The Digitization of the Civilian Conservation Corps

CCC-Project Blog

By: Zachary Johnson

The Civilian Conservation Corps Project (CCC) was founded in 1933, ending in 1942. It was a government-funded organization originally meant for unemployed, unmarried men between the age of 18 and 25. The age limit was eventually moved up to 28 (although most camps didn’t care if you were 16 or 17). FDR created the CCC as a part of his ‘New Deal’ in order to provide money to families that were in desperate need of cash during the great depression

The jobs done by the CCC enrollees were mostly construction, but that is not all they were known for doing. They were truckers (construction & transportation), medical staff (assistants to doctors, nurses, and dentists), hairdressers, miners in rock quarries (although they were sometimes used to help find artifacts in historically significant dig sites), and cooks (enrollees who made breakfast, lunch, and dinner), or cashiers at concession stands in the rec hall (for extra cash, not as their main/sole job). Each enrollee was paid around $27 a month, but they only received $5 and the rest was sent to their families to help them get through the depression, though the amount paid could vary from year to year. The CCC operated mostly through national parks and was run by the U.S. military, although enrollees did not have quite as many rules and responsibilities as military personnel had. As a for instance, they still had to make their beds in the morning and have them inspected, but they didn’t have to do things like saluting to the flag.

Dr. Ron Brown has approximately 42 cassette tapes of oral interviews conducted in 1991-1993 while he was working on a history of the Civilian Conservation Corps (CCC) camps in Mesa Verde National Park. The Mesa Verde site is significant because unlike most CCC sites, most of the documents and archives related to CCC remained on site and were not sent to the National Archives. Persons who were members of the CCC in Mesa Verde were interviewed for their recollections. Shortly after he completed the interviews, he became a full-time administrator and did not return to the project until Jan. 1, 2018, when he returned to full-time faculty status. The interviews were collected on cassette tapes of good quality at the time. His interview equipment was better than average quality at the time, and the interview cassettes have not been run since the early 1990s.

The tapes are historically significant documents that are important for his own research and would be of use to the Texas State Archives as well as to the MVNP Research Center in Colorado. The tapes were captured, edited, and given back to Dr. Brown in the months of October and November 2018 by Zachary Johnson. After the digital capture, the physical tapes will be given to the university archiving department at Texas State University library, while the digital copies will be transcribed and given back to Dr.Brown for his project.

How I Created Digital Files from Legacy Technology

  1. Check to make sure all the recording devices work properly
  2. Check the condition of the physical tape
  3. Record the audio on each side of the tape
  4. Edit/clean up the audio
  5. Turn in for Quality Control (QC)

1) Check to make sure all the recording devices work properly

I set up all the devices and programs needed for the project using the User’s Manual written by Todd Peters. After verifying hardware settings on Audition by selecting Playback Devices. Then, I checked Connections, making sure the cassette Deck (a Nakamichi) was properly plugged into the Benchmark devices and the benchmark devices were properly plugged into the computer. The Nakamichi is plugged directly into two devices that are used to digitize the audio from the cassette so it can be used on a computer. Set the ADC1 device into its 96 KHz configuration. Before I recording the audio in Audition, listen to it while moving the gain switches found on the ADC1 to adjust the amount of sound coming through changing the initial volume that will be recorded. Finally, I check software settings on Adobe Audition CC 2018 (an audio editing software used to capture and restore/modify audio clips), which should be running properly without any issues.

IMG_20181129_143913252

ADC1 and DAC1 next to the Nakamichi MR-1 cassette deck

2) Check the condition of the physical tape

I was inspecting the cassette making sure it was not dusty, as I have to be careful in how I clean it as to not damage the film inside. A damp paper towel is usually all that I need in this situation. Second I made sure that there are no cracks in the cassette or tears in its film. If the cassette is cracked I have to check to see if it can still be used without exacerbating the damage. If the film is torn then the tape cannot be used. After making sure there are no issues with the tape I inserted it into the Nakamichi to do tape check before recording. All that I have to do at this point is thread the tape. When threading a cassette tape I fast forward through to the end and rewind it back to the beginning. This is done to make sure there are no stops in the playback, so the recording can be finished without large cuts in the audio. Lastly, I play the first couple seconds of the tape to make sure the tape has any audio on it (it doesn’t always).

3) Record the audio on each side of the tape

When starting the capture I press the record button in audition after toggling on the record and monitor functions on the track being used. After clicking record push play on the Nakamichi (this starts the cassette) I then listen to the tape, taking notes for editing later. After finishing the capture the recording is stopped and saved with the files exported under names given by the person commissioning the work (whether that is a supervisor or faculty member). Two files are made per capture because there are two captures per tape. One set is saved as an mp3 and the other as a .wav file.

Capture_2

4) Edit/Clean up the audio

The better the capture; the less work that will need to be done to correct the audio. When I begin to edit the audio file it is important for me to have saved and exported an ‘unedited’ version of the audio in case it is needed for record keeping or for a historical accurate recording. When I edit I use track one, which is automatically created after a capture is complete. Tracks are essentially copies of the capture that effects and editing tools can be used on.

When using the select tool, I delete the portions at the beginning and end that have no vocals or audio. Going through the recording bit by bit deleting long pauses between speaking, making sure that it sounds natural. Using the effects toolbar along the top of audition to edit the audio file all at once, or I highlight specific sections of the clip to edit specific portions. One of the tools ‘De-hum’ deletes any low background whine, that might make listening to the interview difficult. The ‘De-Hiss’ does the same thing but with higher pitched sibilant sounds. Sometimes a boost in the vocals is needed, moving to the special effect tab use the ‘vocal-enhancer’ effect. Using the ‘amplify-tool’/channel-mixer’ found under the amplify tab I adjust the volume of the audio as needed. The most important effect is the ‘normalizer’ found under the amplify tab. For this project, all files had their Db function set to -3 to create a consistent loud audio throughout the audio regardless of the initial capture’s volume.

TB

I export the files so they could be saved as audio files. Exporting is found under the file tab. Just like exporting the initial capture I save the now edited audio as mp3 and .wav files, using the same file name as the capture audio files. The sample type must be set at 96,000 Hz 16-bit before exporting the file to its proper location. After saving the mp3 and .wav to the correct folder I move it into a ‘quality control’ folder.

Audition_Screenshot

5) Turn in for quality control

After I place all the files into the ‘quality control’(QC) folder it is up to the individual doing QC to review the files’ readiness to be considered finished. If I am told to re-edit the audio I go back and fix any and all issues had with the file, then I give them back the newer version of the audio file(s). If there are no issues then cassette name on the spreadsheet is moved from digitization-complete to QC-complete, meaning the file is ready to be given to the person commissioning the digitization(Dr.Brown).

Conclusion

The CCC-Project was my first full introductory experience into a fully digital workflow, and I learned a lot about establishing the workflow, computer shortcuts, and Adobe Audition cc 2018. The most troublesome issue for me with this project was trying to edit the portions of the audio that could not be changed without ruining the quality of the clip as a whole. For example, making a loud set of voices in the background of an interview quieter. It could be done, but it made the audio sound distorted and the voices of Dr.Brown and the interviewee quiet and hard to understand. Looking back to the beginning of this project I can confidently say that I am proud of the work I did to restore and digitize these cassettes. I hope that Dr. Ron Brown is able to properly complete his project using the audio files I helped digitize and that the tapes he is donating to the University Archives are properly taken care of as to keep them from deteriorating any further.

Without Documents

In 2016, Digital & Web Services and the Wittliff Collections worked together to create an exhibit based on material in the Dick J. Reavis collection. The National Tour of Texas is an interactive website based on Dick J. Reavis ’s 1987 year long journey driving every highway in Texas.

Reavis_Without_Documents_0001

More recently Dick Reavis gave us permission to digitize and make available his 1978 book Without Documents, which sets out to examine the history of undocumented aliens in the United States. It examines the history of immigration, and in particular the history of Mexican immigration.

The entire book is now freely available in our Digital Collections Repository https://digital.library.txstate.edu/handle/10877/7761

 

The issues examined in the book are not only relevant forty years later, but have taken center stage in our current political debates. Dick Reavis was quite prescient in his final statement in the forward:

“For a variety of reasons, it is unlikely that Congress or federal agencies will do anything soon to resolve the question of undocumented immigration, or to alleviate the problems of immigrants themselves. Legislation currently pending in the Senate and House is largely of value for vote-getting purposes, and it is likely that undocumented immigration will continue to be an element in campaigning into the future. Therefore, this book should make important reading for a long time to come.”

Reavis_Without_Documents_0137

Reavis_Without_Documents_0133Reavis_Without_Documents_0138

 

 

Tech Reflect: It’s Only Rock N’ Roll Newspapers

Tech Reflect is a platform for Digital & Web Services technicians to look-back on a particular project and share their experiences, thoughts, and lessons learned.

Last November, nearly a full run of 41 issues of It’s Only Rock N’ Roll (IORNR), an alternative San Antonio-focused, alternative punk and New Wave rock music magazine published from 1979 to 1982, were donated to The Wittliff Collections here at Texas State University, adding to the new Texas Music collecting scope of The Wittliff. The newspaper was a labor of love for its managing editor and publisher, music journalist Ron Young, who wrote for the San Antonio Light and San Antonio Express-News. For more information on Young and the newspaper, please see this 2017 article on the San Antonio Express News’s MySanAntonio.com and this 2016 article in the San Antonio Express News includes more information on the newspaper.

My primary tasks were:

  1. Handling with extreme care
  2. Photographing each page
  3. Post-processing and output
  4. Move files into the Wittliff Collections’ shared drive for ingest into institutional repository

Continue reading

Picking Up a Fallen Photograph with Photoshop

When photographing exhibitions in the Wittliff Collections‘ Writer’s Room, our focus has been documenting the exhibit cases, as seen in this past blog post, but the recent Legends of Tejano Music exhibition had materials on display everywhere! While finalizing my documentation photographs, I decided to create a panorama from multiple images to better showcase the details along the back walls. Unfortunately, one of the photos had fallen from the wall between setup and capture of the best frame for part of my panorama. Surprisingly, the photograph landed in a lucky position and I was able to restore it to its proper location using Adobe Photoshop.

Continue reading

The Writer’s Room Dance

The Writer’s Room on the 7th floor of Alkek Library hosts semi-annual exhibits from the Wittliff Collections that are documented by Digital and Web Services. With five glassed-in wall cases and multiple light sources, the room is challenging to photograph! We photograph each case multiple times with a tripod-mounted camera while a sheet of black foam core is moved throughout the frame to flag, or block, the many reflections in the glass. These shots are digitally combined into a single image without distracting reflections.

Continue reading

Testing long exposures in different environments

We recently investigated how long exposures during digitization might be affected by different physical locations. We tested 4 locations and 2 shutter speeds to capture the blur induced by walking heavily around the copy stand during exposure.

The 4 areas tested were:

  1. Concrete Foundation at the ARC
  2. 7th floor of Alkek Library in the Corner of the Building
  3. 7th floor of Alkek Library in the Center of the Building
  4. 2nd floor of Alkek Library on a Raised Floor installed over carpet for data & power lines

We tested 2 shutter speeds that are representative of those we use to digitize film negatives using Artograph LightPad Pros:

  1. 1/10th of a second
  2. 1 second

Continue reading