On Wednesday, Gov. Kim Reynolds removed some restrictions on businesses in the 22 counties that have been seeing higher numbers of Iowans affected by COVID-19, including Linn and Johnson counties....

Watch my video and see what a decentralized WordPress environment might look like. Almost everything we rely on to operate online is a centralized platform. WordPress, Twitter, Facebook, YouTube, you name it—they’re all gigantic, centralized platforms. Ok, sure, but why does that matter? It matters because the bigger centralized platforms get, the less freedom users […]

Watch my video about the incremental approach—the cheapest, smartest, and easiest way to build a website (and a business!) One thing that’s always annoyed me about contract web design and development is this idea that you can actually pay for a finished product to be delivered within a particular time frame. Nothing actually works this […]

“Past performance is no indication of future results.”

That’s a favorite mantra of many business analysts. It may be true when pondering statistics. But when considering people, it’s a false positive. You certainly can predict how people will perform, based on what they’ve said and done.

For example, if a business owner has historically forced employees to work in hazardous conditions for minimum wage, it’s no surprise that now, they are compelling workers to choose between risking their health even further or go without a meager paycheck.

If elected officials have historically favored those business owners over working people, it’s no surprise that now, they are threatening to deny unemployment benefits to those workers who don’t return to their hazardous jobs.

Those historically silent about this and other injustices are remaining silent now — and we shouldn’t expect anything different from them.

I have been a business owner for nearly three decades, but I am pro-people.

Because I made personal concessions during the Great Recession, no one at UIG, the property and casualty insurance agency where I am president, lost their job. I have done the same this year with COVID-19. And will do it again to put my employees first.

Because I believe in workers’ right to organize, I supported my campaign staff’s successful effort to unionize with the Campaign Workers Guild, becoming the first senate campaign in Iowa to do so. This guarantees they receive a dignified living wage, get paid time off, unlimited paid sick leave, and fully paid health insurance. We did this together. Which is the way business should work.

On the contrary, the lobbyist-backed candidate, Theresa Greenfield, bankrupted her company in 2013, and went on to evict several small businesses with Colby Interests so she could replace their storefronts with an Aldi. We all have seen what happens with a real estate developer in power, and it has certainly not benefited hardworking Iowans.

COVID has revealed fissures in America’s bedrock. To fix the cracks, we need leaders who have proved they can craft solutions to assure every worker of a dignified wage, a safe workplace, paid time off and sick leave, and affordable, accessible health care.

These days have taught us that past performance certainly is an indication of future results. We need to look closely at what someone has said and done when considering what they may say and do in office.

Eddie Mauro is a candidate in the Democratic primary for U.S. Senate.

Serving as state representative of House District 85 for the past few years has been a privilege and an honor. I have worked hard to stand for the people of my district fighting for issues that are important to them and to the voters of Iowa City. I want to continue that advocacy and am running for another term in the Iowa House and ask for your vote.

I vigorously support adequate funding for education from pre-school to our community colleges and universities. Our young people are Iowa’s future and deserve the best start available through our excellent education system in Iowa. But we need to provide the dollars necessary to keep our teachers in the classroom so our children are prepared for whatever may lie ahead of them.

I have advocated for the fair treatment of workers in Iowa and support their right to organize. I have worked on laws for equal pay for equal work and whistle blower protection.

I am for essential funding for mental health services for Iowans of all ages. Children and adults who are struggling with mental health issues should have services available to them no matter where they live in this state.

I have fought to keep government open and accessible to Iowans. I support open records and open meetings laws to ensure that availability and transparency to all Iowans.

Keeping voting easy and accessible to voters has been a priority of mine. I support a fair and balanced redistricting system for voting in Iowa.

I have advocated to keep the bottle deposit law in place and expand it to cover the many new types of containers available.

I have worked on oversight legislation after several investigations into defrauding government which involved boarding homes, government agencies and pharmacy benefit managers (the “middleman” between pharmacies/Medicaid and the healthcare insurance companies.)

I cannot avoid mentioning the challenge of the coronavirus in Iowa. It has impacted our health, jobs, families and businesses. No one could have predicted this pandemic but as Iowans, we need to do our best to limit contact and the spread of this disease. My sincere appreciation goes to those workers on the frontlines of this crisis: the healthcare workers, store owners, businesses, farmers, teachers and workers who show up every day to keep this state moving forward. Thank you all!

There is still much work to be done to keep Iowa the great place where we live, work and raise our families. I am asking for your vote to allow me the privilege of continuing that work.

Vicki Lensing is a candidate in the Democratic primary for Iowa House District 85.

With over 11,000 positive COVID-19 cases in Iowa and a mounting death toll, Iowa Gov. Kim Reynolds went to Washington DC. to declare her approach to the pandemic a success.

Her victory lap included a sit down with the president and a Washington Post op-ed. The op-ed was co-authored with four other GOP governors and declared, the “common-sense approach helped keep our states on track and have set us up to come out of this pandemic stronger than ever.”

On May 8, Vice President Mike Pence came to Iowa to celebrate Iowa’s success. But what does Iowa’s success actually look like?

Well, two of our counties are national hot spots for the disease.

Experts from the University of Iowa project that Iowa has yet to reach it’s peak for cases and warn that without proper measures a new wave of infection will hit the state in the fall.

Iowa’s success looks like the TestIowa initiative getting off to a slow start due to problems with the test machines and thus far, failing to achieve it’s promise of 3,000 tests per day. And mounting concerns about the accuracy of the tests, after the Des Moines Register reported that several test samples were unable to be processed.

Success looks like Minnesota having 3,000 fewer positive COVID-19 cases with 2 million more residents and nearly 40,000 more tests completed.

The week of Reynolds victory lap was the week that Iowa saw a 28 percent increase in hospitalizations, a 51 percent increase in ICU admissions, and a 39 percent increase in patients needing ventilators.

Reynolds declaring victory now is like crowning yourself the winner in Monopoly before you even made it all around the board. It’s like demanding your marathon medal on mile 13. It’s like declaring you are flattening the pandemic curve, before your COVID-19 cases skyrocket by thousands. OK, that’s not a metaphor, that’s something our governor actually did. Just weeks ago.

This is what Reynold’s success looks like: 231 deaths and vulnerable being forced to return to work before it's safe. And these are not just numbers, these are people.

Perhaps the most damaging thing that this pandemic response has done was to turn individual lives into a chart on a scoreboard. A game of chess, where we are willing to sacrifice some pawns to keep winning at making money.

AP reporter Ryan Foley noted on Twitter that those dead from COVID-19 in the state include a Bosnian refugee who left behind a heartbroken husband and a Latino father who was raising three kids on his own after their mother died of cancer last year.

Those lost include Willi Levi, one of the men who escaped servitude from the Atalissa turkey processing plant.

But as state Rep. Steve Holt argued in an op-ed this week, if we have enough room in our hospitals, why not open the economy? The logic was repeated during Reynolds May 7 news conference — our hospitals can handle it so we move forward. This is what success looks like: Enough hospital beds for us all to die in.

Before the pandemic came to the state, Holt and Reynolds were both pushing an amendment to the state constitution that would strip protections for abortion.

The Venn diagram of those people telling you COVID-19 isn’t that bad and so what, some people will die, and the people who call abortion murder is just one flat circle of hypocrisy.

Holt has even been tweeting about how shut down orders violate our personal liberty. But where is all that personal liberty when it comes to my uterus, Holt?

Our success didn’t have to look like this. Our success could have involved fewer deaths, fewer infections and a reduced risk for a resurgence, if we had just waited two more weeks.

Dr. Eli Perencevich, professor of internal medicine and epidemiology at the University of Iowa Carver College of Medicine, and one of the authors of a report for the Iowa Department of Public Health, which warned against reopening too soon. He spoke to me in an interview last week, where he explained that if Iowa could have remained closed just a little longer, we’d be closer to safety. Ideally, explained Perencevich, if Iowa had truly shut down immediately and decisively for two weeks in the beginning, we wouldn’t be in this situation. Absent that, shutting down for two more weeks would ensure greater safety.

This pandemic didn’t have to be a choice between the economy or lives. We are the world’s richest nation, we could have come up with a solution. But doing so would mean that we’d have to face America’s deep inequality, we’d have to enact social change and pump money into food benefits and health care, two things Reynolds has slowly been defunding during her tenure as governor. Each of these deaths was preventable not inevitable. But our governor and federal government have given up the fight, and called it success. They’ve accepted that some people will die, and even more will get sick and lose their livelihoods and income and be forced to bear mounting medical costs.

It’s easier to say you win, before you’ve even played the game. And so here we are, dying from all this success.

lyz.lenz@thegazette.com; 319-368-8513

We invited Admiral Mike Franken to a gathering of voters to explain why he was qualified to run for the U.S. Senate. We were impressed with his friendliness, his openness, and especially his range of experience as a leader. One of those in attendance at our home was a woman who had served under his command on the U.S.S. Barry; it was a happy reunion for the sailor and the admiral. She had no hesitation in endorsing him and supporting him in his campaign. Admiral Franken also visited our son’s home in another city. Again, those gathered were impressed with Admiral Franken’s experiences and priorities But the person most impressed was our eight-year-old grandson. When Charlie walked into the room, Admiral Franken interrupted himself, introduced himself to Charlie and engaged him in genuine conversation. Charlie’s summation of politicians. “I like him. He was talking about boring stuff, but he was nice to me. People shouldn’t talk about boring stuff; they should just be nice to everyone.”

Mike doesn’t talk about boring stuff — to us, anyway. He talks about the actions we want our United States Senate to take: pass legislation to address climate change, health care and the economy.

Because Mike has experience as a leader and as a staff member on Capitol Hill, he has an advantage over newcomers to Washington.

We, one Democrat and one Republican, encourage you to vote for Admiral Mike Franken to be our Senator.

Dianne and Bim Prichard

DeWitt

One in five people will have some kind of mental illness in their lifetime. Yet despite how common these conditions are — as common as silver cars, and more common than being left-handed — stigma remains the greatest barrier to individuals seeking help regarding their mental illness.

May is Mental Health Awareness Month. This serves as a great opportunity for our community to begin eliminating stigma by starting conversations and increasing understanding about mental illness.

Now, more than ever before, it is important to talk about mental illness. Many of us could be feeling increased anxiety, stress and feelings of isolation due to the COVID-19 outbreak and social distancing requirements. For those Iowans who already live with a mental illness, this pandemic could be causing symptoms to compound.

A recent study released by a team at Iowa State University states that increased unemployment and social isolation measures related to COVID-19 could result in an increase in suicide rates of close to 50,000 individuals.

Despite the challenges created by the COVID-19 pandemic, there still is help available: Telehealth services during this crisis is critical. Our state leaders, Iowa Insurance Commissioner Doug Ommen and Gov. Kim Reynolds responded immediately by encouraging health providers, insurers and businesses to work together to remove barriers and ensure telehealth is accessible.

Your Life Iowa, a state-operated service, offers referrals for problems related to alcohol, drugs, gambling, mental health or suicidal thoughts and can be contacted by phone, text or online chat 24/7.

Between March 1 and April 19, Your Life Iowa received nearly 500 contacts related to COVID-19 and traffic on the website — YourLifeIowa.org — is up 27 percent. Crisis lines and mental health counselors around the state and country are also reporting an uptick in patients reaching out for resources or virtual counseling. This is important progress.

However, the greatest barrier for those in need of mental health services is stigma.

If you know someone who is struggling, be a voice of support. The silence around mental illness is preventing our fellow Iowans — our friends, neighbors, co-workers and family members — from feeling better. By breaking down the stigma around mental illness, we can help them access the resources and treatment they deserve.

If someone opened up to you about their mental illness, would you know what to say? Do you have a general understanding of the most common mental illnesses? Do you know how to support loved ones dealing with mental illness? There are free resources available at MakeItOK.org/Iowa to learn more.

You can also read stories of Iowans who live with mental illness, take a pledge to end mental illness stigma and learn more about how you can get more involved with Make It OK through ambassador trainings, upcoming events and workplace programming.

Together, we can end the stigma and Make It OK.

Jami Haberl, Iowa Healthiest State Initiative; Lori Weih, UnityPoint Health — St. Luke’s Hospital; Tricia Kitzmann, Linn County Public Health and Mona McCalley-Whitters, Ph.D., NAMI Linn County.

With the throng of websites on the internet vying for people’s attention, it will be hard to stand out if you don’t have an appealing or dependable business website. Investing in building your own website and acquiring a reliable domain and web hosting provider are some of the things you must do right to make […] More

What does a localization specialist do? What is the concept of localization? If these questions are on your mind, then this article is for you. More

Recent advances in technology have helped both small and large companies to automate their business process to improve productivity. In fact, experts have also emphasized that productivity has stalled over the last couple of years. Numerous large-scale businesses also complained that their productivity was in decline despite implementing innovative workplace guidelines to improve the workflow. […] More

There are several essential tools development teams can utilize to optimize their website design. Web design can be a complex, challenging process. However, it is vital to obtaining adequate performance results. Luckily, there are dozens of digital resources available that help navigate you through your website design process. The best web design tools improve your […] More

How does a single plugin become the basis of a thriving technology ecosystem? Partly by leveraging the extensibilitythat WordPress’s event-driven Hooks system makes possible.

Before 20 years, the websites are developed with text and static HTML only. But as technology is growing we have lots of new ways to create any complex to a simple website. There are so many options available to develop a user-friendly website.

Are you seeing a 503 service unavailable error in WordPress? The problem with the 503 error is that it gives no clues about what’s causing it which makes it extremely frustrating for beginners. In this article, we will show you how to fix the 503…

Do you want to duplicate your WordPress database using phpMyAdmin? WordPress stores all your website data in a MySQL database. Sometimes you may need to quickly clone a WordPress database to transfer a website or to create manual backups.

Do you want to create a WordPress intranet for your organization? WordPress is a powerful platform with tons of flexible options that makes it ideal to be used as your company’s intranet. In this article, we will show you how to create a WordPress intranet.

Using a local server environment will save you a bunch of time if you regularly develop new WordPress websites. Local development has many advantages – it’s faster and more secure than constantly uploading files to a server.

f there is one thing you should include in your WordPress website’s strategy, it’s search engine optimization. Because when you do it right, you’ll be rewarded. Hugely rewarded. With tons of high quality visitors.

Multisite is a powerful tool that will help you create a network of sites to fulfill a variety of purposes, and which you can customize to make life easier for your users and help your network run more efficiently and make you money.

There are so many different types of hosting that it can be overwhelming to choose the right one for your WordPress site, but at the same time, it just means there are enough options so you can choose the perfect fit.

Au carrefour de la mode et de l’image documentaire, Jessica Antola photographie des tissus, mais avant tout des personnes. Elle construit avec eux une relation de confiance et en retour, ses modèles lui offrent une petite fenêtre ouverte sur leur vie. Tout d’abord, vous avez travaillé dans l’industrie de la mode. Ainsi, votre amour pour […]

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I am at the WordCamp convention in Las Vegas and

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The guys from Instinct whom released the E-Commerce Plugin have release a new plugin today. Dan Milward even went as far as to announce that this plugin was a gift for Matt Mullenweg, seeing how today is his 25th birthday. The plugin: WordPress Wiki. Head over to Instinct’s site and check it out.

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Ricardo Sousa, who writes for Smashing Magazine created a great plugin called Twittar. This plugin will use someones Twitter Gravatar if their email address is not connected with a Gravatar. For more info check out the full post at Twitter Avatars in Comments: A WordPress plugin Image credit: Ricardo Sousa

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Hey, in case you are unaware, WordPress has launched a new site called WordPress.tv. Check out the full post at the WordPress.org blog. Or visit WordPress.tv …WordPress.tv is also now the place to find all that awesome WordCamp footage that was floating around the web without a home. See the presentations you missed and get […]

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For your information. The WordPress fonts are as follows: the old WP logo was Dante, the new one is Mrs. Eaves. You can also find the correct logo’s on WordPress.org.

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Most all WordPress theme’s use a a simple search form to search your site. But what it you wanted to search your whole site and not just your posts. Search Unleashed comes into the picture. Search Unleashed performs searches across all data, including that added by plugins. Some features of this plugin are: Full text […]

The post Search Unleased: A custom WordPress plugin appeared first on WPCult.

Firefox is regarded as the best Web browser in terms of extensions. It has hundreds of add-ons, which can be downloaded from here. Pavel Ciorici collected the most useful WordPress related Firefox extensions (addons) and compiled them on this post. photo by: Pavel Ciorici

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I recently went looking for a good audio player for WordPress. I came across WPAudioPlayer from 1 pixel out. The plugin is extremely simple to use and has a really awesome automatic color detention tool which will match to your site with ease. For more info visit the demo page at http://www.1pixelout.net/code/audio-player-wordpress-plugin/

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If you own an AirPort base station, you can use the Timed Access feature to control the days and times when users access the Internet. This could come in handy in a variety of situations. For example, if you own a cafe and provide free wi-fi access, you can configure the AirPort to block all access to the Internet when your business is closed. And if you have children, you can set time limits for specific devices in your home.

There are two ways to use the timed access feature. You can create a default allow policy to allow all devices to access the Internet at any time, and then specify custom schedules for specific devices. Or you can create a default deny policy to prevent all devices from accessing the Internet according the schedule you specify, and then exempt specific devices by creating custom schedules.

Here's how to control AirPort network access with time limits:

1. Open the AirPort Utility application. (It's in Applications → Utilities.) The window shown below appears.
   
   
2. Click the AirPort Extreme's icon. The status pop-up window appears.
   
   
3. Click Edit. The settings window appears.
   
   
4. Select the Network tab. The window shown below appears.
   
   
5. Select the Enable Access Control checkbox.
   
   
6. Click Timed Access Control. The window shown below appears.
   
   
7. Select the Unlimited (default) option. By default, this allows all of the devices connected to your AirPort to access the Internet all day, every day, but you can change this to block Internet access for all devices (except the ones you specify later) during the times you set.
   
   
8. If you'd like to limit the days and times that a specific device can access the Internet, click the + button under the Wireless Clients field. The window shown below appears.
   
   
9. Enter a name for the device in the Description field.
   
   
10. Enter the device's MAC address in the MAC Address field. You can use the following tutorials to find the device's MAC address.
    
    • How to Find Your Mac's MAC Address
    • How to Find Your iPad's MAC Address
    • How to Find Your iPhone's MAC Address
    
    
11. Use the + button under the Wireless Access Times field to create a schedule for this device's Internet access.
    
    
12. Once you've added all of your devices and customized the schedules, click Save.
    
    
13. Click Update. The AirPort will restart to apply the changes.

Congratulations! You have successfully set time limits for the devices connecting to your AirPort network. The schedule you created is effective immediately.

Meet Your Macinstructor

Matt Cone, the author of Master Your Mac, has been a Mac user for over 20 years. A former ghost writer for some of Apple's most notable instructors, Cone founded Macinstruct in 1999, a site with OS X tutorials that boasts hundreds of thousands of unique visitors per month. You can email him at: matt@macinstruct.com.

When you connect an iPhone to a wi-fi network, the iPhone remembers that network and will automatically attempt to connect to it in the future. This is a great feature for wi-fi networks you trust and use frequently. But mistakes happen. If you connect to the wrong network at a coffee shop, your iPhone will automatically attempt to join that network every time you visit the coffee shop in the future. And if the password for a known network changes, your iPhone might have trouble connecting to it.

What's the solution? Telling your iPhone to forget the wi-fi network. Forgetting a network will remove the network's password and prevent your iPhone from joining it automatically in the future.

Here's how to tell your iPhone to forget a wireless network:

1. From the home screen, tap Settings.
   
   
2. Tap Wi-Fi. The window shown below appears.
   
   
3. Locate the wireless network you want the iPhone to forget, and then tap the blue arrow next to the network name. The window shown below appears.
   
   
4. Tap Forget this Network. The iPhone will forget the wireless network.

You have successfully told your iPhone to forget the wi-fi network. The iPhone will not attempt to connect to the network in the future. And if the network required a password, that password has been forgotten.

Related Articles

• How to Connect an iPhone to a Wi-Fi Network
• Make Your iPhone Ask to Join Wi-Fi Networks

Meet Your Macinstructor

Matt Cone, the author of Master Your Mac, has been a Mac user for over 20 years. A former ghost writer for some of Apple's most notable instructors, Cone founded Macinstruct in 1999, a site with OS X tutorials that boasts hundreds of thousands of unique visitors per month. You can email him at: matt@macinstruct.com.

Hongo is a creative and responsive, search engine optimised and fast loading, highly flexible and powerful, feature-rich and easy to use WooCommerce WordPress theme which comes with all necessary settings and tools which will help you to create a great … Continued

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When it comes to content marketing, we live in extraordinary times. With cutting-edge tools such as live video, VR and AI at our fingertips, we can give our community behind-the-scenes access to our company, people and products.

We can showcase our best customers and bring our brands to life.

But what if your business had to close all of its physical locations? What if your people couldn’t go anywhere?

And what if your community was distracted by ... something? Not a little something. A very big, pandemic-level something.

These are the questions that content marketers find themselves grappling with in the midst of COVID-19. In the blink of an eye, we went from having the tools to do anything to a hobbling array of limitations. At least, that’s what it can feel like.

But what if we flipped that thinking the other way? Twitter co-founder Biz Stone once said, “Constraints inspire creativity. When are backs are against the wall, we come up with some amazing things.”

Where can we look for inspiration? If you flip the through the opening pages of that famed marketing handbook “Us Weekly” — hey, what else is there to look at in a waiting room? — you’ll find a section titled, “Stars — They’re Just Like Us!”

These pages feature celebrities doing “regular people” things such as walking down the street and getting groceries. However, these days, despite their fame and means, celebrities have our same quarantined constraints.

And some are using this as an opportunity to create some amazing content of their own.

During this odd interlude, we can learn some valuable content marketing lessons from celebrities working within these same limitations.

Create what your audience is looking for

Actor John Krasinski didn’t start a weekly web show in the middle of a pandemic to mug to the camera like his character Jim Halpert from “The Office.” Nor did he do it tout his Jack Ryan action-hero status.

Instead, in the midst of all of the bad news, he saw that what many people were hungry for was some good news. And that’s literally what he’s delivered with his aptly titled video series, “Some Good News” or “SGN.”

Featuring homemade title cards crafted by his children and set in his home office, Krasinski’s weekly show features a roundup of happy stories about creative kids, salutes to health care workers, unique ways to celebrate graduates and more. He also has concise weather reports from the likes Robert DeNiro and Brad Pitt.

While special appearances from famous friends might be out of your reach, you, too, can find ways to serve up more of what your audience needs right now.

Note: This might not necessarily be exactly what you sell. Ask yourself instead, what do they really need right now and how can we help?

For example, Don’t Panic Management is a team of virtual assistants. However, they saw that the small businesses they serve need help applying for government relief programs, so they started creating content around this.

Homemade content can be relevant, special

On a recent episode of his WTF podcast, host Marc Maron talked about watching episodes of “Saturday Night Live At Home,” saying these shows were “touching.”

With segments shot by various individual cast members at home on their laptops and phones and featuring costumes from closets and cameos from kids and pets, SNL “At Home” shows how you can push our quarantined limitations to produce creative content.

In a recent episode, cast member Kate McKinnon shot an installment of her long-running “Whiskers R We” cat adoption sketch at home on her phone. Normally, this would feature several cute cats in studio introduced as McKinnon quips things like, “A cat is a smile with hair.”

The “At Home” installment features McKinnon in a homemade version of her costume with hand-drawn signs and her one pet cat playing nearly a dozen cats thanks to camera filters, mustaches and face masks.

SNL initially announced it would end their season early due to COVID-19. A few weeks later, the cast came back with their first “At Home” show.

They recognized the power of the moment and the outsized impact homemade content can have.

Another example of relevant, homemade branded content is a new ad from L’Oreal Paris, with spokeswoman Eva Longoria dying her gray roots at home in a video she shot on her iPhone. When you get hung up trying to make something polished and perfect, you often miss the opportunity to make something relevant and special.

Get creative with collaboration

Another SNL “At Home” sketch introduces characters struggling with the new normal of Zoom meetings shot with — wait for it — Zoom! The recent “Parks and Recreation” reunion special developed an entire half-hour script around a series of virtual meetings between Leslie Knope, Ron Swanson and others, all shot at home by the actors using iPhones.

We can use the same tools we rely on for virtual meetings to collaborate with others on content. Many already use Zoom and Skype for podcasts and videos.

You also can get creative in your content collaboration as actor and stunt professional Zoë Bell did. She challenged celebrity friends such as Scarlett Johansson, Margot Robbie, Drew Barrymore, Rosario Dawson and Zoe Saldana to help her stage an elaborate fight scene.

The resulting video stitches together individually shot fight scenes from the phones of 38 different actors and stunt workers to create one big knockout fight. The viral video garnered over a million views in just a few short days.

Just because we can’t get together doesn’t mean we can’t collaborate. Whether you’re simply using Zoom or storyboarding out something more elaborate, involving others always expands the reach of your content.

Yes, the content creators profiled here are celebrities. But they’re also more than that. They’re creative artists and problem solvers.

A frequent refrain in the early days of blogging and content marketing was, “think like a publisher.” This served as a reminder to write like a journalist, schedule content and publish regularly. However, with our current lockdown limitations, we should amend this as a reminder to think like creative artists — those who’ve used these limitations to spark bold, interesting new ideas for connecting with others.

What can you create that people need? Can you do it right now — today? From home?

Can you creatively involve others?

Thinking like a creative artist means focusing less on what you can’t do in these unusual times and more on what you can.

Nick Westergaard is a marketing strategist, keynote speaker and author of “Band Now” and “Get Scrappy”; nick@branddrivendigital.com; @NickWestergaard.

Nearly 327,000 Iowans have taken an assessment to see if they are eligible to be checked for COVID-19 under the Test Iowa Initiative.

Another free drive-though site for those who have taken the assessment and been scheduled for an appointment opened Thursday in Cedar Rapids — the fourth site in the state so far.

About 1 on 46 Iowans have been tested so far, health officials said.

State data release Thursday for the first time reveals big gaps in who has — and who has not — taken the assessment at TestIowa.om:

• Less than 35 percent of those who have been assessed for tests are men. Yet men are more apt to die from the disease than women. Of the 231 Iowa deaths so far, 51 percent are of men.

• Only 2 percent of those who have been assessed for testing are age 80 or over. But 46 percent of the Iowa deaths from the virus reported so far are in that age group.

• There are gaps in the rates at which urban and rural residents are completing the assessment. Nearly 9 percent of Linn County residents have been assessed, but only about 7.6 percent of Allamakee County residents have. Yet when looking at the rate of known infection per capita, Allamakee is far worse.

Benjamin Stuben Farrar of Iowa City is a storyteller without a story to tell at the moment.

The first story is as dramatic and layered as his bold scenic and lighting designs for area stages: “Benjamin Stuben Farrar” is not his actual name.

He was born Stewart Benjamin Farrar 41 years ago in Kentucky. He didn’t want to go through life as “Stewie,” so he went by “Benjamin,” until he got to college at Vanderbilt University in Nashville. He ran into so many other Bens, that his buddies decided to combine his names into “Stuben.”

That name followed him to grad school at the University of Iowa in 2002, where he earned an MFA in theater design. But when he moved to New York City in 2006 to pursue his career, he didn’t like hearing “Stuben” shouted across the theater.

“It sounded too much like ‘stupid,’ ” he said, “so I reverted back to Benjamin.”

But nicknames have a way of sticking. When he and his wife moved back to Iowa City in 2015 to raise their daughter, he switched to “Stuben” again, since that’s how people knew him there.

Professionally, he uses “S. Benjamin Farrar” and on Facebook, he goes by “Benjamin Stuben Farrar” so friends from his various circles can find him. Even though most people now call him “Stuben,” he still introduces himself as “Benjamin.”

“To this day, I have 12 different names,” he said with a laugh. “Only the bill collectors know me as ‘Stewart.’”

Changing realms

Like his name, his artistry knows no bounds.

He has planted apple trees on Riverside Theatre’s indoor stage in Iowa City; a child’s outdoor playground on the Theatre Cedar Rapids stage; and dramatic spaces for Noche Flamenca’s dancers in New York City venues and on tour.

These days, however, his theatrical world has gone dark.

His recent designs for “The Humans,” “The Skin of Our Teeth” and “Kinky Boots” at Theatre Cedar Rapids and “A Doll’s House, Part 2” at Riverside Theatre have been canceled or postponed in the wake of the coronavirus pandemic. He has “The Winter’s Tale” in the works for Riverside Theatre’s free Shakespeare in the Park slated for June, but time will tell if that changes, too.

“Within the course of two weeks, five productions were canceled or moved indefinitely,” he said.

Looking ahead, he’s not sure what shows he’ll have time to design for the upcoming seasons. He’s used to juggling three or four productions at a time, but he said that could become really difficult if the shows fall on top of each other at the various venues.

As with so many artists right now, his world keeps changing.

He and his wife, Jody Caldwell, an editor and graduate of the UI Writers’ Workshop, are both freelancers, leaving them with no income during this pandemic. So Farrar has been wading through red tape and delays to secure unemployment compensation and the government stimulus check, for which he’s still waiting. One bright spot was receiving a $1,000 Iowa Arts & Culture Emergency Relief Fund grant given to 156 Iowa creatives who have lost income from canceled projects.

With his regular revenue streams drying up, he’s been considering other ways to earn money through teaching theater or creating and selling more of his digital and film photography — an outgrowth of his fascination for the way lighting can sculpt a scene on stage.

“I love doing nature (photography). I love doing details,” he said. “I love photographing people, too, especially on stage — I love photographing my own shows. It’s just a lot of fun.

“For me, nature’s so interesting, especially living where we do in North America, there’s vast changes from one time of year to another. I just love looking at that on a very small scale, and how light happens to fall on that particular surface — how that surface changes color,” he said.

“Right now the redbuds are out. The magnolias came out two weeks ago and then they started to fall. It changes the landscape dramatically, especially based on whether it’s a morning light or afternoon light or evening light, whether it’s cloudy, whether the sun’s peeking through clouds and highlighting a few individual leaves. I find that super fascinating.

“That’s how I can look at the same boring tree at different times of year, at different times of day, and find something interesting to photograph.”

Lighting design

While his scenic designs create an immediate visual impact and help tell the story swirling around the actors, Farrar was a lighting designer before he became a scenic designer.

It wasn’t love at first sight. He took a light design course in college, but didn’t “get” it.

“It’s really difficult to wrap your head around it,” he said.

His aha moment came when he was running lights for an operetta in college.

“I just had these little faders in front of me so I could raise certain lights up and down. And the music was happening in front of me and I thought, ‘I control this whole little universe. I can make things completely disappear. I can sculpt things from the side, I can make things feel totally different — just like music can — just based on how it’s lit.’ And then I finally started to understand how the lighting hooked things together,” he said.

From there, his interest in lighting soared.

“I absolutely love lighting,” he said. “I think it’s probably given me more joy than anything else, just because I can go for a walk someplace and just the way the lighting changes as the clouds come in or out, or as the time of year changes and the angle of the sun changes, I really enjoy seeing that — and that’s what got me into photography.”

Scenic design

While his design work is a collaborative process with the director and other production team members, the ideas begin flowing as soon as he starts reading a script. With the flamenco dance company in New York, he might start working on a show two years in advance. With Theatre Cedar Rapids, the lead time is generally six months to look at the season overall, and four months to “get things going” on a particular show, he said. The lead time is about two months for Riverside Theatre shows, which have shorter rehearsal periods.

He begins thinking about the theater spaces, the text that the audience never sees, the show’s technical demands, and the scale in relation to the human body. He still likes to do some of his design work by hand, but computers and the 3D printer he has in his basement workshop have made the process much quicker for creating the drawings and scale models for each show.

He also enjoys the variety and challenge of moving between the small space inside Riverside Theatre and the large space inside Theatre Cedar Rapids, as well as the theaters at Grinnell College and Cornell College in Mount Vernon, as well as the theaters in New York and the touring venues that have housed his designs.

Ultimately, the goal of scenic design “is always about the storytelling,” he said.

“There’s a version of a show that exists in a script, if there is a script. Assuming it has a script, there is a scaffolding for that show in the script, and then there’s a version of the show in the director’s head, and then there’s a version of the show that’s performed in my head as I read the script. So there’s all these different versions.”

If the show is a musical, the choreographer brings in another idea, and the musical score adds another element. Sometimes Farrar knows the music very well, but other times, he doesn’t.

“Hopefully, I can integrate that well if I listen to the music while working on the show — not usually when I’m reading the script, but while I’m drafting the show. I’ll listen to the music to get a sense of how the show wants to move.

“Integrating all these different versions of the show — the text, what’s in my head, what’s in the director’s head, what’s in the choreographer’s head, the role the music plays — and then you synthesize all those elements, and then you find out how the show wants to move in the space it has. And how a show moves is one of the most important things to me. ...

“You get a sense that the show becomes this conscious element that wants a certain thing, and will reveal those things over time.”

And time is something he has right now.

Comments: (319) 368-8508; diana.nollen@thegazette.com

DES MOINES — Iowa Gov. Kim Reynolds will not be holding a news briefing Friday on the coronavirus outbreak in Iowa due to scheduling conflicts created by Vice President Mike Pence’s visit to Iowa, according to the governor’s office.

The vice president was slated to travel to Des Moines Friday morning with plans to participate in a discussion with faith leaders about how they are using federal and state guidelines to open their houses of worship in a safe and responsible manner.

Also, Friday afternoon the vice president was scheduled to visit Hy-Vee headquarters in West Des Moines for a roundtable discussion with agriculture and food supply leaders to discuss steps being taken to ensure the food supply remains secure. Pence will return to Washington, D.C., later Friday evening.

Along with the governor, Iowa’s Republican U.S. Sens. Joni Ernst and Chuck Grassley are slated to join Pence at Friday’s events in Iowa.

According to the governor’s staff, Reynolds plans to resume her regular schedule of 11 a.m. press conferences next week.

On Wednesday, Gov. Kim Reynolds removed some restrictions on businesses in the 22 counties that have been seeing higher numbers of Iowans affected by COVID-19, including Linn and Johnson counties.

Now those organizations have to make decisions — on bringing back employees, services to provide and how much access to allow for customers.

And as those businesses reopen — some after more than two months — crucial steps likely will include ongoing communication with employees and customers and a well-thought-out restart plan.

The Gazette spoke with business leaders about the challenges faced by business owners as they consider how and when to open their doors.

• David Drewelow of ActionCoach Heartland in Cedar Rapids is a consultant with 19 years of business coaching experience.

• David Hensley, director of the University of Iowa’s John Pappajohn Entrepreneurial Center, has expertise in small business management during a crisis.

• Josh Seamans is vice president of Cushman and Wakefield, a global commercial real estate adviser that operates offices in more than 60 countries including China.

• Steve Shriver is a Cedar Rapids entrepreneur who operates and/or helped found four diverse enterprises, including Eco Lips and Brewhemia.

Their responses here have been condensed from lengthy individual interviews.

How important is communication and having a well-prepared plan for resumption of business?

Shriver: The one thing that has been imperative throughout this whole process is communication with employees, customers and the public. I also would recommend writing as detailed a business resumption plan as possible.

One of the main reasons is to fully understand what you are doing as this is a brand-new challenge that none of us has faced.

Drewelow: You really need to be communicating now, more than ever, with your employees, customers, vendors and suppliers. What does your plan for the next 20 to 30 days look like? What are things that you can be doing right now to get ready?

Hensley: I think it is critically important to have a reopening plan because most businesses are not going to be at full strength right away. What might their revenue forecasts look like? How can they keep their costs down as their business starts to rebound before it gets back to full capacity?

Seamans: Your plan should include a checklist of reopening steps appropriate to your type of business. Retail will have different items than distribution or industrial businesses.

You need to communicate your plan to employees, customers, landlords and lenders.

How much will fear play a role in the resumption of business?

Shriver: Everyone has a different idea of the risks involved, such as using a handle to open a door or interacting with a person — the little things that we are used to doing.

When you look at the risk versus reward of doing that, some people will be willing to go into a store and others will stay home. Some employees don’t want to come back to work yet and some people are itching to get back. You have everything in between.

Drewelow: The fear factor is huge. For the small business owner, we try to channel that fear into a focus on being highly aware of all the possibilities to mitigate concerns.

If you own a restaurant, can you post the menu online or use disposable menus? That way, a customer doesn’t have to touch something that might have been handled by someone else.

Appropriate spacing of customers within a restaurant also will help alleviate some of the fear.

Hensley: You need to communicate what steps you are taking to protect the health and safety of your employees and your customers. If you will be requiring the use of personal protective equipment like face masks, are you going to make them available?

Will limiting the number of people entering a business be difficult?

Shriver: There are not a lot of people who want to gather in masses right now. It seems like as businesses start to reopen, it will be more like a trickle.

It will be just like turning on a water spigot, with the flow of customers gradually increasing.

Hensley: I think we will see a lot more customers buying, rather than just shopping. They are going to buy the items they came for and then leave.

If businesses have more vulnerable customers, I would recommend establishing separate early morning times like many of the grocery stores have done to provide a safer environment.

Many companies have adopted using digital conferencing platforms for meetings. Will we see that trend continue?

Seamans: I think Zoom will be used for more internal meetings, so there is no need for someone to fly from, say, San Francisco to New York. But in terms of sales, it does not replicate that face-to-face interaction.

We have done work with clients that live several hours away and we have to come in for a city council meeting for a project that we are working on. That’s a three-hour drive in for a one- or two-hour council meeting and another three-hour drive back — basically an eight-hour day. If we can Zoom in and answer any questions, that’s a lot more efficient at less cost.

What should a small-business owner consider when determining how many employees to recall?

Shriver: We will be able to bring some people back to work and generate some revenue, but not in a huge way. Anybody who can work from home should continue working from home for as long as they possibly can.

We should not be rushing to get those people back. There is no incentive.

Hensley: Owners are going to be making hard decisions. Do I bring back half of my team at full time or do I bring everyone back at reduced hours? What are those implications going to be?

In some cases, other industries have been hiring and some may be making more money. Businesses may have to pay more to attract that talent back.

Restaurants have been forced to change their business model from on-premise dining to carryout and delivery. Should all owners take this opportunity to examine and update their business model?

Shriver: We took two businesses — SOKO Outfitters, a retail store, and Brewhemia, a restaurant — and put them rapidly online within a month. When we come out of this, I think we will be stronger because we will have that infrastructure in place in addition to the old school face to face traffic that we used to have.

Hensley: I think this is definitely the time to look at your business model to determine what is appropriate given the economic situation that we have. That is not just going to be critical for reopening, but over the next six months to a year as long as we are dealing with the virus.

Some business owners will see that their customers have lost their jobs or seen their income drop dramatically. They are going to be changing their patterns of consumption based on necessities.

Drewelow: Some of my clients believe that are looking their competitors and realize that some may not reopen. They are looking at whether they can merge with them or somehow salvage parts of that business.

Some business owners have realized that the way they deliver products or services will have to change. Many of my older clients have been dragged into using modern technology.

CEDAR RAPIDS — Like other members of the United States House, the “new normal” for Rep. Dave Loebsack involves a lot of time on the phone and in video conferences.

Although the Senate returned to Washington this past week, the House may not return to the Capitol until mid-May. As representatives work from their districts, many face the same challenges as their constituents who are working from home via various phone and video meeting platforms.

“They’re clunky, difficult, frustrating at times,” the 2nd District Democrat said after a 90-minute Energy and Commerce Committee teleconference meeting, “but we can get a lot of things done that way without necessarily going into Washington. It’s not the same by any means ... but I think we can get a lot of our work done that we have to get done even though were not there.”

If there’s an upside to the telecommuting downside, it’s that the poor connections, dropped calls and sometimes spotty internet signals highlight an issue Loebsack has been working on — Congress and the country need better broadband connectivity. A member of the Communications and Technology subcommittee of the Energy and Commerce Committee, which has jurisdiction over telecommunications issues, Loebsack also serves as a co-chair of the Rural Broadband Caucus.

In one meeting, Loebsack said, a fellow committee member was unable to ask questions because the Wi-Fi signal at his home outside of a southwestern city was so poor.

“So I think we’re going to make some progress” convincing congressional colleagues of the need to connect all Americans to reliable and affordable broadband internet, Loebsack said.

“In times like these, when families are at home, millions of K-12 students do not have access to the high-speed internet needed to take classes and complete their assignments online,” he said in an announcement with House Majority Whip James Clyburn and others of a House Democratic plan to connect all Americans to high-speed internet.

When the transmission of COVID-19 slows, the need for high-speed internet connectivity will remain as well as the need for Congress to provide incentives for internet service providers to close the “broadband gap” by extending service to the las mile in rural areas and eliminate what he called “internet deserts” that exist in cities.

The plan calls for an investment of $80 billion over five years for internet infrastructure and another $5 billion over five years for low-interest financing of projects.

With more reliable connectivity, Congress could consider remote voting at times like this when members don’t want to gather in Washington. House Speaker Nancy Pelosi has been cool to the idea, but Loebsack thinks members are “more open” to voting remotely.

“But we have to make sure that it’s completely secure, that the system can’t get hacked, and that votes are recorded properly,” he said.

Remote voting may be a may be a generational issue, “but I think this is doable.”

“I’m not making that prediction, but I would not be shocked if we move in that direction, especially the longer this (isolation) goes on,” Loebsack said.

Comments: (319) 398-8375; james.lynch@thegazette.com

And while we’re in the process of missing European architecture… ????
—
4 more days left to catch my Lightroom presets for 50% off! ⌛️ (at Copenhagen, Denmark)

In the classic loudness war, music and radio producers have been trying to create their recordings as loud as possible and loudness normalization was introduced to stop that. Now one can see the start of a new loudness target war, where podcasters set their loudness targets higher and higher, mainly triggered by high target recommendations of platforms like Spotify or Amazon Alexa.
In this article, we will show how to resist the loudness target war and still be compliant with major platforms.

Resist the loudness target war! (Photo by Nayani Teixeira)

What's the problem?

“Two or three years ago it seemed that many stations were finally realizing that better radio could improve ratings. And the major myth brought over from AM radio – that a louder signal, regardless of quality, attracts more listeners – appeared to be losing its strength,” writes Robert Orban. The times of excessively compressed audio, putting loudness over sound quality, were coming to an end. We were hoping the same when we wrote about the CALM Act and EBU R128 in 2012. Those measures were meant to make programs sound more evened out and set a standard for a reasonable loudness level.

Except, Orban's article was published in 1979 (PDF, p. 60 ff.), and he concludes: "The loudness war has escalated, and quality is once again being sacrificed." 40 years later, a new loudness target war is emerging. While, yes, radio and TV stations have widely adopted the new standards, prominent competitors in the audio market are pushing for higher loudness targets once again.

Loudness war: the trend of increasing audio levels in recorded music over time. (Screenshot delamar.de)

Why LOUDER is not better

Historically, the loudness war has escalated with the advent of digital technology. Peak level normalization and quasi peak program meters (QPPM) encouraged producers to push audio signals to the limit. Just shy of clipping, signals could now be compressed to the highest possible levels, using multiband compressors and limiters. While this lifted quieter signals up, transforming a waveform into a brick, marketers thought that the louder songs on CDs and almost yelling voices on FM radio would attract listeners. On the other hand, reduced dynamics makes audio less interesting and can lead to listener fatigue, as Rip Rowan pointedly illustrated in his 2002 article "Over the Limit":

WHY IS THE LOUDER IS BETTER APPROACH THE WRONG APPROACH? BECAUSE WHEN ALL OF THE SIGNAL IS AT THE MAXIMUM LEVEL, THEN THERE IS NO WAY FOR THE SIGNAL TO HAVE ANY PUNCH. THE WHOLE THING COMES SCREAMING AT YOU LIKE A MESSAGE IN ALL CAPITAL LETTERS. AS WE ALL KNOW, WHEN YOU TYPE IN ALL CAPITAL LETTERS THERE ARE NO CUES TO HELP THE BRAIN MAKE SENSE OF THE SIGNAL, AND THE MIND TIRES QUICKLY OF TRYING TO PROCESS WHAT IS, BASICALLY, WHITE NOISE. LIKEWISE, A SIGNAL THAT JUST PEGS THE METERS CAUSES THE BRAIN TO REACT AS THOUGH IT IS BEING FED WHITE NOISE. WE SIMPLY FILTER IT OUT AND QUIT TRYING TO PROCESS IT.

Hence, many spoken word producers and broadcasters luckily wisened up and committed to new standards, based on loudness normalization instead of peak normalization. LUFS, Loudness Units relative to Full Scale, is a unit that measures an audio track's average loudness. All segments of a program can then be normalized to a certain LUFS value. As we have discussed before, -23 LUFS is standard now for broadcasters of the EBU, which for example has led to advertising segments no longer being much louder than the rest of any particular program. For a short while, it seemed like a peace agreement, or at least a truce had been achieved in the loudness war.

Human loudness perception is based on average levels instead of peak levels. (Screenshot theproaudiofiles.com)

Loudness Targets and Dynamic Range

However, while LUFS adoption is increasing across the industry, this doesn't mean that people have stopped trying to be louder than everybody else. And indeed -23 LUFS is not the one-size-fits-all value. We have recommended -16 LUFS for podcasts ourselves. The loudness of a production played in a cinema should be different from one made for earphones and noisy listening environments. Some headphones expect a louder signal and don't have enough gain to work with -23 LUFS under all circumstances.

The closer a production gets to 0 LUFS though, the less dynamic range can be reproduced. However, the dynamic range also depends on the dBTP, the maximum True Peak level, which indicates the level of the highest possible peak value. For instance, the aforementioned EBU R128 standard of -23 LUFS also defines a -1 dBTP. The difference between the LUFS and dBTP levels is called Peak to Loudness Range, PLR. For EBU R128 the PLR would be 22 LU (Loudness Units), a podcast with -16 LUFS and -1 dBTP has a PLR of 15 LU. Thus, the PLR is a measure of the maximum possible dynamic range of an audio production.

Platforms: Apple, Google, Amazon, and Spotify

Our already pretty high recommendation of -16 LUFS, -1 dBTP for mobile listening was also adopted by Apple's best practices for podcasts and recommendations for Google Assistant. Some are pushing it too far, though. A daily updated analysis by podnews shows that many podcasts are much louder than -16 LUFS.

Distribution of loudness across a selection of podcasts. (Screenshot podnews.net)

This might in part be due to specs published by other competitors in the audio space:

Amazon, for instance, recommends -14 LUFS at -2 dBTP for Alexa skills, meaning a PLR of only 12 LU. While this might work for Alexa's synthesized voice, which doesn't have much variability, it produces a dynamic range too low for spoken word content.
However, Amazon also says that a skill may be rejected if the program loudness is lower -19 LUFS or higher -9 LUFS, therefore a target of -16 LUFS is perfectly fine, which means that Alexa's robot voice leads by 2 LU compared to the audio content.

Spotify normalizes audio to the equivalent of about -14 LUFS, -1 dbTP, but they still use ReplayGain, which is not exactly the same as LUFS but gives similar results. Spotify mainly decreases the volume of overly loud productions, but can also increase the volume on some playback devices if the audio is much too soft.
For pop music, -14 LUFS is acceptable, but for podcasts or classical music, it is too high. However, (pop) music can always be played a bit louder compared to speech, therefore a loudness target of -16 LUFS for podcasts is fine on Spotify as well.

Make LUFS, not war

If producers just use the highest recommended target and therefore the loudness (target) war goes into another battle, we will hear more compressed, distorted voices once again, lacking emotion and many subtleties that are reflected in the dynamic range of how we speak.

Setting a loudness target higher than -16 LUFS does not improve the listening experience in any way. However, many productions would benefit from sensitively adjusting differences in dynamics throughout the production, lifting up quieter segments, lowering loud segments, and treating speech and music differently. As pointed out in a presentation recently (video, in German), you can do that directly in your DAW or use a leveler to automate dynamics processing.

Instead of just raising the loudness target, adjusting differences in levels can help to make the listening experience much more enjoyable.

Recent album releases suggest that the music industry is still in the middle of the loudness war, often limiting the peak to loudness range to single digit LU values. (By the way, your vinyl-buying friend is right, vinyl records do sound better because they don't work with the highest compression rates.) Hopefully, podcasters, radio producers and other spoken word artists, as well as the platforms that host and publish their productions, can resist the temptation of louder and louder audio.
Make (no more than -16) LUFS, not war!

Conclusion

With some podcasts, smart speakers and streaming platforms trying to be louder than the competition, the listening experience deteriorates. However, podcasts can sound great and loud enough even in noisy environments, when well produced:

• Never set a loudness target higher than -16 LUFS for spoken word audio.
• If your audio is too quiet, try lifting up quieter sections and reducing the volume of louder sections, directly in your DAW or by using a leveler.
• These settings will work fine on all current platforms, including Amazon Alexa and Spotify.

Resist the loudness target war!

If listeners find themselves using the volume up and down buttons a lot, level differences within your podcast or audio file are too big.
In this article, we are discussing why audio dynamic range processing (or leveling) is more important than loudness normalization, why it depends on factors like the listening environment and the individual character of the content, and why the loudness range descriptor (LRA) is only reliable for speech programs.

Photo by Alexey Ruban.

Why loudness normalization is not enough

Everybody who has lived in an apartment building knows the problem: you want to enjoy a movie late at night, but you're constantly on the edge - not only because of the thrilling story, but because your index finger is hovering over the volume down button of your remote. The next loud sound effect is going to come sooner rather than later, and you want to avoid waking up your neighbors with some gunshot sounds blasting from your TV.

In our previous post, we talked about the overall loudness of a production. While that's certainly important to keep in mind, the loudness target is only an average value, ignoring how much the loudness varies within a production. The loudness target of your movie might be in the ideal range, yet the level differences between a gunshot and someone whispering can still be enormous - having you turn the volume down for the former and up for the latter.

While the average loudness might be perfect, level differences can lead to an unpleasant listening experience.

Of course, this doesn't apply to movies alone. The image above shows a podcast or radio production. The loud section is music, the very quiet section just breathing, and the remaining sections are different voices.

To be clear, we're not saying that the above example is problematic per se. There are many situations, where a big difference in levels - a high dynamic range - is justified: for instance, in a movie theater, optimized for listening and without any outside noise, or in classical music.
Also, if the dynamic range is too small, listening can be tiring.

But if you watch the same movie in an outdoor screening in the summer on a beach next to the crashing waves or in the middle of a noisy city, it can be tricky to hear the softer parts.
Spoken word usually has a smaller dynamic range, and if you produce your podcast for a target audience of train or car commuters, the dynamic range should be even smaller, adjusting for the listening situation.

Therefore, hitting the loudness target has less impact on the listening experience than level differences (dynamic range) within one file!
What makes a suitable dynamic range does not only depend on the listening environment, but also on the nature of the content itself. If the dynamic range is too small, the audio can be tiring to listen to, whereas more variability in levels can make a program more interesting, but might not work in all environments, such as a noisy car.

Dynamic range experiment in a car

Wolfgang Rein, audio technician at SWR, a public broadcaster in Germany, did an experiment to test how drivers react to programs with different dynamic ranges. They monitored to what level drivers set the car stereo depending on speed (thus noise level) and audio dynamic range.
While the results are preliminary, it seems like drivers set the volume as low as possible so that they can still understand the content, but don't get distracted by loud sounds.

As drivers adjust the volume to the loudest voice in a program, they won't understand quieter speakers in content with a high dynamic range anymore. To some degree and for short periods of time, they can compensate by focusing more on the radio program, but over time that's tiring. Therefore, if the loudness varies too much, drivers tend to switch to another program rather than adjusting the volume.
Similar results have been found in a study conducted by NPR Labs and Towson University.

On the other hand, the perception was different in pure music programs. When drivers set the volume according to louder parts, they weren't able to hear softer segments or the beginning of a song very well. But that did not matter to them as much and didn't make them want to turn up the volume or switch the program.

Listener's reaction in response to frequent loudness changes. (from John Kean, Eli Johnson, Dr. Ellyn Sheffield: Study of Audio Loudness Range for Consumers in Various Listening Modes and Ambient Noise Levels)

Loudness comfort zone

The reaction of drivers to variable loudness hints at something that BBC sound engineer Mike Thornton calls the loudness comfort zone.

Tests (...) have shown that if the short-term loudness stays within the "comfort zone" then the consumer doesn’t feel the need to reach for the remote control to adjust the volume.

In a blog post, he highlights how the series Blue Planet 2 and Planet Earth 2 might not always have been the easiest to listen to. The graph below shows an excerpt with very loud music, followed by commentary just at the bottom of the green comfort zone. Thornton writes: "with the volume set at a level that was comfortable when the music was playing we couldn’t always hear the excellent commentary from Sir David Attenborough and had to resort to turning on the subtitles to be sure we knew what Sir David was saying!"

Planet Earth 2 Loudness Plot Excerpt. Colored green: comfort zone of +3 to -5LU around the loudness target. (from Mike Thornton: BBC Blue Planet 2 Latest Show In Firing Line For Sound Issues - Are They Right?)

As already mentioned above, a good mix considers the maximum and minimum possible loudness in the target listening environment.
In a movie theater the loudness comfort zone is big (loudness can vary a lot), and loud music is part of the fun, while quiet scenes work just as well. The opposite was true in the aforementioned experiment with drivers, where the loudness comfort zone is much smaller and quiet voices are difficult to understand.

Hence, the loudness comfort zone determines how much dynamic range an audio signal can use in a specific listening environment.

How to measure dynamic range: LRA

When producing audio for various environments, it would be great to have a target value for dynamic range, (the difference between the smallest and largest signal values of an audio signal) as well. Then you could just set a dynamic range target, similarly to a loudness target.

Theoretically, the maximum possible dynamic range of a production is defined by the bit-depth of the audio format. A 16-bit recording can have a dynamic range of 96 dB; for 24-bit, it's 144 dB - which is well above the approx. 120 dB the human ear can handle. However, most of those bits are typically being used to get to a reasonable base volume. Picture a glass of water: you want it to be almost full, with some headroom so that it doesn't spill when there's a sudden movement, i.e. a bigger amplitude wave at the top.

Determining the dynamic range of a production is easier said than done, though. It depends on which signals are included in the measurement: for example, if something like background music or breathing should be considered at all.
The currently preferred method for broadcasting is called Loudness Range, LRA. It is measured in Loudness Units (LU), and takes into account everything between the 10th and the 95th percentile of a loudness distribution, after an additional gating method. In other words, the loudest 5% and quietest 10% of the audio signal are being ignored. This way, quiet breathing or an occasional loud sound effect won't affect the measurement.

Loudness distribution and LRA for the film 'The Matrix'. Figure from EBU Tech Doc 3343 (p.13).

However, the main difficulty is which signals should be included in the loudness range measurement and which ones should be gated. This is unfortunately often very subjective and difficult to define with a purely statistical method like LRA.

Where LRA falls short

Therefore, only pure speech programs give reliable LRA values that are comparable!
For instance, a typical LRA for news programs is 3 LU; for talks and discussions 5 LU is common. LRA values for features, radio dramas, movies or music very much depend on the individual character and might be in the range between 5 and 25 LU.

To further illustrate this, here are some typical LRA values, according to a paper by Thomas Lund (table 2):

Program	Loudness Range
Matrix, full movie	25.0
NBC Interstitials, Jan. 2008, all together (3:30)	9.4
Friends Episode 16	6.6
Speak Ref., Male, German, SQUAM Trk 54	6.2
Speak Ref., Female, French, SQUAM Trk 51	4.8
Speak Ref., Male, English, Sound Check	3.3
Wish You Were Here, Pink Floyd	22.1
Gilgamesh, Battle of Titans, Osaka Symph.	19.7
Don’t Cry For Me Arg., Sinead O’Conner	13.7
Beethoven Son in F, Op17, Kliegel & Tichman	12.0
Rock’n Roll Train, AC/DC	6.0
I.G.Y., Donald Fagen	3.6

LRA values of music are very unpredictable as well.
For instance, Tom Frampton measured the LRA of songs in multiple genres, and the differences within each genre are quite big. The ten pop songs that he analyzed varied in LRA between 3.7 and 12 LU, country songs between 3.6 and 14.9 LU. In the Electronic genre the individual LRAs were between 3.7 and 15.2 LU. Please see the tables at the bottom of his blog post for more details.

We at Auphonic also tried to base our Adaptive Leveler parameters on the LRA descriptor. Although it worked, it turned out that it is very difficult to set a loudness range target for diverse audio content, which does include speech, background sounds, music parts, etc. The results were not predictable and it was hard to find good target values. Therefore we developed our own algorithm to measure the dynamic range of audio signals.

In conclusion, LRA comparisons are only useful for productions with spoken word only and the LRA value is therefore not applicable as a general dynamic range target value. The more complex a production gets, the more difficult it is to make any judgment based on the LRA.
This is, because the definition of LRA is purely statistical. There's no smart measurement using classifiers that distinguish between music, speech, quiet breathing, background noises and other types of audio. One would need a more intelligent algorithm (as we use in our Adaptive Leveler), that knows which audio segments should be included and excluded from the measurement.

From theory to application: tools

Loudness and dynamic range clearly is a complicated topic. Luckily, there are tools that can help. To keep short-term loudness in range, a compressor can help control sudden changes in loudness - such as p-pops or consonants like t or k. To achieve a good mid-term loudness, i.e. a signal that doesn't go outside the comfort zone too much, a leveler is a good option. Or, just use a fader or manually adjust volume curves. And to make sure that separate productions sound consistent, loudness normalization is the way to go. We have covered all of this in-depth before.

Looking at the audio from above again, with an adaptive leveler applied it looks like this:

Leveler example. Output at the top, input with leveler envelope at the bottom.

Now, the voices are evened out and the music is at a comfortable level, while the breathing has not been touched at all.
We recently extended Auphonic's adaptive leveler, so that it is now possible to customize the dynamic range - please see adaptive leveler customization and advanced multitrack audio algorithms.
If you wanted to increase the loudness comfort zone (or dynamic range) of the standard preset by 10 dB (or LU), for example, the envelope would look like this:

Leveler with higher dynamic range, only touching sections with extremely low or extremely high loudness to fit into a specific loudness comfort zone.

When a production is done, our adaptive leveler uses classifiers to also calculate the integrated loudness and loudness range of dialog and music sections separately. This way it is possible to just compare the dialog LRA and loudness of complex productions.

Assessing the LRA and loudness of dialog and music separately.

Conclusion

Getting audio dynamics right is not easy. Yet, it is an important thing to keep in mind, because focusing on loudness normalization alone is not enough. In fact, hitting the loudness target often has less impact on the listening experience than level differences, i.e. audio dynamics.

If the dynamic range is too small, the audio can be tiring to listen to, whereas a bigger dynamic range can make a program more interesting, but might not work in loud environments, such as a noisy train.
Therefore, a good mix adapts the audio dynamic range according to the target listening environment (different loudness comfort zones in cinema, at home, in a car) and according to the nature of the content (radio feature, movie, podcast, music, etc.).

Furthermore, because the definition of the loudness range / LRA is purely statistical, only speech programs give reliable LRA values that are comparable.
More "intelligent" algorithms are in development, which use classifiers to decide which signals should be included and excluded from the dynamic range measurement.

If you understand German, take a look at our presentation about audio dynamic processing in podcasts for further information:

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