But David Subarter, who manages sound collections at the University of California, Santa Barbara Library, told ARS that he used the project often as archive and not just to hear the recording.
For Subarter, IA records of 78 RPM albums get more than a certain period of audio. He said researchers like them want to see the label, check copyright information, and to note the catalog numbers.
“I do not even have to listen to this,” said Sievarrt, “he added,” he added, “Just looking at his physicality, it is,” Well, now I know more about this record. “
Music publishers who prosecute the IA argue that all the songs included in their dispute – and even more, because the great 78 projects covers 400,000 recording – “several services are already available to streaming or downloading.”
Their filing claims that “these recordings are not in danger of missing, forgetting or destroying.”
But Nathan Georgite, executive director of the Association for Recorded Sound Collection (ARSC), told ARS that you no longer see 78 RPM records in the world. Georgite advised that even in record stores selling used vinyl, this recording would be hidden in a few boxes under the table behind the table cloth. ” And in many cases, “the problem of libraries and archives is that the recording is not necessarily commercially available for re -release.”
Georgite said, “That means” that recording, the artist, storage, recorded sound history in itself – labels, producers, printing – all of this history becomes confused. “
Currently, libraries trying to preserve this date should control access to audio collection, Georgite said. Unlike a streaming service, it has seen IA work with a great 78 project as a legitimate document, where the content may be inconsistent, IA’s “mission is to provide access to content and access over time.”