 |
 |
|||
 Jazz.NEXT Planning Meeting: Digital Music Libraries Summary Notes Thursday 03/04/2010 Staff Present:
Stations Present:
1. Motivations for building a digital jazz library from a station perspective 1.1 Technological changes 1.1.1 CD players are difficult to obtain and/or repair 1.1.2 Record companies are increasingly providing music service to stations through downloads rather than through physical CDs 1.2 Physical space issues 1.2.1 It takes physical space to store tens of thousands of CDs and vinyl albums 1.2.2 Physical libraries require physical access which can be logistically difficult in off hours, especially in a time of staff reductions 1.2.3 Physical CDs can "walk" and sometimes never return, which affects programming and preservation of the music 1.3 Archival issues 1.3.1 Life of CDs is unknown. Some are already degrading and delaminating 1.3.2 Even if CDs as a medium have a reasonable life expectancy, they are used hard in stations and inevitably develop scratches and other physical imperfections that render them unplayable on the air. The music is thus not preserved. 1.3.3 Transferring the music to digital format not only offers the possibility of preserving the music itself, it also offers much increased findability and usability through digital metadata 1.4 Station operations 1.4.1 Music in digital form can be used in many places in the station simultaneously, e.g., in different HD and/or online streams - a physical CD can be in only one place at one time 1.4.2 Digital playlists drawn from a digital library simplify reporting requirements for Sound Exchange, rights management agencies, etc. 1.4.3 For on air personnel, a digital library means "access at your fingertips" which provides new possibilities for programming and service 1.5 Knowledge management 1.5.1 Metadata capabilities built into a digital library enable capture and sharing of expert knowledge of jazz drawn from programers, guests, and musicians themselves 1.5.2 Metadata allows new levels of programming sophistication for more program hosts, e.g., the construction of thematic programs 1.6 Opportunity costs 1.6.1 In an increasingly difficult economic environment, stations need to explore opportunities to "go where the listeners are" and design ways to monetize station assets, whether knowledge (e.g., playlists, listener recommendations, etc.) or the music itself. For this to happen, the music has to be in digital form to be available on computers, phones, etc. 2.Desirable characteristics of a digital music library 2.1 Comprehensive metadata 2.1.1 standardized format across industry 2.1.2 able to be mined in numerous ways 2.1.2.1 for use of on-air hosts 2.1.2.2 for reporting 2.1.2.3 for playlist generation on web sites 2.1.3 sharable with other stations and with listeners 2.1.4 augmentable within station and from outside 2.1.5 searchable using any facet 2.1.6 user friendly interface 2.2 Uncompressed file format (wav or possibly FLAC) to ensure quality 2.3 Integration of library software with other software used at a station 2.3.1 Real time selection for on-air play or generation of playlists for later use 2.3.2 Real time search of metadata 2.3.3 Integration with station playback software 2.4 Ability to collect, curate and add user comments as appropriate 2.5 Flexibility 2.5.1 Open standards to facilitate file exchange 2.5.2 Upgradable in such a way as to avoid being locked in to one vendor or system as technology changes METADATA-RELATED CONCERNS:
3. Challenges to building a local digital jazz library 3.1 Metadata 3.1.1 Designing a metadata schema 3.1.2 Generating and cleaning metadata 3.1.2.1 Automating process, e.g.,scanning barcodes and using web based databases 3.1.2.2 Quality control of metadata generated from external databases 3.1.2.3 Ensuring completeness of metadata at ingestion: "otherwise, it'll never happen" 3.1.3 Managing metadata database 3.1.4 Integration of music information with other digital station assets 3.1.4.1 Locally recorded interviews with musicians 3.1.4.2 Studio performances 3.1.4.3 Recorded location performances 3.2 Physical digitizing process 3.2.1 mechanism 3.2.2 staff time 3.3 Designing redundancy into storage system 3.4 Rights management 3.5 Life cycle management 3.5.1 Ensuring that music is preserved intact through changes in technology and storage 4. Recommendations 4.1 Build a national metadata database 4.1.1 Contains a complete metadata set appropriate to needs of jazz preservation and programming 4.1.2 All jazz stations could draw from database 4.1.2.1 Avoids duplicated effort 4.1.2.2 Ensures quality and consistency, e.g., standard spellings, etc. 4.1.3 Jazz stations could add to metadata as appropriate 4.1.4 Sustainability 4.1.4.1 Separate organization from stations to build and maintain database Metadata Only database -or- database of Metadata and Music 4.2 Build a national library of digitized jazz music 4.2.1 Deal with rights issues 4.2.2 High quality digitized files with links to metadata 4.2.3 Enable stations to download library selections pursuant to negotiated rights issues 4.2.3.1 Music companies need only service one organization, not dozens or hundreds 4.2.3.2 Stations can choose selections relevant for their programming needs 4.2.3.3 Duplication of digitizing effort eliminated 4.2.4 Enable stations to contribute otherwise unavailable recordings to national library 4.2.6 Sustainability 4.2.6.1 Separate organization from stations to build and maintain database A. Dedicated organization or group within an organization to oversee the database
Suggestions for what metadata should be included in a general Jazz Database:
|
 |
Ken Freedman to receive Bader Award at NFCB Conference. Editorial Integrity for Public Media IRS Rules on Election Year Activities Public Notice NFCB 5x5 Model – Results of NFCB Member Survey Local Public File Webinar Slides and Checklist
Native Public Media Achieves Independant Corporate Status Guide to SoundExchange Reporting, prepared by Spinitron Get On The Air and Stay There is now available for download Streaming Copyright Basics
|
  |