| 1. |
- Nothhaft, Howard, et al.
(författare)
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Editors’ Introduction
- 2018
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Ingår i: International Journal of Strategic Communication. - Heidelberg : International Association for Energy Economics. - 1553-118X. ; 39:1, s. 257-, s. 7-16, s. 1-6
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Tidskriftsartikel (refereegranskat)
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| 2. |
- Aho, Seppo, et al.
(författare)
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Tourism in the Barents Region
- 2016
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Ingår i: Encyclopedia of the Barents Region. - Oslo : Pax Forlag. - 9788253038599 ; , s. 395-400
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Bokkapitel (refereegranskat)
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| 3. |
- Allan, Jon, et al.
(författare)
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Audio level alignment : Evaluation method and performance of EBU R 128 by analyzing fader movements
- 2013
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Ingår i: 134th Audio Engineering Society Convention 2013. - Red Hook, NY : Curran Associates, Inc.. - 9781627485715 ; , s. 724-735
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Konferensbidrag (refereegranskat)abstract
- A method is proposed for evaluating audio meters in terms of how the engineer acts with the fader as dependent on the meter and corresponding recommendation at hand. The proposed method is used to evaluate different meter implementations, three conforming to the recommendation EBU R 128 and one conforming to EBU Tech 3205-E. In an experiment, engineers participated in a simulated live broadcast show and the resulting fader movements were recorded. The movements were analyzed in terms of different characteristics: Mean fader level, Fader variability and Fader movement. Significant effects were found showing that engineers do act differently depending on the meter and recommendation at hand. The method was found useful and may complement other methods to give more perspectives when evaluating audio meters
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| 4. |
- Allan, Jon, 1972-
(författare)
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Emil och Ida i Lönneberga
- 2016
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Annan publikation (film/video) (övrigt vetenskapligt/konstnärligt)abstract
- En tecknad film skapad av Pennfilm med Per Åhlin, Alicja Björk och Lasse Persson som regissörer. Filmen består av tre historier av Astrid Lindgren med karaktärerna Emil och Ida i Lönneberga. Astrids egen röst används. Filmen är producerad av Filmlance International AB och fick 8 miljoner i produktionsstöd från Svenska Filminstitutet. Den distribueras av SF Film och finns tillgänglig på flera plattformar. Första gången var biopremiär 25 december 2013. Den senaste plattformen var visning i SVT med påföljande tid tillgänglig i SVT Play under hösten 2016. Både tecknandet och inspelningen av musiken gjordes på ett äldre traditionellt sätt. D.v.s. alla bildrutor har tecknats för hand. Musiken har spelats in i akustisk studio under Georg Riedels ledning med hjälp musiker och musiktekniker. Till den större delen har musikernas insatser skett tillsammans och utan pålägg. Därefter har musiktekniker och Georg Riedel mixat materialet för filmmediet. Georg Riedel - musikJon Allan - ljudproducent/ljudteknikerFilmlance International AB - producentPennfilm - teckning av filmSF film - distributör
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| 5. |
- Allan, Jon, 1972-, et al.
(författare)
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Evaluating Live Loudness Meters from Engineers' Actions and Resulting Output Levels
- 2018
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Ingår i: Journal of The Audio Engineering Society. - : Audio Engineering Society, Inc.. - 1549-4950. ; 66:7-8, s. 556-577
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Tidskriftsartikel (refereegranskat)abstract
- Qualities of loudness meters were investigated by running a simulated live broadcast show, mixed by subjects with different degrees of audio engineering experience. The subject-induced fader movements and the resulting output levels were analyzed using a general linear mixed model and then interpreted according to a proposed set of quality criteria for live loudness meters. The results show that, for subparts of the program. meters with slower integration lime caused less dispersion of the resulting output levels and a smaller error to a given target level. The varying integration tunes of the meters did not cause any significant differences in reaction time. It is concluded that this type of data may be used in evaluation of loudness meters and the specific study provides insight into the effect of time scales and meter implementation for EBU R 128-compliant meters.
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| 6. |
- Allan, Jon, et al.
(författare)
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Evaluation criteria for live loudness meters
- 2015
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Ingår i: 137th Audio Engineering Society Convention 2014. - Red Hook : Curran Associates, Inc.. - 9781634397483 ; , s. 866-878
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Konferensbidrag (refereegranskat)abstract
- As a response to discrepancies in loudness levels in broadcast, the recommendations of the International Telecommunication Union and the European Broadcasting Union state that audio levels should be regulated based on loudness measurement. These recommendations differ regarding the definition of meter ballistics for live loudness meters, and this paper seeks to identify possible additional information, needed to attain a higher conformity between the recommendations. This work suggests that the qualities we seek in a live loudness meter could be more differentiated for different time scales (i.e. Momentary and Short-term that is defined by two different integration times), and therefore also should be evaluated by different evaluation criteria.
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| 7. |
- Allan, Jon, 1972-
(författare)
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Evaluation of Live Loudness Meters
- 2019
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Discrepancies in loudness (i.e. sensation of audio intensity) has been of great concern within the broadcast community. For television broadcast, disparities in audio levels have been rated the number one cause to annoyance by the audience. Another problem area within the broadcast and music industry is the loudness war. The phenomenon is about the strive to produce audio content to be at least as loud or louder to any other audio content that it can easily be compared with. This mindset, when deciding for audio level treatment, inevitably leads to an increase in loudness over time, and also, as a technical consequence, a decrease of utilized dynamics. The effects of the loudness war is present in both terrestrial radio transmissions as well as in music production and in music distribution platforms.The two problems, discrepancies in loudness and the loudness war, both emanate from the same source; regulations of audio levels and the design of measurement gear have not been amended to cope with modern production techniques. At the time when the work on this thesis started, the ruling technical recommendations for audio level alignment were based on peak measurement. This measured entity has poor correspondence to loudness. To counter the above described problems, the European Broadcasting Union (EBU) and the International Telecommunication Union (ITU) has developed new recommendations for audio alignment, EBU R 128 and ITU-R BS.1770. The new definitions for loudness measurement constitutes simplified models on the human perception of audio intensity. When using the new recommendations in production, the problems have been shown to diminish.For an engineer in a live broadcast scenario, measurement equipment also need to be updated in real-time to illustrate a time-variant loudness of the signal. EBU and ITU also has regulated how this type of measurement gear should behave. EBU Tech 3341 and ITU-R BS.1771 define properties for live loudness meters. These recommendations has since the time of publication been implemented in measurement equipment from manufacturers and become available in production facilities.This thesis investigates the conceptions that have led up to the present recommendations for live loudness meters. It maps out the (at the time) present ways to evaluate the same. Emanating from this knowledge, a new methodology to evaluate loudness meters is proposed that combines qualities from former methods to achieve an alternative balance between ecological validity and control in the experiment design. The methodology includes a procedure to capture data from engineers’ actions and the resulting audio levels from simulated broadcast scenarios. The methodology also incorporates a way to process this type of data into different parameters to be more accessible for interpretation. It presents an approach to model the data, by the use of linear mixed models, to describe different effects in the parameters as the result of the meters’ characteristics. In addition, a review on publications that examine the engineers’ own requests for beneficial qualities in a loudness meter has been condensed and revised into a set of meter criteria that specifically is designed to be applied on the outcome of the mixed models. The outcome of the complete evaluation yields statements on meter quality that are different and complementary to formerly proposed methods for meter evaluation.The methodology has been applied in two different studies, which also are accounted for in the thesis. The conclusions from these studies has led to an increased understanding of how to design live loudness meters to be satisfactory tools to the engineer. Examples of findings are: the effect of the speed of the meter, as being controlled by one or several time constants, on the readability of the meter and the dispersion in output levels – some tested candidates, with higher speed than the present recommended ones, has been shown to be adequate as tools; the three-second integration time has been shown to generate a smaller dispersion in output levels than the 400 ms integration time; the effect of the gate in BS.1771 on the resulting output levels– the gate generally leading to an increase in output levels. The acquired knowledge may be used to improve the present recommendations for audio level alignment, from EBU and ITU.
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| 8. |
- Allan, Jon, et al.
(författare)
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Evaluation of loudness meters using parameterization of fader movements
- 2014
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Ingår i: 135th Audio Engineering Society Convention 2013. - : Audio Engineering Society, Inc.. ; , s. 652-662
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Konferensbidrag (refereegranskat)abstract
- The EBU recommendation R 128 regarding loudness normalization, is now generally accepted and countries in Europe are adopting the new recommendation. There is now need to know more about how and when to use the different meter modes, Momentary and Short term, proposed in R 128, as well as to understand how different implementations of R 128 in audio level meters affect the engineers' actions. A method is tentatively proposed for evaluating the performance of audio level meters in live broadcasts. The method was used to evaluate different meter implementations, three of them conforming to the recommendation from EBU, R 128. In an experiment, engineers adjusted audio levels in a simulated live broadcast show and the resulting fader movements were recorded. The movements were parameterized into "Fader movement", "Adjustment time", "Overshoot", etc. Results show that the proposed parameters produced significant differences caused by the meters and that the experience of the engineer operating the fader is a significant factor.
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| 9. |
- Allan, Jon, 1972-, et al.
(författare)
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Evaluation of the Momentary Time Scale for Live Loudness Metering
- 2020
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Ingår i: Journal of The Audio Engineering Society. - : Audio Engineering Society, Inc.. - 1549-4950. ; 68:3, s. 193-222
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Tidskriftsartikel (refereegranskat)abstract
- Different ballistic definitions for the momentary time scale used in live loudness measurement were evaluated. Definitions from the ITU and EBU were compared as well as a faster version of the ITU version, two asymmetric time scales and the deprecated ballistics, defined in EBU Tech 3205-E, for peak program meters. The goal was to identify the ballistics definition that would function as the best complementary tool to a short-term time scale. Engineers within the broadcast industry and students in audio technology performed an audio alignment task in a simulated live broadcast environment using one ballistics definition per trial. Fader movements and output levels were recorded. After each trial, a set of assessment scales were rated by the subjects. Some results were: a decay time constant of 250 ms yielded better representation of the low-level parts of the dynamics in the signal compared to a 400-ms time constant; the present ITU version of the momentary time scale yielded an estimated less eye fatigue; effects on the resulting output levels, related the gate in ITU-R BS.1770 in conjunction with live compensation of unadjusted audio material were shown.
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| 10. |
- Allan, Jon, 1972-
(författare)
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Ljudkvalitet, kompression och musikalisk bildning
- 2020
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Ingår i: Explorativ bildning i strömmande medier. - : Södertörns högskola. ; , s. 79-114
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Bokkapitel (refereegranskat)abstract
- Spotify som en strömmande medieaktör har idag en stor roll att spela för hur dagens, framförallt populärmusik, produceras och låter. Med den digitala tekniken, och i synnerhet den strömmande tekniken, underlättas möjligheten till förändring av innehållet i de ljudande filerna. Det går därför att finna många olika ljudande versioner av en och samma inspelning. Olikheterna kan dels bero på att verket har anpassats för olika distributionsformat, men kan också bero på att äldre verk har mastrats om för att få en dynamik och klangbild som motsvarar produktioner i närtid. I detta projekt har en studie, baserad på lyssningstester, genomförts för att utröna på vilket sätt dynamik och klang i musikproduktioner får betydelse för den musikaliska upplevelsen och vidare, hur utbildning och erfarenhet inom musik- eller ljudområdet kan spela roll i ens preferenser för olika versioner av samma inspelning. Ett huvudsyfte med kapitlet är att medvetandegöra lyssnandet för att förstå hur teknik både kan hjälpa och stjälpa möjligheterna till upplevelse av musik samt att öka medvetenheten för de kvaliteter i det musikaliska språket som kan komma att påverkas av de produktionsbeslut som berör dynamik och klang.
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