Audio Levels and Loudness
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Competition in Local Broadcast Television Advertising Markets Kevin Caves and Hal Singer August 4, 2014
Before the Federal Communications Commission Washington, D.C. 20554 In the Matter of ) ) 2014 Quadrennial Regulatory Review – Review ) MB Docket No. 14-50 of the Commission’s Broadcast Ownership Rules ) and Other Rules Adopted Pursuant to Section ) 202 of the Telecommunications Act of 1996 ) ) 2010 Quadrennial Regulatory Review – Review ) MB Docket No. 09-182 of the Commission’s Broadcast Ownership Rules ) and Other Rules Adopted Pursuant to Section ) 202 of the Telecommunications Act of 1996 ) ) Promoting Diversification of Ownership ) MB Docket No. 07-294 in the Broadcasting Services ) ) Rules and Policies Concerning ) MB Docket No. 04-256 Attribution of Joint Sales Agreements ) in Local Television Markets ) ) Competition in Local Broadcast Television Advertising Markets Kevin Caves and Hal Singer August 4, 2014 -2- Introduction ..................................................................................................................................... 3 I. Background ......................................................................................................................... 4 A. The DOJ Asserts That Local Broadcast Television Advertising Is a Relevant Antitrust Product Market ........................................................................................ 4 B. The DOJ’s Position Lacks Empirical Support ........................................................ 5 II. Empirical Evidence Is Inconsistent with the DOJ’s Definition of the Relevant Product Market ................................................................................................................................ -
Logarithmic Image Sensor for Wide Dynamic Range Stereo Vision System
Logarithmic Image Sensor For Wide Dynamic Range Stereo Vision System Christian Bouvier, Yang Ni New Imaging Technologies SA, 1 Impasse de la Noisette, BP 426, 91370 Verrieres le Buisson France Tel: +33 (0)1 64 47 88 58 [email protected], [email protected] NEG PIXbias COLbias Abstract—Stereo vision is the most universal way to get 3D information passively. The fast progress of digital image G1 processing hardware makes this computation approach realizable Vsync G2 Vck now. It is well known that stereo vision matches 2 or more Control Amp Pixel Array - Scan Offset images of a scene, taken by image sensors from different points RST - 1280x720 of view. Any information loss, even partially in those images, will V Video Out1 drastically reduce the precision and reliability of this approach. Exposure Out2 In this paper, we introduce a stereo vision system designed for RD1 depth sensing that relies on logarithmic image sensor technology. RD2 FPN Compensation The hardware is based on dual logarithmic sensors controlled Hsync and synchronized at pixel level. This dual sensor module provides Hck H - Scan high quality contrast indexed images of a scene. This contrast indexed sensing capability can be conserved over more than 140dB without any explicit sensor control and without delay. Fig. 1. Sensor general structure. It can accommodate not only highly non-uniform illumination, specular reflections but also fast temporal illumination changes. Index Terms—HDR, WDR, CMOS sensor, Stereo Imaging. the details are lost and consequently depth extraction becomes impossible. The sensor reactivity will also be important to prevent saturation in changing environments. -
Psychoacoustics Perception of Normal and Impaired Hearing with Audiology Applications Editor-In-Chief for Audiology Brad A
PSYCHOACOUSTICS Perception of Normal and Impaired Hearing with Audiology Applications Editor-in-Chief for Audiology Brad A. Stach, PhD PSYCHOACOUSTICS Perception of Normal and Impaired Hearing with Audiology Applications Jennifer J. Lentz, PhD 5521 Ruffin Road San Diego, CA 92123 e-mail: [email protected] Website: http://www.pluralpublishing.com Copyright © 2020 by Plural Publishing, Inc. Typeset in 11/13 Adobe Garamond by Flanagan’s Publishing Services, Inc. Printed in the United States of America by McNaughton & Gunn, Inc. All rights, including that of translation, reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, recording, or otherwise, including photocopying, recording, taping, Web distribution, or information storage and retrieval systems without the prior written consent of the publisher. For permission to use material from this text, contact us by Telephone: (866) 758-7251 Fax: (888) 758-7255 e-mail: [email protected] Every attempt has been made to contact the copyright holders for material originally printed in another source. If any have been inadvertently overlooked, the publishers will gladly make the necessary arrangements at the first opportunity. Library of Congress Cataloging-in-Publication Data Names: Lentz, Jennifer J., author. Title: Psychoacoustics : perception of normal and impaired hearing with audiology applications / Jennifer J. Lentz. Description: San Diego, CA : Plural Publishing, -
Receiver Dynamic Range: Part 2
The Communications Edge™ Tech-note Author: Robert E. Watson Receiver Dynamic Range: Part 2 Part 1 of this article reviews receiver mea- the receiver can process acceptably. In sim- NF is the receiver noise figure in dB surements which, taken as a group, describe plest terms, it is the difference in dB This dynamic range definition has the receiver dynamic range. Part 2 introduces between the inband 1-dB compression point advantage of being relatively easy to measure comprehensive measurements that attempt and the minimum-receivable signal level. without ambiguity but, unfortunately, it to characterize a receiver’s dynamic range as The compression point is obvious enough; assumes that the receiver has only a single a single number. however, the minimum-receivable signal signal at its input and that the signal is must be identified. desired. For deep-space receivers, this may be COMPREHENSIVE MEASURE- a reasonable assumption, but the terrestrial MENTS There are a number of candidates for mini- mum-receivable signal level, including: sphere is not usually so benign. For specifi- The following receiver measurements and “minimum-discernable signal” (MDS), tan- cation of general-purpose receivers, some specifications attempt to define overall gential sensitivity, 10-dB SNR, and receiver interfering signals must be assumed, and this receiver dynamic range as a single number noise floor. Both MDS and tangential sensi- is what the other definitions of receiver which can be used both to predict overall tivity are based on subjective judgments of dynamic range do. receiver performance and as a figure of merit signal strength, which differ significantly to compare competing receivers. -
For the Falcon™ Range of Microphone Products (Ba5105)
Technical Documentation Microphone Handbook For the Falcon™ Range of Microphone Products Brüel&Kjær B K WORLD HEADQUARTERS: DK-2850 Nærum • Denmark • Telephone: +4542800500 •Telex: 37316 bruka dk • Fax: +4542801405 • e-mail: [email protected] • Internet: http://www.bk.dk BA 5105 –12 Microphone Handbook Revision February 1995 Brüel & Kjær Falcon™ Range of Microphone Products BA 5105 –12 Microphone Handbook Trademarks Microsoft is a registered trademark and Windows is a trademark of Microsoft Cor- poration. Copyright © 1994, 1995, Brüel & Kjær A/S All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means without prior consent in writing from Brüel & Kjær A/S, Nærum, Denmark. 0 − 2 Falcon™ Range of Microphone Products Brüel & Kjær Microphone Handbook Contents 1. Introduction....................................................................................................................... 1 – 1 1.1 About the Microphone Handbook............................................................................... 1 – 2 1.2 About the Falcon™ Range of Microphone Products.................................................. 1 – 2 1.3 The Microphones ......................................................................................................... 1 – 2 1.4 The Preamplifiers........................................................................................................ 1 – 8 1 2. Prepolarized Free-field /2" Microphone Type 4188....................... 2 – 1 2.1 Introduction ................................................................................................................ -
Broadcasting & Convergence
1 Namnlöst-2 1 2007-09-24, 09:15 Nordicom Provides Information about Media and Communication Research Nordicom’s overriding goal and purpose is to make the media and communication research undertaken in the Nordic countries – Denmark, Finland, Iceland, Norway and Sweden – known, both throughout and far beyond our part of the world. Toward this end we use a variety of channels to reach researchers, students, decision-makers, media practitioners, journalists, information officers, teachers, and interested members of the general public. Nordicom works to establish and strengthen links between the Nordic research community and colleagues in all parts of the world, both through information and by linking individual researchers, research groups and institutions. Nordicom documents media trends in the Nordic countries. Our joint Nordic information service addresses users throughout our region, in Europe and further afield. The production of comparative media statistics forms the core of this service. Nordicom has been commissioned by UNESCO and the Swedish Government to operate The Unesco International Clearinghouse on Children, Youth and Media, whose aim it is to keep users around the world abreast of current research findings and insights in this area. An institution of the Nordic Council of Ministers, Nordicom operates at both national and regional levels. National Nordicom documentation centres are attached to the universities in Aarhus, Denmark; Tampere, Finland; Reykjavik, Iceland; Bergen, Norway; and Göteborg, Sweden. NORDICOM Göteborg -
Loudness Standards in Broadcasting. Case Study of EBU R-128 Implementation at SWR
Loudness standards in broadcasting. Case study of EBU R-128 implementation at SWR Carbonell Tena, Damià Curs 2015-2016 Director: Enric Giné Guix GRAU EN ENGINYERIA DE SISTEMES AUDIOVISUALS Treball de Fi de Grau Loudness standards in broadcasting. Case study of EBU R-128 implementation at SWR Damià Carbonell Tena TREBALL FI DE GRAU ENGINYERIA DE SISTEMES AUDIOVISUALS ESCOLA SUPERIOR POLITÈCNICA UPF 2016 DIRECTOR DEL TREBALL ENRIC GINÉ GUIX Dedication Für die Familie Schaupp. Mit euch fühle ich mich wie zuhause und ich weiß dass ich eine zweite Familie in Deutschland für immer haben werde. Ohne euch würde diese Arbeit nicht möglich gewesen sein. Vielen Dank! iv Thanks I would like to thank the SWR for being so comprehensive with me and for letting me have this wonderful experience with them. Also for all the help, experience and time given to me. Thanks to all the engineers and technicians in the house, Jürgen Schwarz, Armin Büchele, Reiner Liebrecht, Katrin Koners, Oliver Seiler, Frauke von Mueller- Rick, Patrick Kirsammer, Christian Eickhoff, Detlef Büttner, Andreas Lemke, Klaus Nowacki and Jochen Reß that helped and advised me and a special thanks to Manfred Schwegler who was always ready to help me and to Dieter Gehrlicher for his comprehension. Also to my teacher and adviser Enric Giné for his patience and dedication and to the team of the Secretaria ESUP that answered all the questions asked during the process. Of course to my Catalan and German families for the moral (and economical) support and to Ema Madeira for all the corrections, revisions and love given during my stay far from home. -
EBU R 128 – the EBU Loudness Recommendation
10 things you need to know about... EBU R 128 – the EBU loudness recommendation 1 EBU R 128 is at the core of a true audio revolution: audio levelling based on loudness, not peaks Audio signal normalisation based on peaks has led to more and more dynamic compression and a phenomenon called the ‘Loudness War’. The problem arose because of misuse of the traditional metering method (Quasi Peak Programme Meter – QPPM) and the extended headroom due to digital delivery. Loudness normalisation ends the ‘Loudness War’ and brings audio peace to the audience. 2 ITU-R BS.1770-2 defines the basic measurement, EBU R 128 builds on it and extends it BS.1770-2 is an international standard that describes a method to measure loudness, an inherently subjective impression. It introduces ‘K-weighting’, a simple weighting curve that leads to a good match between subjective impression and objective measurement. EBU R 128 takes BS.1770-2 and extends it with the descriptor Loudness Range and the Target Level: -23 LUFS (Loudness Units referenced to Full Scale). A tolerance of ± 1 LU is generally acceptable. 3 Gating of the measurement is used to achieve better loudness matching of programmes that contain longer periods of silence Longer periods of silence in programmes lead to a lower measured loudness level. After subsequent loudness normalisation such programmes would end up too loud. In BS.1770-2 a relative gate of 10 LU (Loudness Units; 1 LU is equivalent to 1dB) below the ungated loudness level is used to eliminate these low level periods from the measurement. -
Signal-To-Noise Ratio and Dynamic Range Definitions
Signal-to-noise ratio and dynamic range definitions The Signal-to-Noise Ratio (SNR) and Dynamic Range (DR) are two common parameters used to specify the electrical performance of a spectrometer. This technical note will describe how they are defined and how to measure and calculate them. Figure 1: Definitions of SNR and SR. The signal out of the spectrometer is a digital signal between 0 and 2N-1, where N is the number of bits in the Analogue-to-Digital (A/D) converter on the electronics. Typical numbers for N range from 10 to 16 leading to maximum signal level between 1,023 and 65,535 counts. The Noise is the stochastic variation of the signal around a mean value. In Figure 1 we have shown a spectrum with a single peak in wavelength and time. As indicated on the figure the peak signal level will fluctuate a small amount around the mean value due to the noise of the electronics. Noise is measured by the Root-Mean-Squared (RMS) value of the fluctuations over time. The SNR is defined as the average over time of the peak signal divided by the RMS noise of the peak signal over the same time. In order to get an accurate result for the SNR it is generally required to measure over 25 -50 time samples of the spectrum. It is very important that your input to the spectrometer is constant during SNR measurements. Otherwise, you will be measuring other things like drift of you lamp power or time dependent signal levels from your sample. -
High Dynamic Range Ultrasound Imaging
The final publication is available at http://link.springer.com/article/10.1007/s11548-018-1729-3 Int J CARS manuscript No. (will be inserted by the editor) High Dynamic Range Ultrasound Imaging Alperen Degirmenci · Douglas P. Perrin · Robert D. Howe Received: 26 January 2018 Abstract Purpose High dynamic range (HDR) imaging is a popular computational photography technique that has found its way into every modern smartphone and camera. In HDR imaging, images acquired at different exposures are combined to increase the luminance range of the final image, thereby extending the limited dynamic range of the camera. Ultrasound imaging suffers from limited dynamic range as well; at higher power levels, the hyperechogenic tissue is overexposed, whereas at lower power levels, hypoechogenic tissue details are not visible. In this work, we apply HDR techniques to ultrasound imaging, where we combine ultrasound images acquired at different power levels to improve the level of detail visible in the final image. Methods Ultrasound images of ex vivo and in vivo tissue are acquired at different acoustic power levels and then combined to generate HDR ultrasound (HDR-US) images. The performance of five tone mapping operators is quantitatively evaluated using a similarity metric to determine the most suitable mapping for HDR-US imaging. Results The ex vivo and in vivo results demonstrated that HDR-US imaging enables visualizing both hyper- and hypoechogenic tissue at once in a single image. The Durand tone mapping operator preserved the most amount of detail across the dynamic range. Conclusions Our results strongly suggest that HDR-US imaging can improve the utility of ultrasound in image-based diagnosis and procedure guidance. -
Music Is Made up of Many Different Things Called Elements. They Are the “I Feel Like My Kind Building Bricks of Music
SECONDARY/KEY STAGE 3 MUSIC – BUILDING BRICKS 5 MINUTES READING #1 Music is made up of many different things called elements. They are the “I feel like my kind building bricks of music. When you compose a piece of music, you use the of music is a big pot elements of music to build it, just like a builder uses bricks to build a house. If of different spices. the piece of music is to sound right, then you have to use the elements of It’s a soup with all kinds of ingredients music correctly. in it.” - Abigail Washburn What are the Elements of Music? PITCH means the highness or lowness of the sound. Some pieces need high sounds and some need low, deep sounds. Some have sounds that are in the middle. Most pieces use a mixture of pitches. TEMPO means the fastness or slowness of the music. Sometimes this is called the speed or pace of the music. A piece might be at a moderate tempo, or even change its tempo part-way through. DYNAMICS means the loudness or softness of the music. Sometimes this is called the volume. Music often changes volume gradually, and goes from loud to soft or soft to loud. Questions to think about: 1. Think about your DURATION means the length of each sound. Some sounds or notes are long, favourite piece of some are short. Sometimes composers combine long sounds with short music – it could be a song or a piece of sounds to get a good effect. instrumental music. How have the TEXTURE – if all the instruments are playing at once, the texture is thick. -
Timbre Perception
HST.725 Music Perception and Cognition, Spring 2009 Harvard-MIT Division of Health Sciences and Technology Course Director: Dr. Peter Cariani Timbre perception www.cariani.com Friday, March 13, 2009 overview Roadmap functions of music sound, ear loudness & pitch basic qualities of notes timbre consonance, scales & tuning interactions between notes melody & harmony patterns of pitches time, rhythm, and motion patterns of events grouping, expectation, meaning interpretations music & language Friday, March 13, 2009 Wikipedia on timbre In music, timbre (pronounced /ˈtæm-bər'/, /tɪm.bər/ like tamber, or / ˈtæm(brə)/,[1] from Fr. timbre tɛ̃bʁ) is the quality of a musical note or sound or tone that distinguishes different types of sound production, such as voices or musical instruments. The physical characteristics of sound that mediate the perception of timbre include spectrum and envelope. Timbre is also known in psychoacoustics as tone quality or tone color. For example, timbre is what, with a little practice, people use to distinguish the saxophone from the trumpet in a jazz group, even if both instruments are playing notes at the same pitch and loudness. Timbre has been called a "wastebasket" attribute[2] or category,[3] or "the psychoacoustician's multidimensional wastebasket category for everything that cannot be qualified as pitch or loudness."[4] 3 Friday, March 13, 2009 Timbre ~ sonic texture, tone color Paul Cezanne. "Apples, Peaches, Pears and Grapes." Courtesy of the iBilio.org WebMuseum. Paul Cezanne, Apples, Peaches, Pears, and Grapes c. 1879-80); Oil on canvas, 38.5 x 46.5 cm; The Hermitage, St. Petersburg Friday, March 13, 2009 Timbre ~ sonic texture, tone color "Stilleben" ("Still Life"), by Floris van Dyck, 1613.