Smaart

Last updated
Smaart
Developer(s) Rational Acoustics
Stable release
v8.5 / June 26, 2021 (2021-06-26)
Operating system Windows XP or newer, Mac OS X v10.5 "Leopard" or newer
Platform x86-64
Type Acoustical measurement
Website http://www.rationalacoustics.com

Smaart (System Measurement Acoustical Analysis in Real Time) is a suite of audio and acoustical measurements and instrumentation software tools [1] introduced in 1996 by JBL's professional audio division. It is designed to help the live sound engineer optimize sound reinforcement systems before public performance and actively monitor acoustical parameters in real time while an audio system is in use. Most earlier analysis systems required specific test signals sent through the sound system, ones that would be unpleasant for the audience to hear. Smaart is a source-independent analyzer and therefore will work effectively with a variety of test signals including speech or music.

Contents

The product has been known as JBL-SMAART, SIA-SMAART Pro, EAW SMAART, and SmaartLive. As of 2008 the product has been branded as simply Smaart. An acoustician version has been offered as Smaart Acoustic Tools, however as of Smaart v7.4, Acoustic Tools have been included within the Impulse Response mode of Smaart. A standalone sound pressure level monitoring only version called Smaart SPL was released in 2020.

Smaart is a real-time single and dual-channel fast Fourier transform (FFT) analyzer. Smaart has two modes: Real-Time Mode and impulse response mode. Real-Time mode views include single channel Spectrum and dual channel Transfer Function measurements to display RTA, Spectrograph, and Transfer Function (Live IR, Phase, Coherence, Magnitude) measurements. The impulse response mode will display time domain graphs such as Lin (Linear), Log (Logarithmic), ETC (Energy Time Curve), as well as Frequency, Spectrograph, and Histogram graphs. Impulse Response mode also includes a suite of acoustical intelligibly criteria such as STI, STIPA, Clarity, RT60, EDT, etc.

Smaart has been licensed and owned by several companies since JBL and is currently owned and developed by Rational Acoustics. First written as a native Windows 3.1 application to work within Windows 95 on IBM-compatible computers, [2] in 2006 a version was introduced that was compatible on both Windows and Apple Macintosh operating systems. As of March 2016 Smaart was in its 8th version.

Use

Smaart is based on real-time fast Fourier transform (FFT) analysis, including dual-FFT audio signal comparison, called "transfer function", and single-FFT spectrum analyzer. [3] It includes maximum length sequence (MLS) analysis as a choice for impulse response, for the measurement of room acoustics. The FFT implementation of Smaart includes a proprietary multi-time window (MTW) selection in which the FFT, rather than being a fixed length, is made increasingly shorter as the frequency increases. [4] This feature allows the software to 'ignore' later signal reflections from walls and other surfaces, increasing in coherence as the audio frequency increases. [4]

The latest version of Smaart 8 runs under Windows 7 or newer, and Mac OSX 10.7 or newer, including 32- and 64-bit versions. A computer having a dual-core processor with a clock rate of at least 2 GHz is recommended. [5] Smaart can be set to sample rates of 44.1 kHz, 48 kHz or 96 kHz, and to bit depths of 16 or 24. The software works with computer audio protocols ASIO, Core Audio, WAV or WDM audio drivers. [6]

Transfer function

SmaartLive version 4 in transfer function mode, showing several captured traces of an active crossover Smaart 4 crossover traces.jpg
SmaartLive version 4 in transfer function mode, showing several captured traces of an active crossover

Smaart's transfer function requires a stereo input to the computer because it analyzes two channels of audio signal. Using its dual-FFT mode, Smaart compares one channel with the other to show the difference. This is used by live sound engineers to set up concert sound systems before a show and to monitor and adjust these systems during the performance. The first channel of audio undergoing analysis is connected directly from one of the main outputs of the mixing console and the second channel is connected to a microphone placed in the audience listening area, usually an omnidirectional test microphone with a flat, neutral pickup characteristic. The direct mixing console audio output is compared with the microphone input to determine how the sound is changed by the sound system elements such as loudspeakers and amplifiers, and by the room acoustics indoors or by the weather conditions and acoustic environment outdoors. Smaart displays the difference between the intended sound from the mixer and the received sound at the microphone, and this real-time display informs the audio engineer's decisions regarding delay times, equalization and other sound system adjustment parameters.

Although pink noise is a traditional choice for test signal, [3] Smaart is a source-independent analyzer, which means that it does not rely on a specific test signal to produce measurement data. Pink noise is still in common usage because its energy distribution allows for quick measurement acquisition, but music or another broadband test signal can be used instead. [7]

Transfer function measurements can also be used to examine the frequency response of audio equipment, including individual amplifiers, loudspeakers and digital signal processors such as audio crossovers and equalizers. It can be used to compare a known neutral-response test microphone with another microphone in order to better understand its frequency response and, by changing the angle of the microphone under test, its polar response. [8]

Transfer function measurements can be used to adjust audio crossover settings for multi-way loudspeakers; similarly, they can be used to adjust only the subwoofer-to-top box crossover characteristics in a sound system where the main, non-subwoofer loudspeakers are flown or rigged but the subwoofers are placed on the ground. One of the traces in the Smaart display shows phase response. To properly align adjacent frequency bands through a crossover, the two phase responses should be adjusted until they are seen in Smaart to be parallel through the crossover frequency. [8]

The transfer function measurement can be used to measure frequency-related electrical impedance, one of the electrical characteristics of dynamic loudspeakers. Grateful Dead sound system engineer "Dr. Don" Pearson worked out the method in 2000, using Smaart to compare the voltage drop through a simple resistor between a loudspeaker and a random noise generator. [9]

Real-time analyzer

Smaart running as a spectrum analyzer, in spectrograph view Smaart on Yoshi's APB mixer.jpg
Smaart running as a spectrum analyzer, in spectrograph view

In Spectrograph view, Smaart displays a real-time spectrum analysis, showing the relative strength of audio frequencies for one audio signal. Needing only one channel of audio input, this capability can be used for a variety of purposes. With Smaart's input connected to the mixing console's pre-fade listen (PFL) or cue bus, Spectrograph view can display the frequency response of individual channels, several selected channels, or various mixes. [8] Spectrograph mode can be used to display room resonances: pink noise is applied to the room's sound system, and the signal from a test microphone in the room is displayed on Smaart. When the pink noise is muted, the display shows the lingering tails of noise frequencies that are resonating. [8]

Impulse response

Smaart can be used to find the delay time between two signals, in which case the computer needs two input channels and the software uses a transfer function measurement engine. Called "Delay Locator", the software calculates the impulse responses of two continuous audio signals, finding the similarities in the signals and measuring how much time has elapsed between them. This is used to set delay times for delay towers at large outdoor sound systems, and it is used to set delay times for other loudspeaker zones in smaller systems. [10] Veteran Van Halen touring sound engineer Jim Yakabuski calls such delay locator programs as Smaart a "must have" item, [11] useful for quickly aligning sound system elements when setup time is limited. [12]

Market

Smaart is primarily aimed at sound system operators to assist them in setting up and tuning sound systems. Other users include audio equipment designers and architectural acousticians. Author and sound engineer Bob McCarthy wrote in 2007 that because of Smaart's widespread acceptance at all levels of live sound mixing, the paradigm has reversed from the 1980s one of surprise at finding scientific tools in the concert sound scene to one of surprise if the observer finds that such tools are not being used to tune a sound system. [13]

Smaart has been compared to other software-based sound system measurement tools such as SIM by Meyer Sound Laboratories and IASYS by Audio Control, both of which offer delay finder tools. [11] Smaart has been described as "a newer, slimmer and much cheaper—but not necessarily better—version of the Meyer SIM system." [11] MLSSA, developed by DRA Laboratories in 1987, and TEF, a time delay spectrometry product by Gold Line, are other products predating Smaart that are used to tune loudspeakers such as studio monitors. [14] A software tool that reached Mac users in 1997 was named SpectraFoo, by Metric Halo. [15] At the same time, some early Smaart users found that after tweaking their MIDI drivers they could get Smaart to work on an Apple computer, the software running inside an x86 emulator such as SoftWindows "with varying results". [16]

History

JBL-Smaart version 1.0 demo for Windows 3.1 (1995) JBL-Smaart demo.gif
JBL-Smaart version 1.0 demo for Windows 3.1 (1995)

As early as 1978, field analysis of rock concert audio was undertaken by Don Pearson, known by his nickname "Dr. Don", while working on sound systems used by the Grateful Dead. Pearson published articles about impulse response measurements taken during setup and testing of concert sound systems, and recommended the Dead buy an expensive Brüel & Kjær 2032 Dual Channel FFT analyzer, made for industrial engineering. Along with Dead audio engineer Dan Healy, Pearson developed methods of working with this system to set up sound systems on tour, and he assisted Meyer engineers working on a more suitable source-independent measurement system which was to become their SIM product. [17] As well, Pearson had an "intimate involvement" with the engineers who were creating Smaart, [17] including a meeting with Jamie Anderson. [18]

Smaart was developed by Sam Berkow in association with Alexander "Thorny" Yuill-Thornton II, touring sound engineer with Luciano Pavarotti and The Three Tenors. [13] In 1995, Berkow and Thorny founded SIA Software Company, produced Smaart and licensed the product to JBL. [19] First exhibited in New York City at the Audio Engineering Society's 99th convention in October 1995 and described the next month in Billboard magazine, [20] in May 1996 the software product was introduced at the price of $695, the equivalent of $1,350 in today's currency. [21] Studio Sound magazine described Smaart in 1996 as "the most talked about new product" at the 100th AES convention in Copenhagen, exemplifying a new trend in software audio measurement. [22] Calvert Dayton joined SIA Software in 1996 as graphic designer, technical writer and website programmer. [19]

Smaart was unusual because it helped audio professionals such as theatrical sound designers do what was previously possible only with highly sophisticated and expensive measurement devices. [23] Audio system engineers from Clair Brothers used Smaart to tune the sound system at each stop during U2's PopMart Tour 1997–1998. [24] As it increased in popularity, engineers who used Smaart found mixed results: touring veteran Doug Fowler wrote that "misuse was rampant" when the software first started appearing in the field. [25] He warned users against faulty interpretation, saying "I still see bad decisions based on bad data, or bad decisions based on a fundamental lack of understanding of the issues at hand." [25] Nevertheless, Clive Young, editor of Pro Sound News , wrote in 2005 that the introduction of Smaart in 1995 was the start of "the modern era of sound reinforcement system analysis software". [15]

In 1998, JBL Smaart Pro won the TEC Awards category for computer software and peripherals. [26] Eastern Acoustic Works (EAW) bought SIA Software, and brought in Jamie Anderson to manage the division. [18] Version 3 was introduced under EAW's ownership, [1] with the additional capability of accepting optional plug-ins which could be used to apply sound system adjustments, as measured by Smaart, to digital signal processing (DSP) equipment. The external third party DSP would perform the corrections indicated by Smaart.

SmaartLive 4 software running on an IBM laptop in 2002, mounted in a portable 19-inch rack case Smaart rig in rack.jpg
SmaartLive 4 software running on an IBM laptop in 2002, mounted in a portable 19-inch rack case

Versions 4 and 5 were built upon the foundation of version 3, but with each major release, the application was getting more and more difficult to write, and further improvements appeared practically impossible to implement. For version 6, the designers decided to tear Smaart back down to its basics and rebuild it on a flexible multi-tasking, multi-platform framework which would allow it to be used on Mac OS X and Windows machines. Writing it took two years, and it was released in a package which included the earlier version 5 because there was not enough time to incorporate all elements of the existing feature set. [1] Anderson said in 2007, "we released Version 6 without all of the features of 5, but we are adding those features back in." [1] Smaart 6 was nominated for a TEC Award in 2007 but did not win. [27]

EAW developed a digital mixing console prototype in 2005, the UMX.96; a console which incorporated SmaartLive 5 internally. [28] Any selected channel on the mixer could be used as a source for Smaart analysis, displaying, for instance, the real-time results of channel equalization. [28] The console could be configured to send multiple microphone inputs to Smaart, and it offered constant metering of sound pressure level in decibels. [29] When it was put into production in 2007, band engineer Don Dodge took the mixer out on a world tour with Foreigner, the first concert mixed in March 2007. [30] With its 15-inch touchscreen able to serve both audio control and Smaart analysis functions, [31] Dodge continued to mix Foreigner on it throughout 2007 and 2008. [32]

Rational Acoustics was incorporated on April 1, 2008. [18] On November 9, 2009, under the leadership of Jamie and Karen Anderson, programmer Adam Black and technical chief Calvert Dayton, Rational Acoustics became the full owner of the Smaart brand. [33] [34] Rational released Smaart 7 on April 14, 2010; a version which uses less processing power than v5 and v6 because of efficiencies brought about in the redesigned code. [4] Smaart 7 was written using a new object-oriented code architecture, it was given improved data acquisition. [4] Other new features include graphic user interface changes and delay tracking. [4] Users can run simultaneously displayed real-time measurements in multiple windows, as many as their computer hardware will allow. [4] Smaart 7 was nominated in 2010 for a TEC Award [35] but did not win. [36] In April 2011, Smaart 7 was named one of four Live Design Sound Products of the Year 2010–2011. [37]

Version history

Related Research Articles

<span class="mw-page-title-main">Subwoofer</span> Loudspeaker for low-pitched audio frequencies

A subwoofer is a loudspeaker designed to reproduce low-pitched audio frequencies, known as bass and sub-bass, that are lower in frequency than those which can be (optimally) generated by a woofer. The typical frequency range that is covered by a subwoofer is about 20–200 Hz for consumer products, below 100 Hz for professional live sound, and below 80 Hz in THX-certified systems. Thus, one or more subwoofers are important for high-quality sound reproduction as they are responsible for the lowest two to three octaves of the ten octaves that are audible. This very low-frequency (VLF) range reproduces the natural fundamental tones of the bass drum, electric bass, double bass, grand piano, contrabassoon, tuba, in addition to thunder, gunshots, explosions, etc.

<span class="mw-page-title-main">Mixing console</span> Device used for audio mixing

A mixing console or mixing desk is an electronic device for mixing audio signals, used in sound recording and reproduction and sound reinforcement systems. Inputs to the console include microphones, signals from electric or electronic instruments, or recorded sounds. Mixers may control analog or digital signals. The modified signals are summed to produce the combined output signals, which can then be broadcast, amplified through a sound reinforcement system or recorded.

<span class="mw-page-title-main">Acoustical engineering</span> Branch of engineering dealing with sound and vibration

Acoustical engineering is the branch of engineering dealing with sound and vibration. It includes the application of acoustics, the science of sound and vibration, in technology. Acoustical engineers are typically concerned with the design, analysis and control of sound.

<span class="mw-page-title-main">Sound reinforcement system</span> Amplified sound system for public events

A sound reinforcement system is the combination of microphones, signal processors, amplifiers, and loudspeakers in enclosures all controlled by a mixing console that makes live or pre-recorded sounds louder and may also distribute those sounds to a larger or more distant audience. In many situations, a sound reinforcement system is also used to enhance or alter the sound of the sources on the stage, typically by using electronic effects, such as reverb, as opposed to simply amplifying the sources unaltered.

<span class="mw-page-title-main">Horn loudspeaker</span> Loudspeaker using an acoustic horn

A horn loudspeaker is a loudspeaker or loudspeaker element which uses an acoustic horn to increase the overall efficiency of the driving element(s). A common form (right) consists of a compression driver which produces sound waves with a small metal diaphragm vibrated by an electromagnet, attached to a horn, a flaring duct to conduct the sound waves to the open air. Another type is a woofer driver mounted in a loudspeaker enclosure which is divided by internal partitions to form a zigzag flaring duct which functions as a horn; this type is called a folded horn speaker. The horn serves to improve the coupling efficiency between the speaker driver and the air. The horn can be thought of as an "acoustic transformer" that provides impedance matching between the relatively dense diaphragm material and the less-dense air. The result is greater acoustic output power from a given driver.

<span class="mw-page-title-main">JBL</span> American audio hardware manufacturer

JBL is an American audio equipment manufacturer headquartered in Los Angeles, California, United States. JBL serves the home and professional market. The professional market includes studios, installed/tour/portable sound, music production, DJ, and cinema markets. The home market includes high-end home amplification/speakers/headphones as well as high-end car audio. JBL is owned by Harman International, itself a subsidiary of Samsung Electronics.

<span class="mw-page-title-main">Digital room correction</span> Acoustics process

Digital room correction is a process in the field of acoustics where digital filters designed to ameliorate unfavorable effects of a room's acoustics are applied to the input of a sound reproduction system. Modern room correction systems produce substantial improvements in the time domain and frequency domain response of the sound reproduction system.

Speech Transmission Index (STI) is a measure of speech transmission quality. The absolute measurement of speech intelligibility is a complex science. The STI measures some physical characteristics of a transmission channel (a room, electro-acoustic equipment, telephone line, etc.), and expresses the ability of the channel to carry across the characteristics of a speech signal. STI is a well-established objective measurement predictor of how the characteristics of the transmission channel affect speech intelligibility.

<span class="mw-page-title-main">Loudspeaker measurement</span> Quantifying the behaviour of loudspeakers

Loudspeaker measurement is the practice of determining the behaviour of loudspeakers by measuring various aspects of performance. This measurement is especially important because loudspeakers, being transducers, have a higher level of distortion than other audio system components used in playback or sound reinforcement.

<span class="mw-page-title-main">Studio monitor</span> Speaker designed to reproduce sound accurately

Studio monitors are loudspeakers in speaker enclosures specifically designed for professional audio production applications, such as recording studios, filmmaking, television studios, radio studios and project or home studios, where accurate audio reproduction is crucial. Among audio engineers, the term monitor implies that the speaker is designed to produce relatively flat (linear) phase and frequency responses. In other words, it exhibits minimal emphasis or de-emphasis of particular frequencies, the loudspeaker gives an accurate reproduction of the tonal qualities of the source audio, and there will be no relative phase shift of particular frequencies—meaning no distortion in sound-stage perspective for stereo recordings. Beyond stereo sound-stage requirements, a linear phase response helps impulse response remain true to source without encountering "smearing". An unqualified reference to a monitor often refers to a near-field design. This is a speaker small enough to sit on a stand or desk in proximity to the listener, so that most of the sound that the listener hears is coming directly from the speaker, rather than reflecting off walls and ceilings. Monitor speakers may include more than one type of driver or, for monitoring low-frequency sounds, such as bass drum, additional subwoofer cabinets may be used.

Analysis of sound and acoustics plays a role in such engineering tasks as product design, production test, machine performance, and process control. For instance, product design can require modification of sound level or noise for compliance with standards from ANSI, IEC, and ISO. The work might also involve design fine-tuning to meet market expectations. Here, examples include tweaking an automobile door latching mechanism to impress a consumer with a satisfying click or modifying an exhaust manifold to change the tone of an engine's rumble. Aircraft designers are also using acoustic instrumentation to reduce the noise generated on takeoff and landing.

<span class="mw-page-title-main">Meyer Sound Laboratories</span> American audio equipment manufacturer

Meyer Sound Laboratories is an American company based in Berkeley, California that manufactures self-powered loudspeakers, multichannel audio show control systems, electroacoustic architecture, and audio analysis tools for the professional sound reinforcement, fixed installation, and sound recording industries.

<span class="mw-page-title-main">Line array</span> Loudspeaker system composed of linearly-mounted, in-phase speakers

A line array is a loudspeaker system that is made up of a number of usually identical loudspeaker elements mounted in a line and fed in phase, to create a near-line source of sound. The distance between adjacent drivers is close enough that they constructively interfere with each other to send sound waves farther than traditional horn-loaded loudspeakers, and with a more evenly distributed sound output pattern.

LARES is an electronic sound enhancement system that uses microprocessors to control multiple loudspeakers and microphones placed around a performance space for the purpose of providing active acoustic treatment. LARES was invented in Massachusetts in 1988, by Dr David Griesinger and Steve Barbar who were working at Lexicon, Inc. LARES was given its own company division in 1990, and LARES Associates was formed in 1995 as a separate corporation. Since then, hundreds of LARES systems have been used in concert halls, opera houses performance venues, and houses of worship from outdoor music festivals to permanent indoor symphony halls.

<span class="mw-page-title-main">Stage monitor system</span> Sound reinforcement for performers

A stage monitor system is a set of performer-facing loudspeakers called monitor speakers, stage monitors, floor monitors, wedges, or foldbacks on stage during live music performances in which a sound reinforcement system is used to amplify a performance for the audience. The monitor system allows musicians to hear themselves and fellow band members clearly.

<span class="mw-page-title-main">Audio analyzer</span> Test and measurement instrument

An audio analyzer is a test and measurement instrument used to objectively quantify the audio performance of electronic and electro-acoustical devices. Audio quality metrics cover a wide variety of parameters, including level, gain, noise, harmonic and intermodulation distortion, frequency response, relative phase of signals, interchannel crosstalk, and more. In addition, many manufacturers have requirements for behavior and connectivity of audio devices that require specific tests and confirmations.

<span class="mw-page-title-main">NTi Audio</span> Liechtenstein audio equipment manufacturer

NTi Audio AG is a manufacturer of test and measurement instruments for acoustics, audio and vibration applications. With headquarters in Schaan, Liechtenstein, the company specializes in end-of-line audio testing for manufacturing quality control purposes, provides instruments for testing public address systems in safety-critical environments and also produces handheld Audio Analyzers and generators aimed at the professional audio industry.

<span class="mw-page-title-main">David Gunness</span> American audio engineer

David W. Gunness is an American audio engineer, electrical engineer and inventor. He is known for his work on loudspeaker design, especially high-output professional horn loudspeakers for public address, studio, theater, nightclub, concert and touring uses.

<span class="mw-page-title-main">Clifford A. Henricksen</span> American inventor, American musician

Cliff Henricksen is a musician, inventor and audio technologist. He is self-taught as a musician with a graduate degree in mechanical engineering at Massachusetts Institute of Technology (MIT). Throughout his career Cliff has found innovative ways to apply engineering basics to electro acoustics and to audio technology as it applies to music and in particular to live music performance. He has invented and engineered a wide variety of technologies and products well known in the world of professional audio. Today he balances work in audio and work as a performing musician.

<span class="mw-page-title-main">Bob Cavin</span> American audio engineer (born 1940)

Robert Vernon Cavin is an American audio engineer who built the first monitor mixing console, the first multi-angle monitor loudspeaker, and the first integrated processing/amplifier package for a 3-way loudspeaker. He was chief engineer of McCune Sound in San Francisco in the 1970s, and also vice president in the 1980s. In 1992 he accepted the chief engineer position at Apogee Sound where he designed the DA Series Class-H digitally controlled amplifier, winning the 1994 TCI Product of the Year Award. In 2000 he joined Furman Sound, and designed an interface system for Smaart users, and a new power conditioning system. Cavin's electronic designs were nominated five times for TEC Awards, in 1994, 1995, 1997, 1999 and 2001.

References

  1. 1 2 3 4 Slaton, Shannon (August 1, 2007). "Sound Product of the Month: EAW Smaart Software". LiveDesign. Penton Media. Archived from the original on March 22, 2011. Retrieved January 8, 2011.
  2. ↑ Berkow, Sam (November 19, 1996). "JBL-Smaart: Answer Sheet!" (PDF). Retrieved January 8, 2011.
  3. 1 2 "Smaart FAQ". Products. Eastern Acoustic Works. 2009. Archived from the original on July 22, 2011. Retrieved January 8, 2011.
  4. 1 2 3 4 5 6 Frink, Mark (October 15, 2010). "Inside The Numerous Improvements & Enhancements In Smaart v7 (and v7.1)". Live Sound International. ProSoundWeb. Archived from the original on January 31, 2013. Retrieved January 9, 2011.
  5. ↑ "Smaart v8".
  6. ↑ LaCerra, Steve (February 2011). "Rational Acoustics Smaart v7.1". FOH Online. Timeless Communications. Retrieved February 7, 2011.
  7. ↑ "Smaart v8 User Guide" (PDF). Rational Acoustics. Retrieved July 20, 2020.
  8. 1 2 3 4 Brill, Harry Jr (December 1, 2007). "EAW Smaart Version 6". Mix. Penton Media, Inc. Archived from the original on June 29, 2011. Retrieved January 8, 2011.
  9. ↑ Pearson, Don (2000). "Impedance with Smaart" (PDF). Universal Concept Inc. Archived from the original (PDF) on March 16, 2012. Retrieved January 8, 2011.
  10. ↑ "Using The SIA-Smaart Pro Delay Locator" (PDF). SIA-Smaart Pro Technical Notes. SIA Software Company. Retrieved January 8, 2011.
  11. 1 2 3 Yakabuski, Jim (2001). Professional sound reinforcement techniques: tips and tricks of a concert sound engineer. Mix Pro Audio. Hal Leonard Corporation. pp. 100, 105. ISBN   1-931140-06-5.
  12. ↑ Leonard, John A. (2003). Theatre Sound. Theatre Arts. Psychology Press. p. 130. ISBN   0-87830-116-X.
  13. 1 2 McCarthy, 2007, p. xiii
  14. ↑ Bartlett, Bruce; Bartlett, Jenny (1999). On-location recording techniques. Focal Press. p. 55. ISBN   0-240-80379-5.
  15. 1 2 Young, Clive (December 1, 2005). "System Analysis Software Comes of Age". Pro Sound News .
  16. ↑ Pearson, Don. "Apples and Smaart 3.0: It works!" (PDF). Smaart. Eastern Acoustic Works. Archived from the original (PDF) on July 22, 2011. Retrieved January 9, 2011.
  17. 1 2 The O, Larry (March 2006). "In Memoriam: Don Pearson 1942–2006" (PDF). Journal of the Audio Engineering Society. 54 (3): 245–246.
  18. 1 2 3 "His Excellence Jamie Anderson: Instructor Guy and SysTweak". Staff Directory Entry. Rational Acoustics. Retrieved January 8, 2011.
  19. 1 2 "SIA Software Company, Inc". SIA Software Company, Inc. 1997. Archived from the original on March 1, 1997. Retrieved January 8, 2011.
  20. ↑ "Newsline". Billboard. Vol. 107, no. 47. Nielsen Business Media, Inc. November 25, 1995. p. 69. ISSN   0006-2510.
  21. ↑ Daley, Dan (October 19, 1996). "JBL, 50, Refocuses in Order to Tackle Broadening Market". Billboard. Vol. 108, no. 42. Nielsen Business Media, Inc. p. 54. ISSN   0006-2510.
  22. ↑ Studio Sound. 38 (1–6). Miller Freeman: 10. 1996.{{cite journal}}: Missing or empty |title= (help)
  23. ↑ Parker, Wilford Oren; Wolf, R. Craig; Block, Dick (2003). Scene design and stage lighting (8 ed.). Thomson/Wadsworth. p. 298. ISBN   0-534-25985-5.
  24. ↑ Young, Clive (2004). Crank it up: live sound secrets of the top tour engineers. Hal Leonard Corporation. p. 60. ISBN   0-87930-778-1.
  25. 1 2 McCarthy, 2007, p. 371
  26. ↑ "1998 TEC Awards: Nominees and Winners". TEC Awards. TEC Foundation. Archived from the original on January 9, 2011. Retrieved January 9, 2011.
  27. ↑ "2007 Nominees for Outstanding Technical Achievement". TEC Awards. TEC Foundation. Archived from the original on July 16, 2011. Retrieved January 9, 2011.
  28. 1 2 "AES Product News-EAW UMX.96". Mix. Penton Media, Inc. October 27, 2005. Archived from the original on April 11, 2011.
  29. ↑ "EAW UMX.96: Preliminary specs" (PDF). EAW. Archived from the original (PDF) on July 22, 2011. Retrieved January 19, 2011.
  30. ↑ "First Live Application Of New EAW UMX.96 Digital Console". Front Row. EAW. March 2007. Archived from the original on September 2, 2010. Retrieved January 19, 2011.
  31. ↑ "EAW UMX.96 console gets world debut with Foreigner". Audio Pro International. Intent Media. December 10, 2007. Retrieved January 20, 2011.
  32. ↑ "Foreigner Tours With EAW UMX.96 Digital Desk". Pro Sound News . June 4, 2008. Archived from the original on September 9, 2012.
  33. ↑ "Smaart Landing Page". Rational Acoustics. November 17, 2009. Retrieved January 8, 2011.
  34. ↑ "Rational Gets Smaart". Eastern Acoustic Works. Archived from the original on 2011-07-22.
  35. ↑ "26th Annual TEC Awards Nominees Outstanding Technical Achievement". TEC Awards. TEC Foundation. Archived from the original on September 13, 2010. Retrieved January 9, 2011.
  36. ↑ "26th Annual TEC Awards Winners". TEC Awards. TEC Foundation. Archived from the original on January 18, 2011. Retrieved January 17, 2011.
  37. ↑ "Live Design Sound Products Of The Year Announced: Rational Acoustics, Meyer Sound, Duck's Echo Sound, and Audinate come up winners". Live Design Online. Penton Media. April 20, 2011. Retrieved April 20, 2011.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.