A bass enhancement technique using the missing fundamental called VBS is presented. There are Several different approaches for using VBS in different applications. The technique is most useful in speakers that has a poor low frequency capability. It is presented in this report how it can be used for mixing purposes. How can a mix engineer use this technique to get a more balanced mix in laptop speakers without sacrificing the balance in large loudspeakers and headphones? To investigate this question an A/B style listening test is conducted, where the subjects get to answer both quantitative and qualitative questions. The answers are then analyzed using simple t-tests and categorizations of the qualitative information. The results of the test indicate that the mix with VBS is preferred in both the headphones and the laptop. There are no information indicating that the VBS has affected the mix in a poor or good way in the Loudspeakers.

The goal with this project, was to explore the producing of a musicvideo with a synergistic focus in a practical way. Beside the practical work with the recording and editing of music and video, I wanted to explore the sound engineers role in such a project? To my help I had the video producer Hannes Knutsson from the small film- collective Lefvande Bilder and the singer, guitarist and songwriter Conny Flink. The result of my work is a musicvideo published on the internet website YouTube and the report of the making of it along with my work around the question above is published in this report. The name of the recorded and filmed song, written and performed by Conny Flink is ”My Way”.

Ambience or ambient sound is normally defined as the background sounds that are used to create a sense of atmosphere. This paper is about players, and if they perceive emotional content in ambiences in games. The study involved the creation of two game levels, a dense forest and a meadow, with two different sound designs each, one conveying joy and the other melancholy. The aim of the experiment was to determine whether the participants could detect the intended emotional content. The results indicated that the peaceful emotion was easier to detect than the melancholy one. The majority of participants rated the levels similarly. While it may be challenging to create an intended emotional response in players, the study concludes that ambiences can indeed be perceived as having emotional content.

Detta examensarbete är en förstudie där väl lyssningsanpassade rum har undersökts både objektivt och subjektivt med syftet att kunna identifiera och tolka allmänna akustiska fenomen som uppstår, och upplevs, samt upplysa läsaren om dessa. Rapporten behandlar ljudfysik så som akustik och våglära, ljudteknikerns roll, psykoakustik, kontrollrum och teknisk utrustning. De mätningar och lyssningstest som utförts har alla utgått ifrån den tänka lyssningspositionen som sedan ställts mot specifika krav och rekommendationer från AMS (Audio Measurement Standards) och EBU (European Brodcasting Union). Lyssningstesten har gjorts efter EBU-standard. Även intervjustudier har genomförts med erfarna ljudtekniker. I Slutsats och Diskussion jämförs objektiva mätdata med lyssningstest, där likheter och slutsatser om lyssningen dras. / This thesis is a preliminary study in which high quality listening environments have been investigated both objectively and subjectively with the purpose to identify and interpret general acoustic phenomenon that occurs, and how they are percieved, as well to enlighten the reader about these. The report deals with sound physics such as acoustics, an audio engineer's role, psychoacoustics, control rooms and technical equipment. The measurements and listening tests performed have all been done from the intended listening position which were then set against specific requirements and recommendations from AMS (Audio Measurement Standards) and EBU (European Broadcasting Union). Listening test have been made according to EBU standards. Also interviews were conducted with experienced audio engineers. In Conclusion and Discussion objectively measured data is compared with the listening tests, where similarities and conclusions about listening are drawn.

Denna studie undersöker hur musikproducenter och studiotekniker upplever sina olika roller i studioinspelningssammanhang. Detta utförs genom att studera studioteknikers och musikpro- ducenters skildringar av sig själva samt av vilka färdigheter som ingår i dessa olika roller. Studiens vetenskapsteoretiska ansats är kvalitativ, och bygger på ett hermeneutiskt perspektiv. Den metod som använts för att utföra insamlingen av data är semistrukturerade, kvalitativa intervjuer med tre personer som arbetar, eller har arbetat, som musikproducenter eller studio- tekniker. Ljudupptagningarna från intervjuerna har transkriberats, bearbetats och analyserats med hjälp av tematisk analys utifrån ett hermeneutiskt perspektiv. I resultatkapitlet klarläggs både informanternas syn på de olika rollerna samt deras uppfattning av att dessa roller ibland innehas av en och samma person. I studiens avslutande kapitel diskuteras dessa teman i relat- ion till studiens angivna bakgrundskapitel. Studien visar bland annat att informanterna, delvis tvärtemot den tidigare presenterade forskningen, anser att musikproducenter behöver ett stort mått musikteoretiska kunskaper för att kunna utföra sina uppgifter, att studiotekniker, förutom ljudtekniska kunskaper, även är i behov av konstnärliga kunskaper på ett djupare plan samt att många väljer att ta sig an rollen som både tekniker och producent på grund av ekonomiska och praktiska aspekter. Det fastställs även att gränserna mellan studiotekniker- och musikpro- ducentrollen i viss mån håller på att suddas ut. / This study aims to explore how music producers and recording engineers experience their different roles in a studio-recording context. This is done by examining recording engineer’s and music producer’s depictions of themselves and of the different sets of skills required within these roles. A hermeneutic perspective is the base for the scientific-theoretic approach of this qualitative study. The method for collecting data is semi structured, qualitative interviews and three persons identifying themselves as either music producer or recording engineer have been interviewed. The sound recordings from the interviews have been transcribed, processed and analyzed using thematic analysis and a hermeneutic approach. How both the informants’ perception of the different roles, as well as their understanding of these roles sometimes being held by one and the same person is being explained in the chapter result. The finishing chapter discusses these themes in relation to the previously given background. Among other things, the discussion chapter shows that the informants, partly opposite to what previously given research shows, thinks that music producers need theoretical knowledge in music to be able to carry out their tasks. It is highlighted that recording engineers, besides mastery of audio and technology, need to acquire a deeper level of artistic skills. It is also made clear that the lines between the recording engineer and the music producer are being erased, and that many people, due to economical and practical reasons, choose to take on the role as both music producer and recording engineer.

Detta arbete syftar till att undersöka de relationer som uppstår mellan teaterrekvisita, skådespelare och ljudtekniker genom det posthumanistiska perspektivet agentiell realism. Jag utforskar även vilka fenomen som uppstår ur dessa relationer. Vad händer när sensorer implementeras i rekvisitan så att skådespelarna själva kan trigga vissa ljudeffekter från scenen?  För att undersöka detta har jag tagit fram prototyper av teaterrekvisita med sensorer och på så sätt i viss mening gett föremålen en egen röst. Detta bidrar till att de kan delta i dialogen med människorna i en föreställning, samtidigt som samspelet mellan skådespelare och ljudtekniker förändras.  Genom processens olika iterationer har gränsen mellan subjekt och objekt blivit allt mer otydlig, liksom den mellan de olika rollerna. Skådespelaren blir i viss mening ljudtekniker, liksom både rekvisitan och ljudteknikern i sin tur blir skådespelare. / This thesis aims to investigate the relationships between theatrical props, actors and sound engineers through the posthumanistic perspective of agential realism. I also explore the phenomena that emerge from these relationships. What happens when sensors are implemented in the prop in order for the actors themselves to trigger certain sound effects from the stage? To investigate this, I have developed prototypes of theater props with sensors and thus in some sense given the objects a voice of their own. This contributes to them participating in the dialogue with the people in a performance, while at the same time changing the interplay between actors and the sound engineer. Through the different iterations of the process, the division between subject and object has become increasingly unclear, just like the one between the different roles. In some sense, the actor becomes an audio engineer, as both the prop and the audio engineer in turn become actors.