PETER GRAY, DANNY BUCH, SCOT FINCK, CHRIS CONLEY, ELIZABETHANY PROGER, MIKE McCABE, NATALIA SONIAK, JOSEPH DOBBINS, DAVID JACOBS, CHRISTINE CHIAPPETTA, GARRETT CAPONE, DAVE LOMBARDI, RONNY … more

Industry insiders receive ALL ACCESS' exclusive MEDIABASE chart recap analysis in their e-mail box every MONDAY morning. How about you? This week's data from ANTHONY ACAMPORA, Partner … more

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NICKI FARAG, BRENT BATTLES, CHRIS BROWN, NANCY KLUGMAN, MICHAEL LIEBERMAN, DYLAN SPRAGUE, ALEX TEAR, KOBE, MOJOE ROBERTS, JOHN DI MAIO, DENNIS BLAIR, GARY JAY, JOHNNY MAZE, TAMI MORRISSEY, … more

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Statement Highlights: Fulminant myocarditis develops quickly and can prove fatal without early recognition and advanced medical therapy. A new scientific statement from the American Heart Association details the resources needed to diagnose and treat...

Research Highlights: A robot was used to treat brain aneurysms for the first time. The robotic system could eventually allow remote surgery, enabling surgeons to treat strokes from afar. Embargoed until 11:15 a.m. Pacific Time / 2:15 p.m. Eastern ...

Everyone pictured in this 12-person photo gallery has a mental illness. They live in this community. A daughter. An uncle. A sister. A friend. A neighbor. A co-worker. They are us. Photography by Lauren M. Whaley/CHCF Center for Health Reporting.

Faces is portrait series from an ongoing project on people, with the intention to look for and capture authenticity. vimeo.com/58041593

Faces is portrait series from an ongoing project on people, with the intention to look for and capture authenticity.

As we all know, SEO is a broad-spectrum umbrella term that is used to describe the measures taken to improve your website and help it to rank higher in search engine results for keywords and phrases related to your business. Local SEO is an effective way to optimize a business for the local audience while...

Are you sure everyone on the web can easily access your website? ‘Cause if it is not accessible to everyone, you are losing some great business opportunities! This article is going to put some shades on this “web accessibility” term. Also, you will get to know why it holds so much importance in today’s digital...

Traumatic brain injury (TBI) can have lifelong and dynamic effects on health and wellbeing. Research on the longterm consequences emphasises that, for many patients, TBI should be conceptualised as a chronic health condition. Evidence suggests that functional outcomes after TBI can show improvement or deterioration up to two decades after injury, and rates of all-cause mortality remain elevated for many years. Furthermore, TBI represents a risk factor for a variety of neurological illnesses, including epilepsy, stroke, and neurodegenerative disease. With respect to neurodegeneration after TBI, post-mortem studies on the long-term neuropathology after injury have identified complex persisting and evolving abnormalities best described as polypathology, which includes chronic traumatic encephalopathy. Despite growing awareness of the lifelong consequences of TBI, substantial gaps in research exist. Improvements are therefore needed in understanding chronic pathologies and their implications for survivors of TBI, which could inform long-term health management in this sizeable patient population.

What do you do if you’re partway through an important project for a client and you get, well… stuck? You simply can’t wring any more good ideas from that brain...

The post Getting Those Creative Juices Flowing Again appeared first on Speckyboy Design Magazine.

Landing pages are specifically designed to be seen after clicking an advertisement on almost any platform. Landing pages are clearly different from normal web pages which involve a bit of leeway to help visitors explore the website. The sole purpose and focus of landing pages are, to urge visitors to buy a product or a service after an advertisement had piqued their interest. In the legal industry, the conversion rate is very important, making the landing page one of the priorities of those designing a website for a law firm. We’ve gathered a few landing page designs for legal service

The post Landing Page Design Ideas for Legal Services appeared first on Photoshop Lady.

AsiaWire China Mobile Hong Kong and Huawei have jointly taken 5G connectivity to the highest-altitude base station to the north...

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In normal times, Chew on This focuses on restaurant openings and closings. These are not normal times, with restaurants closed except to carryout, curbside and delivery. We know these businesses...

With over 11,000 positive COVID-19 cases in Iowa and a mounting death toll, Iowa Gov. Kim Reynolds went to Washington DC. to declare her approach to the pandemic a success. Her victory lap included...

IOWA CITY — An Iowa City man has been arrested in Texas in connection with the April 20 shooting death of Kejuan Winters. Reginald Little, 44, was taken into custody Friday by the Lubbock...

Serving as state representative of House District 85 for the past few years has been a privilege and an honor. I have worked hard to stand for the people of my district fighting for issues that are important to them and to the voters of Iowa City. I want to continue that advocacy and am running for another term in the Iowa House and ask for your vote.

I vigorously support adequate funding for education from pre-school to our community colleges and universities. Our young people are Iowa’s future and deserve the best start available through our excellent education system in Iowa. But we need to provide the dollars necessary to keep our teachers in the classroom so our children are prepared for whatever may lie ahead of them.

I have advocated for the fair treatment of workers in Iowa and support their right to organize. I have worked on laws for equal pay for equal work and whistle blower protection.

I am for essential funding for mental health services for Iowans of all ages. Children and adults who are struggling with mental health issues should have services available to them no matter where they live in this state.

I have fought to keep government open and accessible to Iowans. I support open records and open meetings laws to ensure that availability and transparency to all Iowans.

Keeping voting easy and accessible to voters has been a priority of mine. I support a fair and balanced redistricting system for voting in Iowa.

I have advocated to keep the bottle deposit law in place and expand it to cover the many new types of containers available.

I have worked on oversight legislation after several investigations into defrauding government which involved boarding homes, government agencies and pharmacy benefit managers (the “middleman” between pharmacies/Medicaid and the healthcare insurance companies.)

I cannot avoid mentioning the challenge of the coronavirus in Iowa. It has impacted our health, jobs, families and businesses. No one could have predicted this pandemic but as Iowans, we need to do our best to limit contact and the spread of this disease. My sincere appreciation goes to those workers on the frontlines of this crisis: the healthcare workers, store owners, businesses, farmers, teachers and workers who show up every day to keep this state moving forward. Thank you all!

There is still much work to be done to keep Iowa the great place where we live, work and raise our families. I am asking for your vote to allow me the privilege of continuing that work.

Vicki Lensing is a candidate in the Democratic primary for Iowa House District 85.

With over 11,000 positive COVID-19 cases in Iowa and a mounting death toll, Iowa Gov. Kim Reynolds went to Washington DC. to declare her approach to the pandemic a success.

Her victory lap included a sit down with the president and a Washington Post op-ed. The op-ed was co-authored with four other GOP governors and declared, the “common-sense approach helped keep our states on track and have set us up to come out of this pandemic stronger than ever.”

On May 8, Vice President Mike Pence came to Iowa to celebrate Iowa’s success. But what does Iowa’s success actually look like?

Well, two of our counties are national hot spots for the disease.

Experts from the University of Iowa project that Iowa has yet to reach it’s peak for cases and warn that without proper measures a new wave of infection will hit the state in the fall.

Iowa’s success looks like the TestIowa initiative getting off to a slow start due to problems with the test machines and thus far, failing to achieve it’s promise of 3,000 tests per day. And mounting concerns about the accuracy of the tests, after the Des Moines Register reported that several test samples were unable to be processed.

Success looks like Minnesota having 3,000 fewer positive COVID-19 cases with 2 million more residents and nearly 40,000 more tests completed.

The week of Reynolds victory lap was the week that Iowa saw a 28 percent increase in hospitalizations, a 51 percent increase in ICU admissions, and a 39 percent increase in patients needing ventilators.

Reynolds declaring victory now is like crowning yourself the winner in Monopoly before you even made it all around the board. It’s like demanding your marathon medal on mile 13. It’s like declaring you are flattening the pandemic curve, before your COVID-19 cases skyrocket by thousands. OK, that’s not a metaphor, that’s something our governor actually did. Just weeks ago.

This is what Reynold’s success looks like: 231 deaths and vulnerable being forced to return to work before it's safe. And these are not just numbers, these are people.

Perhaps the most damaging thing that this pandemic response has done was to turn individual lives into a chart on a scoreboard. A game of chess, where we are willing to sacrifice some pawns to keep winning at making money.

AP reporter Ryan Foley noted on Twitter that those dead from COVID-19 in the state include a Bosnian refugee who left behind a heartbroken husband and a Latino father who was raising three kids on his own after their mother died of cancer last year.

Those lost include Willi Levi, one of the men who escaped servitude from the Atalissa turkey processing plant.

But as state Rep. Steve Holt argued in an op-ed this week, if we have enough room in our hospitals, why not open the economy? The logic was repeated during Reynolds May 7 news conference — our hospitals can handle it so we move forward. This is what success looks like: Enough hospital beds for us all to die in.

Before the pandemic came to the state, Holt and Reynolds were both pushing an amendment to the state constitution that would strip protections for abortion.

The Venn diagram of those people telling you COVID-19 isn’t that bad and so what, some people will die, and the people who call abortion murder is just one flat circle of hypocrisy.

Holt has even been tweeting about how shut down orders violate our personal liberty. But where is all that personal liberty when it comes to my uterus, Holt?

Our success didn’t have to look like this. Our success could have involved fewer deaths, fewer infections and a reduced risk for a resurgence, if we had just waited two more weeks.

Dr. Eli Perencevich, professor of internal medicine and epidemiology at the University of Iowa Carver College of Medicine, and one of the authors of a report for the Iowa Department of Public Health, which warned against reopening too soon. He spoke to me in an interview last week, where he explained that if Iowa could have remained closed just a little longer, we’d be closer to safety. Ideally, explained Perencevich, if Iowa had truly shut down immediately and decisively for two weeks in the beginning, we wouldn’t be in this situation. Absent that, shutting down for two more weeks would ensure greater safety.

This pandemic didn’t have to be a choice between the economy or lives. We are the world’s richest nation, we could have come up with a solution. But doing so would mean that we’d have to face America’s deep inequality, we’d have to enact social change and pump money into food benefits and health care, two things Reynolds has slowly been defunding during her tenure as governor. Each of these deaths was preventable not inevitable. But our governor and federal government have given up the fight, and called it success. They’ve accepted that some people will die, and even more will get sick and lose their livelihoods and income and be forced to bear mounting medical costs.

It’s easier to say you win, before you’ve even played the game. And so here we are, dying from all this success.

lyz.lenz@thegazette.com; 319-368-8513

What does a localization specialist do? What is the concept of localization? If these questions are on your mind, then this article is for you. More

Recent advances in technology have helped both small and large companies to automate their business process to improve productivity. In fact, experts have also emphasized that productivity has stalled over the last couple of years. Numerous large-scale businesses also complained that their productivity was in decline despite implementing innovative workplace guidelines to improve the workflow. […] More

En ces temps de confinement, l’heure est à l’évasion de l’esprit. Nous vous proposons aujourd’hui de découvrir le joli travail de l’illustratrice russe Darya Shnykina. Elle est l’auteure d’une série de créations intitulée Places I’d Love To Live In.  Elle a imaginé représenter d’adorables petites maisonnées solitaires en pleine nature. Des petits havres de paix où chacun […]

If you own an AirPort base station, you can use the Timed Access feature to control the days and times when users access the Internet. This could come in handy in a variety of situations. For example, if you own a cafe and provide free wi-fi access, you can configure the AirPort to block all access to the Internet when your business is closed. And if you have children, you can set time limits for specific devices in your home.

There are two ways to use the timed access feature. You can create a default allow policy to allow all devices to access the Internet at any time, and then specify custom schedules for specific devices. Or you can create a default deny policy to prevent all devices from accessing the Internet according the schedule you specify, and then exempt specific devices by creating custom schedules.

Here's how to control AirPort network access with time limits:

1. Open the AirPort Utility application. (It's in Applications → Utilities.) The window shown below appears.
   
   
2. Click the AirPort Extreme's icon. The status pop-up window appears.
   
   
3. Click Edit. The settings window appears.
   
   
4. Select the Network tab. The window shown below appears.
   
   
5. Select the Enable Access Control checkbox.
   
   
6. Click Timed Access Control. The window shown below appears.
   
   
7. Select the Unlimited (default) option. By default, this allows all of the devices connected to your AirPort to access the Internet all day, every day, but you can change this to block Internet access for all devices (except the ones you specify later) during the times you set.
   
   
8. If you'd like to limit the days and times that a specific device can access the Internet, click the + button under the Wireless Clients field. The window shown below appears.
   
   
9. Enter a name for the device in the Description field.
   
   
10. Enter the device's MAC address in the MAC Address field. You can use the following tutorials to find the device's MAC address.
    
    • How to Find Your Mac's MAC Address
    • How to Find Your iPad's MAC Address
    • How to Find Your iPhone's MAC Address
    
    
11. Use the + button under the Wireless Access Times field to create a schedule for this device's Internet access.
    
    
12. Once you've added all of your devices and customized the schedules, click Save.
    
    
13. Click Update. The AirPort will restart to apply the changes.

Congratulations! You have successfully set time limits for the devices connecting to your AirPort network. The schedule you created is effective immediately.

Meet Your Macinstructor

Matt Cone, the author of Master Your Mac, has been a Mac user for over 20 years. A former ghost writer for some of Apple's most notable instructors, Cone founded Macinstruct in 1999, a site with OS X tutorials that boasts hundreds of thousands of unique visitors per month. You can email him at: matt@macinstruct.com.

In normal times, Chew on This focuses on restaurant openings and closings. These are not normal times, with restaurants closed except to carryout, curbside and delivery. We know these businesses still need support from the community to survive, so each week we are going to highlight five local restaurants.

These are just a few of the many places offering barbecue; look up your favorite restaurants on Facebook or call to find out what they have.

If you don’t want to leave the house, try a delivery service like Chomp, GrubHub or MyTown2Go. Check with the restaurant to make sure they’re affiliated with a delivery service before ordering.

Big’s BBQ Brewpub

124 Second Ave. NW, Mount Vernon; (319) 535-1060, facebook.com/bigsbbq

Get a growler of house-brewed beer to pair with your barbecue. Every Wednesday features a wings special; check the Facebook page for additional daily specials.

County Line

6677 16th Ave. SW, Cedar Rapids; (319) 378-4777, facebook.com/austinbluesbbq

Call in advance orders from 3 to 7 p.m. Wednesday to Friday and pickup from the food truck parked in the parking lot or stop by the truck parked at Cassill Motors, 2939 16th Ave. SW, Cedar Rapids, from 11 a.m. to 1 p.m. Wednesdays and Fridays.

Jimmy Jack’s Rib Shack

1940 Lower Muscatine, Iowa City, (319) 354-7427 and 745 Community Dr., North Liberty, (319) 665-2486; jimmyjacksribshack.com

This Iowa City staple has classic dishes like ribs, smoked chicken and brisket and can even please vegetarians with a portobello sandwich.

Mosley’s

525 S. Gilbert St., Iowa City, (319) 338-1419 and 125 E. Zeller St., North Liberty, (319) 626-4227; mosleysbarbecue.com

Try a family-style meal for curbside pickup, featuring four sandwiches or a slab of ribs, plus sides and cornbread, or order off the menu.

Willie Ray’s Q Shack

288 Blairs Ferry Rd. NE, Cedar Rapids; (319) 206-3806, willieraysqshack.com

This tiny establishment was made for social distancing, with drive-through the only option for service even before the pandemic. Get one of the daily specials or order a la carte.

Comments: (319) 398-8339; alison.gowans@thegazette.com

IOWA CITY — An Iowa City man has been arrested in Texas in connection with the April 20 shooting death of Kejuan Winters.

Reginald Little, 44, was taken into custody Friday by the Lubbock County Sheriff’s Office, according to Iowa City police.

Little faces a charge of first-degree murder and is awaiting extradition back to Iowa City.

The shooting happened in an apartment at 1960 Broadway St. around 9:55 a.m. April 20. Police said gunfire could be heard during the call to police.

Officers found Winters, 21, of Iowa City, with multiple gunshot wounds. He died in the apartment.

Police said Durojaiya A. Rosa, 22, of Iowa City, and a woman were at the apartment and gave police a description of the shooter and said they heard him fighting with Winters before hearing gunshots.

Surveillance camera footage and cellphone records indicated Little was in the area before the shots were fired, police said.

Investigators also discovered Little and Rosa had been in communication about entering the apartment, and Rosa told police he and Little had planned to rob Winters.

Rosa also faces one count of first-degree murder.

The shooting death spurred three additional arrests.

Winters’ father, Tyris D. Winters, 41, of Peoria, Ill., and Tony M. Watkins, 39, of Iowa City, were arrested on attempted murder charges after confronting another person later that day in Coralville about the homicide, and, police say, shooting that person in the head and foot.

Police also arrested Jordan R. Hogan, 21, of Iowa City, for obstructing prosecution, saying he helped the suspect, Little, avoid arrest.

First-degree murder is a Class A felony punishable by an automatic life sentence.

Comments: (319) 339-3155; lee.hermiston@thegazette.com

And while we’re in the process of missing European architecture… ????
—
4 more days left to catch my Lightroom presets for 50% off! ⌛️ (at Copenhagen, Denmark)

Back in late 2016, we introduced Speech Recognition at Auphonic. This allows our users to create transcripts of their recordings, and more usefully, this means podcasts become searchable.
Now we integrated two more speech recognition engines: Amazon Transcribe and Speechmatics. Whilst integrating these services, we also took the opportunity to develop a complete new Transcription Editor:

Screenshot of our Transcript Editor with word confidence highlighting and the edit bar.
Try out the Transcript Editor Examples yourself!

The new Auphonic Transcript Editor is included directly in our HTML transcript output file, displays word confidence values to instantly see which sections should be checked manually, supports direct audio playback, HTML/PDF/WebVTT export and allows you to share the editor with someone else for further editing.

The new services, Amazon Transcribe and Speechmatics, offer transcription quality improvements compared to our other integrated speech recognition services.
They also return word confidence values, timestamps and some punctuation, which is exported to our output files.

The Auphonic Transcript Editor

With the integration of the two new services offering improved recognition quality and word timestamps alongside confidence scores, we realized that we could leverage these improvements to give our users easy-to-use transcription editing.
Therefore we developed a new, open source transcript editor, which is embedded directly in our HTML output file and has been designed to make checking and editing transcripts as easy as possible.

Main features of our transcript editor:

• Edit the transcription directly in the HTML document.
• Show/hide word confidence, to instantly see which sections should be checked manually (if you use Amazon Transcribe or Speechmatics as speech recognition engine).
• Listen to audio playback of specific words directly in the HTML editor.
• Share the transcript editor with others: as the editor is embedded directly in the HTML file (no external dependencies), you can just send the HTML file to some else to manually check the automatically generated transcription.
• Export the edited transcript to HTML, PDF or WebVTT.
• Completely useable on all mobile devices and desktop browsers.

Examples: Try Out the Transcript Editor

Here are two examples of the new transcript editor, taken from our speech recognition audio examples page:

1. Singletrack Transcript Editor Example

Singletrack speech recognition example from the first 10 minutes of Common Sense 309 by Dan Carlin. Speechmatics was used as speech recognition engine without any keywords or further manual editing.

2. Multitrack Transcript Editor Example

A multitrack automatic speech recognition transcript example from the first 20 minutes of TV Eye on Marvel - Luke Cage S1E1. Amazon Transcribe was used as speech recognition engine without any further manual editing.
As this is a multitrack production, the transcript includes exact speaker names as well (try to edit them!).

Transcript Editing

By clicking the Edit Transcript button, a dashed box appears around the text. This indicates that the text is now freely editable on this page. Your changes can be saved by using one of the export options (see below).
If you make a mistake whilst editing, you can simply use the undo/redo function of the browser to undo or redo your changes.

When working with multitrack productions, another helpful feature is the ability to change all speaker names at once throughout the whole transcript just by editing one speaker. Simply click on an instance of a speaker title and change it to the appropriate name, this name will then appear throughout the whole transcript.

Word Confidence Highlighting

Word confidence values are shown visually in the transcript editor, highlighted in shades of red (see screenshot above). The shade of red is dependent on the actual word confidence value: The darker the red, the lower the confidence value. This means you can instantly see which sections you should check/re-work manually to increase the accuracy.

Once you have edited the highlighted text, it will be set to white again, so it’s easy to see which sections still require editing.
Use the button Add/Remove Highlighting to disable/enable word confidence highlighting.

NOTE: Word confidence values are only available in Amazon Transcribe or Speechmatics, not if you use our other integrated speech recognition services!

Audio Playback

The button Activate/Stop Play-on-click allows you to hear the audio playback of the section you click on (by clicking directly on the word in the transcript editor).
This is helpful in allowing you to check the accuracy of certain words by being able to listen to them directly whilst editing, without having to go back and try to find that section within your audio file.

If you use an External Service in your production to export the resulting audio file, we will automatically use the exported file in the transcript editor.
Otherwise we will use the output file generated by Auphonic. Please note that this file is password protected for the current Auphonic user and will be deleted in 21 days.

If no audio file is available in the transcript editor, or cannot be played because of the password protection, you will see the button Add Audio File to add a new audio file for playback.

Export Formats, Save/Share Transcript Editor

Click on the button Export... to see all export and saving/sharing options:

Save/Share Editor

The Save Editor button stores the whole transcript editor with all its current changes into a new HTML file. Use this button to save your changes for further editing or if you want to share your transcript with someone else for manual corrections (as the editor is embedded directly in the HTML file without any external dependencies).

Export HTML / Export PDF / Export WebVTT

Use one of these buttons to export the edited transcript to HTML (for WordPress, Word, etc.), to PDF (via the browser print function) or to WebVTT (so that the edited transcript can be used as subtitles or imported in web audio players of the Podlove Publisher or Podigee).
Every export format is rendered directly in the browser, no server needed.

Amazon Transcribe

The first of the two new services, Amazon Transcribe, offers accurate transcriptions in English and Spanish at low costs, including keywords, word confidence, timestamps, and punctuation.

UPDATE 2019:
Amazon Transcribe offers more languages now - please see Amazon Transcribe Features!

Pricing

The free tier offers 60 minutes of free usage a month for 12 months. After that, it is billed monthly at a rate of $0.0004 per second ($1.44/h).
More information is available at Amazon Transcribe Pricing.

Custom Vocabulary (Keywords) Support

Custom Vocabulary (called Keywords in Auphonic) gives you the ability to expand and customize the speech recognition vocabulary, specific to your case (i.e. product names, domain-specific terminology, or names of individuals).
The same feature is also available in the Google Cloud Speech API.

Timestamps, Word Confidence, and Punctuation

Amazon Transcribe returns a timestamp and confidence value for each word so that you can easily locate the audio in the original recording by searching for the text.
It also adds some punctuation, which is combined with our own punctuation and formatting automatically.

The high-quality (especially in combination with keywords) and low costs of Amazon Transcribe make it attractive, despite only currently supporting two languages.
However, the processing time of Amazon Transcribe is much slower compared to all our other integrated services!

Try it yourself:
Connect your Auphonic account with Amazon Transcribe at our External Services Page.

Speechmatics

Speechmatics offers accurate transcriptions in many languages including word confidence values, timestamps, and punctuation.

Many Languages

Speechmatics’ clear advantage is the sheer number of languages it supports (all major European and some Asiatic languages).
It also has a Global English feature, which supports different English accents during transcription.

Timestamps, Word Confidence, and Punctuation

Like Amazon, Speechmatics creates timestamps, word confidence values, and punctuation.

Pricing

Speechmatics is the most expensive speech recognition service at Auphonic.
Pricing starts at £0.06 per minute of audio and can be purchased in blocks of £10 or £100. This equates to a starting rate of about $4.78/h. Reduced rate of £0.05 per minute ($3.98/h) are available if purchasing £1,000 blocks.
They offer significant discounts for users requiring higher volumes. At this further reduced price point it is a similar cost to the Google Speech API (or lower). If you process a lot of content, you should contact them directly at sales@speechmatics.com and say that you wish to use it with Auphonic.
More information is available at Speechmatics Pricing.

Speechmatics offers high-quality transcripts in many languages. But these features do come at a price, it is the most expensive speech recognition services at Auphonic.

Unfortunately, their existing Custom Dictionary (keywords) feature, which would further improve the results, is not available in the Speechmatics API yet.

Try it yourself:
Connect your Auphonic account with Speechmatics at our External Services Page.

What do you think?

Any feedback about the new speech recognition services, especially about the recognition quality in various languages, is highly appreciated.

We would also like to hear any comments you have on the transcript editor particularly - is there anything missing, or anything that could be implemented better?
Please let us know!

If listeners find themselves using the volume up and down buttons a lot, level differences within your podcast or audio file are too big.
In this article, we are discussing why audio dynamic range processing (or leveling) is more important than loudness normalization, why it depends on factors like the listening environment and the individual character of the content, and why the loudness range descriptor (LRA) is only reliable for speech programs.

Photo by Alexey Ruban.

Why loudness normalization is not enough

Everybody who has lived in an apartment building knows the problem: you want to enjoy a movie late at night, but you're constantly on the edge - not only because of the thrilling story, but because your index finger is hovering over the volume down button of your remote. The next loud sound effect is going to come sooner rather than later, and you want to avoid waking up your neighbors with some gunshot sounds blasting from your TV.

In our previous post, we talked about the overall loudness of a production. While that's certainly important to keep in mind, the loudness target is only an average value, ignoring how much the loudness varies within a production. The loudness target of your movie might be in the ideal range, yet the level differences between a gunshot and someone whispering can still be enormous - having you turn the volume down for the former and up for the latter.

While the average loudness might be perfect, level differences can lead to an unpleasant listening experience.

Of course, this doesn't apply to movies alone. The image above shows a podcast or radio production. The loud section is music, the very quiet section just breathing, and the remaining sections are different voices.

To be clear, we're not saying that the above example is problematic per se. There are many situations, where a big difference in levels - a high dynamic range - is justified: for instance, in a movie theater, optimized for listening and without any outside noise, or in classical music.
Also, if the dynamic range is too small, listening can be tiring.

But if you watch the same movie in an outdoor screening in the summer on a beach next to the crashing waves or in the middle of a noisy city, it can be tricky to hear the softer parts.
Spoken word usually has a smaller dynamic range, and if you produce your podcast for a target audience of train or car commuters, the dynamic range should be even smaller, adjusting for the listening situation.

Therefore, hitting the loudness target has less impact on the listening experience than level differences (dynamic range) within one file!
What makes a suitable dynamic range does not only depend on the listening environment, but also on the nature of the content itself. If the dynamic range is too small, the audio can be tiring to listen to, whereas more variability in levels can make a program more interesting, but might not work in all environments, such as a noisy car.

Dynamic range experiment in a car

Wolfgang Rein, audio technician at SWR, a public broadcaster in Germany, did an experiment to test how drivers react to programs with different dynamic ranges. They monitored to what level drivers set the car stereo depending on speed (thus noise level) and audio dynamic range.
While the results are preliminary, it seems like drivers set the volume as low as possible so that they can still understand the content, but don't get distracted by loud sounds.

As drivers adjust the volume to the loudest voice in a program, they won't understand quieter speakers in content with a high dynamic range anymore. To some degree and for short periods of time, they can compensate by focusing more on the radio program, but over time that's tiring. Therefore, if the loudness varies too much, drivers tend to switch to another program rather than adjusting the volume.
Similar results have been found in a study conducted by NPR Labs and Towson University.

On the other hand, the perception was different in pure music programs. When drivers set the volume according to louder parts, they weren't able to hear softer segments or the beginning of a song very well. But that did not matter to them as much and didn't make them want to turn up the volume or switch the program.

Listener's reaction in response to frequent loudness changes. (from John Kean, Eli Johnson, Dr. Ellyn Sheffield: Study of Audio Loudness Range for Consumers in Various Listening Modes and Ambient Noise Levels)

Loudness comfort zone

The reaction of drivers to variable loudness hints at something that BBC sound engineer Mike Thornton calls the loudness comfort zone.

Tests (...) have shown that if the short-term loudness stays within the "comfort zone" then the consumer doesn’t feel the need to reach for the remote control to adjust the volume.

In a blog post, he highlights how the series Blue Planet 2 and Planet Earth 2 might not always have been the easiest to listen to. The graph below shows an excerpt with very loud music, followed by commentary just at the bottom of the green comfort zone. Thornton writes: "with the volume set at a level that was comfortable when the music was playing we couldn’t always hear the excellent commentary from Sir David Attenborough and had to resort to turning on the subtitles to be sure we knew what Sir David was saying!"

Planet Earth 2 Loudness Plot Excerpt. Colored green: comfort zone of +3 to -5LU around the loudness target. (from Mike Thornton: BBC Blue Planet 2 Latest Show In Firing Line For Sound Issues - Are They Right?)

As already mentioned above, a good mix considers the maximum and minimum possible loudness in the target listening environment.
In a movie theater the loudness comfort zone is big (loudness can vary a lot), and loud music is part of the fun, while quiet scenes work just as well. The opposite was true in the aforementioned experiment with drivers, where the loudness comfort zone is much smaller and quiet voices are difficult to understand.

Hence, the loudness comfort zone determines how much dynamic range an audio signal can use in a specific listening environment.

How to measure dynamic range: LRA

When producing audio for various environments, it would be great to have a target value for dynamic range, (the difference between the smallest and largest signal values of an audio signal) as well. Then you could just set a dynamic range target, similarly to a loudness target.

Theoretically, the maximum possible dynamic range of a production is defined by the bit-depth of the audio format. A 16-bit recording can have a dynamic range of 96 dB; for 24-bit, it's 144 dB - which is well above the approx. 120 dB the human ear can handle. However, most of those bits are typically being used to get to a reasonable base volume. Picture a glass of water: you want it to be almost full, with some headroom so that it doesn't spill when there's a sudden movement, i.e. a bigger amplitude wave at the top.

Determining the dynamic range of a production is easier said than done, though. It depends on which signals are included in the measurement: for example, if something like background music or breathing should be considered at all.
The currently preferred method for broadcasting is called Loudness Range, LRA. It is measured in Loudness Units (LU), and takes into account everything between the 10th and the 95th percentile of a loudness distribution, after an additional gating method. In other words, the loudest 5% and quietest 10% of the audio signal are being ignored. This way, quiet breathing or an occasional loud sound effect won't affect the measurement.

Loudness distribution and LRA for the film 'The Matrix'. Figure from EBU Tech Doc 3343 (p.13).

However, the main difficulty is which signals should be included in the loudness range measurement and which ones should be gated. This is unfortunately often very subjective and difficult to define with a purely statistical method like LRA.

Where LRA falls short

Therefore, only pure speech programs give reliable LRA values that are comparable!
For instance, a typical LRA for news programs is 3 LU; for talks and discussions 5 LU is common. LRA values for features, radio dramas, movies or music very much depend on the individual character and might be in the range between 5 and 25 LU.

To further illustrate this, here are some typical LRA values, according to a paper by Thomas Lund (table 2):

Program	Loudness Range
Matrix, full movie	25.0
NBC Interstitials, Jan. 2008, all together (3:30)	9.4
Friends Episode 16	6.6
Speak Ref., Male, German, SQUAM Trk 54	6.2
Speak Ref., Female, French, SQUAM Trk 51	4.8
Speak Ref., Male, English, Sound Check	3.3
Wish You Were Here, Pink Floyd	22.1
Gilgamesh, Battle of Titans, Osaka Symph.	19.7
Don’t Cry For Me Arg., Sinead O’Conner	13.7
Beethoven Son in F, Op17, Kliegel & Tichman	12.0
Rock’n Roll Train, AC/DC	6.0
I.G.Y., Donald Fagen	3.6

LRA values of music are very unpredictable as well.
For instance, Tom Frampton measured the LRA of songs in multiple genres, and the differences within each genre are quite big. The ten pop songs that he analyzed varied in LRA between 3.7 and 12 LU, country songs between 3.6 and 14.9 LU. In the Electronic genre the individual LRAs were between 3.7 and 15.2 LU. Please see the tables at the bottom of his blog post for more details.

We at Auphonic also tried to base our Adaptive Leveler parameters on the LRA descriptor. Although it worked, it turned out that it is very difficult to set a loudness range target for diverse audio content, which does include speech, background sounds, music parts, etc. The results were not predictable and it was hard to find good target values. Therefore we developed our own algorithm to measure the dynamic range of audio signals.

In conclusion, LRA comparisons are only useful for productions with spoken word only and the LRA value is therefore not applicable as a general dynamic range target value. The more complex a production gets, the more difficult it is to make any judgment based on the LRA.
This is, because the definition of LRA is purely statistical. There's no smart measurement using classifiers that distinguish between music, speech, quiet breathing, background noises and other types of audio. One would need a more intelligent algorithm (as we use in our Adaptive Leveler), that knows which audio segments should be included and excluded from the measurement.

From theory to application: tools

Loudness and dynamic range clearly is a complicated topic. Luckily, there are tools that can help. To keep short-term loudness in range, a compressor can help control sudden changes in loudness - such as p-pops or consonants like t or k. To achieve a good mid-term loudness, i.e. a signal that doesn't go outside the comfort zone too much, a leveler is a good option. Or, just use a fader or manually adjust volume curves. And to make sure that separate productions sound consistent, loudness normalization is the way to go. We have covered all of this in-depth before.

Looking at the audio from above again, with an adaptive leveler applied it looks like this:

Leveler example. Output at the top, input with leveler envelope at the bottom.

Now, the voices are evened out and the music is at a comfortable level, while the breathing has not been touched at all.
We recently extended Auphonic's adaptive leveler, so that it is now possible to customize the dynamic range - please see adaptive leveler customization and advanced multitrack audio algorithms.
If you wanted to increase the loudness comfort zone (or dynamic range) of the standard preset by 10 dB (or LU), for example, the envelope would look like this:

Leveler with higher dynamic range, only touching sections with extremely low or extremely high loudness to fit into a specific loudness comfort zone.

When a production is done, our adaptive leveler uses classifiers to also calculate the integrated loudness and loudness range of dialog and music sections separately. This way it is possible to just compare the dialog LRA and loudness of complex productions.

Assessing the LRA and loudness of dialog and music separately.

Conclusion

Getting audio dynamics right is not easy. Yet, it is an important thing to keep in mind, because focusing on loudness normalization alone is not enough. In fact, hitting the loudness target often has less impact on the listening experience than level differences, i.e. audio dynamics.

If the dynamic range is too small, the audio can be tiring to listen to, whereas a bigger dynamic range can make a program more interesting, but might not work in loud environments, such as a noisy train.
Therefore, a good mix adapts the audio dynamic range according to the target listening environment (different loudness comfort zones in cinema, at home, in a car) and according to the nature of the content (radio feature, movie, podcast, music, etc.).

Furthermore, because the definition of the loudness range / LRA is purely statistical, only speech programs give reliable LRA values that are comparable.
More "intelligent" algorithms are in development, which use classifiers to decide which signals should be included and excluded from the dynamic range measurement.

If you understand German, take a look at our presentation about audio dynamic processing in podcasts for further information:

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