We probably need to come up with some good practice backup techniques for all of this since a lot more people are moving to non-tape solutions for recording. Then we need to put those in the FAQ section.
We've discussed this in bits and pieces, but good idea to have a formal round of it and archive the info, Wayne. I'll draw from these posts the most common / effective techniques people are using for archiving and backup.
IMO, one needs at least 3 copies of a recording to sufficiently minimize the risk of losing a recording due to archiving problems - damaged media, failed hard drive, misplaced disc, etc. I think I have a pretty good plan in place - here's what I do:
[1] Master WAV backupI archive the un-touched master WAV from my recording, on a data disc (DVD or CD). Archiving as WAV data instead of FLAC makes it somewhat more likely I'm able to recover more of the data in the event of a media problem (e.g. scratched disc). Some may ask: Why archive as WAV data instead of FLAC?
Here's why.[2] Finalized WAV backupAfter tracking,
applying (non-destructive) fades, completing an info file, noting in a file for myself any editing
1 I've done aside from normal tracking and fades (rare), I archive the finalized recording as data onto to CD/DVD.
[3] On-site Finalized FLAC backupSame files as [2], except I've FLAC'd the WAV files. Stored on mirrored hard drives (RAID1 /
automated non-RAID redundancy), so if one drive bites it, I can slap in another drive and rebuild the array. I use these files for primary listening: PC > playback system.
[4] Off-site Finalized FLAC backupThe above are all well and good, but what if my house burns down, or is flooded, or my DVD binders and PC are stolen, or the dogs whiz on my DVD binders and both HDs in the same day? I seed or host almost all of my recordings via BitTorrent or FTP, so I know I always have my recording archived off-site with fellow tapers and music lovers. If ever I needed to rebuild my collection of master recordings, I could probably get 90% of them back this way. The other 10% I haven't shared for one reason or another (usually b/c the band or recording stinks so bad I wouldn't ever listen to it), and I'm not terribly concerned with recovering them. Recovering the 90% may take take some time, but I could do it if necessary.
1 If performing substantial editing (EQ, compression, etc.) - something I do only very, very rarely - archive more than a single copy of the unedited master [1], by applying [2-3] to the unedited master as well - and maybe even [4].
Verify backupsVerify your media backups (CD/DVD) are written properly at the time of writing - if they're flawed for some reason, and you don't catch it, the backups won't do you much good, will they? Do it manually, or automatically (I use Nero's "verify" function), or both.
Spot-checkPeriodically spot-check your archived media - pull out an old CD/DVD backup and try to restore from it. Doing so may catch the start of a broad-based batch media failure. A single media failure
may indicate a problem with other media of the same type / manufacture. If you encounter a problem with a spot-check, immediately:
- replace the corrupted backup disc with a new, uncorrupted copy
- check discs of similar age and/or manufacture to determine if it's an isolated incident or represents a trend
- ensure your redundant backups are still in good shape
Self-discipline and diligenceExercise the self-discipline and diligence to perform ALL backup steps for EVERY recording. This is easier than it sounds. The one (or two, or ten) times you don't, and you lose a recording, you'll kick yourself in the arse repeatedly. If it's worth doing, it's worth doing right.
Anyone have alternative methods, or critiques of the method outlined above?