Quick Reference
How can I find out if the Library of Congress has a copy of a recording I’m looking for?
Finding Sound Recordings - Recorded Sound Research at the Library of Congress
The Recorded Sound Research Center has a number of onsite resources that are not searchable through the Library's website. If you can't find what you're looking for using our online tools, don't hesitate to get in touch with the librarians in the Recorded Sound Research Center!
Besides the Library of Congress, where else should I look for a recording?
Archives
Major archives throughout the world which house significant collections of recorded sound.
Can I borrow items from the Library of Congress?
Obtaining Copies of Audio Materials - Recorded Sound Research Center
The National Audio-Visual Conservation Center (NAVCC) requires anyone wishing to obtain copies to secure written permission for the Library to make the reproductions from any and all rights holders. Rights holders may include donors, copyright holders, record companies, artists, radio networks, licensing organizations, unions, etc.
What are the basics of audio handling and care?
Care, Handling, and Storage of Audio Visual Materials - Preservation Directorate
Taking care when handling any collection item is one of the more effective, cost-efficient, and easily achieved preservation measures.
What’s the basic history recording sound?
Historical Background
These resources provide historical background for the business and technology behind recorded sound.
What formats have recorded audio been sold/distributed on?
Guide to Vintage Audio Formats
The Visual Guide to Audio Formats indentifies and describes many of the physical audio formats that have been created since the 1890s. Each entry includes photographs highlighting distinguishing characteristics, general period of use, and terminology associated with the item.
What does it mean when a recording is copyrighted?
How do I get a recording copyrighted?
Copyright Registration for Sound Recordings (PDF, 199KB)
This circular provides general information about the requirements for registering sound recordings with the U.S. Copyright Office.
What does “public domain” mean and how do I know if something is in the public domain?
Public Domain Information Project
How do I know if a use is “Fair Use”?
Fair Use & Its Impact on Audio Preservation and Access
"Fair use," originally a common law doctrine, was incorporated into federal law through the 1976 Copyright Act as "one of the principal means by which copyright accommodates First Amendment values," according to legal scholar June M. Besek.
Can I donate a recording or a piece of audio equipment to the Library of Congress?
Donations to the Library of Congress
The Recorded Sound Section of the Library of Congress accepts donations of both commercial and non-commercial sound recordings in all audio formats.
If not to the Library of Congress, where else can I possibly donate my sound recording(s)?
Archives
Major archives throughout the world which house significant collections of recorded sound.
How do I create a quality at-home listening space?
Creating a Perfect At-Home Listening Space
Depending on how much you want to spend, creating a really good environment for listening to recorded sound can be a really wonderful addition to your home. A well-appointed room can make even the oldest titles in your personal library sound new and vibrant in a brand new way.
Are there professional services that specialize in the preservation or restoration services for audio media?
Commercial Services
Businesses which specialize in the repair and transfer of outdated/obsolete sound media types, such as cylinders and platters, as well as other services.
I just found an old recording, how do I go about playing it?
The Case of "Trapped Media!": What If You Own It But You Aren't Able to Listen to It?
The world of—and, indeed, the need for—audio preservation and access is not just the concern of archives like the Library of Congress and other institutions. Quite often it arrives to us at our very own doorstep, if not via our own attics and basements
I still have some audio cassettes and I play them, but they often develop a squeak. What is that and can I fix it?
Open Reel Audio - Preservation Self-Assessment Program
Who are the major US recording labels?
Major Record Labels
Companies which are involved in the production, distribution, and marketing of sound recordings, as well as the management of trademarks and copyright for those recordings.
Does there exist any sort of guide available that covers recorded sound care, practices and preservation?
ARSC Guide to Audio Preservation
The ARSC Guide to Audio Preservation is a practical introduction to caring for and preserving audio collections. It is aimed at individuals and institutions that have recorded sound collections but lack the expertise in one or more areas to preserve them.
What are some of the biggest myths about recorded sound?
The Biggest Myths About Recorded Sound
True or False? Unraveling the biggest misconceptions about recorded sound.
I’ve heard of a machine or program called IRENE that allows for the “playing” of damaged or broken discs. What is IRENE?
Observing the Slightest Motion: Using Visual Tools to Preserve Sound
Although making audio recordings today is as trivial as unlocking your phone and pressing a button, the technical innovations that kicked off the recorded sound era were revelatory at the time.
I’ve heard of audiotape becoming the victim of “sticky shed.” What is that?
Magnetic Tape “Sticky Shed” Research: Characterization, Diagnosis, and Treatment
The Preservation Research and Testing Division has been conducting research to better characterize long term stability and playability concerns related to sound and moving image recordings on magnetic tapes, with particular focus on “sticky shed syndrome”.
Anticipating Preservation Needs of Archived Audio Tapes
For archivists, audio professionals, and audio hobbyists, the decay of some open reel audio tapes is well-known. Open reel tapes are typically made from plastic film, coated with a layer of magnetic particles dispersed in a binder.
Does “disc rot” exist and what can I do about it?
How Long Do CDs Last? It Depends, But Definitely Not Forever
In the 1990s, institutions began transferring all kinds of information - public records, music recordings - over to CDs. Now, there is concern that some of that information could disappear. NPR's Laura Sydell visited the Library of Congress where researchers are learning about the problem.
Does a manual for basic audio preservation exist?
The "Guide to Audio Preservation" is a co-publication of ARSC (Association for Recorded Sound Collections), CLIR (Council on Library and Information Resources) and the Library of Congress, it was made possible through funding from the Recording Board, along with contributions from CLIR and an anonymous donor. This 200+ page publication is a primer for the non-specialist (collectors, archivists at universities, libraries and historical societies) to help them manage their collections of audio recordings.
Where can I find a glossary of terms related to audio and audio preservation?
Along with the ARSC audio guide above, the following links can provide you with definitions for most of audio-related words and phrases.
Glossary of Audio Engineering Terms (Engineears)
Audio Terms and Definitions (Audioholics)
When a recording says it’s been “remastered,” what does that mean?
The Library of Congress, with the assistance of Alex Emrich of Audio Edges Studios, explains.
Remastering Explained (PDF, 207KB)
Does the Library of Congress possess a copy of everything on the National Registry?
The answer is yes...with a couple of caveats.
Copies of NRR Recordings at the Library (PDF, 123KB)
What's the difference between an MP3 and an MP4 and all other audio formats?
To the uninitiated, they look like an alphabet soup. Audio file formats-digital ways to listen to music and sound, in other words, not on a disk or cassette of some sort-are numerous and can be complicated and confusing. Below, we'll try to sort it out for you.
Digital Audio Types (PDF, 108KB)
I have some vintage tapes/vinyl discs/cylinders, etc. that seem to be damaged. Can anything be done to repair them?
The Library of Congress itself does not take on any repair jobs nor are we able to advise you as to the feasibility of repairs. The businesses in this list of Commercial Services, however, might be of service.
Does the Library of Congress have a copy of every recording ever made?
It’s a popular urban legend that the Library of Congress has a copy of every book, film, television show and record ever produced within the United States. While the holdings of the Library are vast (over three million different items so far), the Library cannot claim to have a copy of everything. Still, Library collections are growing every day. In terms of recorded sound alone, over 75,000 new titles were added to our vaults last year. New items arrive to the Library via donation, copyright deposit and, occasionally, purchase (particularly of large, historical collections).
Search the Library’s catalog of holdings
Can I obtain a copy of a recording housed at the Library of Congress?
By and large, no. Because almost no recorded sound materials are not copyrighted, the Library can only make copies if prior written permission from the copyright holder is obtained first. This is the task of the person requesting the copy. Once a permission is acquired, the Library can make a dub of a recording in its lab but a fee will be incurred. Please see the Library’s fee schedule, and other information about possible dubs for more information.
How would I go about getting recorded books on tape for someone who is blind or visually-impaired?
These requests would be handled through the Library’s National Library Service for the Blind and Physically Handicapped (NLS).
Why aren’t more/any of the Library’s holdings available for listening online?
Once again, copyright laws and concerns prevent most of the Library’s recorded sound holdings from being disseminated via the internet. However, about 10,000 early musical recordings can be heard in their entirety via the Library’s National Jukebox web portal.
Does the Library have language instruction tapes?
Yes, the Library does selectively collect language-learning materials but does not have everything nor every language. Additionally, like all Library materials, these tapes are also copyrighted and can only be listened to on Library premises.
What does it mean when a recording (or group of recordings) are added to the National Recording Registry?
As noted above, though the Library’s recorded sound are extensive, we do not, at present, have everything. Every year, the Librarian of Congress, in consultation with the National Recording Preservation Board, chooses 25 recordings to add to the National Recording Registry. These are works deemed so important to the history and culture of the United States that a copy of this work demands permanent housing and cataloging within the “nation’s library,” the Library of Congress.
Nominations to the National Recording Registry are open to the public. Nominations can be sent to the follow address: Recregistry@loc.gov
Can the Library tell me how much a recording of mine (or a book or film, etc.) of mine is worth in terms of monetary value?
Unfortunately, no. The Library is not authorized to do appraisals.
What are the best ways to store my records, tapes or CD’s?
Ideally, all audio media should be stored in a cool, dry place. Again, ideally, at around 50 degrees Fahrenheit and 30% humidity.
For recorded sound discs—either vinyl recordings or compact discs—handle them only by the outer edge or label areas only. Obviously, keep them away from food, drink and other liquids. Do the same for your playback equipment.
Care, Handling, and Storage of Audio Visual Materials
Guide to Vintage Audio Formats
Additionally, one of the recorded sound archivists here at the Library of Congress has the following tips:
First, what not to do: Don’t stack your collection; almost all recorded sound formats need to be kept vertical. For my larger, alphabetical run of CDs, I prefer shelving units like this bolt-together metal rack. They take up very little floor space and there’s little wasted space to them, both significant concerns if you have a large number of CDs in your collection.
To save space, I keep my personal DVD-Rs and CD-Rs in slim CD jewels cased because they are thinner. However, these cases do not stand up well unless they’re on a nearly full shelf, so while I’m working on them, I like to keep them in small, inexpensive, handled storage baskets like those pictured here.
While I’m on the subject of CDs falling over, ribbed, rubber shelf mats are effective at keeping CDs from sliding all over the place on a smooth shelf.
CD shelves like the one shown above are attractive enough to be used in areas where you might entertain and provide the most storage for the least money. I like metal shelving units like the one below I bought at a hardware store years ago. I actually had to buy two units to get enough shelves to make one CD shelving unit. As sold, each unit came with only enough bolts, nuts, and washers to secure each shelf to an upright once per corner, either from the front or from the side. I took samples of the fasteners to the hardware store and bought enough extra to fasten every shelf to every upright both front and side to make it more solid.
Because I was concerned that the very bottom of the upright metal shelf might rust over time by sitting on a concrete floor, I placed the “foot” of each shelf in a square, rubber caster cup that was just slightly larger than the shelf leg.
The boxes pictured above are cardboard catalog trays that I scavenged years ago. I realize these trays are a thing of the past, but there are still CD crates or trays available which could be used in a similar fashion.
I also realize the cardboard trays are not acid-free or lignin-free, but, since most of my CDs are in standard jewel cases and since it is the plastic that is in contact with the (probably) acidic cardboard, the threat is minimal. (These pictures are from my home and, for obvious reasons, I can’t keep my home at a constant 50 degrees Fahrenheit and 35% relative humidity.)
For my LPs, I began using wooden fruit crates a long time ago; I scavenged them from grocery stores and supermarkets. If I found three with a broken slat, I could make two good ones. Later, some record stores started selling similar crates and even though today most record stores are gone, record crates are still available in stores like the Container Store or via the internet. (I stained mine black because I thought they looked better.)
One word of advice, for storing records: avoid crates with a diagonal post in each corner. Those may make crates stronger for general use, but they could make your records bow. Use only crates with 90 degree corners.
When I began using crates, I had a limited number of albums and could fit them in four crates. I placed three concrete blocks on the floor, and then laid a couple of 1x8s on top of the blocks. I put the crates on top of the boards, opening face up, so I could easily flip through my albums, like browser bins at a record store.
Over time my collection grew to the point that a horizontal arrangement was no long possible and I had to go vertical. Again using concrete blocks as a base, I stacked the crates five high. Getting the fifth one up to that height was not easy and is not a one-person task. The result was passable, but not as stable as I wanted. Later, I went to a lumberyard and paid them to cut a long 1"x12" board into lengths that would just fit under the bottom of each crate. Restacking the crates with a board under each made it much more stable and was well worth the money and effort.
I stayed with that method for several years but, at some point, I had a need to be able to, if necessary, quickly move these towers of LPs. I began by securely screwing the base 1"x12" to the bottom of the lowest crate frame. I then attached four very heavy duty casters to that board, one on each corner. Through the frames on the ends, I screwed a second crate on top of the castered one, giving me a two-crate tall roll-able LP storage unit. Above that, I just stacked the additional crates, not bothering to fasten them together. I wanted to plan ahead in case I moved someday—which I did. I was able to easily unstack the LP tower. It worked great.