Konsertprogram:Dietrich Buxtehude –"KlaglIed" (1674) för satb och stråkorkester 2'Björn Andor Drage – "KlaglIed" (2004) för 3x(satb) 8'Paula af Malmborg Ward – Vidder (2015, Uruppförande) för ssaattbb och slagverk 12'Ylva Skog – "They call her love" (1998) för stråkorkester 10’Toru Takemitsu – Requiem för stråkorkester (1957) 8'Arvo Pärt – "Te Deum" (1985) för ssaa/ttbb/satb, prep. pno, str & band 30'ur Alfred Schnittkes "Bussverse", nr 12 i arrangemang för strk och kör av Andreas Hedlund)8'20Turnéprogram:Haparanda kyrka 15 aprilKulturens hus, Luleå 16 aprilSkellefteå landsförsamlings kyrka 17 aprilNorrlandsOperan 18 aprilStudio Acusticum 19 aprilInspelning av Sveriges Radio, P2 live skedde vid konserten 19 april. Sändningen skedde 11 maj och 12 aug.Vidder sändes även 9 nov."Vidder" är ett beställningsverk av Erik Westbergs Vokalensemble med stöd av Kulturrådet. Verket erhöll Musikförläggarnas pris 2015 i kategorin Årets Konstmusikpris – mindre ensemble/kammarmusik. Norrbottensmusiken har kontrakterat och arvoderat samtliga medverkande.

CD med Erik Westbergs Vokalensemble under ledning av Erik Westberg samt Mattias Wagner på orgel och Carl-Henrik Fernandi på sopransaxofon.Andersson, B Tommy - The TygerPärt, Arvo - Tribute to CaesarSandström, Jan - KyrieFerm, Jan - GloriaFerm, Jan - Agnus deiMiranda, Ronaldo - Regina caeliSandström, Sven-David - Laudamus teAhlin, Sven - Triumf att finnas tillBuxtehude, Dietrich - Klag-liedBjörn Andor Drage - Kag-liedWestberg, Erik - Från ingenstansPärt, Arvo - The woman with the alabaster boxNilsson, Anders - Lux aeternaInspelad med stöd av statens kulturråd

CD med Erik Westbergs Vokalensemble under ledning av Erik Westberg och Helge Kjekshus på Piano.Råberg, Emil - The TygerNilsen, Ulf - Det er den draumenKuula, Toivo - Auringon Noustessa Op. 11:3Badings, Henk - Trois Chansons BretonnesBrahms, Johannes - Quartette Op. 92Rheinberger, Josef - Abenslied Op. 69:3Reger, Max - Drei Chöre Op. 6Saint-Saëns, Camille - Calme Des Nuits Op. 68:1Lindblad, Adolf Fredrik - Drömmarne

CD med Erik Westbergs Vocal Ensemble och Norrbotten NEOSandström, Jan - FatimaLarsson Gothe, Mats - Lilits återkomstThoresen, Lasse - Mon Dieu, mon adoréJolivet, André - MadrigalDaniel-Lesure - Le Cantique des Cantiques

The vast loudness span of broadcast sound can be reduced by the use of loudness meters. In an ideal case, the measured and the perceived loudness would be equal. A loudness meter fulfilling the EBU R-128 recommendation was investigated for its correspondence with perceived loudness. Several sound stimuli with large loudness differences representing five different types of broadcast program material were normalized to have equal meter measured loudness level. Subjects listened to pairwise presentations of the normalized stimuli, which they subsequently set to have equal perceived loudness. The settings were recorded and analyzed. The results show that the normalization yields both equal as well as different perceived loudness between program types. The maximum difference was ±2.8 dB.

In sound recording, an important dimension is the perceived distance to the sound sources. This study investigates if there is a difference between sound engineers and musicians when they consider the perceived distance to sound sources recorded in a concert hall and reproduced by means of a two-channel stereo system. Also which distance is preferred is investigated for different instruments. The result shows that sound engineers perceive a greater distance to sources and that they prefer more close microphone distance than musicians.

The research on the perceived depth in a sound image mainly concerns the distance to the source. Observations on the three-dimensional environment, is generally of an anecdotal nature. In order to enhance the perceived spatial quality of reproduced sound, it is important to know more about how depth in recordings is perceived and generated. The aim of this study is to put focus on the concept of depth, i.e. define what sound engineers mean by depth in recordings. This has been studied through interviews with sound engineers. The most common thought is that depth is equal to the distance to the sound sources. This definition is still not enough to encompass the whole concept of depth. The experienced environment in front of the listener may also affect the perceived depth.