Rohlig Audio

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An exception to the workflow spelled out in [[Most Content]]  is the Rohlig audio.  We digitize the master, create derivatives for Mary Alice Fields, who then listens to them and determines which sections should be omitted, and creates metadata.
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Overview diagram:
  
When her contribution returns, we create an MP3 for each track specified.  Since this cannot be automated, and must be done by hand, these MP3s need to be uploaded with the preliminary MODS and distributed in Acumen.  Since little content has to be OCR'd, that will also be handled by Digital Services staff and uploaded with the MODS.
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[[Image:Audio4.png]]
  
[[image:audio2.png]]
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An exception to the workflow spelled out in [[Most Content]] is the Rohlig audio.  We digitize the master, create derivatives for Mary Alice Fields, who then listens to them and determines which sections should be omitted and creates metadata. When her contribution returns, we create an MP3 for each track specified. These MP3s need to be uploaded with the MODS and distributed in Acumen. OCR of transcripts is handled by the makeJpegs script.
  
  
== Here's the workflow for getting audio content live. ==
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== Rohlig Workflow ==
  
1)  starting on the Share drive, make sure all tiffs are in a Transcripts folder
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'''1.''' Digitize reels into master WAV files on local computer.
  
2)  create MP3s and place in an MP3 folder
 
  
3) export spreadsheet of completed items if not already done; create MODS files. Place them in a MODS directory inside the Metadata directory
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'''2.''' Use Sound Forge to optimize master WAV files; upload copy of optimized WAV files to share drive.
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        '''•''' Remove non-native silence between tracks
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        '''•''' Leave (or create if needed) 2 seconds of leading silence before each track
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        '''•''' Level audio volume
  
4)  log into the libcontent1 server via ssh on commandline.  Type in: `cd AUDIO/scripts`.  This will change your working directory to the one where the scripts are.
 
  
5) run makeJpegs script:  type `makeJpegs`.   This will:
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'''3.''' Make MP3 versions of WAV files using Lame. Place on shared public folder for MAF, who then uses the files to create metadata (including track timecodes) on a shared Excel sheet.
  a)  check the MODS, copy them to the server and put them in the AUDIO/MODS directory
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  b)  make JPEGS of any transcript tiffs and put them inthe AUDIO/transcripts directory on the server
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  c) OCR tiffs in the transcripts directory, and put the OCR on the server in the OCR directory
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  d)  copy the MP3s to the server and put them in the MP3 directory
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6)  Spot check the output. There should be 2 jpegs for every tiff. One ends in _128, and one in _2048.  These correspond to the number of maximum pixels to a side. The one ending in "_128.jpg" is a thumbnail. The one ending in "_2048.jpg" is a large image, the default used in display.
 
  
7)  run relocate_audio script in AUDIO/scripts directory:  type in:  `relocate_audio` . This distributes the jpegs, MODS, ocr and mp3s
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'''4.''' Copy metadata from MAF’s shared Excel sheet and paste to appropriate cells (changing format as needed) in main metadata Excel sheet.
in Acumen.  It will delete the local copies, so you can reuse the same directories over and over.
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This script assumes that jpegs and ocr are transcripts.
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Watch for errors on the command line.
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8)  check the upload directories. Any files remaining are problems and were not distributed.  Repair
 
and rerun the script.
 
  
9)  Check the website and make sure everything is hunky dory. :-)
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'''5.''' Provide Metadata to Metadata Librarian for remediation.
  
10) Run the moveContent script. If this is a new collection, wait until the files have been indexed and content is viewable online, so there will not be a
 
dead link in the collection list.  This script will: 
 
  a)  check the database for existing info about this collection, and provide you with whatever we already know, so you can correct
 
      it with your collection xml file,
 
  b)  update our database and online collection xml file, if yours is new or changed  -- adding the online link to the collection if new
 
  c)  update or add the icon image if you are providing it for a collection thumbnail
 
  d)  copy the archival content to the deposits/content directory on the server, for processing into the archive
 
  e)  compare the copied content with what you have on the share drive;  if it uploaded okay, it will delete it on the share drive
 
  f)  output errors into a file in the output directory
 
  
11)  Check back after a few hours and look at the output file to verify that there were no problems and that the script completed
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'''6.''' Use MAF’s metadata to create a TXT file of track timecodes. Place TXT file into the Cue INPUT folder.
  
12)  Check the share drive directories for any files that still remain. If any archival files are still there, rerun moveContent.
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There may have been a failure in the network connection between the servers. If the files still remain, notify Jody.
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'''7.''' Use [[Cue_GUI]] to run the [[CueMaker]] and [[CueSplitter]] scripts for each item. (The scripts will use the track timecodes to create a CUE file, use the CUE file to split the master WAV file into sub-item tracks, convert the tracks from WAV to MP3 format, and save the resulting files to the Cue OUTPUT folder while naming them appropriately.)
   
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13)  exit out of secure shell. Good work!!
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'''8.''' Create MODS using Archivist Utility (use m02 template).
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'''9.''' Run makeAudioJpegs script which will create JPEGs (if we have transcripts) and QC's the MP3 files.
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'''10.''' Run relocate_audio script to upload MP3s, JPEGs, and MODS into Acumen.  
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'''11.''' Run moveAudioContent script to archive master WAV files and MODS.
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== Future Changes to Workflow ==
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Austin is working on further improving the audio workflow. Future projects include tweaking the CueMaker script to enhance efficiency, automating the creation of the input txt file, and automating the volume leveling.
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The volume leveling is important because if you were listening to two separate tracks from our database, one after the other, and there was a drastic change in volume between the two, it would prove to be distracting. But leveling the volume programmatically is challenging. There is not a standardized approach for accomplishing this. One method involves cutting off the highs and lows so all audio fits into a certain narrow range. However, this is a destructive process and results in a loss of information, and thus a deteriorated sound. There are other methods we are researching, some involve averaging the highs and lows, others add gain until all tracks are at the same level. They each have their pros and cons, and we are still in the process of determining which system is best suited to our needs. Other issues involve the definition of "volume". Volume is usually attributed to sound pressure, which is measured in decibels, but this is not a precise unit of measurement. Also, perceived volume and decibel value are not the same, so two audio files at the same technical volume might sound radically different to the human ear based on factors such as audio frequency. All of these considerations must be taken into account before a solution can be decided on and scripted out.

Revision as of 11:49, 5 September 2013

Overview diagram:

Audio4.png

An exception to the workflow spelled out in Most Content is the Rohlig audio. We digitize the master, create derivatives for Mary Alice Fields, who then listens to them and determines which sections should be omitted and creates metadata. When her contribution returns, we create an MP3 for each track specified. These MP3s need to be uploaded with the MODS and distributed in Acumen. OCR of transcripts is handled by the makeJpegs script.


Rohlig Workflow

1. Digitize reels into master WAV files on local computer.


2. Use Sound Forge to optimize master WAV files; upload copy of optimized WAV files to share drive.

         Remove non-native silence between tracks
         Leave (or create if needed) 2 seconds of leading silence before each track
         Level audio volume


3. Make MP3 versions of WAV files using Lame. Place on shared public folder for MAF, who then uses the files to create metadata (including track timecodes) on a shared Excel sheet.


4. Copy metadata from MAF’s shared Excel sheet and paste to appropriate cells (changing format as needed) in main metadata Excel sheet.


5. Provide Metadata to Metadata Librarian for remediation.


6. Use MAF’s metadata to create a TXT file of track timecodes. Place TXT file into the Cue INPUT folder.


7. Use Cue_GUI to run the CueMaker and CueSplitter scripts for each item. (The scripts will use the track timecodes to create a CUE file, use the CUE file to split the master WAV file into sub-item tracks, convert the tracks from WAV to MP3 format, and save the resulting files to the Cue OUTPUT folder while naming them appropriately.)


8. Create MODS using Archivist Utility (use m02 template).


9. Run makeAudioJpegs script which will create JPEGs (if we have transcripts) and QC's the MP3 files.


10. Run relocate_audio script to upload MP3s, JPEGs, and MODS into Acumen.


11. Run moveAudioContent script to archive master WAV files and MODS.


Future Changes to Workflow

Austin is working on further improving the audio workflow. Future projects include tweaking the CueMaker script to enhance efficiency, automating the creation of the input txt file, and automating the volume leveling.

The volume leveling is important because if you were listening to two separate tracks from our database, one after the other, and there was a drastic change in volume between the two, it would prove to be distracting. But leveling the volume programmatically is challenging. There is not a standardized approach for accomplishing this. One method involves cutting off the highs and lows so all audio fits into a certain narrow range. However, this is a destructive process and results in a loss of information, and thus a deteriorated sound. There are other methods we are researching, some involve averaging the highs and lows, others add gain until all tracks are at the same level. They each have their pros and cons, and we are still in the process of determining which system is best suited to our needs. Other issues involve the definition of "volume". Volume is usually attributed to sound pressure, which is measured in decibels, but this is not a precise unit of measurement. Also, perceived volume and decibel value are not the same, so two audio files at the same technical volume might sound radically different to the human ear based on factors such as audio frequency. All of these considerations must be taken into account before a solution can be decided on and scripted out.

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