Our Expertise

Preserving a sound recording involves far more than simply digitising it. It requires an understanding of the original carrier, its condition, the circumstances in which it was recorded and the technical parameters needed to reproduce it under the best possible conditions.
 

The United Music Foundation brings together several decades of experience in the preservation, restoration and enhancement of recorded sound, along with specialised equipment capable of handling a wide range of analogue and digital formats.

PRESERVATION AND RESTORATION OF RECORDING MEDIA

Every carrier entrusted to the United Music Foundation is carefully examined before playback. This initial assessment allows us to identify deterioration, evaluate any risks and determine whether treatment is required before the recording can be safely reproduced.

In some cases, attempting playback without prior treatment could cause further damage or even render the carrier permanently unplayable. When necessary, we therefore carry out appropriate preservation measures, which may include:

• examination and assessment of the carrier;
• specialised cleaning;
• treatment of certain forms of magnetic tape deterioration;
• remedial work or repair prior to playback.

Our priority is to protect the original carrier while recovering as much of the recorded content as possible under the safest and most appropriate conditions.

HIGH-RESOLUTION PRESERVATION

Recordings are played back using professional equipment that is carefully maintained and calibrated.

The United Music Foundation works with a wide range of track configurations, recording speeds and equalisation standards to ensure that each recording is reproduced under the conditions best suited to its original characteristics.

Analogue recordings are preserved in high-resolution digital form, at a minimum of 24 bits / 96 kHz.

CURRENTLY SUPPORTED FORMATS

Analogue magnetic tape

• ¼″ (6,35 mm)
  Mono, Stereo (2 mm / 0,75 mm) and various multitrack configurations
  CCIR, NAB, AES and NagraMaster | 3.75 – 7.5 – 15 – 30 ips
• ½" (12,7 mm)
  Stereo, 3, 4 and 8 tracks
  CCIR, NAB and AES | 7.5 – 15 – 30 ips
• 1" (25,4 mm)
  4 and 8 tracks
  CCIR, NAB and AES | 7.5 – 15 – 30 ips
• 2" (50,8 mm)
  16 and 24 tracks
  CCIR, NAB and AES | 7.5 – 15 – 30 ips

Other formats

• Audio cassette
  1⅞ and 15/16 ips
• DAT
  32 - 44.1 - 48kHz | 16 bits
• ADAT
• DTRS

AUDIO RESTORATION

Once a recording has been safely preserved, audio restoration can be carried out where necessary.

Depending on the condition of the recording, specialised tools may be used to:
 

• reduce unwanted background noise;
• remove or attenuate clicks, interference and other localised defects;
• reduce certain forms of distortion;
• correct phase problems;
• restore stereo imaging;
• compensate for certain speed variations;
• apply spectral corrections.

Among the specialised tools used by the United Music Foundation is a CEDAR Cambridge system, specifically developed for professional audio restoration.
 

The restoration process respects the characteristics of the original recording. The aim is not to alter it, but to improve its clarity, balance and listening experience while preserving its artistic and historical integrity.

RESEARCH AND LEGACY

Preserving a recording also means preserving its history.

Whenever a project allows, the United Music Foundation carries out research to document the works and archives entrusted to it:
 

• identification of artists, musicians and other participants;
• research into authors and composers;
• verification of recording dates and locations;
• collection of photographs, documents and first-hand accounts;
• reconstruction of the historical context of the recording;
• identification of rights holders.

This work helps place recordings in their proper context and supports public access to them. It can also pave the way for new releases, reissues, exhibitions, broadcasts and other heritage projects.