WorldCat Identities

Allan, Jon

Works: 11 works in 13 publications in 1 language and 348 library holdings
Genres: Handbooks and manuals  Trivia and miscellanea  Live sound recordings  Punk rock music  Rock music  Songs and music 
Roles: Editor, Author
Publication Timeline
Most widely held works by Jon Allan
DIY furniture : a step-by-step guide by Christopher Stuart( )

1 edition published in 2014 in English and held by 194 WorldCat member libraries worldwide

Featuring 30 designs by leading designer-makers from around the world DIY Furniture shows you how to use simple techniques to make stunning designer furniture from scratch. All the projects can be easily assembled using the step-by-step guides from common materials which can be found at the local hardware store
The low light photography field guide : go beyond daylight to capture stunning low light images by Michael Freeman( )

2 editions published in 2011 in English and held by 115 WorldCat member libraries worldwide

The rock trivia quizbook by Jon Allan( Book )

1 edition published in 1976 in English and held by 23 WorldCat member libraries worldwide

Quiz questions and answers about rock music from the 50s, 60's and 70's and provided in this quiz book. Answers are located in the back of the book
The day the Earth met the Rocket from the Tombs by Rocket from the Tombs (Musical group)( Recording )

1 edition published in 2002 in English and held by 7 WorldCat member libraries worldwide

Modelling the effects of serotonin on the hippocampal CA1 region during navigation by Jon Allan( )

2 editions published in 2018 in English and held by 3 WorldCat member libraries worldwide

Griffin Policy Forum : can climate change heat up Michigan's economy? [Plachta Auditorium, Central Michigan University, April 9, 2008]( Recording )

1 edition published in 2008 in English and held by 1 WorldCat member library worldwide

Panel discussion on economic impact and opportunities resulting from climate change. Focuses on Michigan
Asleep at the switch by Sleepy( Recording )

1 edition published in 2015 in English and held by 1 WorldCat member library worldwide

The Sound of Streamed Music by in Oslo, 12-15 februari 2018 24th Nordic Network for Research in Music Education( )

1 edition published in 2018 in English and held by 1 WorldCat member library worldwide

…the majority of consumers seem to be unaware of this, or of the audio quality they’re missing out on! They spend endless hours experiencing audio at sub- 128kbps bit rates, at the mercy of whoever uploaded the material, without knowing what it should sound like, without realising how bad it sounds, and unaware of the artefacts they’re hearing that shouldn’t be there. The quote stems from a journalist writing in the music recording magazine of Sound on Sounds and highlights issues concerning on-line music and the affordance such music brings for the listeners. Currently, music may be accessed via real-time streaming, accessed in complex conglomerates side by side with other types of content via computers, mobile phones, tablets, televisions, car stereos and soon to be accessed via new technology housed by the Internet of Things (IoT). Up until now, the technology of streaming has focused on access, robustness, interoperability between devices and extensive additional service augmenting the realm of musicking. Issues of the musical sound qualities and how aspects of sound quality interplay with the affordance of listening have more or less been neglected in favour of accessibility. From what we have learned from scholars accounting for digital formats and bit reduction as well as compression of dynamics in sound, there are some aspects concerning this field that is missing and as it seems neglected for the masses of music consumption. The development of smart technology orbiting music has just recently returned to issues of high fidelity and home stereo equipment. This development could be interpreted as a renaissance for the affordance of music listening. However, the quality of sound, which embeds the music, is not solely depending on the recording, the mix or the mastering engineers. It also depends on the adaptation of sound streams for the final playback device. In addition to these traditional delimiting nodes of sound quality, streamed music is constituted by numerous things and aspects such as broadband access, broadband capability, the robustness of the broadband system, the digital format and the velocity of transmission. This presentation, which is a part of a larger research project focusing the streaming company of Spotify as an actor of musical Bildung, will outline a suggestion for a designed method where different categories of participators will be selected to research the affordance of sound qualities of streamed music. Affordance of listening should be understood as the nexus between sound engineering and music cognition bridged by music education. The research should focus traditional aspects of perception and cognition but also socialisation that constitutes taste and preferences, and finally educational aspects as conceptualisation, learning and awareness. Four main themes are emphasised in this presentation; (i) developing methods to describe and measure sensation quantities when it comes to describing sound quality and the affordance of perceptual coding, (ii) selecting various types of listeners regarding age, gender, music educational background when studying stimulus quantities of streamed music, (iii) using the listeners preferred music to complement music from a control sample of tunes, and (iv) attributes used to communicate quality of sound and music within various communities
Evaluation of Live Loudness Meters by Jon Allan( )

1 edition published in 2019 in English and held by 1 WorldCat member library worldwide

Discrepancies in loudness (i.e. sensation of audio intensity) has been of great concern within the broadcast community. For television broadcast, disparities in audio levels have been rated the number one cause to annoyance by the audience. Another problem area within the broadcast and music industry is the loudness war. The phenomenon is about the strive to produce audio content to be at least as loud or louder to any other audio content that it can easily be compared with. This mindset, when deciding for audio level treatment, inevitably leads to an increase in loudness over time, and also, as a technical consequence, a decrease of utilized dynamics. The effects of the loudness war is present in both terrestrial radio transmissions as well as in music production and in music distribution platforms. The two problems, discrepancies in loudness and the loudness war, both emanate from the same source; regulations of audio levels and the design of measurement gear have not been amended to cope with modern production techniques. At the time when the work on this thesis started, the ruling technical recommendations for audio level alignment were based on peak measurement. This measured entity has poor correspondence to loudness. To counter the above described problems, the European Broadcasting Union (EBU) and the International Telecommunication Union (ITU) has developed new recommendations for audio alignment, EBU R 128 and ITU-R BS.1770. The new definitions for loudness measurement constitutes simplified models on the human perception of audio intensity. When using the new recommendations in production, the problems have been shown to diminish. For an engineer in a live broadcast scenario, measurement equipment also need to be updated in real-time to illustrate a time-variant loudness of the signal. EBU and ITU also has regulated how this type of measurement gear should behave. EBU Tech 3341 and ITU-R BS.1771 define properties for live loudness meters. These recommendations has since the time of publication been implemented in measurement equipment from manufacturers and become available in production facilities. This thesis investigates the conceptions that have led up to the present recommendations for live loudness meters. It maps out the (at the time) present ways to evaluate the same. Emanating from this knowledge, a new methodology to evaluate loudness meters is proposed that combines qualities from former methods to achieve an alternative balance between ecological validity and control in the experiment design. The methodology includes a procedure to capture data from engineers’ actions and the resulting audio levels from simulated broadcast scenarios. The methodology also incorporates a way to process this type of data into different parameters to be more accessible for interpretation. It presents an approach to model the data, by the use of linear mixed models, to describe different effects in the parameters as the result of the meters’ characteristics. In addition, a review on publications that examine the engineers’ own requests for beneficial qualities in a loudness meter has been condensed and revised into a set of meter criteria that specifically is designed to be applied on the outcome of the mixed models. The outcome of the complete evaluation yields statements on meter quality that are different and complementary to formerly proposed methods for meter evaluation. The methodology has been applied in two different studies, which also are accounted for in the thesis. The conclusions from these studies has led to an increased understanding of how to design live loudness meters to be satisfactory tools to the engineer. Examples of findings are: the effect of the speed of the meter, as being controlled by one or several time constants, on the readability of the meter and the dispersion in output levels – some tested candidates, with higher speed than the present recommended ones, has been shown to be adequate as tools; the three-second integration time has been shown to generate a smaller dispersion in output levels than the 400 ms integration time; the effect of the gate in BS.1771 on the resulting output levels– the gate generally leading to an increase in output levels. The acquired knowledge may be used to improve the present recommendations for audio level alignment, from EBU and ITU
Letter to Jon Allan by Erskine Caldwell( )

1 edition published in 1974 in English and held by 1 WorldCat member library worldwide

Caldwell thanks Allan for a letter and comments on Elizabeth Dilling's "The red network" in which Caldwell is called a Communist writer
Black & white photography field guide : the essential guide to the art of creating black & white images by Michael Freeman( )

1 edition published in 2013 in English and held by 1 WorldCat member library worldwide

Begin by exploring the illustrious history and tradition of black-and-white photography, to better understand its unique aesthetics and aptly apply them to your own creative work. Then study the particular advantages that digital photography brings to the equation--from how the technology works, to the best and most up-to-date post-production software, and all the specialized techniques and processes in between. Finally, learn to think in black and white by considering the numerous interpretations that each scene presents, and set about achieving your precise creative vision with skill and competency.--Provided by publisher
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Audience level: 0.43 (from 0.36 for Black & wh ... to 0.97 for Evaluation ...)

English (13)