Verbal suggestions of loudness changes have been reported to result in significantly higher loudn... more Verbal suggestions of loudness changes have been reported to result in significantly higher loudness ratings than those of a control group [1]. This study seeks to extend these results to VoIP applications by implementing visual priming cues within a VoIP interface and assessing their effect on audio quality ratings. A list of common visual priming cues was compiled and cross-referenced with prevalent design features found in popular mobile VoIP Applications. Fourteen participants were divided into two groups: one received embedded priming cues and one did not. Quality ratings were gathered using a MOS rating scale. The results are presented and their relevance discussed.
Student acquisition of graduate attributes is an increasingly important consideration for educati... more Student acquisition of graduate attributes is an increasingly important consideration for educational institutes, yet embedding these attributes in the curriculum is often challenging. This paper recounts the process of embedding design thinking in a studio design course. The process is adapted to suit music technology students and delivered through weekly interactive workshops. Student adaptation to design thinking is assessed against the characteristics of experienced designers to identify issues and derive heuristics for future iterations of the course.
Two listening experiments were conducted to assess: (i) the effect of program material on six sou... more Two listening experiments were conducted to assess: (i) the effect of program material on six sound quality dimensions and (ii) the effect of 20 dB of compression limiting on distraction. Thirty-five participants completed two experiments using a MuSHRA style interface. The experimental results demonstrate that program material significantly affected dimension and distraction ratings. Dimension ratings were influenced by prior listening experience while distraction ratings related to audible artifacts in different program material. Program material from the same artist was rated similarly for distraction in two-thirds of the dimensions suggesting a possible correlation between production aesthetics and audible artifacts. It is concluded that validating program material is a necessary precaution to avoid distracting perceptual cues generated by the process of dynamic range compression.
Anecdotal evidence suggests that when performers request loudness increases in their on-stage mon... more Anecdotal evidence suggests that when performers request loudness increases in their on-stage monitoring device, feedback regarding task completion is sometimes sufficient for the performer to perceive a loudness change. This is colloquially known as a DFA fader. Given the dearth of empirical evidence, qualitative interviews were conducted with live sound engineers to investigate the type of feedback required to successfully deliver a suggestion of a loudness change. Following this, 22 participants completed a paired comparison listening experiment to determine whether verbal suggestions produce perceived loudness changes. The experimental results demonstrate a significant difference between participants receiving a verbal suggestion and those that did not in 12 out of 20 presentations. These results support the use of verbal suggestions to convey loudness increases in live sound contexts.
While the LUFS standard was originally developed for broadcast applications, it offers a convenie... more While the LUFS standard was originally developed for broadcast applications, it offers a convenient means of calibrating program material stimuli to an equal loudness level, while remaining in a multichannel format. However, this calibration is based on an absolute sound pressure level of 60dBA, the preferred listening level when watching television. Levels used in analytical listening and perceptual experiments tend to be significantly higher. This disparity may affect the accuracy of the Leq(RLB) weighting filter employed in LUFS meters. To address this issue, the development of the LUFS standard is examined to assess its suitability for the task. The findings suggest that a compromise between analytical listening and loudness matching in perceptual experiments requires careful consideration of experimental variables.
Objective measurements using a sinusoidal sweep show that microphone angle has little effect on t... more Objective measurements using a sinusoidal sweep show that microphone angle has little effect on the frequency response of a guitar amplifier recording [1]. However, anecdotal evidence suggests that alterations to the microphone angle hold merit when recording ecologically valid sound sources. An ABX listening experiment was conducted with 20 participants to investigate whether microphone angles of 0, 30, and 60 degrees were audibly different to this cohort. Both dynamic and ribbon microphones were used and the loudness normalized guitar recordings were presented in solo and within a music mix. The experimental results suggest that microphone angles did not generate any perceivable changes to this cohort on this program material.
Loudness normalisation has been heralded as a tonic for the loudness wars. In this paper we propo... more Loudness normalisation has been heralded as a tonic for the loudness wars. In this paper we propose that a side effect of its implementation may be a greater awareness of sound quality. This side effect is explored through an analysis of the manner in which music is listened to under this new paradigm. It is concluded that the conditions necessary for sound quality judgments have been provided but that the existing preference for hypercompression may affect the de-escalation of its use in the pop music industry. The aesthetic concerns of hypercompression are examined in order to determine the sonic trade-offs or perceived benefits inherent in the application of hyper-compression. Factors considered include: (i) loss of excitement or emotion, (ii) audition bias in listening environments, (iii) hyper-compression as an aesthetic preference, (iv) the increased cognitive load of hyper-compression, and (v) the ability of loudness variation to define musical structures. The findings sugges...
A listening experiment was conducted to examine whether untrained listeners can discriminate up t... more A listening experiment was conducted to examine whether untrained listeners can discriminate up to 12dB of compression limiting above chance levels. Forty-nine participants completed an ABX listening experiment and a musical engagement questionnaire. The experimental results demonstrate that untrained listeners cannot discriminate up to 12dB of compression limiting above chance levels. The effects of musical engagement indicate that participants more likely to use music to alter their emotional state or relieve boredom performed significantly worse than those less likely to use music for these purposes. It is concluded that, in general, hyper-compression may not be significantly audible to untrained listeners and previous inconclusive results on preference tests are related to this finding
This study investigates the lexicon used to describe analogue compression. Extant documents compr... more This study investigates the lexicon used to describe analogue compression. Extant documents comprising 51 reviews of analogue compressors, over 15 years, are coded using category analysis. A total of 160 adjectives emerge and are further refined to nine inductive categories: transparency; frequency related; signal distortion; energy; transient shaping; glue; association; spatial dimensions and character. A final abstraction reveals two primary attributes governing the perceived sound quality of analogue compression: ‘character’ and ‘transient shaping’. Transparent dynamic range compression is found to be less important. This investigation clarifies the lexicon used to describe the sound quality attributes of analogue compression.
peer-reviewedDespite critical writing from music industry experts decrying the over use of compre... more peer-reviewedDespite critical writing from music industry experts decrying the over use of compression and the introduction of loudness normalisation, hyper-compressed recordings are still released. Typically, hyper-compression is applied at the request of stakeholders, such as musicians and record companies, and against the advice of mastering engineers who cite sound quality degradations. The persistent requests for hyper-compressed recordings suggest that the benefits outweigh the possible sound quality artefacts generated. Prior research focusing on listener preference for dynamic range compression and hyper-compression reported conflicting results. To determine the reason for these conflicting integrated judgments, it was necessary to explore the perceptual constituents affecting listener judgments of hyper-compressed music. Six factors affecting listener preference were first examined. Following this, the perception of hyper-compression by untrained listeners and mastering eng...
The introduction of loudness normalization has led some commentators to declare that the loudness... more The introduction of loudness normalization has led some commentators to declare that the loudness wars are over. However, factors contributing to a preference for dynamic range compression have not been removed. The research presented here investigates the role of long-term memory in sound quality judgments. Factors influencing preference judgments of dynamic range compression are discussed along with suggestions of further research areas. Research is presented that indicates that an objective measure of dynamic range will facilitate a greater understanding of how dynamic range compression affects individual sound quality attributes.
Student acquisition of graduate attributes is an increasingly important consideration for educati... more Student acquisition of graduate attributes is an increasingly important consideration for educational institutes, yet embedding these attributes in the curriculum is often challenging. This paper recounts the process of embedding design thinking in a studio design course. The process is adapted to suit music technology students and delivered through weekly interactive workshops. Student adaptation to design thinking is assessed against the characteristics of experienced designers to identify issues and derive heuristics for future iterations of the course.
Verbal suggestions of loudness changes have been reported to result in significantly higher loudn... more Verbal suggestions of loudness changes have been reported to result in significantly higher loudness ratings than those of a control group [1]. This study seeks to extend these results to VoIP applications by implementing visual priming cues within a VoIP interface and assessing their effect on audio quality ratings. A list of common visual priming cues was compiled and cross-referenced with prevalent design features found in popular mobile VoIP Applications. Fourteen participants were divided into two groups: one received embedded priming cues and one did not. Quality ratings were gathered using a MOS rating scale. The results are presented and their relevance discussed.
Hyper-compressed popular music is the product of a behavior associated with the over-use of dynam... more Hyper-compressed popular music is the product of a behavior associated with the over-use of dynamic range processing in an effort to gain a competitive advantage in music production. This behavior is unnecessary given the introduction of loudness normalization algorithms across the industry and has been denounced by mastering engineers as generating audible sound quality artifacts. However, the audibility of these sound quality artifacts to mastering engineers has not been examined. This study probes this question using an ABX listening experiment with 20 mastering engineers. On average, mastering engineers correctly discriminated 17 out of 24 conditions suggesting that the sound quality artifacts generated by hyper-compression are difficult to perceive. The findings in the study suggest that audibility depends on the Crest Factor (CF) of the music rather than the amount of CF reduction thus proposing the existence of a threshold of audibility. Further work focusing on education initiatives are offered.
Verbal suggestions of loudness changes have been reported to result in significantly higher loudn... more Verbal suggestions of loudness changes have been reported to result in significantly higher loudness ratings than those of a control group [1]. This study seeks to extend these results to VoIP applications by implementing visual priming cues within a VoIP interface and assessing their effect on audio quality ratings. A list of common visual priming cues was compiled and cross-referenced with prevalent design features found in popular mobile VoIP Applications. Fourteen participants were divided into two groups: one received embedded priming cues and one did not. Quality ratings were gathered using a MOS rating scale. The results are presented and their relevance discussed.
Student acquisition of graduate attributes is an increasingly important consideration for educati... more Student acquisition of graduate attributes is an increasingly important consideration for educational institutes, yet embedding these attributes in the curriculum is often challenging. This paper recounts the process of embedding design thinking in a studio design course. The process is adapted to suit music technology students and delivered through weekly interactive workshops. Student adaptation to design thinking is assessed against the characteristics of experienced designers to identify issues and derive heuristics for future iterations of the course.
Two listening experiments were conducted to assess: (i) the effect of program material on six sou... more Two listening experiments were conducted to assess: (i) the effect of program material on six sound quality dimensions and (ii) the effect of 20 dB of compression limiting on distraction. Thirty-five participants completed two experiments using a MuSHRA style interface. The experimental results demonstrate that program material significantly affected dimension and distraction ratings. Dimension ratings were influenced by prior listening experience while distraction ratings related to audible artifacts in different program material. Program material from the same artist was rated similarly for distraction in two-thirds of the dimensions suggesting a possible correlation between production aesthetics and audible artifacts. It is concluded that validating program material is a necessary precaution to avoid distracting perceptual cues generated by the process of dynamic range compression.
Anecdotal evidence suggests that when performers request loudness increases in their on-stage mon... more Anecdotal evidence suggests that when performers request loudness increases in their on-stage monitoring device, feedback regarding task completion is sometimes sufficient for the performer to perceive a loudness change. This is colloquially known as a DFA fader. Given the dearth of empirical evidence, qualitative interviews were conducted with live sound engineers to investigate the type of feedback required to successfully deliver a suggestion of a loudness change. Following this, 22 participants completed a paired comparison listening experiment to determine whether verbal suggestions produce perceived loudness changes. The experimental results demonstrate a significant difference between participants receiving a verbal suggestion and those that did not in 12 out of 20 presentations. These results support the use of verbal suggestions to convey loudness increases in live sound contexts.
While the LUFS standard was originally developed for broadcast applications, it offers a convenie... more While the LUFS standard was originally developed for broadcast applications, it offers a convenient means of calibrating program material stimuli to an equal loudness level, while remaining in a multichannel format. However, this calibration is based on an absolute sound pressure level of 60dBA, the preferred listening level when watching television. Levels used in analytical listening and perceptual experiments tend to be significantly higher. This disparity may affect the accuracy of the Leq(RLB) weighting filter employed in LUFS meters. To address this issue, the development of the LUFS standard is examined to assess its suitability for the task. The findings suggest that a compromise between analytical listening and loudness matching in perceptual experiments requires careful consideration of experimental variables.
Objective measurements using a sinusoidal sweep show that microphone angle has little effect on t... more Objective measurements using a sinusoidal sweep show that microphone angle has little effect on the frequency response of a guitar amplifier recording [1]. However, anecdotal evidence suggests that alterations to the microphone angle hold merit when recording ecologically valid sound sources. An ABX listening experiment was conducted with 20 participants to investigate whether microphone angles of 0, 30, and 60 degrees were audibly different to this cohort. Both dynamic and ribbon microphones were used and the loudness normalized guitar recordings were presented in solo and within a music mix. The experimental results suggest that microphone angles did not generate any perceivable changes to this cohort on this program material.
Loudness normalisation has been heralded as a tonic for the loudness wars. In this paper we propo... more Loudness normalisation has been heralded as a tonic for the loudness wars. In this paper we propose that a side effect of its implementation may be a greater awareness of sound quality. This side effect is explored through an analysis of the manner in which music is listened to under this new paradigm. It is concluded that the conditions necessary for sound quality judgments have been provided but that the existing preference for hypercompression may affect the de-escalation of its use in the pop music industry. The aesthetic concerns of hypercompression are examined in order to determine the sonic trade-offs or perceived benefits inherent in the application of hyper-compression. Factors considered include: (i) loss of excitement or emotion, (ii) audition bias in listening environments, (iii) hyper-compression as an aesthetic preference, (iv) the increased cognitive load of hyper-compression, and (v) the ability of loudness variation to define musical structures. The findings sugges...
A listening experiment was conducted to examine whether untrained listeners can discriminate up t... more A listening experiment was conducted to examine whether untrained listeners can discriminate up to 12dB of compression limiting above chance levels. Forty-nine participants completed an ABX listening experiment and a musical engagement questionnaire. The experimental results demonstrate that untrained listeners cannot discriminate up to 12dB of compression limiting above chance levels. The effects of musical engagement indicate that participants more likely to use music to alter their emotional state or relieve boredom performed significantly worse than those less likely to use music for these purposes. It is concluded that, in general, hyper-compression may not be significantly audible to untrained listeners and previous inconclusive results on preference tests are related to this finding
This study investigates the lexicon used to describe analogue compression. Extant documents compr... more This study investigates the lexicon used to describe analogue compression. Extant documents comprising 51 reviews of analogue compressors, over 15 years, are coded using category analysis. A total of 160 adjectives emerge and are further refined to nine inductive categories: transparency; frequency related; signal distortion; energy; transient shaping; glue; association; spatial dimensions and character. A final abstraction reveals two primary attributes governing the perceived sound quality of analogue compression: ‘character’ and ‘transient shaping’. Transparent dynamic range compression is found to be less important. This investigation clarifies the lexicon used to describe the sound quality attributes of analogue compression.
peer-reviewedDespite critical writing from music industry experts decrying the over use of compre... more peer-reviewedDespite critical writing from music industry experts decrying the over use of compression and the introduction of loudness normalisation, hyper-compressed recordings are still released. Typically, hyper-compression is applied at the request of stakeholders, such as musicians and record companies, and against the advice of mastering engineers who cite sound quality degradations. The persistent requests for hyper-compressed recordings suggest that the benefits outweigh the possible sound quality artefacts generated. Prior research focusing on listener preference for dynamic range compression and hyper-compression reported conflicting results. To determine the reason for these conflicting integrated judgments, it was necessary to explore the perceptual constituents affecting listener judgments of hyper-compressed music. Six factors affecting listener preference were first examined. Following this, the perception of hyper-compression by untrained listeners and mastering eng...
The introduction of loudness normalization has led some commentators to declare that the loudness... more The introduction of loudness normalization has led some commentators to declare that the loudness wars are over. However, factors contributing to a preference for dynamic range compression have not been removed. The research presented here investigates the role of long-term memory in sound quality judgments. Factors influencing preference judgments of dynamic range compression are discussed along with suggestions of further research areas. Research is presented that indicates that an objective measure of dynamic range will facilitate a greater understanding of how dynamic range compression affects individual sound quality attributes.
Student acquisition of graduate attributes is an increasingly important consideration for educati... more Student acquisition of graduate attributes is an increasingly important consideration for educational institutes, yet embedding these attributes in the curriculum is often challenging. This paper recounts the process of embedding design thinking in a studio design course. The process is adapted to suit music technology students and delivered through weekly interactive workshops. Student adaptation to design thinking is assessed against the characteristics of experienced designers to identify issues and derive heuristics for future iterations of the course.
Verbal suggestions of loudness changes have been reported to result in significantly higher loudn... more Verbal suggestions of loudness changes have been reported to result in significantly higher loudness ratings than those of a control group [1]. This study seeks to extend these results to VoIP applications by implementing visual priming cues within a VoIP interface and assessing their effect on audio quality ratings. A list of common visual priming cues was compiled and cross-referenced with prevalent design features found in popular mobile VoIP Applications. Fourteen participants were divided into two groups: one received embedded priming cues and one did not. Quality ratings were gathered using a MOS rating scale. The results are presented and their relevance discussed.
Hyper-compressed popular music is the product of a behavior associated with the over-use of dynam... more Hyper-compressed popular music is the product of a behavior associated with the over-use of dynamic range processing in an effort to gain a competitive advantage in music production. This behavior is unnecessary given the introduction of loudness normalization algorithms across the industry and has been denounced by mastering engineers as generating audible sound quality artifacts. However, the audibility of these sound quality artifacts to mastering engineers has not been examined. This study probes this question using an ABX listening experiment with 20 mastering engineers. On average, mastering engineers correctly discriminated 17 out of 24 conditions suggesting that the sound quality artifacts generated by hyper-compression are difficult to perceive. The findings in the study suggest that audibility depends on the Crest Factor (CF) of the music rather than the amount of CF reduction thus proposing the existence of a threshold of audibility. Further work focusing on education initiatives are offered.
In the discipline of audio production, significant deliberate practice is required to achieve lea... more In the discipline of audio production, significant deliberate practice is required to achieve learning outcomes that are mapped to industry skills. However, these learning outcomes may not be directly assessed, as their realisation is necessary to complete assignments. The absence of a tangible reward for the mastery of these skills reduces their perceived importance to the student. To address this issue, a digital badge was offered to reward deliberate practice resulting in the mastery of ‘studio signal flow’.
This presentation discusses the design and implementation of the digital badge whilst identifying and discussing the limitations of the approach. Design focused on the development of a task with sufficient motivational qualities to encourage deliberate practice. Consideration was given to the reported characteristics of digital native students, avoiding de-motivation, badge labelling, the provision of objective metrics, and managing the perceived value of the badge. Implementation required the creation of a digital artefact to evidence the learning, facilitating badge visibility across multiple platforms, and managing badge delivery. The limitations of using digital badges as a reward for deliberate practice will be discussed and adjustments to the approach will be proposed.
This study explores the sound quality attributes and dimensions of hyper- compression. Four exper... more This study explores the sound quality attributes and dimensions of hyper- compression. Four expert listeners took part in an elicitation experiment drawing on descriptive analysis methods for data elicitation and content analysis for data analysis. Participants were presented with unprocessed and hyper-compressed stimuli in an A-B comparison test and required to record any differences perceived. Axial coding of this text data resulted in a total of 43 sound quality attributes. These attributes were abducted into four established sound quality dimensions: (1) Clearness/distinctness, (2) Feeling of space, (3) Fullness vs thinness and (4) Brightness vs darkness. New dimensions comprised: (1) Energy and (2) Instrument level change while no difference was also perceived. This study represents a first step towards uncovering the sound quality attributes and representative sound quality dimensions associated with hyper-compression.
Uploads
Papers by Malachy Ronan
industry and has been denounced by mastering engineers as generating audible sound quality artifacts. However, the audibility of these sound quality artifacts to mastering engineers has not been examined. This study probes this question using an ABX listening experiment with 20 mastering engineers. On average, mastering engineers correctly discriminated 17 out of 24 conditions suggesting that the sound quality artifacts generated by hyper-compression are difficult to perceive. The findings in the study suggest that audibility depends on the Crest Factor (CF) of the music rather than the amount of CF reduction thus proposing the existence of a threshold of audibility. Further work focusing on education initiatives are offered.
industry and has been denounced by mastering engineers as generating audible sound quality artifacts. However, the audibility of these sound quality artifacts to mastering engineers has not been examined. This study probes this question using an ABX listening experiment with 20 mastering engineers. On average, mastering engineers correctly discriminated 17 out of 24 conditions suggesting that the sound quality artifacts generated by hyper-compression are difficult to perceive. The findings in the study suggest that audibility depends on the Crest Factor (CF) of the music rather than the amount of CF reduction thus proposing the existence of a threshold of audibility. Further work focusing on education initiatives are offered.
This presentation discusses the design and implementation of the digital badge whilst identifying and discussing the limitations of the approach. Design focused on the development of a task with sufficient motivational qualities to encourage deliberate practice. Consideration was given to the reported characteristics of digital native students, avoiding de-motivation, badge labelling, the provision of objective metrics, and managing the perceived value of the badge. Implementation required the creation of a digital artefact to evidence the learning, facilitating badge visibility across multiple platforms, and managing badge delivery. The limitations of using digital badges as a reward for deliberate practice will be discussed and adjustments to the approach will be proposed.