But David Seubert, who manages sound collections at the University of California, Santa Barbara library, told Ars that he frequently used the project as an archive and not just to listen to the recordings.

For Seubert, the videos that IA records of the 78 RPM albums capture more than audio of a certain era. Researchers like him want to look at the label, check out the copyright information, and note the catalogue numbers, he said.

"It has all this information there," Seubert said. "I don't even necessarily need to hear it," he continued, adding, "just seeing the physicality of it, it's like, 'Okay, now I know more about this record.'". //

Some sound recording archivists and historians also continue to defend the Great 78 Project as a critical digitization effort at a time when quality of physical 78 RPM records is degrading and the records themselves are becoming obsolete, with very few libraries even maintaining equipment to play back the limited collections that are available in physical archives.

They push back on labels' claims that commercially available Spotify streams are comparable to the Great 78 Project's digitized recordings, insisting that sound history can be lost when obscure recordings are controlled by rights holders who don't make them commercially available. //

Music publishers suing IA argue that all the songs included in their dispute—and likely many more, since the Great 78 Project spans 400,000 recordings—"are already available for streaming or downloading from numerous services."

"These recordings face no danger of being lost, forgotten, or destroyed," their filing claimed.

But Nathan Georgitis, the executive director of the Association for Recorded Sound Collections (ARSC), told Ars that you just don't see 78 RPM records out in the world anymore. Even in record stores selling used vinyl, these recordings will be hidden "in a few boxes under the table behind the tablecloth," Georgitis suggested. And in "many" cases, "the problem for libraries and archives is that those recordings aren't necessarily commercially available for re-release." //

That "means that those recordings, those artists, the repertoire, the recorded sound history in itself—meaning the labels, the producers, the printings—all of that history kind of gets obscured from view," Georgitis said.

Currently, libraries trying to preserve this history must control access to audio collections, Georgitis said. He sees IA's work with the Great 78 Project as a legitimate archive in that, unlike a streaming service, where content may be inconsistently available, IA's "mission is to preserve and provide access to content over time."

"That 'over time' part is really the key function, I think, that distinguishes an archive from maybe a streaming service in a way," Georgitis said.

An ARSC member and IA supporter, Seubert agreed with IA that any music fan wanting to listen to songs "for entertainment purposes" would go to Spotify or Apple Music, rather than IA, which is more for "people who for whatever reason need to take a deep dive into some obscure corner of recorded sound history."

To Seubert and IA fans, there seems to be little evidence that the Great 78 Project is meaningfully diverting streams from labels' preferred platforms. Bing Crosby's "White Christmas" is perhaps the most heavily streamed song in the case, with nearly 550 million streams on Spotify compared to about 15,000 views on the Great 78 Project.