Day-to-day operating brief
What Sound Archivist (Audio collections) work looks like in practice
A Sound Archivist manages oral history, music, broadcast and other recorded-sound collections across analogue and digital formats. Terms should cover carriers, playback equipment, speed and equalisation, technical metadata, rights, performer and speaker privacy, digitisation, restoration boundaries, masters, checksums and access copies. The archivist should not play unstable media on unsuitable equipment, remove noise from preservation masters without traceability or publish voices where consent and rights remain unresolved. Transfer logs should record playback machine, head configuration, speed, equalisation, analogue path and capture software. Where oral-history speakers impose changing conditions, access copies and catalogue notes must reflect the latest authorised status while the preservation master remains protected from casual editing. Playback chains should be logged with stylus, equalisation, speed and transfer settings so another archivist can understand the resulting file. Original carriers must be returned to stable storage after capture rather than left beside production equipment. Listening derivatives should carry correct channel order and duration, while preservation masters remain protected from routine editing or playback workflows.
Individually written and reviewed against the maintained role record.