I thank the following music librarians who responded to a call for volunteers to complete a questionnaire on digital library services, announced on MLA-L in November 2005: Leslie Anderson (California State University, Long Beach), Jane Beebe (Amherst College), Leslie Bennett (University of Oregon), Sara J. Beutter (Vanderbilt University), Linda Blotner (University of Hartford), Anita Breckbill (University of Nebraska-Lincoln), Pamela Bristah (Wellesley College), Ken Calkins (University of California, San Diego), Sarah Canino (Vassar College), Kathy Carbone (California Institute of the Arts), Alexander Cari (Texas Christian University), Paul Cauthen (University of Cincinnati), Keith D. Eiten (Wheaton College), Linda Fairtile (University of Richmond), John Gibbs (University of Washington), Jon Haupt (Iowa State University), Raymond Heigemeir (Stanford University), Barbara Hirsch (University of California, Santa Barbara), David Hunter (University of Texas at Austin), Amber C. Johnson (Mansfield University), Carolyn A. Johnson (Connecticut College), Pam Juengling (University of Massachusetts, Amherst), Karen Jung (Southeastern Louisiana University), Rebecca Littman (University of Wisconsin-Milwaukee), Amanda Maple (Pennsylvania State University), Paula Matthews (Princeton University), Erin Mayhood (Boston University), Nancy Nuzzo (University at Buffalo), Jennifer Ottervik (University of South Carolina), Antoinette Powell (Lawrence University), Mary Prendergast (University of Virginia), Alisa Rata (Southern Methodist University), Tracey Rudnick (University of Connecticut), Darwin Scott (Brandeis University), Kristina L. Shanton (Ithaca College), Bradley Short (Washington University), Gerald A. Szymanski (Eastman School of Music), Robert D. Terrio (Westminster Choir College), Christia R. Thomason (North Carolina School of the Arts), Sha Towers (Baylor University), Kent Underwood (New York University), and Marlene Wong (Smith College). I also thank Jim Farrington (Eastman School of Music) for sharing chapters of his Audio and Video Equipment Basics for Libraries (2006) in advance of publication.
This draft was written mostly on the SEPTA R2 train en route from Wilmington to Philadelphia, where I work at the University of Pennsylvania. Most of the research, thinking, and reflection about digital audio that informed the text occurred at home in Wilmington, and throughout my year's work on this draft, my wife, Lisa, was an unfailing source of support, encouragement, and patience.