Part of audio preservation work includes working with media that has peculiar characteristics. Sometimes the atypical qualities are a byproduct of how the recording was made by the recordist. An example of this type of problem that we occasionally see at the Stanford Media Preservation Lab is when an open reel tape is recorded over and there is remaining content hidden in certain spots of the tape. This presents specific problems in capture since tape heads are built for use with specific physical configurations of tracks and thus capturing the hidden spots outside of the normal range of track configuration is near impossible. With this in mind SMPL recently worked on obtaining equipment to address this challenging scenario.
For your browsing pleasure, here are the Spring 2016 highlights of newly acquired collections available at the Archive of Recorded Sound.
To facilitate research, study, and access to the historical piano rolls in its collection, the Stanford Player Piano Project is designing and constructing a piano roll scanner capable of scanning all of the various types of piano and organ rolls that have been collected to date. This new scanner is based on the work of Anthony Robinson, who is working with the Project to expand upon and improve his earlier design. Monica Caravias, a graduate student at the Stanford Product Realization Lab, is designing and building Stanford’s scanner in close collaboration with Anthony and under the direction of Prof. Craig Milroy. This is the first in a series of reports on the progress of constructing the scanner.
Copies of numerous items from the Archive of Recorded Sound's Women's International League for Peace and Freedom Collection (ARS.0056) will shortly be on display at Bechtel International Center Conference Room at Stanford University, as part of an exhibition entitled Women's Power to Stop War: Celebrating 100 years of Peacemaking. The exhibition, to coincide with Women's History Month and International Women's Day, will run March 1st - March 13th 2016 and is free to the public.
There will also be an Exhibit Opening Event on Tuesday (March 1, 2016) from 5:30-8pm in the Conference Room at the Bechtel International Center.
The producers of Riverwalk Jazz, the popular public radio program dedicated to presenting, preserving and promoting classic jazz, recently issued their acclaimed live production of “Porgy and Bess: A Jazz Transcription” on CD. The original program masters, recorded in 1992 on analog quarter-inch tape, were paged from the Riverwalk Jazz collection held by the Archive of Recorded Sound and digitized at the Stanford Media Preservation Lab for the release.
Over the past year this blog has covered a wide variety of piano roll topics: conjoined rolls, archival storage issues, publication dates, illustrations on rolls, piano roll lending libraries, Welte-Mignon at the Panama-Pacific International Exposition, and Hupfeld piano rolls. Many thoughtful comments from members of the player piano and mechanical music communities came to us through email, blog comments, or in-person visits during our listening parties.
Now available through Stanford Archive of Recorded Sound: individually cataloged Ludwig Hupfeld piano rolls from the Denis Condon Collection of Reproducing Pianos and Rolls. Find all of these rolls in our online catalog.
On September 2nd, 2015, I had the great privilege of conducting an oral history interview with John Chowning, Professor Emeritus at Stanford’s Center for Computer Research in Music and Acoustics (CCRMA). Chowning, a pioneer in the world of computer music, is perhaps best known as the inventor of Frequency Modulation (FM) synthesis. His discovery was eventually licensed to Yamaha who integrated it into a number of instruments, most importantly, the DX7, the world’s first mass-produced digital synthesizer, released in 1983. The DX7 is generally regarded as one of the most important musical instrument inventions of the past 50 years, and was widely adopted by artists across multiple genres in the 1980s. My interview with Chowning is now available via the Stanford Digital Repository (SDR). Chowning and I principally sat down to discuss Leon Theremin’s visit to Stanford in 1991, which Chowning organized and oversaw. Stanford University Libraries recently digitize video footage of this visit which included a day long symposium at CCRMA and an evening concert in Frost Amphiteatre at which Theremin, Max Mathews, and many other notable figures from the world of electronic and computer music at the time performed. However, Professor Chowning and I also discussed additional topics including Chowning's background in computer music, his history at Stanford and the inception of CCRMA, and his close personal and professional relationship with Max Mathews.