Sound Broadcasting Research Articles

ДОСЛІДЖЕННЯ ВПЛИВУ ЧАСТОТНИХ ВЛАСТИВОСТЕЙ СЛУХУ В ПРОЦЕСІ ВИМІРЮВАННЯ ГУЧНОСТІ ЗВУЧАННЯ АУДІОКОНТЕНТУ

Nowadays the problem of correct estimation and measurement of TV- and sound broadcasting programmes loudness is of great importance. The European Broadcasting Union (EBU) has established a special investigation group, dealing with loudness estimation and normalization, similarly, ITU emphasizes on the importance of objective measurement of audio program loudness to facilitate program delivery and exchange, and to provide more comfortable listening experience for audiences. In Recommendation ITU-R BS.1770-5 the modern algorithm of objective loudness measurement is described in detail. This algorithm includes frequency weighting of the measured audio signal to assume frequency properties of human auditory system, but such weighting concerns only the lower part of sound frequency band. In this article, the authors raise the question of the necessity of taking into account the dependence of sensitivity of the human auditory system on upper frequencies of the sound band. A brief overview of the existing representations of the frequency response of hearing sensitivity when listening to different types of sound signals is provided. Also in the article are discussed the results of subjective assessment of appreciability of changes in loudness of audio content of different types (speech and music) while changing the audio signal’s level on the upper frequencies of sound band. In one case the level of audio signal was adjusted according to the equal loudness contour corresponding to 60 phones of loudness level, and in another case, according to one of the variants of the averaged psophometric curve. The results of subjective assessment for these two cases were compared with each other. For all processed sound fragments, a confidence intervals were calculated based on the indicator of appreciability of changes in loudness, percieved by the listeners, and evaluated the accuracy of the results. Based on the results obtained from subjective assessment, further ways of conducting of the research are proposed.

Auditory changes in awake guinea pigs exposed to overcompressed music

Exposure to loud sound during leisure time is identified as a significant risk factor for hearing by health authorities worldwide. The current standard that defines unsafe exposure rests on the equal-energy hypothesis, according to which the maximum recommended exposure is a tradeoff between level and daily exposure duration, a satisfactory recipe except for strongly non-Gaussian intense sounds such as gunshots. Nowadays, sound broadcast by music and videoconference streaming services makes extensive use of numerical dynamic range compression. By filling in millisecond-long valleys in the signal to prevent competing noise from masking, it pulls sound-level statistics away from a Gaussian distribution, the framework where the equal-energy hypothesis emerged.Auditory effects of a single 4 hour exposure to the same music were compared in two samples of guinea pigs exposed either to its original or overcompressed version played at the same average level of 102 dBA allowed by French regulations. Apart from a temporary shift of otoacoustic emissions at the lowest two frequencies 2 and 3 kHz, music exposure had no detectable cochlear effect, as monitored at 1, 2 and 7 days post-exposure. Conversely, middle-ear muscle strength behaved differentially as the group exposed to original music had fully recovered one day after exposure whereas the group exposed to overcompressed music remained stuck to about 50% of baseline even after 7 days. Subsamples were then re-exposed to the same music as the first time and sacrificed for density measurements of inner-hair-cell synapses. No difference in synaptic density was found compared to unexposed controls with either type of music.The present results show that the same music piece, harmless when played in its original version, induces a protracted deficit of one auditory neural pathway when overcompressed at the same level. The induced disorder does not seem to involve inner-hair cell synapses.

Management of Youth Creative Sound Broadcasting Program (Pro 2) at Rri Medan in Maintaining Its Existence

Managing broadcast programs on radio is not an easy thing, but it is a challenge that must be faced by radio companies. Moreover, managing a radio program means also managing its human resources. However, the success of the program also depends on the quality of the people working in that field. Therefore, good management is needed to realize a successful program. This study examines how the management and obstacles in the management are carried out by Radio Republik Indonesia (RRI) Medan City through planning, organizing, implementing and supervising which are applied to the Suara Creativity Broadcasting Program (Pro 2). This study aims to determine the management and obstacles in the creative sound broadcast program (Pro 2) at RRI Medan in maintaining its existence. This research uses a qualitative approach with descriptive research methods and data collection techniques using observation, interviews, and documentation. This study uses the theory of communication management put forward by George R. Terry. The results of this study indicate that planning as the first step of the program has been going well where the determination of a program idea, broadcast scheduling, and determining broadcast topics have been well formulated. The stage of organizing management is by preparing information to be conveyed through the program that has been prepared. The implementation phase is carried out on air and also publishes information through social media. The monitoring phase is carried out by means of evaluation, in the evaluation of things that are likely to occur can be changed or prevented. As well as obstacles in the implementation of broadcasting are the lack of innovation, the pressure of deadlines and weather conditions.

Coverage Optimization of Eureka Digital Sound Broadcasting Single Frequency Network Using Simulated Annealing and Particle Swarm Optimization

Due to scarcity of bandwidth available for sound broadcasting, Digital sound broadcasting Technology is emerging to be the Technology of resort in sound broadcasting industry towards replacing the analogue sound broadcasting currently dominated by FM Radio. There are many digital sound broadcasting systems being proposed with different performance and bandwidth efficiency. Static delays are artificial delays intentionally introduced at each Transmitter in order to minimize interference in a Single Frequency Network (SFN). In this paper, we have looked at the Terrestrial digital audio broadcasting (T-DAB) system specifically to optimize its final SFN coverage by finding an optimal set of static delays for transmitters. For the sake of simulation, hexagonal model of transmitters operating under Single Frequency Network (SFN) was used. The aim of this study is to maximize SFN coverage by using optimal set of artificial static delays, Particle Swarm Optimization (PSO) have strong ability in finding the global optimistic result while Stimulated Annealing (SA) algorithm has a strong ability to find the local Optimistic result and therefore based on their unique strength, these methods were selected so that our study can have a good comparison in terms of coverage by using both global and local optimistic results. We report the increase of coverage by 1.12% and 2.38% using Simulated Annealing and Particle Swarm Optimization technique respectively.

From the Experience of Using Powerful Sound Broadcasting Stations by the Red Army in 1943

From the Experience of Using Powerful Sound Broadcasting Stations by the Red Army in 1943

Physics‐based model to predict the acoustic detection distance of terrestrial autonomous recording units over the diel cycle and across seasons: Insights from an Alpine and a Neotropical forest

Abstract Passive acoustic monitoring of biodiversity is growing fast, as it offers an alternative to traditional aural point count surveys, with the possibility to deploy long‐term acoustic surveys in large and complex natural environments. However, there is still a clear need to evaluate how the frequency‐ and distance‐dependent attenuation of sound as well as the ambient sound level impact the acoustic detection distance of the soniferous species in natural environments over the diel cycles and across seasons. This is of great importance to avoid pseudoreplication and to provide relevant biodiversity indicators, including species richness, species abundance and species density. To address the issue of detection distance, we tested a field‐based protocol in a Neotropical rainforest (French Guiana, France) and in an Alpine coniferous forest (Jura, France). This standardized and repeatable method consists in a recording session of the ambient sound directly followed by an experiment using a calibrated white noise sound broadcast at different positions along a 100 m linear transect. We then used acoustic laws to reveal the basic physics behind sound propagation attenuation. We demonstrate that habitat attenuation in two different kinds of forests can be modelled by an exponential decay law with a linear dependence on frequency and distance. We also report that habitat attenuation, as first approximation, can be summarized by a single value, the coefficient of attenuation of the habitat. Finally, we show that the detection distance can be predicted knowing the contribution of each attenuation factor, the coefficient of attenuation of the habitat, the ambient sound pressure level and the amplitude and frequency bandwidth characteristics of the transmitted sound. We show that the detection distance mostly depends on the ambient sound and may vary by a factor of up to 5 over the diel cycle and across seasons. These results reinforce the need to take into account the variation of the detection distance when performing passive acoustic surveys and producing reliable biodiversity indicators.

Reforming Radio: BBC Radio’s Music Policy 1957-1967

This article examines attempts by the centralised policy makers of the British Broadcasting Corporation (BBC) to overcome a crisis at their radio service consequent to the launch of commercial television in 1955. It looks in particular at the work – the successes, failures and frustrations – of an assistant director, a bureaucrat, who planned to regenerate music policy, especially so in terms of pop and light music, which led to the formation of the numbered station system still in use today: Radios 1 - 4. Using primary sources from the BBC’s written archives, the article will identify the oppositions he faced from external forces (the Sound Broadcasting Society, the Musicians’ Union) and the internal staff (music department operatives, presenters). It will attempt to explain, through the prism of Michel Crozier’s study The Bureaucratic Phenomenon (1964), how the assistant director overcame these hurdles across the ten years of time that it took to pummel policy into practice.

Fungsi Komisi Penyiaran Indonesia terhadap Pelanggaran Siaran Televisi

Broadcasting through television media is an effective and efficient way to convey information, education and inspiration to the public or society. The information that is presented must have been packaged in such a way that it is interesting to display. However, in practice, there are frequent violations of television broadcasting, especially violating broadcasting code of conduct and broadcast program standards. For this reason, this study aims to determine the regulation of television broadcasts in Indonesia, and to determine the sanctions for violations of television broadcasting. The research method used is normative research with several problem approaches, namely the conceptual approach and the statutory approach. Sources of legal materials used are primary and secondary legal materials. Based on the research that has been done, it shows that the regulation of television broadcasts carried out by the Indonesian Broadcasting Commission is expected to be able to regulate broadcasts so that they do not deviate from broadcast corridors that are in accordance with sound broadcast standards or categories and are able to provide inspiring information and education to the public watching the broadcast. The imposition of sanctions for stations that violate must also be firmer and have a deterrent effect so that the same incident does not occur again. For this reason, it is better if the government, television stations, and the community must work together to create healthy broadcasts not only based on ratings and material benefits, but must be based on the concept of healthy and inspiring education among the public.

Public Information, Education, and Communication (IEC) of Health: Active Participation of Health Practitioners in Urban Radio in a Low Resource Setting

Introduction:Over the last two decades, Frequency Modulation (FM) radio has been established as the only form of sound broadcasting in Ghana. Radio is the most accessible of mass media. There are more than 40 operational radio stations in the Ashanti region of Ghana. Most stations are commercial, broadcasting in the local language (Asante-Twi). Many urban radio health slots discuss various diseases and their treatments mainly for the benefit of patients. Complementary and Alternative Medicine (CAM) practitioners who are able to pay for airtime dominate as ‘experts’ in most of these shows.Methods:We identified an IEC gap regarding policies governing healthcare delivery, healthcare financing, training, ethics and research, and environmental issues. In June 2015, orthodox medical practitioners collaborated with a private, local, English-speaking radio station to produce and host a weekly health show whose content was aimed at holistically discussing health from the viewpoint of practitioners, clients, policy makers, administrators, and financiers in a simplified language for the general public, including healthcare trainees.Discussion:The show dubbed “Staying Alive” first aired on Tuesday, July 7, 2015, at 20:00 GMT and continues to air to date, appealing to a wide range of active listeners. “Staying Alive” to the best of our knowledge remains the only show with a holistic approach to health. Over the last 23 months, we have experienced challenges in sustaining sponsorship to fund the cost of production and airtime for the show, and the cost of effectively assessing the public health impact of the show. Orthodox medical practitioners can employ mass radio as an effective tool for advocacy, information dissemination, and education of clients or health trainees in low or middle-income urban settings through effective collaboration with media stations.

Sound Broadcasting as a Source of Military Propaganda

Sound Broadcasting as a Source of Military Propaganda

Production method for simulcast in 22.2 multichannel sound broadcasting

The 8K with 22.2 multichannel (22.2 ch) sound broadcasting is planned to be launched since December 2018 in Japan. NHK is going to simulcast 2-channel stereo and 5.1 surround together with the 22.2 ch sound for backward compatibility with existing home reproduction equipment, e.g., AV receiver and soundbar. However, individual production for each audio format is impractical because it needs many engineers and a lot of production equipment compared with a production in single format. Hence, an efficient production method for simulcast which does not demand additional production resources is required. The first proposal is a tone compensation for downmixing from the 22.2 ch sound to the other audio formats. The energy spectrum of the downmixed signal is compensated to harmonize with that of the 22.2 ch sound. The second proposal is a loudness chase to have the loudness level of the downmixed signal follow that of the 22.2 ch sound. The loudness level of the downmixed signal usually differs from that of the 22.2 ch sound, so that the loudness chase successively adjusts the loudness level without unnatural level change and matches them by the end of the program.

‘Countries in the Air’: Travel and Geomodernism in Louis MacNeice's BBC Features

In the middle stretch of his twenty-two-year BBC career, the poet and producer Louis MacNeice earned a reputation as one of the ‘undisputed masters of creative sound broadcasting’, a reputation derived, in part, from a huge range of radio features that were founded upon his journeys abroad. Through close examination of some of his most significant overseas soundscapes—including Portrait of Rome (1947) and Portrait of Delhi (1948)—this article will consider the role and function of travel in shaping MacNeice's engagement with the radio feature as a modernist form at a particular transcultural moment when Britain moved through the end of the Second World War and the eventual disintegration of its empire.

Dialogue Channel Control for 22.2 Multichannel Sound Broadcasting: Broadcast Chain Scheme and Subjective Evaluation of Effectiveness

Dialogue Channel Control for 22.2 Multichannel Sound Broadcasting: Broadcast Chain Scheme and Subjective Evaluation of Effectiveness

Automatic loudness control in short-form content for broadcasting.

During the early years of the International Telecommunication Union (ITU) loudness calculation standard for sound broadcasting [ITU-R (2006), Rec. BS Series, 1770], the need for additional loudness descriptors to evaluate short-form content, such as commercials and live inserts, was identified. This work proposes a loudness control scheme to prevent loudness jumps, which can bother audiences. It employs short-form content audio detection and dynamic range processing methods for the maximum loudness level criteria. Detection is achieved by combining principal component analysis for dimensionality reduction and support vector machines for binary classification. Subsequent processing is based on short-term loudness integrators and Hilbert transformers. The performance was assessed using quality classification metrics and demonstrated through a loudness control example.

The Concrete ‘Sound Object’ and the Emergence of Acoustical Film and Radiophonic Art in the Modernist Avant-Garde

Radiophonic art could not have emerged at the end of the 1920s without an intense period of experimentation across the creative fields of radio, new music, phonography, film, literature and theatre. The engagement with sound recording and broadcast technologies by artists radically expanded the scope of creative possibility within their respective practices, and more particularly, pointed to new forms of (inter-)artistic practice based in sound technologies including those of radio. This paper examines the convergence of industry, the development of technology, and creative practice that gave sound, previously understood as immaterial, a concrete objectification capable of responding to creative praxis, and so brought about the conditions that enabled a radiophonic art to materialize.

“The school career of the child as a unity”: John Newsom’s involvement with the BBC, 1934–1971

This article examines John Newsom’s contributions to non-fiction BBC radio and television coverage of education, poverty, and social disadvantage from 1934 to 1971. The correspondence and scripts concerning his BBC broadcasts for a domestic UK-based audience and an overseas audience are used as source material. Newsom is well known among educational historians as Chief Education Officer for Hertfordshire (1940−1957) and the chair of the Central Advisory Council for Education, which compiled the Newsom Report in 1963. He is associated with the aesthetic and cultural experience of pupils in the physical environment of their schools, rather than with the use of words and sound broadcast to encourage reflection amongst adult listeners on the experience of an educated nation. Newsom’s role in shaping the discussion of education on the airwaves and on screen has been excluded as a significant sphere for researchers. Broadcasting was the space in which Newsom and many other education officers and head teachers spoke most directly to the public and beyond their local realms of responsibility. This article argues that in some of his forays into broadcasting, Newsom was introduced as a stabilising influence on programmes with a subject matter, which it was feared, may have the potential to become too radical. From World War II onwards he acted as an advisor, an editor, and author of scripts and sometimes a chair or a participant in broadcast discussion on the subjects of education, democracy, and the unfolding of the 1944 Education Act. The article explores how despite many colleagues at the BBC being unimpressed with Newsom as a broadcaster, he maintained a sustained involvement in programmes for more than 30 years. The article identifies sensitive issues where Newsom’s choices were occasionally curtailed.

The Wireless Past: Anglo-Irish Writers and the BBC, 1931–1968 by Emily C. Bloom

Reviewed by: The Wireless Past: Anglo-Irish Writers and the BBC, 1931–1968 by Emily C. Bloom Eileen Morgan-Zayachek The Wireless Past: Anglo-Irish Writers and the BBC, 1931–1968, by Emily C. Bloom , pp. 205. Oxford: Oxford University Press, 2016. $80.00. Emily Bloom's The Wireless Past: Anglo-Irish Writers and the BBC, 1931–1968 analyzes the work of four Anglo-Irish writers—W. B. Yeats, Louis MacNeice, Elizabeth Bowen, and Samuel Beckett—who independently contributed to the British Broadcasting Corporation in the mid-twentieth century. The four authors central [End Page 156] to her study were but a few of the writers from Ireland who gravitated toward radio and specifically the BBC during the era of World War II. Bloom finds in their adaptations and original writings for radio a complex set of negotiations that transform our understanding of radio's impact on both literature and on literary modernism. Indeed, The Wireless Past is a highly intentional effort to improve on previous scholarship and reorient critical inquiry. Bloom's analysis proceeds from the recognition that scholarly approaches to radio broadcasting and modernism have remained a "fringe pursuit" by radio enthusiasts rather than a subfield of modernism studies, largely because questions about radio writers' identities and about the intertextuality between forms—literature and radio especially—have not been sufficiently engaged. The Wireless Past similarly seeks to correct a perceived overreliance on methods of analysis derived for use on printed literature, such as close reading, that do not apply well to sound broadcasting. Critical treatments of Irish writers' broadcasting contributions have also impeded understanding—specifically of the crosscultural and transnational implications of literary broadcasting—by focusing almost exclusively on the Irish contexts for developments in broadcasting. Bloom offers a means of getting beyond these critical shortcomings, modeling critical practices that duly examine how Anglo-Irish writers used radio broadcasting to engage and adapt literary forms and traditions, and transcend the boundaries of national culture. Bloom demonstrates how through their broadcasting projects they furthered a type of modernism she dubs "radio modernism" which had its own, distinctive "radiogenic" aesthetic that was defined by their simultaneous impulse toward revivalism and innovation. The writers central to The Wireless Past have not typically been studied as a group, owing to the differences in their aesthetics and careers. For Bloom, they serve as exemplars of radio modernism. They understood the instability of national identity through their own lived experiences: the "homelessness" and "displacement" they experienced in the decades after Irish independence and surrounding the World War II—combined with their shared interest in imagining transnational audiences for their work—made them, according to Bloom, uniquely qualified to perform modernist radio experiments at the BBC. As a foundation for The Wireless Past, the twin assumptions that these Anglo-Irish writers experienced the same displacement, a displacement that yielded the understanding of identity as being "essentially unstable" seems to partake in a form of essentialism that requires, at the very least, the social and historical contextualization that Bloom advocates and practices. She does not probe this starting point, but she does acknowledge how some readers may accuse The Wireless Past of reproducing hegemonic structures in reading Irish literature in the context of the British Broadcasting service. She also appropriately recognizes that access to [End Page 157] broadcasting opportunities at the BBC were not uniformly distributed among Irish writers: the privileged Anglo-Irish minority generally had greater access to BBC jobs than other Irish writers, and some of the Anglo-Irish played gatekeeping roles at times. The principal concern and main achievement of The Wireless Past is to show how these writers made radio a generative space at midcentury. Rather than succumb to the widespread anxiety among writers that radio would diminish or even extinguish the public's interest in literature (which Bloom explores thoroughly in the chapter "Elizabeth Bowen's Spectral Radio"), these writers tested the new media's capacity to engage and revise literary texts and forms. In this way their work demonstrates how electronic spaces were opening up to writers and enabling the possibility of new relationships with the literary past. Bloom succeeds in showing how their "radiogenic" aesthetics were never intended as...

They Talk about Shaw

Book Review| December 01 2016 They Talk about Shaw GBS on NBC. “They Knew Bernard Shaw.” National Broadcasting Corporation Biographies in Sound Broadcast, 27 March 1955. Transcribed and annotated by Conolly, L. W.. 47 pages. Privately printed, 2015. Shaw (2016) 36 (2): 316–317. https://doi.org/10.5325/shaw.36.2.0316 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation They Talk about Shaw. Shaw 1 December 2016; 36 (2): 316–317. doi: https://doi.org/10.5325/shaw.36.2.0316 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectivePenn State University PressShaw Search Advanced Search The stream of biographies and critical studies of Shaw flows steadily today, but the transcript of this 1955 Biography in Sound broadcast remains valuable and interesting, first because all of the commentators knew Shaw personally; second, their recollections are often arresting; and third, they present a kaleidoscope of perspectives and opinions. People as various as Sir Cedric Hardwicke (distinguished British actor), Rebecca West (feminist author), Nancy Astor (first woman elected to the House of Commons), Norman Thomas (American socialist), Lilli Palmer (German actress), Frank O'Connor (Irish author), Leonard Lyons (American journalist), Bertrand Russell (British philosopher), Blanche Patch (Shaw's secretary), and Lilla McCarthy (British actress) speak frankly and support their views with vivid reminiscences.Part 1 of the program focuses chiefly on the public Shaw; for instance, Hardwicke appreciates Shaw's impact on actors and their diction, despite the fact that he told Hardwicke that he was Shaw's “fourth favourite actor,” and... You do not currently have access to this content.

Medium Powered Sound Broadcasting Station ZS-82 (“The Decorator”) as a Weapon of Propagandists

Medium Powered Sound Broadcasting Station ZS-82 (“The Decorator”) as a Weapon of Propagandists

A method for improving the reliability of sound broadcast systems used in ecological research and management

Automated sound broadcast systems have been used to address a variety of ecological questions, and show great potential as a management tool. Such systems need to be reliable because treatments are often applied in the absence of a human observer and system failure can cause methodological ambiguity. During the breeding seasons of 2012 and 2013, we used a sound broadcast system previously described by Farrell and Campomizzi (2011) in an experiment evaluating the use of post-breeding song in forest-bird habitat selection in southern Indiana, USA. This system incorporates a portable compact disc (CD) player where the play button is permanently depressed using manual compression so that when a timer connects an electrical current to the unit, the CD player automatically starts. Despite exhaustive efforts to find a reliable way to manually compress the play button on numerous CD player models, play button failure was the most significant source of broadcast system failure (88%) in 2012. We attempted to resolve this problem in 2013 by removing the need for manual compression and soldering the play button contact poles on each CD players' integrated circuit boards. Though we did experience broadcast system failures during <5% of treatment periods in 2013, none of those were attributable to play button failure. By removing all possibility of failure from manual play button compression we improved our system reliability. Thus, soldering the CD player play button on such broadcast systems represents a methodological improvement that can be used by researchers and managers interested in sound broadcast. © 2014 The Wildlife Society.