Once upon a time you could not keep Cobra out of the news. Insurance Age content director Jonathan Swift reflects on how the business regrouped almost by stealth to become the latest important part of the PIB growth story.

Senior VP of international operations, Jeff Purdy, says the software house's growth opportunity in the UK is "material" as Joe Sultana joins Andy Fairchild on its new European leadership team.

Animal rights advocates are beginning to focus their attention on shareholders. But will it work?

Dr. K.P. Yohannan calls for people to 'pray, engage and act' to end the 'staggeringly evil' exploitation of millions of children around the world

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Originally, the products were given space in 77 Sally's Beauty Supply stores nationally, as well as, 298 location under the Target grocery chain.

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Business is becoming more politicised. Rising nationalism, activism, and international conflicts — most notably between the US and China — have all contributed. This is making standard business transactions far more complex.

Buckley

A large-scale attack campaign has targeted over 900,000 WordPress websites through vulnerabilities in plugins and themes, WordPress security company Defiant revealed this week.

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Nigerian cybercriminals specialized in business email compromise (BEC) attacks were observed leveraging COVID-19 lures in recent attacks on healthcare and government organizations, Palo Alto Networks reveals.

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Valorant executive producer Anna Donlon offers a refreshing take on how toxicity needs to be dealt with in online games, and explores why a perfect solution is so difficult to create. ...

Analysis of a secure, cloud-based electronic health records dataset of more than 30,000 patients will help uncover hidden trends that will lead to new treatment strategies

Valorant executive producer Anna Donlon offers a refreshing take on how toxicity needs to be dealt with in online games, and explores why a perfect solution is so difficult to create. ...

“Our government believes artificial intelligence, in different forms, can help us achieve the $5 trillion benchmark over the next five years, but also help us do it effectively and efficiently,” Goyal said while inaugurating the NSE Knowledge Hub here. The hub is an AI-powered learning ecosystem for the banking, financial services and insurance sector.

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The Justice Department and the Drug Enforcement Administration (DEA) today announced the results of Project Python, a DEA-led interagency operation encompassing all global investigations and related disruption activities targeting the Cártel de Jalisco Nueva Generación (CJNG).

A 14-count indictment has been unsealed today in San Antonio, Texas, charging five individuals with coordinating an identify-theft and fraud scheme targeting servicemembers and veterans.

Fredrick Brown, 38, of Las Vegas, Nevada, a former civilian medical records administrator for the U.S. Army at the 65th Medical Brigade, Yongsan Garrison, South Korea, admitted yesterday to his role in an identity-theft and fraud scheme that victimized thousands of U.S. servicemembers and veterans.

South Korea-based company Jier Shin Korea Co. Ltd., and its president, Sang Joo Lee, have agreed to pay $2 million to the United States for civil antitrust and False Claims Act violations for their involvement in a bid-rigging conspiracy that targeted contracts to supply fuel to U.S. military bases in South Korea, the Department of Justice announced today.

The so-called employment audits and interviews with store workers could lead to criminal charges or fines. A top ICE officials calls the operation "the first of many."

As a consequence of Storm The Court's victory in the $2 million Breeders' Cup Juvenile on November 1 at Santa Anita, the Peter Eurton-trained colt will be one of, if not the early favorites for the 2020 Kentucky Derby. Even though the win, under jockey Flavien Prat, was at odds of 45-1 and came after even-money favorite […]

The post Juvenile Winner Storm The Court ‘Just Chilling,’ Could Target February Return appeared first on Horse Racing News | Paulick Report.

Making just her second career start, juvenile filly Donna Veloce turned in an impressive runner-up finish by a neck in the Grade 1 Breeders' Cup Juvenile Fillies earlier this month at Santa Anita. According to drf.com, the Kaleem Shah-owned daughter of Uncle Mo may make another start this year in the G1 Starlet at Los Alamitos […]

The post Breeders’ Cup Runner Up Donna Veloce May Target Grade 1 Starlet Stakes appeared first on Horse Racing News | Paulick Report.

Haras Phillipson's 3-year-old homebred Nao Da Mais (BRZ), a three-time Group 1 winner in Brazil, was sent to Argentina and made his biggest career score on Saturday, going wire to wire under jockey Carlos Lavor and holding off the favored Mirinaque (ARG), to win the 1 ½-mile Gran Premio International Carlos Pellegrini (G1) by three-quarters […]

The post Nao Da Mais Will Target Breeders’ Cup Turf After ‘Win And You’re In’ Score In Argentina appeared first on Horse Racing News | Paulick Report.

Allied Racing Stable LLC's By My Standards, after securing a stalking position from post 12, overhauled front-running Warrior's Charge in midstretch to win the 1 1/8-mile Oaklawn Handicap by 1 ¾ lengths under Gabriel Saez on Saturday. By My Standards (3 for 3 this year) was exiting a three-length score in the $400,000 New Orleans […]

The post Oaklawn Handicap Winner By My Standards Will Target Breeders’ Cup Classic appeared first on Horse Racing News | Paulick Report.

The next target for Swiss Skydiver is firm, trainer Kenny McPeek said late Saturday afternoon, roughly 24 hours after her 2 ½-length victory over Venetian Harbor in the Fantasy Stakes at Oaklawn Park. McPeek said Swiss Skydiver is targeting the 1,000 Guineas (G1), a 1-mile turf race for 3-year-old fillies, June 6 in Newmarket, England. […]

The post ‘I Think She’ll Take To The Turf’: McPeek To Target 1,000 Guineas With Fantasy Winner Swiss Skydiver appeared first on Horse Racing News | Paulick Report.

Breeders' Cup Juvenile Fillies winner Sharing is expected to make her 2020 debut on May 23 at Churchill Downs, according to co-owner Eclipse Thoroughbreds' Twitter account. Following the track's announcement of an adjusted stakes schedule on Monday, the 3-year-old filly will aim for the $100,000 Tepin Stakes, held over a mile on the turf course. […]

The post Breeders’ Cup Winner Sharing Targets May 23 Tepin Stakes At Churchill For 2020 Debut appeared first on Horse Racing News | Paulick Report.

Social distancing could only last so long when Chester Thomas' By My Standards won Saturday's $600,000 Oaklawn Handicap by 1 3/4 lengths over Warrior's Charge. Thomas, the Madisonville, Ky., entrepreneur who races in the named of Allied Racing, and wife Jennifer had one of their sons and daughter in law and another couple over to […]

The post ‘Filled Out,’ ‘Stronger’ By My Standards Will Target Stephen Foster On June 27 appeared first on Horse Racing News | Paulick Report.

A sheriff's deputy in North Carolina is facing criminal charges after authorities say he led a group of armed people to wrong home in a search for a missing girl.

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Using :target to produce a click open/close dropline menu.

The proposal by GEOBROADCAST SOLUTIONS to allow FM boosters to transmit geotargeted programming like ads and news separate from the primary station's programming has gained the support of … more

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Lots of users have asked us about more customization and control over the sound of our audio algorithms in the past, so today, we have introduced some advanced algorithm parameters for our singletrack version in a private beta program!

• Leveler Presets are basically complete new leveling algorithms
• Maximum Loudness Range (LRA) Target to control the strength of our Leveler
• Maximum True Peak Level
• Better Hum and Noise Reduction Controls

UPDATE Nov. 2018:
We released a complete rework of the Adaptive Leveler parameters and the description here is not valid anymore!
Please see Auphonic Adaptive Leveler Customization (Beta Update)!

Please join our private beta program and let us know how you use these new features or if you need even more control!

Leveler Presets

Our Adaptive Leveler corrects level differences between speakers, between music and speech and will also apply dynamic range compression to achieve a balanced overall loudness. If you don't know about the Leveler yet, take a look at our Audio Examples.

Leveler presets are basically complete new leveling algorithms, which we have been working on in the past few months:
Our current Leveler tries to normalize all speakers to the same loudness. However, in some cases, you might want more or less loudness differences (dynamic range / loudness range) between the speakers and music segments, or more or less compression, etc.
For these use cases, we have developed additional Leveler Presets and the parameter Maximum Loudness Range.

Preset Medium:

This is our current leveling algorithm as demonstrated in the Audio Examples.

Preset Hard:

The hard preset reacts faster and applies more gain and compression compared to the medium preset. It is built for recordings with extreme loudness differences, for example very quiet questions from the audience in a lecture recording, extremely soft and loud voices within one audio track, etc.

Preset Soft:

This preset reacts slower, applies less gain and compression compared to the medium preset. Use it if you want to keep more loudness differences (dynamic narration), if you want your voices to sound "less compressed/processed", for dynamic music (concert/classical recordings), background music, etc.

Preset Softer:

Like soft, but softer :)

Preset Speech Medium, Music Soft:

Uses the medium preset in speech segments and the soft preset in music segments. It is built for music live recordings or dynamic music mixes, where you want to amplify all speakers but keep the loudness differences within and between music segments.

Preset Medium, No Compressor:

Like the medium preset, but only (mid-term) leveling and no (short-term) compression is applied. This preset is optimal if you just use a Maximum Loudness Range Target and want to avoid any additional compression as much as possible.

Maximum Loudness Range (LRA) Target

The loudness range (LRA) indicates the variation of loudness over the course of a program and is measured in LU (loudness units) - for more details see Loudness Measurement and Normalization or EBU Tech 3342.

The parameter Max Loudness Range controls how much leveling is applied:
volume changes of our Adaptive Leveler will be restricted so that the loudness range of the output file is below the selected value.
High loudness range values will result in very dynamic output files, low loudness range values in compressed output audio. If the LRA value of your input file is already below the maximum loudness range value, no leveling at all will be applied.

It is also important which Leveler Preset you select, for example, if you use the soft(er) preset, it won't be possible to achieve very low loudness range targets.

Also, the Max Loudness Range parameter is not such a precise target value as the Loudness Target. The LRA of your output file might be off a few LU, as it is not reasonable to reach the exact target value.

Use Cases: The Maximum LRA parameter allows you to control the strength of our leveling algorithms, in combination with the parameter Leveler Preset. This might be used for automatic mixdowns with different LRA values for different target platforms (very compressed ones like mobile devices or Alexa, very dynamic ones like home cinema, etc.).

Maximum True Peak Level

This parameter sets the maximum allowed true peak level of the processed output file, which is controlled by the True Peak Limiter after our Global Loudness Normalization algorithms.

If set to Auto (which is the current default), a reasonable value according to the selected loudness target is used: -1dBTP for 23 LUFS (EBU R128) and higher, -2dBTP for -24 LUFS (ATSC A/85) and lower loudness targets.

The maximum true peak level parameter is already available in our desktop program.

Better Hum and Noise Reduction Controls

Hum Base Frequency:

Set the hum base frequency to 50Hz or 60Hz (if you know it), or use Auto to automatically detect the hum base frequency in each speech region.

Hum Reduction Amount:

Maximum hum reduction amount in dB, higher values remove more noise.
In Auto mode, a classifier decides how much hum reduction is necessary in each speech region. Set it to a custom value (> 0), if you prefer more hum reduction or want to bypass our classifier. Use Disable Dehum to disable hum reduction and use our noise reduction algorithms only.

Behavior of noise and hum reduction parameter combinations:

Advanced Parameters Private Beta and Feedback

At the moment the advanced algorithm parameters are for beta users only. This is to allow us to get user feedback, so we can change the parameters to suit user needs.
Please let us know your case studies, if you need any other algorithm parameters or if you have any questions!

Here are some private beta invitation codes:

y6KCBI4yo0 ksIFEsmI1y BDZec2a21V i4XRGLlVm2 0UDxuS0vbu aaBxi35sKN aaiDSZUbmY bu8lPF80Ih eMsSl6Sf8K DaWpsUnyjo
2YM00m8zDW wh7K2pPmSa jCX7mMy2OJ ZGvvhzCpTF HI0lmGhjVO eXqVhN6QLU t4BH0tYcxY LMjQREVuOx emIogTCAth 0OTPNB7Coz
VIFY8STj2f eKzRSWzOyv 40cMMKKCMN oBruOxBkqS YGgPem6Ne7 BaaFG9I1xZ iSC0aNXoLn ZaS4TykKIa l32bTSBbAx xXWraxS40J
zGtwRJeAKy mVsx489P5k 6SZM5HjkxS QmzdFYOIpf 500AHHtEFA 7Kvk6JRU66 z7ATzwado6 4QEtpzeKzC c9qt9Z1YXx pGSrDzbEED
MP3JUTdnlf PDm2MOLJIG 3uDietVFSL 1i7jZX0Y9e zPkSgmAqqP 5OhcmHIZUP E0vNsPxZ4s FzTIyZIG2r 5EywA0M7r5 FMhpcFkVN5
oRLbRGcRmI 2LTh8GlN7h Cjw6Z3cveP fayCewjE55 GbkyX89Lxu 4LpGZGZGgc iQV7CXYwkH pGLyQPgaha e3lhKDRUMs Skrei1tKIa

If you have an invitation code, you can enter it here to activate the advanced audio algorithm parameters:
Auphonic Algorithm Parameters Private Beta Activation

In the classic loudness war, music and radio producers have been trying to create their recordings as loud as possible and loudness normalization was introduced to stop that. Now one can see the start of a new loudness target war, where podcasters set their loudness targets higher and higher, mainly triggered by high target recommendations of platforms like Spotify or Amazon Alexa.
In this article, we will show how to resist the loudness target war and still be compliant with major platforms.

Resist the loudness target war! (Photo by Nayani Teixeira)

What's the problem?

“Two or three years ago it seemed that many stations were finally realizing that better radio could improve ratings. And the major myth brought over from AM radio – that a louder signal, regardless of quality, attracts more listeners – appeared to be losing its strength,” writes Robert Orban. The times of excessively compressed audio, putting loudness over sound quality, were coming to an end. We were hoping the same when we wrote about the CALM Act and EBU R128 in 2012. Those measures were meant to make programs sound more evened out and set a standard for a reasonable loudness level.

Except, Orban's article was published in 1979 (PDF, p. 60 ff.), and he concludes: "The loudness war has escalated, and quality is once again being sacrificed." 40 years later, a new loudness target war is emerging. While, yes, radio and TV stations have widely adopted the new standards, prominent competitors in the audio market are pushing for higher loudness targets once again.

Loudness war: the trend of increasing audio levels in recorded music over time. (Screenshot delamar.de)

Why LOUDER is not better

Historically, the loudness war has escalated with the advent of digital technology. Peak level normalization and quasi peak program meters (QPPM) encouraged producers to push audio signals to the limit. Just shy of clipping, signals could now be compressed to the highest possible levels, using multiband compressors and limiters. While this lifted quieter signals up, transforming a waveform into a brick, marketers thought that the louder songs on CDs and almost yelling voices on FM radio would attract listeners. On the other hand, reduced dynamics makes audio less interesting and can lead to listener fatigue, as Rip Rowan pointedly illustrated in his 2002 article "Over the Limit":

WHY IS THE LOUDER IS BETTER APPROACH THE WRONG APPROACH? BECAUSE WHEN ALL OF THE SIGNAL IS AT THE MAXIMUM LEVEL, THEN THERE IS NO WAY FOR THE SIGNAL TO HAVE ANY PUNCH. THE WHOLE THING COMES SCREAMING AT YOU LIKE A MESSAGE IN ALL CAPITAL LETTERS. AS WE ALL KNOW, WHEN YOU TYPE IN ALL CAPITAL LETTERS THERE ARE NO CUES TO HELP THE BRAIN MAKE SENSE OF THE SIGNAL, AND THE MIND TIRES QUICKLY OF TRYING TO PROCESS WHAT IS, BASICALLY, WHITE NOISE. LIKEWISE, A SIGNAL THAT JUST PEGS THE METERS CAUSES THE BRAIN TO REACT AS THOUGH IT IS BEING FED WHITE NOISE. WE SIMPLY FILTER IT OUT AND QUIT TRYING TO PROCESS IT.

Hence, many spoken word producers and broadcasters luckily wisened up and committed to new standards, based on loudness normalization instead of peak normalization. LUFS, Loudness Units relative to Full Scale, is a unit that measures an audio track's average loudness. All segments of a program can then be normalized to a certain LUFS value. As we have discussed before, -23 LUFS is standard now for broadcasters of the EBU, which for example has led to advertising segments no longer being much louder than the rest of any particular program. For a short while, it seemed like a peace agreement, or at least a truce had been achieved in the loudness war.

Human loudness perception is based on average levels instead of peak levels. (Screenshot theproaudiofiles.com)

Loudness Targets and Dynamic Range

However, while LUFS adoption is increasing across the industry, this doesn't mean that people have stopped trying to be louder than everybody else. And indeed -23 LUFS is not the one-size-fits-all value. We have recommended -16 LUFS for podcasts ourselves. The loudness of a production played in a cinema should be different from one made for earphones and noisy listening environments. Some headphones expect a louder signal and don't have enough gain to work with -23 LUFS under all circumstances.

The closer a production gets to 0 LUFS though, the less dynamic range can be reproduced. However, the dynamic range also depends on the dBTP, the maximum True Peak level, which indicates the level of the highest possible peak value. For instance, the aforementioned EBU R128 standard of -23 LUFS also defines a -1 dBTP. The difference between the LUFS and dBTP levels is called Peak to Loudness Range, PLR. For EBU R128 the PLR would be 22 LU (Loudness Units), a podcast with -16 LUFS and -1 dBTP has a PLR of 15 LU. Thus, the PLR is a measure of the maximum possible dynamic range of an audio production.

Platforms: Apple, Google, Amazon, and Spotify

Our already pretty high recommendation of -16 LUFS, -1 dBTP for mobile listening was also adopted by Apple's best practices for podcasts and recommendations for Google Assistant. Some are pushing it too far, though. A daily updated analysis by podnews shows that many podcasts are much louder than -16 LUFS.

Distribution of loudness across a selection of podcasts. (Screenshot podnews.net)

This might in part be due to specs published by other competitors in the audio space:

Amazon, for instance, recommends -14 LUFS at -2 dBTP for Alexa skills, meaning a PLR of only 12 LU. While this might work for Alexa's synthesized voice, which doesn't have much variability, it produces a dynamic range too low for spoken word content.
However, Amazon also says that a skill may be rejected if the program loudness is lower -19 LUFS or higher -9 LUFS, therefore a target of -16 LUFS is perfectly fine, which means that Alexa's robot voice leads by 2 LU compared to the audio content.

Spotify normalizes audio to the equivalent of about -14 LUFS, -1 dbTP, but they still use ReplayGain, which is not exactly the same as LUFS but gives similar results. Spotify mainly decreases the volume of overly loud productions, but can also increase the volume on some playback devices if the audio is much too soft.
For pop music, -14 LUFS is acceptable, but for podcasts or classical music, it is too high. However, (pop) music can always be played a bit louder compared to speech, therefore a loudness target of -16 LUFS for podcasts is fine on Spotify as well.

Make LUFS, not war

If producers just use the highest recommended target and therefore the loudness (target) war goes into another battle, we will hear more compressed, distorted voices once again, lacking emotion and many subtleties that are reflected in the dynamic range of how we speak.

Setting a loudness target higher than -16 LUFS does not improve the listening experience in any way. However, many productions would benefit from sensitively adjusting differences in dynamics throughout the production, lifting up quieter segments, lowering loud segments, and treating speech and music differently. As pointed out in a presentation recently (video, in German), you can do that directly in your DAW or use a leveler to automate dynamics processing.

Instead of just raising the loudness target, adjusting differences in levels can help to make the listening experience much more enjoyable.

Recent album releases suggest that the music industry is still in the middle of the loudness war, often limiting the peak to loudness range to single digit LU values. (By the way, your vinyl-buying friend is right, vinyl records do sound better because they don't work with the highest compression rates.) Hopefully, podcasters, radio producers and other spoken word artists, as well as the platforms that host and publish their productions, can resist the temptation of louder and louder audio.
Make (no more than -16) LUFS, not war!

Conclusion

With some podcasts, smart speakers and streaming platforms trying to be louder than the competition, the listening experience deteriorates. However, podcasts can sound great and loud enough even in noisy environments, when well produced:

• Never set a loudness target higher than -16 LUFS for spoken word audio.
• If your audio is too quiet, try lifting up quieter sections and reducing the volume of louder sections, directly in your DAW or by using a leveler.
• These settings will work fine on all current platforms, including Amazon Alexa and Spotify.

Resist the loudness target war!

Over at All Things Photo, I’ve shared a video detailing a scam targeting photographers selling prints online. Also included in the video are 7 tips to avoid being scammed online. While the video is on the long side it’s worth a listen to protect yourself and learn the limitations of fraud protection with your bank and insurance companies. If you’re driving you can also listen to the podcast recording via the All Things Photo podcast. If you haven’t already I welcome you to follow All Things Photo on YouTube, Twitter and Facebook.

The web is awash with words. They’re everywhere. On websites, in emails, advertisements, tweets, pop-ups, you name it. More people are publishing more copy than at any point in history. That means a lot of information, and a lot of competition. In recent years a slew of ‘readability’ programs have appeared to help us tidy up the things we write. (Grammarly, Readable, and Yoast are just a handful that come to mind.

Water quality has a direct impact on industry, agriculture, and public health. Algae species are common indicators of water quality. It is because algal communities are sensitive to changes in their habitats, giving valuable knowledge on variations in water quality. However, water quality analysis requires professional inspection of algal detection and classification under microscopes, which is very time-consuming and tedious. In this paper, we propose a novel multi-target deep learning framework for algal detection and classification. Extensive experiments were carried out on a large-scale colored microscopic algal dataset. Experimental results demonstrate that the proposed method leads to the promising performance on algal detection, class identification and genus identification.

Once upon a time, Clint Eastwood, a notoriously outspoken conservative in supposedly liberal Hollywood, had no problem at all with cops who employed their own unconventional extra-legal brand of law enforcement (see: Dirty Harry). Today, in Richard Jewell, he really doesn't like the FBI.…