Abstrakt   Tv-branschen är en jätteindustri som styrs av ett fåtal stora sändningsnätverk. I Sverige är den största distributören Sveriges Television (SVT) och på grund av detta så är sannolikheten att personer som arbetar inom ljud i Sverige någon gång kommer att arbeta på projekt för dem väldigt hög. I min uppsats har jag utfört en Actor Network-analys av empiriska studier jag utfört på postproduktionsbolaget Europa Sound and Vision. Med hjälp av analysen vill jag undersöka vad begreppet ”god hörbarhet” består av och därmed kunna definiera uttrycket tydligare. Jag jämför sedan SVTs syn på hörbarhet med den jag fått fram genom dessa studier för att till slut ändra på den nuvarande synen och på det regelverk SVT har. / Abstract The television industry is a huge industry that is governed by a few big broadcasting networks. The biggest distributer and producer of television in Sweden is Sveriges Television (SVT) and everyone working with sound will, more likely than not, work for them in a project. In this study I’ve analyzed the results of two months of empirical work, I’ve identified the actors that make up the network “God hörbarhet” (good audibility) and the reason this is interesting is for determining a more solid definition for the term “good audibility”. I’ve then put this more solid definition up against SVT’s loose definition, this only to expand on their current system and delivery specifications.

Prior research has shown that music that are more limited in the dynamic range are perceived to have lowerquality than music that are less limited. In this study quality perception connected to the use of limitation andaudio level in recorded music is examined. This was done by limiting one track by different amounts tomatch the PLR of the track with a mean PLR of music from before the loudness war started and the meanPLR of music from 2022. After that the limited tracks was loudness normalized and then new tracks werecreated from the two most limited tracks. These were gained up by 1 and 2 dB. Totally 7 different trackswere created. 20 Audio engineering students were asked to listen to 9 different comparisons between thetracks and evaluate the perceived quality of the tracks. As a result, there were no significant qualitydifference found between the tracks that haven’t been gained up. However, the stimulus that had a louderlevel were perceived to have significantly higher quality than the quieter stimulus.

Bluegrass är en energi- och glädjerik genre som kräver mycket samspel och kommunikation mellan alla musicerande. Detta gör det svårt att fånga genren bra under organiserade inspelningsförhållanden utan att tappa själen i musiken. Syftet med mitt arbete är att undersöka hur olika inspelningssätt, såväl tekniska som miljömässiga, påverkar musiker, instrument, ljud och känsla. Tre olika inspelningar har genomförts, en utomhusinspelning, en inspelning i studiomiljö samt en inspelning under en livekonsert. En mix mellan utomhus- och studioinspelningen skulle med facit i hand varit det allra bästa. Inspelningstekniken och miljön behöver anpassas efter den ensemble som ska spelas in. Allt beror på i vilket sammanhang musikerna känner sig avslappnade och trivs bäst. Det viktigaste som inspelningstekniker och producent är att skapa rätt förutsättningar för musikerna och att inspelningstekniken anpassas efter det sammanhanget. / <p>En inspelning från varje tillfälle medföljer, totalt tre inspelningar.</p><p>Den första är låten "Ill Fly Away" från utomhusinspelningen.</p><p>Den andra låten är "Man of Constant Sorrow" från studioinspelningen.</p><p>Den tredje låten är "Will the Circle Be Unbroken" från livekonserten.</p><p>Videodokumentären och musikvideos från respektive tillfälle finns på www.rebeckaroberts.com</p>

Music production is constantly evolving and new "gadgets" and "apps" to help the creation of music are continuously being released. They enable the music production, so even the most unskilled music maker can produce one ́s own slideshow from the vacation for example, or a digital Christmas card to send to the loved ones. But if we are to have education for future music producers in high school, then what are we going to teach the students, so that they are able to advance from the "everyday" use to a more professional level of music production. Are the goals that have been set up for the course music by the Agency for education really relevant to what will be expected of a music producer now and in the future? The survey that has been made by data acquisition of young people shows a picture of the progress and a future vision of the music creation. Additionally, interviews with practicing teachers and music producers have been made, where each and one are giving their personal view of music production around us today. What has emerged from these studies is that in spite of the democracy and availability, which is characteristic of today ́s music production, the need of experts who perform this profession is indeed still great. The objectives and requirements for music production in high school set by the Agency for education, reflects the realities of music producers today relatively well, but that’s mainly because the objectives are hugely extensive and interpretable. If we want a more democratic music production, the availability needs to improve further. / Musikproduktion är ett ständigt utvecklande område och för varje dag som går introduceras nya ”gadgets” och ”appar”, som möjliggör för gemene man att kunna göra sin egen musik, t.ex. till ett nyskapande bildspel från semestern eller varför inte ett digitalt julkort för att skicka till sina nära och kära. Men om vi nu ska ha utbildningar för kommande musikproducenter på gymnasiet, vad är det då som ska undervisas för att vidareutveckla sig från det ”vardagliga” användandet som enkelt går att lära sig på egen hand, till ett mer professionellt musikproducerande. Är de mål som skolverket har implementerat för kursen musikproduktion verkligen relevanta med vad som kommer att förväntas av en musikproducent, i nutid och i framtiden? Undersökningen som har gjorts genom datainsamling via enkät från ungdomar, visar en bild av utvecklingen och framtidsvisionen av musikskapandet. Vidare har intervjuer genomförts med verksamma lärare och musikproducenter, som har bidragit med sin egen uppfattning av dagens musikproduktion som finns runt omkring oss. Det som har framkommit i dessa undersökningar är att även om musikproduktionen är tämligen demokratisk och tillgänglig så finns fortfarande ett stort behov av experter som utför detta yrke professionellt. Skolverkets mål och krav för gymnasiet speglar hur verkligheten ser ut för musikproducenter idag relativt bra, men det har mycket att göra med att målen är enormt omfattande och tolkningsbara. Om vi vill ha en mer demokratisk musikproduktion behöver tillgängligheten bli ännu bättre.

This study explored the possible impact to a game’s responsiveness and to players’ preferences by using a physically inspired model (real-time pitch and amplitude modulation) as a means of efficiently achieving responsive variation for melee weapon sound effects in a game using the in-engine audio features. A play test was created were 24 participants (12 with audio engineering backgrounds, 12 without), all with prior gaming experience, played through a game level where they would audition a non-variational implementation of a sword’s sound effects and a variational implementation with the same sound samples being modulated in real-time. The participants did not know what they were auditioning, and in a form filled out after the play test they assessed the differences in the level parts’ responsiveness and their preference. From this form no significant benefit or drawback was found to the game’s responsiveness, and no significance was found to the participants’ preference toward either sound effect implementation. The study’s conclusions are that these physically inspired models could be used as a mean of implementation for melee weapon sound effects if the sounds used or the game setting would suit this approach, or if this would be the artistic wish of the game developers.

Research on microphone choice and placement has been previously made for a variety of instruments, such as drums, vocals, and guitar, to name a few. However, in comparison, very little research has been made on the bass-cabinet. With help of the different methodologies used for previous research on electric guitar and snare drum, the optimal placement and choice of microphone for a 4x10” bass-cabinet were investigated. In a listening test, pre-recorded basslines were mixed with other instruments since it is more common to hear it in a mix of instruments rather than listening to it by itself. To make sure that the topic is not too broad, focus on the genre of rock was taken for this investigation. Both qualitative and quantitative data were collected in a set of listening tests where the subjects rated their preference for their most and least preferable basslines. The subjects were asked to describe their preference utilizing different characteristics of the stimuli. An ANOVA test provided evidence that there is a statistical difference between the preference of one microphone model at a 15 cm distance from the bass-cabinet, in the category bass with band.

This project has been done as a part of a bachelors degree in engineering at Uppsala university. The project was supervised by Jörgen Olsson at the division of solid state electronics. The goal of this project was to develop a distortion effect that can be used with an guitar and a amplifier. The effect was to have controllable distorsion, volume and tone control including bass and treble. The circuit is also supposed to be run using a 9V battery as power supply, which means that the in circuit currents shold be low. When the circuit was finished it was also analyzed through different measurements and simulations. The distortion of the circuit was achieved using diodes to get a nonlinear amplification. The goals of the circuit controls was achieved, and although a low circuit current was achieved, it only satisfied the goal of 1 mA when high distorsion was set for the circuit. When measuring and simulating the system, some major differences was found. The simulated frequency response characteristics was found to be very different from the measured. This is likely due to the simulation program not being

One of the mixing engineers most important tool when listening, analyzing and taking decisions is the physical space in which the reproduction system and the monitors are placed. The space needs to fulfill certain aspects to be able to qualify as a control room considered good for taking these decisions. In this study an active listening test was conducted to investigate if the RT60 of the natural reverberation in the room affected a mixing engineers’ decisions when adjusting parameters on an artificial reverb. 16 subjects participated, the subjects adjusted reverb level and reverb time of an artificial reverb in two different acoustical environments, with two different values of RT60. The environments were based on a professional control room made for mixing and mastering. The two values for RT60 was achieved through manipulating the room with diffusors and absorbing material. It was found that the subjects were able to adapt to the different acoustical environments, although other differences were found. The order of the which of the environments the subjects started in and which parameter the subject started adjusting, showed a considerable impact on the result. As well as what kind of factors the subjects considered when adjusting the artificial reverb.

Sound is an important part of almost all media. In games, sounds are used to evoke intense emotions in players. Studies has showed that music on its own can induce emotions. Soundeffects is another type of sounds that appear in games. However, do they contribute to the emotional experience? Understanding this will help sound designers enhance scenes in future video games. In this study, 23 participants were asked to conduct a test divided into two part. In the first part they were tasked to listen to four sound effects of fire and choose attributes from a predetermined list that they thought suited. Among these physical attributes were two emotional attributes. In the second part, the subjects were tasked with choosing one of the fours sound effects for a scenario with a positive emotion and motivate their choice. The results show that no sound had neither positive nor negative as an emotional attribute. Of the four sounds, two showed significance that emotion alone was an attribute for the sound. The results from the second part showed that the subjects were divided in what motivated them to choose a sound. More than a third of the subjects based their choice only on if the sound matched the emotion of the scenario presented while slightly less than a third based it only on to fit the location. The last third based it on both emotion and location.

This research examines if an indistinguishable, or equal, frequency response of a software plug-in that is emulating an analog equalizer can be reconstructed using a more standard digital equalizer  such as one incorporated with a digital audio workstation (DAW). It is narrowed down to solely involve high frequency bands by analyzing the emulating plug-ins hi-shelving filters. A two-comparison forced choice ABX-test was conducted to verify the hypotheses and the results show that the difference between the original and the reconstructed hi-shelving filter was inaudible to the listening test participants. Further research and application for these findings is discussed