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.

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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.

The post WordPress Wiki Plugin appeared first on WPCult.

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 […]

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Arthemia Premium is a magazine style theme that unleashes the power of WordPress, transforming it into a simple-yet-powerful CMS with the automatic thumbnail generation feature. A nice and elegant blend of a blog and a magazine. With numerous built-in features, Arthemia Premium will convert your old-fashioned WordPress blog into an amazing and powerful front-end. If […]

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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 use pages and subpages or posts and parent posts on your WordPress blog, it should be a good idea to display parent page/post title while on a child page. Here’s a code to do that job easily by the recipe man: WpRecipes. photo by: Jean-Baptiste Jung

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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

The post Hongo – The Ultimate WooCommerce WordPress Theme appeared first on WeLoveWP.

The Iowa Supreme Court approved a pilot program in the 4th Judicial District — Audubon, Cass, Fremont, Harrison, Mills, Montgomery, Pottawattamie, Page and Shelby counties — to develop procedures for the use of electronic search warrants.

Electronic search warrants will reduce the time required to obtain warrants, reduce travel time by law enforcement and make more effective use of judges’ time, according to the order. Paper warrants require law enforcement to fill out application forms and then leave the scene of the potential search and drive to find a judge, either at a courthouse during business hours or their home after hours. If the judge grants the warrant, then the officer has to drive back to the scene to execute it.

The electronic warrants can be submitted to a judge from a squad car computer, which is more efficient for law enforcement and the judges.

The pilot program will be evaluated by the court annually and will continue until further notice.

Fourth Judicial District Chief Judge Jeff Larson, who was on the advisory committee to develop recommendations for the new process, talked about the project, which will start in the next few weeks.

Page County Chief Deputy Charles McCalla, 6th Judicial Associate District Judge Nicholas Scott, Linn County Sheriff Capt. Greg McGivern and Marion police Lt. Scott Elam also provided their thoughts about electronic search warrants.

Q: Iowa courts started going paperless in 2010, so why did it take so long to get a pilot program for electronic search warrants?

A: Larson: It had been discussed at various levels since (the electronic document management system) started. We should take advantage of the electronic process because it will save us money. Most law enforcement agencies are now used to filing electronic citations from their patrol cars and offices. There may have been some pushback a few years ago because some counties or offices didn’t have computer scanners and needed technology. Now, the rural offices have that technology.

Q: As a task force member working on this program, what were the hurdles?

A: Larson: It was just working through the procedural issues to make sure there would be a safeguard throughout the process. When a search warrant is needed, law enforcement has to fill out the search warrant package, including the application with all the pertinent information, and submit it to a magistrate judge, associate or district judge in their judicial district. Then the officer or deputy can just call the judge to alert him/her to the warrant and the judge can ask for any additional information needed. The judge then administers the oath of office over the phone and signs off or denies the warrant. Law enforcement doesn’t have to leave the crime scene and can print off the warrant from their squad car computer.

The process of going to electronic warrants started in 2017, when the lawmakers amended the law to allow those to be submitted electronically, and then in 2018, the state court administrator’s office set up an advisory committee to develop recommendations.

Q: What has been the process to get a search warrant?

A: Larson: Law enforcement would have to leave the scene, fill out paperwork and then, many times, travel miles to go to the courthouse to have the judge sign it or if it’s after hours, go to a judge’s home. The officer may not be in the same county as the courthouse where the judge works or where the judge lives. (It) can take a lot of time. The process is way overdue.

Q: Page County Sheriff’s Chief Deputy Charles McCalla, what do you see as the biggest advantage for filing them electronically?

A: McCalla: The smaller counties have limited manpower, and some of the judges, like in Mills County, may be 60 to 70 miles away if a search warrant is needed after hours. Just traveling across the county can take time, depending where you are. At a minimum, we probably have to drive 30 minutes and up to an hour to get to a judge. This will save us time, money for travel and provide safety because we can stay at the scene to ensure the evidence hasn’t been tampered with.

Q: Is there a recent incident where an electronic search warrant may have helped?

A: McCalla: A few weeks ago, there was a theft report for a stolen chain saw and deputies went to the home and saw guns all over the house and they knew the guy who lived there had been convicted. They didn’t want to tip him off, so they just left the scene and went to get a search warrant. Luckily, the evidence was still there when they came back. They found about 90 guns.

Q: How do you feel about being the “guinea pigs” for the process?

A: McCalla: Happy to be. As law enforcement, we’re natural fixers. We find solutions. And this is an idea time to use the process during the COVID-19 pandemic to keep everyone safe. We won’t have to have any face-to-face contact with the judges.

Q: Is Linn County excited about the program, once it’s tested and used across the state?

A: Scott: I think many of us in the criminal justice system are eagerly awaiting the results of the pilot. They have the potential to make the system more efficient. It is in the interest of the police and the suspect, who is often detained pending a warrant, to get the search warrant application reviewed by a judge as soon as possible. A potential benefit is that officers could also use those more often, which protects citizens from unlawful search and seizures if a judge first reviews the evidence.

A: McGivern: I believe the implementation will be a much faster and efficient process for deputies. Like any new process, there may need to be some revisions that will have to be worked out, but I look forward to it.

A: Elam: We’ve done it this way for a long time, and it can be a bit of a haul for us, depending who’s on call (among the judges) — after hours. It’s nice to see there’s a pilot. The concern would be if something goes wrong in the process. If the internet is down or something else. Now, we have to go from Marion to the Linn County Courthouse. Then we go to the county attorney’s office to get a prosecutor to review the warrant and then find a judge (in courthouse during business hours). That takes some time. If you can type out the application from your car right at the scene, it would help with details on the warrant — describing the structure or property needing be searched. I just hope they work out all the bugs first.

Comments: (319) 398-8318; trish.mehaffey@thegazette.com

“I pledge my Head to clearer thinking, my Heart to greater loyalty, my Hands to larger service, and my Health to better living, for my club, my community, my country, and my world.” — 4-H pledge

The Johnson County 4-H program is living up to these words, teaming up with Big Brothers Big Sisters of Johnson County to assemble Camp-in-a-Bag kits for the youngest “Littles” enrolled in the BBBS mentoring program.

Big Brothers Big Sisters creates one-on-one opportunities between adult volunteer mentors and at-risk youths ages 6 to 18. Known as “Bigs” and “Littles,” they meet for at least six hours a month for 18 months. But those in-person outings to movies, museums, restaurants, recreational activities and new adventures, as well as monthly events and school-based programs organized by the agency, are on hold during the COVID-19 pandemic.

So the kits became an outreach outlet.

“I was thinking about ways that we would be able to connect with our Littles, to let them know that we’re thinking about them,” said Dina Bishara, program specialist for Big Brothers Big Sisters of Johnson County. “And also in a very small way, to try to fill that gap that so many kids are experiencing right now. They’re used to the structure and activity of school and extracurricular activities and playing with friends.”

The bags contain more than six hours of STEAM — science, technology, engineering, arts and math — activities, from the pieces needed for building gliders and balloon flyers, to conducting scientific experiments, planting seeds, choosing healthy snacks and writing down their thoughts.

Those activities also reflect the other contributing partners: Johnson County Master Gardeners, Johnson County Extension and Outreach’s Pick a Better Snack program, O’Brien Family McDonalds and Forever Green Garden Center.

“(We wanted to) just give them something really fun and also educational and engaging, to help them spend time with their siblings, if they have them, and get their parents involved, if possible — and just really keep them connected to that learning and the fun, but also to Big Brothers Big Sisters,” Bishara said. “Camp-in-a-Bag helps us structure things in an intentional and thoughtful way.”

Partnering with 4-H, known for its summer camps, fairs and educational programs, “was a really great way to make sure that the activities we were including were really robust, so it was not going to be a hodgepodge, throw-some-things-in-a-bag,” Bishara added. “We really needed to be deliberate about it, to have the directions nicely laid out.”

The first wave is being distributed to 20 elementary-age children, and officials are hoping to expand the project.

“Funding is always a question,” Bishara said. “We would love to expand to 20 or 40 for more. ... We’d sure like to be able to target the kits to a little older kids, who have different interests.”

Bishara and Kate Yoder, who works with 4-H out of the Iowa State University Extension office in Johnson County, are eager to continue their collaborative efforts.

“It really great,” Yoder said. “When you work together, things comes together and amazing things happen. I’m excited to see what the future holds — what partnerships we can build on and grow.”

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

To help

• What: Big Brothers Big Sisters Camp-in-a-Bag kit contributions

• Contact: Email Dina Bishara at dina@bbbsjc.org

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.

At the same time Vice President Mike Pence was in Iowa on Friday to discuss the nation’s food supply security, U.S. Rep. Dave Loebsack called on the administration to take more measures to protect workers in food processing plants.

Loebsack also questioned the decisions to reopen the economy being made by the Trump administration and Iowa Gov. Kim Reynolds.

“I don’t think we’re ready for that yet, quite honestly,” the Iowa City Democrat said.

“Ready” will be when adequate protections are in place for the people processing America’s food, Loebsack said.

Workers are showing up on the job, but “they fear for their families, they fear for themselves, they fear for everybody,” Loebsack said. “They don’t know if they’re going to catch this thing or not. But they’re there.”

Of particular concern are workers in food processing, such as those in meatpacking plants in Iowa where more than 1,600 cases of COVID-19 have been reported.

“I really believe that we should not open the plants if we do not ensure worker safety,” Loebsack said.

He called for President Donald Trump to use the Defense Production Act, which the president invoked to keep meatpacking plants open, to ensure an adequate supply of personal protective equipment for packing plant workers.

If Pence and the president are concerned about the nation’s food supply, then they need to “keep those workers safe and, therefore, keep those processing plants running” to avoid meat shortages at the grocery store, Loebsack said.

“We can’t have those plants running if workers are not protected. It’s that simple,” he said. “It’s not just the workers, it’s the families, it’s the community at large.”

With unemployment at 14.7 percent — probably higher, Loebsack said, Congress should extend federal coronavirus-related unemployment benefits of $600 a week beyond their current July end date.

He’s also pleased that the last relief package fixed a Small Business Administration Economic Injury Disaster Loan program to allow farmers to apply for assistance.

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

CEDAR RAPIDS — A 32-year-old Cedar Rapids man, who received probation for a high-speed chase that he bragged about as “fun” and attempted to elude again in March, is heading to prison.

Sixth Judicial District Judge Lars Anderson on Friday revoked probation for Travis McDermott on the eluding charge from June 9, 2019, and sentenced him to five years in prison.

McDermott was convicted Tuesday for attempting to elude in March and was sentenced to 90 days in jail, which was run concurrently to the five-year prison sentence.

First Assistant Linn County Attorney Nick Maybanks told the judge that McDermott has a “significant violent history,” including assaults, assault on a peace officer, domestic assault, interference with official acts and child endangerment with bodily injury.

He continues to assault others and “show blatant disregard for authority figures,” the prosecutor noted.

In the eluding incident from last June, McDermott “risked lives” in a southwest neighborhood leading police on chase that began on when police saw his vehicle speeding on Rockford Road SW and run a stop sign at Eighth Avenue SW, Maybanks said Friday. McDermott drove 107 mph in a 30 mph zone and drove the wrong way on a one-way street at Third Street and Wilson Avenue SW.

McDermott ran into a pile of dirt at a dead end, jumped out of his car and led officers on a foot chase, Maybanks said. He wouldn’t stop, and officers used a Taser to subdue him.

McDermott was laughing when police arrested him, saying “how much fun” he had and appearing to be under the influence of drugs or alcohol, Maybanks said.

McDermott demanded a speedy trial, but the officer who conducted the sobriety test wasn’t available for trial. A plea was offered, and the drunken driving charge was dropped.

Maybanks also pointed out McDermott wouldn’t cooperate with the probation office on a presentencing report, which was ordered by a judge. He picked up an assault charge last November and was convicted before his eluding sentencing in January.

Maybanks said after McDermott received probation, he didn’t show up at the probation office for his appointment, didn’t get a substance abuse test as ordered and reported an invalid address to community corrections.

McDermott also has a pending charge in Dubuque County for driving while barred March 3, according to court documents.

Comments: (319) 398-8318; trish.mehaffey@thegazette.com

DES MOINES — More than 20 days after Iowa signed a $26 million contract with a Utah company to expand testing in the state, the machines the firm supplied to run the samples still have not passed muster.

A time frame for completing the validation process for the Test Iowa lab machines is unknown, as the process can vary by machine, University of Iowa officials said Friday.

The validation process is undertaken to determine if the machines are processing tests accurately. To this point, the lab has processed the Test Iowa results using machines the State Hygienic Lab already had, officials told The Gazette.

Running side-by-side testing is part of the validation process. The lab then compares whether the machines yield the same results when the sample is run, officials said Friday. The side-by-side testing means the Test Iowa samples are being run at least twice to compare results.

The state does not break out how many of the 331,186 Iowans who by Friday have completed the coronavirus assessment at TestIowa.com have actually been tested. Test Iowa was initiated last month to ramp up testing of essential workers and Iowans showing COVID-19 symptoms. The state’s fourth drive-though location where people with appointments can be tested opened Thursday at the Kirkwood Continuing Education Training Center in Cedar Rapids.

On Friday, Iowa posted a fourth straight day of double-digit deaths from coronavirus, with the latest 12 deaths reported by the state Department of Public Health bringing the statewide toll to 243 since COVID-19 was first confirmed March 8 in Iowa.

State health officials reported another 398 Iowans tested positive for the respiratory ailment, bringing that count to 11,457 of the 70,261 residents who have been tested — a positive rate of more than 16 percent.

One in 44 Iowans has been tested for COVID-19, with 58,804 posting negative results, according to state data. A total of 4,685 people have recovered from the disease.

During a Thursday media briefing, Gov. Kim Reynolds told reporters a backlog of test results that occurred due to validation of Test Iowa equipment had been “caught up,” but some Iowans who participated in drive-through sites set up around the state indicated they still were awaiting results.

Reynolds spokesman Pat Garrett confirmed Thursday that “a very small percentage” of coronavirus test samples collected under the Test Iowa program could not be processed because they were “potentially damaged,” resulting in incomplete results.

There were 407 Iowans who were hospitalized (with 34 admitted in the past 24 hours) for coronavirus-related illnesses and symptoms with 164 being treated in intensive care units and 109 requiring ventilators to assist their breathing.

Health officials said the 12 deaths reported Friday were: three in Woodbury County, two in Linn County and one each in Black Hawk, Dallas, Dubuque, Jasper, Louisa, Muscatine and Scott counties. No other information about the COVID-19 victims was available from state data.

According to officials, 51 percent of the Iowans who have died from coronavirus have been male — the same percentage that tested positive.

Iowans over the age of 80 represent 46 percent of the COVID-19 victims, followed by 41 percent between 61 and 80.

Of those who have tested positive, state data indicates about 42 percent are age 18 to 40; 37 percent are 41 to 60; 14 percent are 61 to 80 and 5 percent are 81 or older.

Counties with the highest number of positive test results are Polk (2,150), Woodbury (1,532), Black Hawk (1,463) and Linn (813).

Earlier this week, state officials revamped the data available to the public at coronavirus.iowa.gov, with the new format no longer listing the age range of Iowans who died from coronavirus and providing information using a different timeline than before.

The governor did not hold a daily media briefing Friday due to scheduling conflicts created by Vice President Mike Pence’s trip to Iowa. Garrett said Reynolds would resume her COVID-19 briefings next week.

John McGlothlen and Zack Kucharski of The Gazette contributed to this report.

BIG NEWS: My custom Lightroom presets are now available and 50% off for a limited time with discount code HOLIDAY50. Link in profile!

This collection includes two styles (Everyday and Clean) that I use to edit every shot on this feed. I can’t wait to see what you all do with them! Stay tuned to my upcoming tutorials on how to put the presets to good use. ???? (at Toronto, Ontario)

I like the philosophy behind shooting with primes; that a photographer shouldn’t stand still but instead, continuously move closer, further, lower, or higher relative to his/her subject as a means of establishing a deeper connection. ????????
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Save 50% on my custom Lightroom presets with HOLIDAY50. Link in profile. (at Toronto, Ontario)

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

Preset (Everyday) + transform + exposure + graduated filter + radial filter. If shots like this take more than 2 minutes to edit, it’s probably not worth editing. ⏱
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Boxing Day will be the last day to get my Lightroom presets discounted, which leaves you only 3 more days! Get on it! ???? (at Toronto, Ontario)

The world has changed. Everything we do is more immediately visible to others than ever before, but much remains the same; the relationships we develop are as important as they always were. This post is a few thoughts on self-promotion, and how to have good relationships as a self-publisher.

Meeting people face to face is ace. They could be colleagues, vendors, or clients; at conferences, coffee shops, or meeting rooms. The hallway and bar tracks at conferences are particularly great. I always come away with a refreshed appreciation for meatspace. However, most of our interactions take place over the Web. On the Web, the lines separating different kinds of relationships are a little blurred. The company trying to get you to buy a product or conference ticket uses the same medium as your friends.

Freelancers and small companies (and co-ops!) can have as much of an impact as big businesses. ‘I publish therefore I am’ could be our new mantra. Hence this post, in a way. Although, I confess I have discussed these thoughts with friends and thought it was about time I kept my promise to publish them.

Publishing primarily means text and images. Text is the most prevalent. However, much more meaning is conveyed non-verbally. ‘It’s not what you say, it’s how you say it.’

Text can contain non-verbal elements like style — either handwritten or typographic characters — and emoticons, but we don’t control style in Twitter, email, or feeds. Or in any of the main situations where people read what we write (unless it’s our own site). Emoticons are often used in text to indicate tone, pitch, inflection, and emotion like irony, humour, or dismay. They plug gaps in the Latin alphabet’s scope that could be filled with punctuation like the sarcasm mark. By using them, we affirm how important non-verbal communication is.

The other critical non-verbal communication around text is karma. Karma is our reputation, our social capital with our audience of peers, commentators, and customers. It has two distinct parts: Personality, and professional reputation. ‘It’s not what was said, it’s who said what.’

So, after that quick brain dump, let me recap:

• Relationships are everything.
• We publish primarily in text without the nuance of critical non-verbal communication.
• Text has non-verbal elements like style and emoticons, but we can only control the latter.
• Context is also non-verbal communication. Context is karma: Character and professional reputation.

Us Brits are a funny bunch. Traditionally reserved. Hyperbole-shy. At least, in public. We use certain extreme adjectives sparingly for the most part, and usually avoid superlatives if at all possible. We wince a little if we forget and get super-excited. We sometimes prefer ‘spiffing’ accompanied by a wry, ironic smile over an outright ‘awesome’. Both are genuine — one has an extra layer in the inflection cake. However, we take great displeasure in observing blunt marketing messages that try to convince us something is true with massive, lobe-smacking enthusiasm, and some sort of exaggerated adjective-osmosis effect. We poke fun at attempts to be overly cool. We expect a decent level of self-awareness and ring of honesty from people who would sell us stuff. The Web is no exception. In fact, I may go so far as to say that the sensibilities of the Web are fairly closely aligned with British sensibilities. Without, of course, any of our crippling embarrassment. In an age when promoting oneself on the Web is almost required for designers, that’s no bad thing. After all, running smack bang through the middle of the new marketing arts is a large dose of reality; we’re just a bunch of folks telling our story. No manipulation, cool-kid feigned nonchalance, or lobe-smacking enthusiasm required.

Consider what the majority of designers do to promote themselves in this brave new maker-creative culture. People like my friend, Elliot Jay Stocks: making his own magazine, making music, distributing WordPress themes, and writing about his experiences. Yes, it is important for him that he has an audience, and yes, he wants us to buy his stuff, but no, he won’t try to impress or trick us into liking him. It’s our choice. Compare this to traditional advertising that tries to appeal to your demographic with key phrases from your tribe, life-style pitches, and the usual raft of Freudian manipulations. (Sarcasm mark needed here, although I do confess to a soft spot for the more visceral and kitsch Freudian manipulations.)

There is a middle ground between the two though. A dangerous place full of bad surprises: The outfit that seems like a human being. It appears to publish just like you would. They want money in exchange for their amazing stuff they’re super-duper proud of. Then, you find out they’re selling it to you at twice the price it is in the States, or that it crashes every time it closes, or has awful OpenType support. You find out the human being was really a corporate cyborg who sounds like you, but is not of you, and it’s impervious to your appeals to human fairness. Then there are the folks who definitely are human, after all they’re only small, and you know their names. All the non-verbal communication tells you so. Then you peek a little closer —  you see the context — and all they seem to do is talk about themselves, or their business. Their interactions are as carefully crafted as the big companies, and they treat their audience as a captive market. Great spirit forefend they share the bandwidth by celebrating anyone else. They sound like one of us, but act like one of them. Their popularity is inversely proportional to their humanity.

Extreme examples, I know. This is me exploring thoughts though, and harsh light helps define the edges. Feel free to sound off if it offends, but mind your non-verbal communication. :)

That brings me to self-promotion versus self-aggrandisement; there’s a big difference between the two. As independent designers and developer-type people, self-promotion is good, necessary, and often mutually beneficial. It’s about goodwill. It connects us to each other and lubricates the Web. We need it. Self-aggrandisement is coarse, obvious, and often an act of denial; the odour of insecurity or arrogance is nauseating. It is to be avoided.

If you consider the difference between a show-off and a celebrant, perhaps it will be clearer what I’m reaching for:

The very best form of self-promotion is celebration. To celebrate is to share the joy of what you do (and critically also celebrate what others do) and invite folks to participate in the party. To show off is a weakness of character — an act that demands acknowledgement and accolade before the actor can feel the tragic joy of thinking themselves affirmed. To celebrate is to share joy. To show-off is to yearn for it.

It’s as tragic as the disdainful, casual arrogance of criticising the output of others less accomplished than oneself. Don’t be lazy now. Critique, if you please. Be bothered to help, or if you can’t hold back, have a little grace by being discreet and respectful. If you’re arrogant enough to think you have the right to treat anyone in the world badly, you grant them the right to reciprocate. Beware.

Celebrants don’t reserve their bandwidth for themselves. They don’t treat their friends like a tricky audience who may throw pennies at you at the end of the performance. They treat them like friends. It’s a pretty simple way of measuring whether what you publish is good: would I do/say/act the same way with my friends? Human scales are always the best scales.

So, this ends. I feel very out of practise at writing. It’s hard after a hiatus. These are a few thoughts that still feel partially-formed in my mind, but I hope there was a tiny snippet or two in there that fired off a few neurons in your brain. Not too many, though, it’s early yet. :)

The new Auphonic Audio Post Production Add-ons for Adobe allows you to use the Auphonic Web Service directly within Adobe Audition and Adobe Premiere (Mac and Windows):

Audition Multitrack Editor with the Auphonic Audio Post Production Add-on.
The Auphonic Add-on can be embedded directly inside the Adobe user interface.

It is possible to export tracks/projects from Audition/Premiere and process them with the Auphonic audio post production algorithms (loudness, leveling, noise reduction - see Audio Examples), use our Encoding/Tagging, Chapter Marks, Speech Recognition and trigger Publishing with one click.
Furthermore, you can import the result file of an Auphonic Production into Audition/Premiere.

Download the Auphonic Audio Post Production Add-ons for Adobe:

• Audition: https://exchange.adobe.com/addons/products/20433
• Premiere: https://exchange.adobe.com/addons/products/20429

Auphonic Add-on for Adobe Audition

Audition Waveform Editor with the Auphonic Audio Post Production Add-on.
Metadata, Marker times and titles will be exported to Auphonic as well.

Export from Audition to Auphonic

You can upload the audio of your current active document (a Multitrack Session or a Single Audio File) to our Web Service.
In case of a Multitrack Session, a mixdown will be computed automatically to create a Singletrack Production in our Web Service.
Unfortunately, it is not possible to export the individual tracks in Audition, which could be used to create Multitrack Productions.

Metadata and Markers

All metadata (see tab Metadata in Audition) and markers (see tab Marker in Audition and the Waveform Editor Screenshot) will be exported to Auphonic as well.
Marker times and titles are used to create Chapter Marks (Enhanced Podcasts) in your Auphonic output files.

Auphonic Presets

You can optionally choose an Auphonic Preset to use previously stored settings for your production.

Start Production and Upload & Edit Buttons

Click Upload & Edit to upload your audio and create a new Production for further editing. After the upload, a web browser will be started to edit/adjust the production and start it manually.
Click Start Production to upload your audio, create a new Production and start it directly without further editing. A web browser will be started to see the results of your production.

Audio Compression

Uncompressed Multitrack Sessions or audio files in Audition (WAV, AIFF, RAW, etc.) will be compressed automatically with lossless codecs to speed up the upload time without a loss in audio quality.
FLAC is used as lossless codec on Windows and Mac OS (>= 10.13), older Mac OS systems (< 10.13) do not support FLAC and use ALAC instead.

Import Auphonic Productions in Audition

To import the result of an Auphonic Production into Audition, choose the corresponding production and click Import.
The result file will be downloaded from the Auphonic servers and can be used within Audition. If the production contains multiple Output File Formats, the output file with the highest bitrate (or uncompressed/lossless if available) will be chosen.

Auphonic Add-on for Adobe Premiere

Premiere Video Editor with the Auphonic Audio Post Production Add-on.
The Auphonic Add-on can be embedded directly inside the Adobe Premiere user interface.

Export from Premiere to Auphonic

You can upload the audio of your current Active Sequence in Premiere to our Web Service.

We will automatically create an audio-only mixdown of all enabled audio tracks in your current Active Sequence.
Video/Image tracks are ignored: no video will be rendered or uploaded to Auphonic!
If you want to export a specific audio track, please just mute the other tracks.

Start Production and Upload & Edit Buttons

Click Upload & Edit to upload your audio and create a new Production for further editing. After the upload, a web browser will be started to edit/adjust the production and start it manually.
Click Start Production to upload your audio, create a new Production and start it directly without further editing. A web browser will be started to see the results of your production.

Auphonic Presets

You can optionally choose an Auphonic Preset to use previously stored settings for your production.

Chapter Markers

Chapter Markers in Premiere (not all the other marker types!) will be exported to Auphonic as well and are used to create Chapter Marks (Enhanced Podcasts) in your Auphonic output files.

Audio Compression

The mixdown of your Active Sequence in Premiere will be compressed automatically with lossless codecs to speed up the upload time without a loss in audio quality.
FLAC is used as lossless codec on Windows and Mac OS (>= 10.13), older Mac OS systems (< 10.13) do not support FLAC and use ALAC instead.

Import Auphonic Productions in Premiere

To import the result of an Auphonic Production into Premiere, choose the corresponding production and click Import.
The result file will be downloaded from the Auphonic servers and can be used within Premiere. If the production contains multiple Output File Formats, the output file with the highest bitrate (or uncompressed/lossless if available) will be chosen.

Installation

Install our Add-ons for Audition and Premiere directly on the Adobe Add-ons website:

Auphonic Audio Post Production for Adobe Audition:
https://exchange.adobe.com/addons/products/20433

Auphonic Audio Post Production for Adobe Premiere:
https://exchange.adobe.com/addons/products/20429

The installation requires the Adobe Creative Cloud desktop application and might take a few minutes. Please also also try to restart Audition/Premiere if the installation does not work (on Windows it was once even necessary to restart the computer to trigger the installation).

After the installation, you can start our Add-ons directly in Audition/Premiere:
navigate to Window -> Extensions and click Auphonic Post Production.

Enjoy

Thanks a lot to Durin Gleaves and Charles Van Winkle from Adobe for their great support!

Please let us know if you have any questions or feedback!

The new General Data Protection Regulation (GDPR) of the European Union will be implemented on May 25th, 2018. We used this opportunity to rework many of our internal data processing structures, removed unnecessary trackers and apply this strict and transparent regulation also to all our customers worldwide.

Image from pixapay.com.

At Auphonic we store as few personal information as possible about your usage and production data.
Here are a few human-readable excerpts from our privacy policy about which information we collect, how we process it, how long and where we store it - for more details please see our full Privacy Policy.

Information that we collect

• Your email address when you create an account.
• Your files, content, configuration parameters and other information, including your photos, audio or video files, production settings, metadata and emails.
• Your tokens or authentication information if you choose to connect to any External services.
• Your subscription plan, credits purchases and production billing history associated with your account, where applicable.
• Your interactions with us, whether by email, on our blog or on our social media platforms.

We do not process any special categories of data (also commonly referred to as “sensitive personal data”).

How we use and process your Data

• To authenticate you when you log on to your account.
• To run your Productions, such that Auphonic can create new media files from your Content according to your instructions.
• To improve our audio processing algorithms. For this purpose, you agree that your Content may be viewed and/or listened to by an Auphonic employee or any person contracted by Auphonic to work on our audio processing algorithms.
• To connect your Auphonic account to an External service according to your instructions.
• To develop, improve and optimize the contents, screen layouts and features of our Services.
• To follow up on any question and request for assistance or information.

When using our Service, you fully retain any rights that you have with regards to your Content, including copyright.

How long we store your Information

Your Productions and any associated audio or video files will be permanently deleted from our servers including all its metadata and possible data from external services after 21 days (7 days for video productions).
We will, however, keep billing metadata associated with your Productions in an internal database (how many hours of audio you processed).

Also, we might store selected audio and/or video files (or excerpts thereof) from your Content in an internal storage space for the purpose of improving our audio processing algorithms.

Other information like Presets, connected External services, Account settings etc. will be stored until you delete them or when your account is deleted.

Where we store your Data

All data that we collect from you is stored on secure servers in the European Economic Area (in Germany).

More Information and Contact

For more information please read our full Privacy Policy.

Please do not hesitate to contact us regarding any matter relating to our privacy policy and GDPR compliance!

Back in late 2016, we introduced Speech Recognition at Auphonic. This allows our users to create transcripts of their recordings, and more usefully, this means podcasts become searchable.
Now we integrated two more speech recognition engines: Amazon Transcribe and Speechmatics. Whilst integrating these services, we also took the opportunity to develop a complete new Transcription Editor:

Screenshot of our Transcript Editor with word confidence highlighting and the edit bar.
Try out the Transcript Editor Examples yourself!

The new Auphonic Transcript Editor is included directly in our HTML transcript output file, displays word confidence values to instantly see which sections should be checked manually, supports direct audio playback, HTML/PDF/WebVTT export and allows you to share the editor with someone else for further editing.

The new services, Amazon Transcribe and Speechmatics, offer transcription quality improvements compared to our other integrated speech recognition services.
They also return word confidence values, timestamps and some punctuation, which is exported to our output files.

The Auphonic Transcript Editor

With the integration of the two new services offering improved recognition quality and word timestamps alongside confidence scores, we realized that we could leverage these improvements to give our users easy-to-use transcription editing.
Therefore we developed a new, open source transcript editor, which is embedded directly in our HTML output file and has been designed to make checking and editing transcripts as easy as possible.

Main features of our transcript editor:

• Edit the transcription directly in the HTML document.
• Show/hide word confidence, to instantly see which sections should be checked manually (if you use Amazon Transcribe or Speechmatics as speech recognition engine).
• Listen to audio playback of specific words directly in the HTML editor.
• Share the transcript editor with others: as the editor is embedded directly in the HTML file (no external dependencies), you can just send the HTML file to some else to manually check the automatically generated transcription.
• Export the edited transcript to HTML, PDF or WebVTT.
• Completely useable on all mobile devices and desktop browsers.

Examples: Try Out the Transcript Editor

Here are two examples of the new transcript editor, taken from our speech recognition audio examples page:

1. Singletrack Transcript Editor Example

Singletrack speech recognition example from the first 10 minutes of Common Sense 309 by Dan Carlin. Speechmatics was used as speech recognition engine without any keywords or further manual editing.

2. Multitrack Transcript Editor Example

A multitrack automatic speech recognition transcript example from the first 20 minutes of TV Eye on Marvel - Luke Cage S1E1. Amazon Transcribe was used as speech recognition engine without any further manual editing.
As this is a multitrack production, the transcript includes exact speaker names as well (try to edit them!).

Transcript Editing

By clicking the Edit Transcript button, a dashed box appears around the text. This indicates that the text is now freely editable on this page. Your changes can be saved by using one of the export options (see below).
If you make a mistake whilst editing, you can simply use the undo/redo function of the browser to undo or redo your changes.

When working with multitrack productions, another helpful feature is the ability to change all speaker names at once throughout the whole transcript just by editing one speaker. Simply click on an instance of a speaker title and change it to the appropriate name, this name will then appear throughout the whole transcript.

Word Confidence Highlighting

Word confidence values are shown visually in the transcript editor, highlighted in shades of red (see screenshot above). The shade of red is dependent on the actual word confidence value: The darker the red, the lower the confidence value. This means you can instantly see which sections you should check/re-work manually to increase the accuracy.

Once you have edited the highlighted text, it will be set to white again, so it’s easy to see which sections still require editing.
Use the button Add/Remove Highlighting to disable/enable word confidence highlighting.

NOTE: Word confidence values are only available in Amazon Transcribe or Speechmatics, not if you use our other integrated speech recognition services!

Audio Playback

The button Activate/Stop Play-on-click allows you to hear the audio playback of the section you click on (by clicking directly on the word in the transcript editor).
This is helpful in allowing you to check the accuracy of certain words by being able to listen to them directly whilst editing, without having to go back and try to find that section within your audio file.

If you use an External Service in your production to export the resulting audio file, we will automatically use the exported file in the transcript editor.
Otherwise we will use the output file generated by Auphonic. Please note that this file is password protected for the current Auphonic user and will be deleted in 21 days.

If no audio file is available in the transcript editor, or cannot be played because of the password protection, you will see the button Add Audio File to add a new audio file for playback.

Export Formats, Save/Share Transcript Editor

Click on the button Export... to see all export and saving/sharing options:

Save/Share Editor

The Save Editor button stores the whole transcript editor with all its current changes into a new HTML file. Use this button to save your changes for further editing or if you want to share your transcript with someone else for manual corrections (as the editor is embedded directly in the HTML file without any external dependencies).

Export HTML / Export PDF / Export WebVTT

Use one of these buttons to export the edited transcript to HTML (for WordPress, Word, etc.), to PDF (via the browser print function) or to WebVTT (so that the edited transcript can be used as subtitles or imported in web audio players of the Podlove Publisher or Podigee).
Every export format is rendered directly in the browser, no server needed.

Amazon Transcribe

The first of the two new services, Amazon Transcribe, offers accurate transcriptions in English and Spanish at low costs, including keywords, word confidence, timestamps, and punctuation.

UPDATE 2019:
Amazon Transcribe offers more languages now - please see Amazon Transcribe Features!

Pricing

The free tier offers 60 minutes of free usage a month for 12 months. After that, it is billed monthly at a rate of $0.0004 per second ($1.44/h).
More information is available at Amazon Transcribe Pricing.

Custom Vocabulary (Keywords) Support

Custom Vocabulary (called Keywords in Auphonic) gives you the ability to expand and customize the speech recognition vocabulary, specific to your case (i.e. product names, domain-specific terminology, or names of individuals).
The same feature is also available in the Google Cloud Speech API.

Timestamps, Word Confidence, and Punctuation

Amazon Transcribe returns a timestamp and confidence value for each word so that you can easily locate the audio in the original recording by searching for the text.
It also adds some punctuation, which is combined with our own punctuation and formatting automatically.

The high-quality (especially in combination with keywords) and low costs of Amazon Transcribe make it attractive, despite only currently supporting two languages.
However, the processing time of Amazon Transcribe is much slower compared to all our other integrated services!

Try it yourself:
Connect your Auphonic account with Amazon Transcribe at our External Services Page.

Speechmatics

Speechmatics offers accurate transcriptions in many languages including word confidence values, timestamps, and punctuation.

Many Languages

Speechmatics’ clear advantage is the sheer number of languages it supports (all major European and some Asiatic languages).
It also has a Global English feature, which supports different English accents during transcription.

Timestamps, Word Confidence, and Punctuation

Like Amazon, Speechmatics creates timestamps, word confidence values, and punctuation.

Pricing

Speechmatics is the most expensive speech recognition service at Auphonic.
Pricing starts at £0.06 per minute of audio and can be purchased in blocks of £10 or £100. This equates to a starting rate of about $4.78/h. Reduced rate of £0.05 per minute ($3.98/h) are available if purchasing £1,000 blocks.
They offer significant discounts for users requiring higher volumes. At this further reduced price point it is a similar cost to the Google Speech API (or lower). If you process a lot of content, you should contact them directly at sales@speechmatics.com and say that you wish to use it with Auphonic.
More information is available at Speechmatics Pricing.

Speechmatics offers high-quality transcripts in many languages. But these features do come at a price, it is the most expensive speech recognition services at Auphonic.

Unfortunately, their existing Custom Dictionary (keywords) feature, which would further improve the results, is not available in the Speechmatics API yet.

Try it yourself:
Connect your Auphonic account with Speechmatics at our External Services Page.

What do you think?

Any feedback about the new speech recognition services, especially about the recognition quality in various languages, is highly appreciated.

We would also like to hear any comments you have on the transcript editor particularly - is there anything missing, or anything that could be implemented better?
Please let us know!

Lots of users have asked us about more customization and control over the sound of our audio algorithms in the past, so today, we have introduced some advanced algorithm parameters for our singletrack version in a private beta program!

The following new parameters are available:

• Leveler Presets are basically complete new leveling algorithms
• Maximum Loudness Range (LRA) Target to control the strength of our Leveler
• Maximum True Peak Level
• Better Hum and Noise Reduction Controls

UPDATE Nov. 2018:
We released a complete rework of the Adaptive Leveler parameters and the description here is not valid anymore!
Please see Auphonic Adaptive Leveler Customization (Beta Update)!

Please join our private beta program and let us know how you use these new features or if you need even more control!

Leveler Presets

Our Adaptive Leveler corrects level differences between speakers, between music and speech and will also apply dynamic range compression to achieve a balanced overall loudness. If you don't know about the Leveler yet, take a look at our Audio Examples.

Leveler presets are basically complete new leveling algorithms, which we have been working on in the past few months:
Our current Leveler tries to normalize all speakers to the same loudness. However, in some cases, you might want more or less loudness differences (dynamic range / loudness range) between the speakers and music segments, or more or less compression, etc.
For these use cases, we have developed additional Leveler Presets and the parameter Maximum Loudness Range.

The following Leveler presets are now available:

Preset Medium:

This is our current leveling algorithm as demonstrated in the Audio Examples.

Preset Hard:

The hard preset reacts faster and applies more gain and compression compared to the medium preset. It is built for recordings with extreme loudness differences, for example very quiet questions from the audience in a lecture recording, extremely soft and loud voices within one audio track, etc.

Preset Soft:

This preset reacts slower, applies less gain and compression compared to the medium preset. Use it if you want to keep more loudness differences (dynamic narration), if you want your voices to sound "less compressed/processed", for dynamic music (concert/classical recordings), background music, etc.

Preset Softer:

Like soft, but softer :)

Preset Speech Medium, Music Soft:

Uses the medium preset in speech segments and the soft preset in music segments. It is built for music live recordings or dynamic music mixes, where you want to amplify all speakers but keep the loudness differences within and between music segments.

Preset Medium, No Compressor:

Like the medium preset, but only (mid-term) leveling and no (short-term) compression is applied. This preset is optimal if you just use a Maximum Loudness Range Target and want to avoid any additional compression as much as possible.

Please let us know your use case, if you need more/other controls or if anything is confusing. The Leveler presets are still in private beta and can be changed as necessary!

Maximum Loudness Range (LRA) Target

The loudness range (LRA) indicates the variation of loudness over the course of a program and is measured in LU (loudness units) - for more details see Loudness Measurement and Normalization or EBU Tech 3342.

The parameter Max Loudness Range controls how much leveling is applied:
volume changes of our Adaptive Leveler will be restricted so that the loudness range of the output file is below the selected value.
High loudness range values will result in very dynamic output files, low loudness range values in compressed output audio. If the LRA value of your input file is already below the maximum loudness range value, no leveling at all will be applied.

It is also important which Leveler Preset you select, for example, if you use the soft(er) preset, it won't be possible to achieve very low loudness range targets.

Also, the Max Loudness Range parameter is not such a precise target value as the Loudness Target. The LRA of your output file might be off a few LU, as it is not reasonable to reach the exact target value.

Use Cases: The Maximum LRA parameter allows you to control the strength of our leveling algorithms, in combination with the parameter Leveler Preset. This might be used for automatic mixdowns with different LRA values for different target platforms (very compressed ones like mobile devices or Alexa, very dynamic ones like home cinema, etc.).

Maximum True Peak Level

This parameter sets the maximum allowed true peak level of the processed output file, which is controlled by the True Peak Limiter after our Global Loudness Normalization algorithms.

If set to Auto (which is the current default), a reasonable value according to the selected loudness target is used: -1dBTP for 23 LUFS (EBU R128) and higher, -2dBTP for -24 LUFS (ATSC A/85) and lower loudness targets.

The maximum true peak level parameter is already available in our desktop program.

Better Hum and Noise Reduction Controls

In addition to the parameter (Noise) Reduction Amount, we now offer two more parameters to control the combination of our Noise and Hum Reduction algorithms:

Hum Base Frequency:

Set the hum base frequency to 50Hz or 60Hz (if you know it), or use Auto to automatically detect the hum base frequency in each speech region.

Hum Reduction Amount:

Maximum hum reduction amount in dB, higher values remove more noise.
In Auto mode, a classifier decides how much hum reduction is necessary in each speech region. Set it to a custom value (> 0), if you prefer more hum reduction or want to bypass our classifier. Use Disable Dehum to disable hum reduction and use our noise reduction algorithms only.

Behavior of noise and hum reduction parameter combinations:

Noise Reduction Amount	Hum Base Frequency	Hum Reduction Amount
Auto	Auto	Auto	Automatic hum and noise reduction
Auto or > 0	*	Disabled	No hum reduction, only denoise
Disabled	50Hz	Auto or > 0	Force 50Hz hum reduction, no denoise
Disabled	Auto	Auto or > 0	Automatic dehum, no denoise
12dB	60Hz	Auto or > 0	Always do dehum (60Hz) and denoise (12dB)

Advanced Parameters Private Beta and Feedback

At the moment the advanced algorithm parameters are for beta users only. This is to allow us to get user feedback, so we can change the parameters to suit user needs.
Please let us know your case studies, if you need any other algorithm parameters or if you have any questions!

Here are some private beta invitation codes:

y6KCBI4yo0 ksIFEsmI1y BDZec2a21V i4XRGLlVm2 0UDxuS0vbu aaBxi35sKN aaiDSZUbmY bu8lPF80Ih eMsSl6Sf8K DaWpsUnyjo
2YM00m8zDW wh7K2pPmSa jCX7mMy2OJ ZGvvhzCpTF HI0lmGhjVO eXqVhN6QLU t4BH0tYcxY LMjQREVuOx emIogTCAth 0OTPNB7Coz
VIFY8STj2f eKzRSWzOyv 40cMMKKCMN oBruOxBkqS YGgPem6Ne7 BaaFG9I1xZ iSC0aNXoLn ZaS4TykKIa l32bTSBbAx xXWraxS40J
zGtwRJeAKy mVsx489P5k 6SZM5HjkxS QmzdFYOIpf 500AHHtEFA 7Kvk6JRU66 z7ATzwado6 4QEtpzeKzC c9qt9Z1YXx pGSrDzbEED
MP3JUTdnlf PDm2MOLJIG 3uDietVFSL 1i7jZX0Y9e zPkSgmAqqP 5OhcmHIZUP E0vNsPxZ4s FzTIyZIG2r 5EywA0M7r5 FMhpcFkVN5
oRLbRGcRmI 2LTh8GlN7h Cjw6Z3cveP fayCewjE55 GbkyX89Lxu 4LpGZGZGgc iQV7CXYwkH pGLyQPgaha e3lhKDRUMs Skrei1tKIa

We are happy to send further invitation codes to all interested users - please do not hesitate to contact us!

If you have an invitation code, you can enter it here to activate the advanced audio algorithm parameters:
Auphonic Algorithm Parameters Private Beta Activation

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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