Mandela Day 2014 in the SABC Media Libraries

Follow SABC's board Nelson Mandela Day in the SABC Media Libraries on Pinterest.

This is a special time of the year for the SABC Media Libraries when Mandela month and Mandela Day on 18 July come around.

The SABC Media Libraries have large collections of books, newspaper and magazine articles (SABC Information Library), as well as audio material on Nelson Rolihlahla Mandela (SABC Radio Archives). The Libraries and Archives are getting a great number of requests for information on the Great Man, as well as requests for audio to be used in broadcasts for Mandela Day by the SABC radio and television producers and journalists.

The SABC has a number of projects planned to celebrate Madiba month, while the SABC Media Libraries will also do their 67 minutes (#Do67Minutes) at Woodside Sanctuary again this year.

Justice Leshilo, Reference Librarian in the SABC Information Library, did an interview on Channel Africa last week about creating awareness about Nelson Mandela.

The SABC Information Library has been been sharing some of their collections on Facebook:

Post by SABC INFORMATION LIBRARY.

The SABC Record Library shared the following:

Post by SABC RECORD LIBRARY.

The SABC Radio Archives also shared this on Facebook:

Post by SABC Radio Archives.



The SABC Media Libraries will be doing their 67 minutes on Friday.

@SABCMediaLib which includes @SABCInfoLib @SABCRadioArc @SABCMusicLib @SABCAudioRest will d#Do67Minutes on #MandelaDay at Woodside
— SABC Media Library (@SABCMediaLib) July 16, 2014

The SABC Media Libraries will be doing their 67 minutes on Friday.

Check out some suggestions on the SABC website and SABC Facebook on how to get involved.

A quick peek in the SABC Audio Restoration Section - I am holding...

Bags Farrell works as a sound engineer in the Audio Restoration Section, where they restore and re-master audio.
SABC Audio Restoration is part of the SABC Media Libraries.


At this moment he is working on…

... a collection of LP records, that needs restoring. 
I will clean the LP first, then record it into my computer, restore the audio and then I transfer the audio to a CD.

I follow this process for every LP that will be transferred to CD.


Related post:

Interview with the Audio Restoration Engineer at SABC Audio Restoration department


Blog post by Karen du Toit, Afrikaans Archivist in the SABC Radio Archives.

A quick peek in the SABC Audio Restoration Section: I am holding...

Maryna Barnard is part of the SABC Audio Restoration Section, where she is the Data Administrator of SABC's restored and re-mastered material. She renders an unique service to clients with regards the re-mastering of CD labels and inlays.

At this moment she is working on a Southern-Sotho-Hymn recording,  called Soldiers of the Cross, conducted by B. Matshobane.

Related posts:

Audio Restoration prepared a recording of Nikola Petrovic, “My heart is a Violin”

Audio Restoration mastered and prepared "East is number one" with Dennis East as lead vocal

“Erogenous Botch Under Cover”

Transcription Record by Jill Richards (Piano) and Diane Coutts/Marietjie Scoonraad (Piano)

Audio Restoration 1

Blog post by Karen du Toit, SABC Radio Archives

SABC Media Libraries 2012 end of year function

The SABC Media Libraries had their end of year function at the Vaal River.
A river cruise on the Liquid Lounge was followed by a lunch at the Emerald Hotel.

It was a great day in the South African sun!

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We are back and already working hard in the new year.
2013 seems to be a busy year!


Best of 2013 wishes to all the libraries and archives, as well as our SABC Viewers!

Follow a library day today #followalibrary

@Followalibrary on Twitter

It is again time for libraries worldwide to connect and to follow each other, and to share their collections with the world.

The #followalibrary team is going strong, and the blog post can be read here:
Join ons on #followalibrary day 2012 on Oct 1st

They have an awesome video up  by David Green and the Shelharbour Libraries (@sclibs) on the blog, but you can check it on YouTube as well: #followalibrary day... so follow 

David Green says the following about #followalibrary day:

"funtastic folk will be tweeting the AWESOMENESS of libraries and using the hashtag #followalibrary. We’ll be tweeting about reading, creating, playing, communicating, learning, sharing & all the other excellent stuff we do in libraries. It’s such a cool way to spread library love" 

If you are not yet following the SABC Media Libraries, as well as our different sections on Twitter, please do so today:

SABC Media Libraries on Twitter:

@SABCMediaLib on Twitter

SABC Information Library: @SABCInfoLib

SABC Radio Archives:         @SABCRadioArc

SABC Music Library:             @SABCMusicLib

SABC Record Library:            @SABCRecordLib

SABC Audio Restoration:      @SABCAudioRest


A special shout-out to all South African libraries as well. Please let us know that you are taking part, and we will gladly follow you back!

Happy #followalibrary day!


Blog post by Karen du Toit @karentoittoit

Wordless Wednesday in the SABC Audio Restoration department

Short overview of acetate discs

By Marius Oosthuizen, Sound Engineer, SABC Radio Archives

Marius Oosthuizen is responsible for the sound restoration of these old acetate discs in the Radio Archives.

Since the 1930s, most blank acetate discs have been manufactured with a base, usually aluminum ,glass was used during the war years and cardboard for inexpensive home recordings), that was coated with nitrocellulose lacquer plasticized with castor oil. Because of the lacquer's inherent properties, acetate discs are the least stable type of sound recording.

Acetates are records, usually recorded at 78 RPM, usually 10 inches in size recorders, which were on the market during the 1940's. They have an aluminum metal base, coated with black lacquer, which the recording stylus etches (cuts) the groove into while recording. Most recorders had a constant-pitch feed screw which moved the arm containing the recording-stylus across the record at a constant rate.

Acetate records for recording have blank labels, which are there  to mark the title, artist (or "recorder"), date, speed, and whether the disc plays "outside in" or "inside out". "Outside In" means you put the needle on the outside like most records (and the needle works its way to the center while it plays -- the groove moves the needle along). "Inside Out", or "Center-Start", means you must put the needle on the innermost groove, and the groove will push the needle toward the outside while it plays. "Inside Out" records are quite rare.

Transcription discs recorded by radio stations, however, particularly the 16-inch variety, usually have the second side recorded inside out; it is so the equalization changes are less noticeable....equalization (that is, treble and bass) changes, particularly with diminishing treble response, as the needle makes its way toward the center, and was particularly noticeable on these early records (but not noticeable to the human ear on modern stereo LPs).

Interview with an Audio Restoration Engineer at SABC Audio Restoration Department

Bags Farrell

This is part of a series of blog posts to gain a better understanding of the SABC Audio Restoration, as well as part of a series of blog posts about the SABC Media Libraries. It is a way of generating a better understanding of what we do in the different sections that we belong to.

The interview this week is with Bags Farrell, an Audio Restoration Engineer.

The Audio Restoration Section is responsible for converting the internally recorded collection of records (Transcriptions) to CD and re-distributing the music to all SABC media libraries in the country.  With a constantly changing technology and the switch to digital sound, the Sound Restoration Unit has had to keep up with the changes.

1. Please tell us a little bit about yourself. (Where you grew up, where and what you studied and your work experience before you joined the SABC Audio Restoration Section)

I have always been interested in sound. I used to do my own cassette to cassette editing before I even joined the SABC. I started work at the SABC in Main Control, where we would link up Regions and Studios for recordings or for discussions. One program I recall that we had to link up was “Test the Team”, where the quizmaster was in Cape Town, one team member was in Durban, another in Johannesburg and the third in Pretoria. Things didn’t always run as smoothly as they sounded when the program was broadcast!  From Main Control I moved to what was the called “Productions”, where we recorded programs for later broadcast.
Today, almost everything that is broadcast is “live”. In the past, it was all pre-recorded!! Whilst in Productions, I completed a Drama course and moved into the Drama studios. When Drama closed, I moved into Audio Restoration.

2. Please tell us about a normal day in your Studio. What audio do you give priority to?

My normal day starts with the collecting of a pile of records (Transcriptions) from Maryna’s office and then transferring them into the computer. As they go into the computer, they go through a set of machines that remove most of the surface noise, e.g. crackles, clicks and excessive hiss. Any noises that get through the first set of machines are removed using computer software. The tracks are then numbered, as per the information provided and the Restored Audio is transferred to CD.
No specific priority is given to any audio, but if a request comes in for a record to be transferred to CD for imminent broadcast, it is then given priority!

3. Tell us more about your collection and the scope of material you need to preserve in the Audio Restoration Section.

The Transcription Department was established to give up-and-coming artists a chance to record their music professionally, at no cost to themselves, and have it on a record for their private use. It also became a repository of local artists and local music for the SABC to promote local talent. In later years, it became a means of recording and preserving our local music.

  4. Do you struggle with technical difficulties, and if so, what?  

The biggest technical difficulty I had was switching from PC to Apple Mac computers. Everything I do with audio is done on an Apple and when I first started using the machine, it was very difficult switching to a new computer. My technical training for studio work was very good, so the biggest technical difficulty I have is to get styli for my turntable!

5. If you have an anecdote about a specific piece of interesting audio, please share it with us.

The most interesting piece I did was not necessarily the audio that I restored, but rather the circumstances.
I was approached by a presenter and asked if I could help him. He presented me with four pieces of a Bakelite record, that he had knocked and broken that morning! I started the restoration process by sticking the record together with masking tape. I then had to record the record into the computer. Although the music was only about ten minutes long, it took about five hours to record. The stylus wouldn’t track the grooves properly, so every time the stylus jumped a groove, I would have to go back and re-record! Eventually it was ready for processing. I started by taking out all the thumps, then the crackles and clicks and lastly the hiss. It was then transferred to CD. The original record was recorded in 1933. The CD today sounds as if it was recorded yesterday in the studio!! 

5. Tell us why you enjoy doing the work that you do.

Everyday brings new challenges!

Questions and blog post by Karen du Toit, Afrikaans Archivist in the SABC Radio Archives.

Audio Restoration prepared a recording of Nikola Petrovic, “My heart is a Violin”

Nikola Petrovic was born in 1918 in Osijek, Yugoslavia. He gave his first public concert at the age of seven. After studying on a state bursary, he pursued a career which has included posts as leader of the Belgrade Opera Orchestra, The Ljubljana Symphony Orchestra, The Suisse Romande and The National Symphony Orchestra of the SABC. A superb soloist, he has pursued a parallel career in light music, performing in the music halls of Copenhagen as a Star soloist, and as a featured artists in the famous “Champs-Elysees” spectacular. Here a selection of his favourite “Lollipops” is accompanied (variously) by Francois du Toit and Melanie Horne (Piano).

"My heart is a violin" was appropriately placed as the first item in this selection of favourite violin music. In such hands the violin is assuredly close to the heart. Delicate and wistful, a slight tendency to treat the theme rhythmically, followed closely by dialogue between violin and piano brings the main tune back to a satisfying close.

"Danube Waves", known to countless budding pianists of yesteryear under its German title “Donauwellen”, by Ivanovici came to light in the early fifties as a vocal number “The Anniversary Song”. It’s a poignant tune contrasting with a more animated section before returning to a close.

In "Sleepy Shores" the melodic lines in the violin part are carried over a firm backing by the accompanying piano part.

In "Dark Eyes", the G string,  from the lower range of the violin, is made to sing out this somber tune full of pathos and yearning. A short pizzicato section presents itself before violin and piano plunge into a lively two four section of the real gipsy stuff.

"Memory" (from CATS) has a lovely, warm melody. Nikola handles it with exquisite good taste. The well-controlled emotional style does ample justice to the excellent tune.

"Nocturne (op. 9 No. 2)" from the standard repertoire of any pianist worthy of the name, this transcription for violin and piano loses nothing and presents the piece in an entirely new guise. The violin cadenza which brings the piece to a close is of special interest.

In "Sole Mio", often heard in its vocal version, the violin opens in true Grapelli style.  Completely divorced from the regular beat,  Nikola drifts casually into tango rhythm.  For the reprise the piano takes the lead, with violin responding in lightly articulated fashion.

"Schön Rosmarin" is possibly the most loved of Fritz Kreisler’s pieces for the medium, his “Liebesfreud” and “Liebesleid” notwithstanding. It sparkles like champagne and Nikola gives it a well controlled, conventional rendering.

The above recording was done by Clive Gaunt and Des Scheepers, and it was Recorded at P1,  Cape Town in 1987. The Producer was Dave Williams.

- Maryna Barnard, SABC Audio Restoration

Francois en Lucille se gesamentlike sangloopbaan strek sedert 1968.


As sangpaar en as soliste verskyn in die tydperk 9 langspeelplate: hulle tree byne 3000 keer op die verhoog op en onderneem ook twee Europese konsertreise. Plaaslik het hulle in drie televisiereekse opgetree en in 1991 verskyn hulle eerste opname van geestelike liedere.

Hiervan sê Francois en Lucille:

“Dit is voorwaar ‘n voorreg om na soveel jare ons talente op die wyse te kan gebruik uit erkentlikheid teenoor ons Skepper vir geleenthede deur die jare en vir ‘strome van seën’ in ons private sowel as ons professionele lewens. Ons dank ook aan die duisende luisteraars wat deur die jare aan ons bly glo het en in besonder aan Johan Coetzer wat hierdie plaat geinisieer het”.

Regisseur/Programmering/Akoestiese klavier: Harold Schenk
Opname-ingenieur: Cesar D’Almeida
Musikante: Tromme en perkussie: Stef Kruger (kitaar); Blackie Swart (trompet)
Ondersteunende stemme : Coleske-broers.
Opname datum: Junie 1991

Maryna Barnard, SABC Audio Restoration