to a machine, hit the lamp button.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552#t=1638.71,1752.8"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Use all the Monori and scopes to do alignment's and level and whatever. And then to save or unsold it and it'll go back into scanning. And the test features are designed to work independently of the scanner so that you can come in with a test set and keep an eye on a machine that I think it's misbehaving. Or is it. So that'll run continuously. And the person who's most looking forward to this is the poor man who aligns all our decks, currently has to climb behind the machines to pull the Excel arms out, to put the test equipment in. With this, he plugs into the front, goes next, next, next, next. So it'll speed our maintenance. I bet he'll thank you for that. My other question was with the meters. Is there a way to output the video display to a bigger screen? No, not not as such. On the back, there are a pair of BNC that are designed for going to external monitors, but there's not a video output on the RTW displays. Okay, cool. Thank you. I'm just just curious, I may have missed it, but is there seems to be a straightforward process to compare automatically without human input and the output to make sure that both the same and that way make sure that nothing has gone wrong in the dubbing process. People only challenge in that, David, would be that you have to account for the propagation delay for each of the different machines or the propagation delay and 8D inverters in coming back. But in principle, you should be very straightforward that you could book the first pair up to the output of the tape machine, the second pair up to the output of the entire signal chain.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552#t=1753.58,1877.73"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Right. And then display a difference between their big time today, of course. But aside from that, it should tell you everything as regards to your pen and ink. Did it happen to the feed in the dubbing software? Yeah, you could do that. And exactly how you use Sammie's is optional, really. When I first took the project on, I'd assumed that it was going to do sixteen archiving stations, which is what it will do. Or you could have a monitoring inputs and outputs if you wanted to or if you didn't want to. Then you wouldn't do that. You'd maybe block the channels out. But it's it's flexible. It'll take any inputs at standard level and the connectors on the back. So, you know, it'll do inputs and outputs. If that's what you want or if that isn't what you want, it'll do up to 16 Doric stations. So it's it's flexible. If you have more questions, Dave has this at his booth. You want to go over and punch the buttons and watch the blinking lights. He'll be there. And a lot of it's digitally controlled analog. So you can you can change the operating level if you want to have your zero, B, neg 20 instead of neg 18. It'll do that if you want to change the scan rates building. There's a USB port, USP the back for uploading changes to the firmware. Any more questions, Monarchos? I think I asked you this personally yesterday, but I thought we got a question for you for the room. If you have thought of automatic triggers to basically solo a one of the channels, when a certain level, a certain threshold is is crossed, say, you know, an out of face or the face, us getting funky in one of them, it automatically triggers that channel to be swallowed.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552#t=1878.19,2000.93"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, it's an interesting idea. And what we did is we built the meter is over each of the each of the channels. There's a there are two LCD, one of which is minus three below full scare, and the other was one DBP full scale. So it's you're getting close to watch this. And then it's probably clipped in that way that stores in memory until you reset it, whereas the main metering is following what's coming out, the audio output. But in terms of yeah, I forgot to mention that that row of 80 days, yellow and green, is is always operational. It's not dependent on where you are in the scan. It's running simultaneously, permanently all the time. So if if any one of the 16 stereo pairs approaches the overload, those lights will go on and they will stay on. And it's instant. You don't have to wait for to be scanned. So that sort of does half of what you won't get the other part. I'll have to think about that later. Thank you. We have time for one more. All 16 machines going in. Let's say one or two lights come on or all of a sudden you lose signal possibly because, you know, you're doing a set of a falls out. What is your procedure at that point when you've noticed that something has gone awry, as you're doing all 16 of these, creating that one big file? What's the procedure? What do you do? Flag the file and then go back and redo the other two at another time? There's there's a couple of parts to your question. One is we're not doing six, 16 pairs of in. These are 16 individual streams. You think of it as having 60 different computers there so that if something goes completely, you can stop that stream and let the other ones go.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552#t=2001.83,2129.06"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And you can also go to that workstation and flag it for further investigation. So that is the subsequent past that you can log. This page can remind me that you could also do that in software. And I'll just appear if you have the right software over nature. Do you? Then what is it then? That one channel, let's say that one pair show something on the workstation. So you. What do you do with the original source of that point? Do you just put it to the side and then like do it individually? We're trying to get it working. The short answer to your question is yes. So we were constraining this discussion to how how do you monitor? We got more than one things going red and the whole workflow. What do you do when you hear something? Yeah. So when. When it goes. You be treated accordingly. All right. Thank you, George and Dave, for that presentation.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552#t=2131.13,2191.91"}]},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/97552/transcript/19098/annotation/18","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/098/original/open-uri20200924-1389-m2hgtf?1600959842","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/098/original/open-uri20200924-1389-m2hgtf?1600959842"}]}]},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/256038","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2018_Blood_Cawley_audio.mp3"]},"duration":2196.764,"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/1143/collection_resources/29710/file/256038/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/256038/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/256/038/original/ARSC_conf_2018_Blood_Cawley_audio.mp3?1730826464","type":"Audio","format":"audio/mpeg","duration":2196.764,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29710/file/256038","metadata":[]}]}],"annotations":[]}]}