A Comprehensive History of Dual-Channel FFT Audio Analyzers

The evolution of dual-channel FFT (Fast Fourier Transform) audio analyzers has significantly advanced the fields of acoustics, sound system design, and live audio engineering. This history highlights key developments and innovations, with a particular focus on Meyer Sound’s SIM systems.

Early Developments in FFT Analysis (1970s–1980s)

The foundation for modern audio analysis was laid with the advent of digital signal processing and FFT algorithms. Early instruments, though groundbreaking, were bulky and primarily used in laboratory settings.

Introduction of Dual-Channel FFT Analyzers

The 1980s saw the emergence of dual-channel FFT analyzers, which allowed for the simultaneous analysis of input and output signals. This advancement enabled the measurement of transfer functions, providing insights into a system’s frequency and phase response. Notably, Brüel & Kjær, a Danish company specializing in sound and vibration measurement, developed dual-channel FFT analyzers during this period

Meyer Sound’s SIM Systems: Pioneering Real-Time Analysis

SIM System I (1986)

In 1986, Meyer Sound introduced the Source Independent Measurement (SIM) system, a groundbreaking dual-channel FFT analyzer designed for real-time audio analysis. Unlike previous systems, SIM allowed for measurements using any audio source, including music, making it highly versatile for live sound applications .

SIM System II (1991)

Building on the success of its predecessor, SIM System II was released in 1991. It featured enhanced processing capabilities and user-friendly interfaces, making it more accessible for field use. The system’s innovations earned it the prestigious R\&D 100 Award in 1992 .

SIM System 3 (2003)

The SIM System 3, launched in 2003, integrated advanced computing power and software enhancements, providing higher resolution and faster analysis

Impact and Legacy

Meyer Sound’s SIM systems revolutionized audio analysis by introducing real-time, source-independent measurement techniques. These innovations have influenced the development of other analysis tools and have become integral in various applications, including:

Live Sound Engineering**: Facilitating real-time system tuning during performances.

Acoustic Research**: Providing detailed insights into room acoustics and system behavior.

Educational Programs**: Serving as a teaching tool in audio engineering curricula .

Modern Advancements

Today, dual-channel FFT analyzers are more accessible and feature-rich, with software solutions like Smaart, Room EQ Wizard (REW), and Open Sound Meter just to name very few amongst many others. These modern tools continue to build upon the foundational work established by early innovators, including Meyer Sound.

Conclusion

The development of dual-channel FFT audio analyzers has been marked by significant technological advancements, with Meyer Sound’s SIM systems playing a pivotal role in shaping modern audio analysis practices. Their contributions have set industry standards and continue to influence the design and optimization of sound systems worldwide.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Traditional Source-Independent Measurement in Smaart

One of the key strengths of Smaart’s transfer function measurement is its source-independent approach. This allows engineers to analyze a system’s response using any ongoing audio signal passing through it—such as live speech or music—without needing a specific test signal.

Benefits:

• Measurements can be taken under real-world operating conditions.
• Engineers can evaluate the system while simultaneously listening to the program material.
• No need to interrupt the signal flow or control the input source, which is often impractical in live settings.

However, using random (non-periodic) signals with the Fast Fourier Transform (FFT) algorithm introduces challenges. The FFT assumes the captured data represents either the complete signal or one full cycle of an infinitely repeating periodic signal.

Random signals don’t naturally meet this requirement, leading to:

• Mathematical noise (artifacts like leakage).
• Instability in the measurement data.

To address this, Smaart applies a data window (e.g., a Hann window) to the signals. This window applies a gentle “fade-in” and “fade-out,” making the data appear more periodic and significantly reducing noise and instability.

Trade-offs of windowing:

• Slightly higher measurement noise floor.
• Minor spectral spreading (broadening of frequency peaks).

These effects are generally minor and do not significantly impact accuracy, especially when sufficient averaging is used.

SyncSource™: Source-Dependent Measurement in Smaart v9

Smaart v9 introduces SyncSource™, a new transfer function mode that eliminates the need for data windowing entirely.

How it works:

• It uses a pseudorandom excitation signal (pink noise or sweep) generated by Smaart’s built-in signal generator.
• The signal’s cycle length is precisely matched to the FFT size, creating a truly periodic signal.

This is known as a source-dependent measurement because it requires Smaart’s signal generator as the input source.

Advantages:

• No data windowing needed, resulting in cleaner data.
• Greater measurement stability.
• Higher coherence values (better correlation between reference and measurement signals).
• Reverberant energy in the room becomes correlated with the reference signal, preventing it from degrading coherence.

SyncSource™ is particularly useful in challenging acoustic environments and is available in Smaart Suite and RT editions (enabled in Advanced Preferences).

Example of Random Source TF Measurement (top) versus SyncSource™ TF Measurement (bottom)

SyncSource™ TF measurements are available in Suite and RT editions of Smaart. To enable synced-source measurements, go to the “Advanced” tab of the Options > Preferences dialog and check the box labeled “SyncSource™ TF” in the Transfer Functions Settings area:

When a SyncSource™ measurement is enabled, a field is added in the transfer function control bar for the user to specify their Stimulus type – either Random or Synchronised. If “Synchronised” is chosen, a second measurement parameter field labeled “Length” is added for the user to set the FFT length that will be used for both FFT size and the Generator source.

 
Example of Transfer Function Control Bar with SyncSource™ disabled (left) and enabled (right)

Choosing Synchronized as the Stimulus will:

• Limit the Signal Generator choices to only Pseudo-Random noise or Sweep
• Set the FFT size / Period Length of both the transfer function measurement engine(s) and the Generator source to the length specified in the Control Bar Length setting. These controls become inaccessible in Transfer Function measurement settings and Generator Settings
• Limit the available settings for Transfer Function FFT size to 16k and larger
• Disable any Transfer Function engines configured as exempt from Global FFT size setting, and pop an error message stating the same
• Disable the transfer function measurement data window

MTW is still calculated simultaneously, using the pseudorandom noise source and FFT data windows.

SyncSource™ TF provides excellent measurement stability and improved coherence, even in the presence of excessive external noise, without the need to increase the measurement level significantly above the noise floor. However, synchronised measurements do require the use of Smaart’s signal generator to be used.

source: https://support.rationalacoustics.com/support/solutions/articles/150000069513-what-is-the-syncsource-transfer-function-

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Reader Q&A: Why is my Sub Alignment inconsistent?

Question: “I aligned my subs using the Delay Finder, but they still sound ‘disconnected’ from the mains. What happened?”

The Answer: Phase Slope vs. Peak Arrival

The “Delay Finder” finds the Peak Arrival (the loudest part of the impulse). However, subwoofers have very narrow bandwidth and often have significant internal latency due to DSP and cabinet design.
The Fix: Don’t just trust the Delay Finder. Look at the Phase Trace. You must adjust the delay until the *slope* of the sub’s phase line matches the *slope* of the main’s phase line through the crossover region (usually 80 – 120Hz). If the slopes don’t match, they aren’t actually in time.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Sub Alignment: Where Does the Microphone Go?

Aligning subwoofers to mains is one of the main reasons many sound engineers invest in Smaart—it’s an excellent tool for the job. However, if you place the microphone in the wrong spot, you might be aligning subwoofers perfect for that single location but problematic for the rest of the audience area.

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The Ground Plane Technique

To avoid the “floor bounce” reflection that causes deep dips in your magnitude trace, place the microphone directly on the floor. You can use a dedicated ground-plane plate or simply lay it on a piece of foam. This makes the direct sound and floor reflection arrive at the same time, resulting in a much cleaner measurement trace.

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The Alignment Spot

Always perform the alignment at the acoustic crossover point—the position where the subs and mains are equal in level. This is typically about one-third of the way into the audience area. If you align at the front row, the timing may be correct there but off by the time you reach the FOH position farther back.

Follow these guidelines for better sub-main alignment and a more consistent low-end experience across the room.

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Strong Warning: Avoid Left/Right Spaced Subwoofers Whenever Possible

Left/right spaced subwoofers are widely considered poor practice in professional live sound and should be avoided if at all feasible.

Separating subs too far apart so they can not couple efficiently (the typical left and right stacks) creates severe interference patterns: massive “power alleys” of excessive bass down the center and deep cancellations (nulls) off to the sides. This results in wildly uneven low-end coverage—boomy in some seats, weak or missing in others. No single delay or polarity setting can fix the geometric issues across the entire audience area.

Industry experts like Bob McCarthy, Merlijn van Veen, countless pro forums, and our now Mr. Züllich, overwhelmingly recommend sensible spacing of subwoofers for even coupling and consistent bass response. These arrangements provide more output, better summation, and far smoother coverage.

Left/right spacing may be forced by stage logistics, sightlines, or legacy setups, but it’s a bad compromise that sacrifices audio quality. If unavoidable, mitigate with advanced arrays (e.g., cardioid, arc delays) or multiple measurements—but central mono clustering (a line in front of the stage for example) is always the superior choice for the audience experience.

It also effects you crossover frequency to the mid-hi system.

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Measuring in the Chaos: Smaart vs. Ambient Noise

Silent rooms are lovely in theory. In practice: AC hums, crews shout, caterers drop forks. Don’t despair—you can still get clean data.

1. Boost the Signal

Ambient noise at 70 dB? Make your pink noise 80–85 dB. Can’t turn it up? Move the mic closer—near field physics to the rescue.

2. Threshold Wisely

Set Smaart v9 to only listen above a certain level. Quiet gaps in the test signal? Background noise need not meddle.

Pro Tip: Use a pink sweep in IR mode. Steady-state fans and HVAC? Sweeps shrug them off.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

View Your SPL on Any Device with Smaart Webviewer

Monitoring SPL levels remotely has never been easier. With Smaart v9’s built-in Webviewer, you can view SPL meters, history, and alarms from any device connected to the same network. Whether it’s a phone, tablet, or another computer, the Webviewer makes it simple to keep an eye on your system without being tied to the main machine.

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How to Enable the Webviewer

1. Start Logging in Smaart SPL. The Webviewer requires logging to be active.
2. Open Options > API in SPL Config.
3. Optionally, set a password for secure browser access.
4. Check Enabled to start the Webviewer server.
5. On any device connected to the same network, open a browser and enter the host computer’s IP address or hostname and port (e.g., 192.168.1.10:26000).

⚠️ Make sure your device is on the same network as the Smaart computer—otherwise, the browser won’t be able to connect.

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Why Use the Webviewer

• View SPL levels remotely without being at the SPL host machine.
• Multiple devices can connect at the same time.
• Provide FOH engineers, promoters, or team members with a read-only overview of SPL levels.
• Keep the main Smaart laptop tucked away while still sharing data.

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Pro Tips

Combine with SPL alarms to instantly see when levels cross your thresholds.

The Webviewer updates in real time, so it’s perfect for live shows and rehearsals.

Use a tablet or small display as a “traffic light” meter for quick visual checks.

is that true? ⚠️ Make sure your device is on the same network as the Smaart computer—otherwise, the browser won’t be able to connect. ???

Yes — that statement is true for the SPL Webviewer. The official documentation says you connect from another device by opening a browser and entering the host computer’s IP or hostname and port on a device that shares a network connection with the machine running Smaart SPL. In other words, the client device needs network access to the same local network the Smaart machine is on in order to reach that address. Rational Acoustics

Here’s what the documentation makes clear:

• The Webviewer serves data over the local network. A mobile device or PC must be able to reach the Smaart host’s IP address and port — which generally means they are on the same network or at least in a routable network segment. Rational Acoustics
• The guide explicitly directs you to enter the host’s IP and port in a browser on the client device that has a network connection to the SPL host. Rational Acoustics

So the note you saw (“make sure your device is on the same network… otherwise, the browser won’t be able to connect”) is essentially correct: if your browser device cannot reach the host computer’s IP and port (due to being on a different network, subnet, behind NAT, etc.), the connection will fail without additional network configuration.

If you want to check your venue’s SPL readings from a lounge chair at the Hilton in the Bahamas, welcome to the wild world of IT advice. Smaart’s Webviewer works on the local network—remote access requires either a VPN or port forwarding.

A VPN is secure and reliable but requires setup and software. Port forwarding is faster but exposes your system to the internet, with all the risks you can imagine.

Murphy’s Law: anything that can go wrong, will—so always test on-site first. For most shows, the Webviewer works perfectly on the same network.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

The Science of Sound Pressure Levels in Live Events: Mastering LAeq, LCpeak, and Compliance in the EU and Nordic Regions

In the analog era, live sound engineers relied on VU meters to watch needle deflections for basic gain staging. Today, the role has evolved dramatically. Modern engineers must accurately measure, average, log, and evaluate sound exposure to protect hearing, mitigate neighborhood noise complaints, and ensure regulatory compliance.

In Norway and much of the Nordic region, concert sound level limits are primarily recommendations rather than strict laws. Issued by bodies like the Norwegian Directorate of Health (via guideline IS-0327), these include a target of 99 dB LAeq over 30 minutes at the firt listener position and a maximum LCpeak of 130 dB. While not legally binding nationwide, local municipalities often enforce them through event permits, and they serve as the benchmark in environmental assessments or inspections.

Across the broader EU, regulations vary widely—from 90 dB(A) to 114 dB(A) averages, with peaks up to 140 dB(C)—but the core principles remain consistent: prioritizing averaged energy exposure over momentary spikes.

Critically, if an audience member later alleges hearing damage, documented measurements become your strongest defense. Calibrated logs proving adherence to guidelines can shift the burden of proof away from the sound provider.

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Understanding LAeq: The Key to Exposure Management

LAeq (A-weighted Equivalent Continuous Sound Level) measures the average acoustic energy over a specified time period. It far better reflects cumulative hearing risk and neighborhood impact than instantaneous peaks.

In live events:

• Total sound energy delivered over time matters more than brief loud moments.
• Authorities evaluate both level and duration.

LAeq is always qualified by its averaging period—e.g., LAeq(15) for 15 minutes or LAeq(30) for 30 minutes. The same numerical value can represent vastly different exposures depending on the window. In Nordic practice, 15-minute windows aid real-time monitoring, while 30-minute windows assess overall set exposure.

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Frequency Weighting: A vs. C

• A-weighting (dB(A)): Mimics human hearing sensitivity at moderate levels, de-emphasizing extremes. It’s the standard for LAeq limits in hearing protection and noise impact assessments.
• C-weighting (dB(C)): Captures more low-frequency energy, ideal for peak measurements (LCpeak). In Nordic guidelines, LCpeak caps impulsive bass-heavy content that might exceed safe thresholds despite compliant averages.

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Practical Monitoring: Time Windows and Logging

Common setups use rolling 15- and 30-minute LAeq windows. A shorter window reacts quickly to changes; a longer one “locks in” early overshoots, limiting later headroom.

Best practice demands per-minute logging inside these windows. This provides trend data—spikes, dips, and sustained levels—essential for post-event reports or defending against complaints. Tools like Smaart v9 excel here, supporting multiple simultaneous windows, detailed history plots, alarms, and comprehensive logs.

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Calibration: Building Credible Evidence

Even with “recommended” limits, credibility is paramount. A calibrated microphone ensures readings reflect true sound pressure, not relative values. Routine pre-event calibration, documented offsets, and drift monitoring maintain integrity.

Uncalibrated data is easily dismissed by consultants or authorities. In potential litigation, only traceable, calibrated logs hold weight.

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Removing Guesswork with 10EaZy & MAAM

Traditional rolling averages force engineers to mentally track “used” exposure and predict sustainability—a recipe for error.

Enter 10EaZy with its MAAM (Maximum Average Manager) meter. This innovative display visualizes accumulated exposure against the limit in real time:

• Green/red blocks show remaining (or exceeded) headroom.
• Predictive guidance indicates if current levels are sustainable.
• Intuitive warnings prevent overshoots without abrupt volume cuts.

Paired with compliant hardware, 10EaZy delivers tamper-proof, class-compliant data ideal for EU/Nordic reporting. Integrated with platforms like Smaart, it streamlines workflows while preserving artistic dynamics.

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Conclusion: Responsible Sound in a Regulated World

Mastering LAeq and LCpeak isn’t just technical—it’s ethical. By leveraging calibrated measurements, detailed logging, and smart tools like 10EaZy, engineers deliver impactful shows while safeguarding audiences, crews, and communities. In an era of rising hearing health awareness, proactive compliance isn’t a constraint—it’s the foundation of sustainable live sound.

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Reader Q&A: Should You Use an External Interface or Your Digital Console’s Internal Card for Smaart?

One of the most common questions I get from live sound engineers setting up Smaart for system tuning and optimization is this: “Should I use an external audio interface or the digital console’s built-in USB/Dante/MADI card to connect Smaart?”

There’s no one-size-fits-all answer, but understanding the trade-offs will help you make the best choice for your workflow.

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The Convenience of the Internal Card

If you’re working primarily at front-of-house (FOH), tapping into the console’s internal card, whether it’s USB, Dante, or MADI, is incredibly convenient. Everything stays in the digital domain, which means no extra analog conversions, no additional cables cluttering your workspace, and one less device to power and carry.

The big advantage? Seamless integration. You can quickly route measurement signals and reference channels straight from the console into your Smaart computer without breaking the digital chain.

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The Catch: The Reference Signal

Here’s where things get tricky, and where many engineers run into problems.

For Smaart’s Transfer Function measurement to be accurate, it needs a clean reference signal that represents exactly what is being sent to the PA before it hits the speakers. Ideally, this reference should be taken post-fader and post-EQ from the master bus.

If your console’s internal output (especially a USB recording card) taps the signal pre-fader or pre-processing, the trace you see in Smaart won’t reflect the EQ or level changes you’re making on the console. You’ll be chasing your tail, wondering why your corrective filters aren’t showing up in the measurement.

Always check your console’s routing documentation. Some digital desks allow flexible tap points, letting you choose post-processing sends. Others are fixed pre-fader, which severely limits their usefulness for real-time system tuning.

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Why Many Touring Pros Still Prefer a Dedicated External Interface

Even when the console offers good internal options, most experienced touring engineers stick with a dedicated external measurement interface (like the Smaart I-O or similar high-quality 2-channel boxes).

Why?

• Reliability and independence: Smaart stays up and running even if the console crashes, needs a reboot, or you hand the desk over to a guest engineer.
• Consistent setup: Your measurement rig is always the same, regardless of the console brand or model you encounter on a festival or fly date.
• Flexible reference tapping: You can easily insert a splitter or use an analog/matrix send to grab a true post-processing reference without relying on the console’s potentially limited digital taps.

In short, an external interface gives you full control and peace of mind in high-pressure situations.

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So, Which Should You Choose?

• If you’re on a fixed install, own your console, and have confirmed post-processing tap points available → the internal card can be a clean, elegant solution.
• If you tour, work festivals, or frequently switch consoles → invest in a dedicated external interface. The small added complexity is worth the reliability and accuracy.

Whichever path you take, always verify your reference signal path. A correct reference is the foundation of trustworthy measurements in Smaart.

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

How Measurement, Planning, and Professional Practice Reduce Our Environmental Impact

Green Gain or sustainability in professional audio is not only about LED fixtures or power consumption. It is about using sound responsibly. A well-aligned sound system does not just sound better to the audience — it also avoids unnecessary sound energy spilling into the surrounding environment.

Poor sound is rarely quiet.
It is usually just wasted.

Efficiency Through Precision — Not Loudness

When a PA system is misaligned, engineers often end up fighting the system: adding gain or EQ in the low-mid or sub range to compensate for phase cancellations, uneven summation, or poor coverage. This extra drive frequently produces more off-axis noise and neighbourhood impact, rather than improved clarity or impact for the audience.

In many cases, the audience hears little benefit — while the surroundings hear a lot more sound.

Using measurement tools such as Smaart to properly align time and phase between system components improves summation where it matters: on the audience, not outside the venue. Alignment does not create energy; it directs it. When sound energy is better focused, there is less incentive to push the system harder.

Noise is pollution.
And misalignment often turns sound into pollution instead of experience.

Less Fighting, Less Spill

A misaligned system encourages higher operating levels simply to overcome internal losses. The result is often:

• increased low-frequency spill into neighbouring areas
• higher average SPL outside the audience zone
• more complaints, stricter limits, and earlier shutdowns

A well-aligned system, by contrast, allows engineers to work at lower overall levels while achieving greater clarity and impact. This benefits not only the audience, but also nearby residents, venues, and municipalities.

From an environmental perspective, reduced noise exposure is just as important as reduced energy use.

Planning Reduces Hardware — and Noise

Measurement improves more than tuning; it improves system design.
A well-planned PA often requires fewer loudspeakers, fewer delay systems, and less brute-force coverage to achieve consistent results.

Fewer sources mean:

• fewer interference patterns
• more controlled directivity
• less uncontrolled spill into streets, parks, and residential areas

At the same time, reduced system size lowers transport requirements — less truck space, lower vehicle weight, and fewer kilometres driven — addressing another major contributor to a production’s carbon footprint.

Local Systems, Global Responsibility

Technicians who can measure, align, and optimise many different PA systems enable more sustainable production choices. Instead of flying in a specific loudspeaker brand, productions can work with local suppliers, significantly reducing freight and transport emissions.

This flexibility also improves noise management. Local systems are often better understood in their environments, and local crews are more familiar with venue-specific constraints and community expectations.

Measurement-driven work enables consistency without excess.

Measurement as Environmental Stewardship

Across Scandinavia, festivals increasingly request detailed SPL logs — not only for compliance, but to better understand how sound levels relate to audience experience, runtime, and environmental impact.

Measurement helps answer an important question:

Are we delivering value to the audience — or simply exporting sound into the surroundings?

In this context, measurement becomes a tool for responsible sound use, not just technical optimisation.

Technicians as Part of the Show — and the Example

From the audience’s perspective, technicians are not invisible. We are seen as part of the artist’s world and the event’s identity. Our behaviour at FOH, on stage, and backstage communicates values just as clearly as the performance itself.

That means being conscious of how we work:

• avoiding unnecessary level increases
• not wasting sound “just in case”
• respecting the space beyond the audience
• avoiding excess — in equipment, volume, and attitude

Professionalism today includes technical excellence, restraint, and awareness. When we align systems properly, plan intelligently, and resist the urge to overpower problems with level, we act not only as engineers — but as role models.

Good sound is not louder.
Good sound is controlled, intentional, and respectful.

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Published on April 22 — Earth Day — a reminder that how we use sound matters as much as how much we use.

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Why Calibrating Your Measurement Mic at Concert Levels in Smaart?

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Key Benefits

1. Real-World Accuracy Concerts push mics and preamps to their limits. Calibrating at high SPL ensures your readings account for any non-linear behavior in the interface or mic, avoiding underestimation during peaks. Rational Acoustics recommends mics rated for 140 dB max SPL to handle this safely.
2. Optimal Gain Structure Set your input gain low during calibration for ample headroom (e.g., aim for -20 to -30 dBFS on the calibrator tone). This prevents clipping during loud shows while maintaining good signal-to-noise ratio—crucial for reliable transfer function and RTA data.
3. Reliable SPL Monitoring Accurate calibration means trustworthy LEQ, dose, and peak readings for compliance (e.g., venue limits or hearing safety). A small error (even 3 dB) can double exposure risk.
4. Efficient Workflow It aligns your setup with show conditions from the start, reducing mid-show adjustments and ensuring consistent measurements across sessions.

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Smaart RTA Mobile App for Android

We are pleased to announce that the Smaart RTA Mobile App for Android will be available starting on Monday, April 20th in Open Testing on the Google Play Store. To ensure every user has a confident, risk-free experience, the free trial period has been extended to 30 days for the duration of this testing phase.

Try It Risk-Free

Due to the wide variety of Android devices on the market, we want you to be completely sure Smaart RTA works on your device before spending a dime. That’s why all subscriptions initiated during the Open Testing period begin with a free 30-day trial — you won’t be charged anything until your 30-day trial expires, giving you ample time to evaluate the app on your specific hardware.

To run Smaart RTA for Android, you will need a microphone-capable smartphone or tablet that has a touch screen and supports OS 10 and Vulkan 1.1.

If something isn’t right, cancel immediately. If Smaart RTA does not perform as expected on your device during the trial period, please cancel your subscription right away — before the trial expires — and send us your feedback. We take every report seriously and will use it to address compatibility issues as quickly as possible.

If everything is working well, you’re welcome to let the trial expire naturally and start subscription billing or purchase the lifetime option before the trial expires to avoid subscription billing all-together. We’re confident you’ll find Smaart RTA to be an indispensable tool for real-time audio measurement on Android.

How to Get Started

1.      Download Smaart RTA from the Google Play Store (starting April 20th)

2.      Begin your free 30-day subscription trial — no charge until the trial ends.

3.      Put the app through its paces on your device.

4.      If it works great, keep it. If not, cancel and let us know what went wrong.

We’re committed to delivering a rock-solid experience on Android, and your participation in Open Testing helps us get there. Thank you for your support and your feedback.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Immersive Audio: Measuring a 360-Degree Sound Field

With immersive systems such as L-ISA (L-Acoustics), d&b Soundscape, and Meyer Sound Spacemap Go now widely deployed on tours and installations, traditional left/right measurement approaches are no longer sufficient. Immersive systems are multi-channel, object-based audio engines, and must be measured as such.

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The Moving Source Challenge

In a conventional stereo or LCR system, the phantom centre is fixed and predictable. In an immersive system, it is not. Audio objects can be positioned dynamically across the loudspeaker array, meaning the perceived source location can shift depending on the listener’s position.

As a result, the microphone position for measurement is critical. A single mic position optimised for left/right balance tells you very little about spatial accuracy across the audience. The goal is to maintain phase coherence and consistent arrival behaviour across the listening area, often referred to as the “golden zone.”

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Object-Based Measurement, Not Bus-Based Thinking

Immersive systems render discrete loudspeaker objects, not fixed mix buses. Measuring them as if they were grouped left/right arrays is a conceptual error.

Best practice is to measure individual loudspeaker objects or small logical groups, verifying:

• Time alignment between adjacent sources
• Phase consistency through the critical frequency range
• Predictable summation behaviour where objects overlap perceptually

The objective is not maximum summation everywhere, but stable localisation cues wherever an object may be rendered.

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Practical Strategy in Smaart

Use a multi-channel TF workflow to verify phase and timing alignment between adjacent or overlapping loudspeaker objects. Measure each contributing speaker or object channel against the same reference signal, and compare traces for deviations that could cause localisation blur. While Smaart does not visualise the immersive scene itself, this method ensures objects sum predictably and maintain spatial clarity across the audience.

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The Takeaway

Immersive audio does not remove the need for measurement discipline; it demands more of it.

This is the difference between an immersive system that merely surrounds the audience and one that accurately places sound where it belongs. You basically have to treat ist like separate “stages”.

Historical context:

Delta-Stereophonie: Early Experiments in Spatial Audio

In 1987, the Palast der Republik in East Berlin used a system called Delta-Stereophonie, developed by Dr. Wolfgang Ahnert. It was an early attempt at multi-channel, object-based audio, designed to place sounds dynamically across the hall.

• The system allowed moving “phantom centres” and spatialisation of individual sources.
• Meyer Sound UPA-1A speakers were used, driven through a combination of analogue and early digital processing.
• The manual setup was performed by Jim Cousins using a SIM II system, ensuring careful calibration of levels and phase.
• His work was closely monitored by the Stasi, highlighting the political as well as technical significance of the project.

While ambitious for its time, Delta-Stereophonie provided important insights into phase relationships, spatial coherence, and object-based audio, lessons that continue to inform modern immersive audio design.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Leq Demystified: Managing Your “Sound Budget”

In modern festival and outdoor mixing, you are no longer mixing just for the song or the crowd in front of you — you are mixing to a Leq (Equivalent Continuous Sound Level).

Think of Leq as a sound-energy budget that must last over a defined time window, typically 10, 15, or 60 minutes. Once that budget is spent, it does not matter how musical or justified the moment felt — the meter has no sympathy.

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The Maths Behind the Average (Why One Loud Song Hurts)

Example (illustrative):

If your limit is 99 dB L_Aeq,15 and you mix at 102 dB(A) for the first 5 minutes, you have already burned a significant portion of your 15-minute budget. To remain compliant, you would need to mix at roughly 96 dB(A) for the remaining 10 minutes to land back near the target.

This example is intentionally simplified to demonstrate the principle. The exact break-even level depends on the full logarithmic energy calculation, but the takeaway is always the same: a few loud minutes cost far more than they feel like in the moment.

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A Practical Leq Workflow

Monitor the Trend, Not Just the Number
In Smaart v9 SPL, keep the Leq History window visible. Watching where the average is heading is far more useful than reacting to where it happens to be right now.

Quiet the Gaps
Between-song banter, walk-on music, and changeovers should be noticeably lower in level. These moments add little artistic value but can quietly save a surprising amount of Leq.

Mix Proactively, Not Defensively
Use the Remaining Budget metric. It shows how much level you can still afford before the limit is reached, allowing you to plan ahead instead of panic-pulling the master fader when a warning light appears.

For productions using monitoring, platforms like 10EaZy make it particularly easy to stay within your SPL budget by combining continuous logging, clear limit visibility, and compliance reporting in one system.

Pro Tip: 10EaZy integrates very easily (that´s a lot of easy here) into your Smaart environment,

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The Takeaway

Leq management is not about mixing quietly — it is about mixing intelligently.
Treat your allowed Leq like fuel in a tank, and you will finish the set strong, compliant, and fully in control of the sound.

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Acoustic Forensic Analysis: RT60 and the ETC

Once you move beyond loudspeaker tuning and start analysing the room itself, you enter the more forensic side of acoustics. In Smaart v9 Suite, this work happens in Impulse Response mode. Two measurements dominate this domain: the Energy-Time Curve (ETC) and RT60 (Reverberation Time). Together, they describe how a room behaves once sound leaves the loudspeaker and fate takes over.

1. The ETC: Identifying the Enemy

The Energy-Time Curve is a top-down view of sound energy over time. It clearly separates the direct sound from early reflections and, eventually, the diffuse reverberant field.

For the system engineer, the ETC is a diagnostic weapon. A discrete reflection arriving within roughly 20–30 ms of the direct sound will interfere with it, producing tonal coloration through comb filtering. Reflections arriving later — typically beyond 50 ms — are perceived as discrete echoes, the classic “slap-back” effect.

Smaart allows you to place a cursor directly on any reflection spike in the ETC and read its delay as distance. In practice, this means you can identify the offending surface — rear wall, balcony front, side wall — without wandering the venue like a lost tourist with a tape measure.

2. RT60: The Room’s Decay

RT60 is defined as the time it takes for sound energy to decay by 60 dB. In Smaart, this is derived from the impulse response using Schroeder integration, which converts the impulse into a cumulative decay curve.

T20 and T30
In real rooms (with HVAC noise, traffic, or the occasional dropped fork), measuring a full 60 dB decay is often unrealistic. Smaart therefore calculates RT60 from the first 20 dB (T20) or 30 dB (T30) of decay and extrapolates the remainder. This is standard practice and generally more reliable in non-laboratory conditions.

Frequency dependency
A room does not have one RT60; it has many. Low frequencies almost always decay more slowly than high frequencies. Smaart displays this clearly using frequency-dependent decay views, allowing you to see exactly which bands are overstaying their welcome.

3. Practical Application: Choosing Speaker Coverage

Measuring RT60 before committing to loudspeaker deployment tells you how aggressive you can be with acoustic energy. If the room shows a long decay in the low-mid region (around 250 Hz), flooding it with wide-dispersion coverage is a reliable way to produce a warm, indistinct fog of sound.

In such cases, tighter pattern control — often via a directional line array — is not a luxury but a necessity. The goal is simple: put energy on the audience and keep it off reflective boundaries.

The professional insight
Use the spectrograph view in Impulse Response mode. If you see bright horizontal streaks that persist at specific frequencies, you are looking at room modes. Equalisation will not fix this. Not now, not later, not ever. The only solutions are directivity control or acoustic treatment — preferably both.

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Every sound engineer has been there: guidelines, neighbour complaints, and ringing ears all swirling in your head. Here’s the straight dope.

Stick to WHO Safe Listening Levels

The World Health Organization’s “Safe Listening Environments” guidance is the gold standard:

• A-weighted equivalent level (L_Aeq,30 min): around 99 dB over the loudest 30 minutes of the show.
• C-weighted peak level (L_Cpeak): do not exceed 130 dB to prevent immediate hearing damage.

Logging your SPL carefully is essential. That log is your proof that you stayed within recommended safe limits, even if someone claims their ears are ringing after a night out. Most likely, the ringing came from somewhere else entirely.

SPL logging Isn’t Magical Protection — But It’s Evidence

An SPL log doesn’t stop someone’s ears from ringing if they’ve been overexposed elsewhere. What it does do is show you acted responsibly and followed best practice, protecting you professionally and legally.

Practical Tip

Use reliable SPL logging tools (Smaart v9 or similar) to capture your data. What matters is a clear, timestamped recordshowing compliance with the WHO-recommended limits. This is your shield when complaints come flying.

Bottom line: log your SPL, stick to WHO safe listening levels, and remember — safe listening is about evidence and protection, not magic guarantees against every ringing ear in town.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Set It and Forget It: SPL Logging in Smaart v9

Smaart v9 SPL (also available as stand alone solution) makes logging sound levels quick and reliable. While logs provide a complete record, legal compliance still depends on proper calibration and adherence to local standards.

Set up is straightforward: select your input, calibrate your microphone, choose the metrics you need — for example, A-weighted Leq or C-weighted peak — and start logging manually via the interface.

Custom metrics are fully supported. 10 EaZy can be integrated as well.

After the show, the report generator extracts averages, peaks, and alarms, producing professional-ready documentation.

Smaart v9 makes SPL logging accurate, adaptable, and efficient, letting engineers focus on the show while maintaining a complete record of sound levels.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Spring 2026: The Best I/O for Smaart v9

The market for measurement interfaces is shifting away from bulky all-in-one boxes toward modular, high-speed USB-C and Dante-enabled preamps. It’s a much-needed change that saves us from lugging around unnecessary hardware. Here are my top three picks for the 2026 season.

The Integrated Choice: Audient EVO 8

The “good” Choice: Anything Focusrite Scarlett

The Budget Hero: Audient EVO 4

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Today, on April 1, 2026, TZ Audio proudly announces a groundbreaking milestone: we’ve officially signed a strategic cooperation agreement with the Norwegian innovators behind LipSyncBROADCAST™.

This partnership fuses TZ Audio’s proven audio expertise with LipSyncBROADCAST™‘s radically advanced synchronisation technologies—delivering not just correction, but truly forward-thinking audio-video harmony for the most demanding professionals.

Introducing LipSyncBROADCAST™ — Beyond Conventional Sync

LipSyncBROADCAST™ is purpose-built for broadcast environments where milliseconds matter. In live TV, streaming, production trucks, and complex networked workflows, even micro-delays between audio and video can break viewer immersion and erode perceived quality.

The system provides ultra-precise tools to measure and eliminate these issues:

• Impulse Response mode — for accurate end-to-end latency detection across audio and video paths.
• Specialized measurement and correction utilities that pinpoint delays at every stage (digital consoles, processing chains, IP networks, etc.).

But what sets LipSyncBROADCAST™ apart is its suite of next-level, boundary-pushing technologies that challenge traditional notions of time, perception, and user experience in broadcasting.

Predictive Lip Reading

Observed in real life (people answering questions before you finish asking) and now engineered into the system, this feature flips the script on conventional delay compensation.

• The video path anticipates speech via predictive lip reading — aligning visuals to what the speaker will say.
• Meanwhile, the Audio Prediction Module (APM) doesn’t just react to incoming audio; it “listens to the future,” co-creating the timeline by aligning audio waves to anticipated patterns rather than raw reality.

This isn’t mere latency correction—it’s proactive, expectation-driven synchronization that makes broadcasts feel intuitively perfect, almost prescient.

UX Stress Tests (Passive UX Stress Testing — Human-Device Interface, Emotional Load Edition)

Great UX isn’t only about clean interfaces and accessibility—it’s about resilience when things inevitably go sideways.

LipSyncBROADCAST™ introduces Passive UX Stress Testing, a service that evaluates how operators and teams behave under unexpected sync failures or high-pressure conditions. By simulating real-world chaos (without actively breaking anything), it uncovers hidden emotional and cognitive loads in human-device interactions during live events, OB vans, or control rooms.

The result: workflows refined not just for ideal scenarios, but for the stressful, unpredictable reality of broadcast production.

Temporal Compensation & Non-Causal Synchronisation

(While the core documentation emphasizes measurement + correction foundations, the system’s philosophy extends into advanced temporal handling.)

• Temporal Compensation dynamically balances time discrepancies across multi-device, multi-hop chains—ensuring rock-solid unity even when video processing introduces variable latency.
• Non-Causal Synchronisation takes things further by enabling alignment that appears to operate “outside” strict linear causality. Leveraging predictive elements from the APM and lip-reading logic, it allows audio to anticipate video shifts (and vice versa) in ways that feel temporally transcendent—ideal for non-linear editing, complex live remotes, or productions where traditional cause-effect timing breaks down.

As Jane Doe, a broadcast engineer, puts it: “LipSyncBROADCAST™ helps us to keep our audio and video perfectly in sync, every time.”

Why This Partnership Changes the Game

Lip sync remains one of broadcasting’s most stubborn challenges. Video paths often lag due to heavy processing (scaling, HDR conversion, encoding), while digital audio can introduce its own quirks. Standards like EBU R37 demand tight tolerances (±40 ms / –60 ms end-to-end), but hitting them reliably in real workflows requires more than basic delay boxes.

By integrating LipSyncBROADCAST™’s measurement precision with its predictive, stress-aware, and temporally adventurous features, TZ Audio equips clients to go beyond compliance—delivering immersive, fatigue-free viewing experiences that feel emotionally and temporally right.

The Road Ahead

This agreement is just the beginning. TZ Audio and the LipSyncBROADCAST™ team are already collaborating on deeper integrations, combining our analog/digital audio heritage with their timeline-redefining innovations.

Expect upcoming demos, joint webinars, and tailored solutions that make “perfect sync” feel effortless—even in the most demanding setups.

Got lip sync nightmares in your current chain? Questions about predictive alignment or UX stress in live production? Leave a comment—we’re here to geek out with you.

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The truth about LipSyncBROADCAST

At LipSyncBROADCAST, we believe that perfect audio and video synchronisation is essential for delivering an exceptional holistic experience. Lip-sync errors, even subtle ones, can be distracting and distort the overall impact of the content.

Our mission is to provide society with the tools they need to achieve flawless A/V alignment, ensuring that audiences are fully immersed in the story. We are committed to continuous innovation, pushing the boundaries of what is possible in predictive and assumptious audio measurement. 

So this looks like a real product, doesn’t it? Which brings us to our current predicament. Some people now want this product. Especially one Mr. Züllich who is really keen on the De-Lorian -delay. Idiot, sorry. But he is not the first.

Anyway, us making this software is clearly a rather stupid request. Even using the term “we” is more for the sake of copywrite flow. It is one dude here, who as not the faintest idea about coding.

However, thinking of it – we could propose crowdfunding (aha, here is the we again). You give us money. In return, we send you a nice looking, reassuring “update” every few months—rich in confidence, light on detail—while we spend a reflective period in the Bahamas or somewhere else where they serve cocktails with cute little straw hats. Everyone wins.

WTF? Really?

Come on…

#BroadcastAudio #LipSync #AVSync #TZAudio #LipSyncBROADCAST #ProAudio #BroadcastTech #PredictiveLipReading #UXStressTests #TemporalCompensation

The Professional Finish: Exporting Smaart Data for Clients

A screenshot may be acceptable for a hasty WhatsApp to a colleague, but a professional client—a venue owner, a city council, or someone who insists on appearing terribly important—expects a formal, polished report. Thankfully, Smaart v9 makes this less of a chore than one might fear.

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1. Exporting Traces to ASCII

Right-click any trace in the Data Bar and save as ASCII. This produces a .txt or .csv file containing frequency, magnitude, and phase. Import it into Excel, Google Sheets, or any spreadsheet program that can handle numbers without fainting. Custom charts, logos, and colour schemes can then be added—perfect for reports and presentations.

Pro Tip: Each trace must be exported individually. Multiple traces? Multiple files. Think of it as a minor exercise in patience.

2. Capturing the Screen Properly

Do not take a photo of your screen. Seriously—your client doesn’t need a Polaroid from 1983. Use Capture Screen (Alt + C on Windows, Shift + Command + 3 on Mac) and get a crisp, high-res image instead. No need to wipe the screen—though I’d do it anyway. Last time I tried exporting ASCII, it nearly landed me in psychiatric observation. Yes, really.

Tip: Change to white background – View>skins>Default Light which gives a light background with dark lines—professional, printer-friendly, and less likely to provoke a meltdown of the printer.

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

MTW & MTW+ vs. 24 frequencies per octave & each has its own time window confusion – or – what where on earth is the connection between Leif Erikson discovering America and FFT windowing?

Question:

I am looking at OSM (Open Sound Meter), which to my understanding does not have MTW or MTW+ like smart, however, in the OSM Manual it is stated – 24 frequencies per octave • each has its own time window. Isn’t that almost like MTW?

Answer:
Ah, I see exactly what you’re noticing, and this is a subtle but important distinction. Let’s unpack it carefully.

In Smaart, you have:

MTW | MTW+ (Multiple Time Window):
Multi Time Window is Smaart’s way of maximizing the frequency range that contains a useful number of data points.
Introduced in Smaart v8.5.0, MTW+ is a supercharged version of MTW that uses more FFTs across the measured frequency range and reduces gaps in the MTW calculation pipeline that may result in missing rapid transient events. In Smaart v9, this feature is retained simply as “MTW”. This replaces the non-“plus” version of MTW from Smaart v7 and v8.

Now, in OSM:

When they say “24 frequencies per octave, each has its own time window”, it sounds like MTW, but there’s a nuance:
The “time window” in OSM may not be fully independent in the same way as Smaart. It often refers to the window applied for FFT or averaging for that specific frequency, but it might still be constrained by the main analysis parameters of the system.
Smaart’s MTW allows fully asynchronous windows, optimised for temporal resolution vs. frequency resolution per band, while some systems (including OSM) approximate this by allowing different pre-calculated windows per band, but within a global analysis framework.

So yes: functionally it is “MTW-like”, but it might not have the full flexibility and independence you get in Smaart. For most practical purposes—especially with high-resolution measurements—this can behave very similarly.

TZ´s comment:

Freakish academic language here. So what does his actually mean IRL when tuning a system on a gig? A lot. I personally am using SIM since 1992 and later Smaart, which from practical work approach is very similar. I always measure full range. In laymen terms – I can see the whole picture. I got very used to that, and in my mind necessary. Here´s why.

The term “picture” might also be a good analogy.

Say you are in the National Museum in Oslo and look at Leiv Eirikson Discovering America by Christian Krohg.

Leiv Eirikson Discovering America is painted in oil on canvas with the dimensions 313 cm × 470 cm (123 in × 185 in). The painting presents a view from the deck of Leif Erikson’s ship, looking out over the waves with land visible in the distance to the left. To the right in the picture is the title figure, holding the rudder and wearing a mustard-coloured tunic. He stands straight and points toward the land in the horizon. A few other men on deck are hunching and look seasick. (wikipedia)

OK, so when you want to see details on this massive paining and are not blessed with hawks vision, you need to zoom in by walking closer. As closer you are, as more overview you are missing. Not much of an issue as this is a static image, which hasn´t changed much supposedly since the 1890´s.

So you can safely zoom out again and move to another section to zoom in there and so on. You catch my drift?

Well, here’s the problem – we sound people are not looking at static picture. We are looking at an ever changing object, or a video, if you want to stay within that mental image we just established.

Now imagine that the boat is rocking, the waves are splashing, seabirds fly by, a whale appears, and one of the seamen is bent over the rail “feeding” the fish, etc. — okay, you see (pun intended) – there is rather a lot going on. The scene is ever-changing. You wouldn’t notice much of what is happening starboard if you were forced to zoom in on port. You couldn’t see what is going on the right-hand side, could you?

And that is the difference between MTW/MTW+ and fixed FFT windows. You do not get the whole picture at once with the latter. And the whole picture is precisely what it is all about at a live gig. When you have a bit more time at hand, and you do not need to fuss too much about perfect HF information, and are merely interested in making sure everything is working “OK”, you might just get away with using OSM.

It’s a brilliant tool, and I salute Pavel for having developed it. It’s very solid code, and supporting folks like Pavel is most important. So get the tool, even if you already have Smaart, and make sure to at least donate something equivalent to a proper dinner at a good restaurant to the developer. He more than deserves it—honestly, one cannot overstate that.

Concise technical verdict:

OSM’s per-band time windows give frequency-dependent measurements, but unlike Smaart’s MTW/MTW+, they do not provide fully independent, multi-FFT windows optimised for real-time, dynamic system tuning—so OSM can give a useful snapshot, but it can’t capture the “whole picture” simultaneously in a live music scenario.

Fun fact:

The National Museum of Art in Oslo does, in fact, host live events. The engineers of the museum have rather sensibly booked their spots at the upcoming Smaart Z2H Seminar in Oslo.

So, what on earth are you waiting for? Come to Oslo in May, learn “Smaart”, take a jaunt to the museum, and feast your eyes on this rather impressive painting. FFT windowing suddenly takes on a very different meaning, hopefully. And, armed with the knowledge you acquire at TZ’s Z2H Seminars, you’ll be quite capable of making proper use of pretty much all FFT measurement tools out there.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Taming the Stone Cathedral

Church acoustics: long decay times, high ceilings, and stone surfaces that seem determined to make every whispered word sound like a foghorn. In some historic stone churches, speech intelligibility (STI) can be… well, non-existent.

Diagnosis

Impulse Response measurements reveal an RT60 of around … well looong  seconds.

The Energy Time Curve (ETC) shows late reflections from rear walls that could almost be mistaken for enthusiastic backup singers—loud, delayed, and utterly unhelpful

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Solution

Temporal Alignment: Time-align the front fills with the main column arrays, so the first arrivals behave themselves and reach the front pews together, rather than staging a chaotic free-for-all.

Tonal Shaping: Spot the standing-wave frequencies and apply narrow-band cuts—enough to tame the boominess, but leave the room’s natural warmth intact (because stone should sound noble, not like a cardboard box).

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Result

STI can improve from Poor to Good, proving that even in ancient stone cathedrals, modern measurement and careful alignment are the unlikely heroes of clarity.

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

There are more and more software solutions showing up on the market. Here’s a guideline what you should try to avoid – if you call yourself a pro that is.

Professional audio engineering requires measurement systems that provide accurate, transparent, and reproducible data. A system becomes unsuitable when it obscures critical processing details or limits user control over fundamental parameters such as windowing, FFT size, averaging, or coherence evaluation. Without this transparency, engineers cannot fully understand how measurements are generated, which undermines confidence, traceability, and the ability to reproduce results.

A system is also inappropriate if it pre-interprets or filters data before presenting it. Measurement and decision-making should remain separate: engineers must observe raw data, assess its validity, and decide on adjustments. When a system effectively makes interpretive decisions for the user, it risks encouraging misguided actions, particularly in complex acoustic environments.

Another key limitation arises when a system misrepresents acoustic artifacts such as reflections, comb filtering, or environmental interference. Presenting processed outputs as stable or actionable without exposing underlying causes can lead to corrections that degrade rather than improve system performance. Professional engineers need tools that allow them to evaluate artifacts critically and take appropriate, informed actions.

Finally, a suitable measurement system must allow full diagnostic flexibility and adhere to principles of traceability and reproducibility. Systems that restrict parameter control, limit analysis options, or prioritize workflow speed over documented measurement integrity are inappropriate for professional use. In professional practice, engineers must retain responsibility for all tuning decisions, and measurement tools must support this responsibility rather than obscure it.

Guidelines: Characteristics of an Unsuitable Audio Measurement System

A measurement system is unsuitable for professional audio engineering if it exhibits any of the following:

1. Lack of transparency – Critical processing steps, such as FFT size, windowing, averaging, and coherence evaluation, are hidden or automated without explanation.
2. Pre-interpreted data – The system filters, smooths, or weights results before presentation, making decisions for the user rather than exposing raw data.
3. Misrepresentation of artifacts – Reflections, comb filtering, or environmental interference appear stable or actionable without revealing their true cause, leading to potentially incorrect adjustments.
4. Limited diagnostic control – Engineers cannot manipulate parameters, isolate frequency ranges, or test hypotheses, reducing the ability to troubleshoot complex system behaviors.
5. Non-compliance with measurement standards – The system lacks traceability, reproducibility, and verifiable procedures, shifting responsibility from the engineer to the software.

Summary: Professional measurement tools must provide transparent, controllable, and verifiable data. Any system that obscures processing, pre-interprets results, misrepresents artifacts, limits analysis, or compromises measurement integrity is unsuitable for professional practice. Engineers must retain full responsibility for all tuning and corrective decisions.

TZ’s car analogy: A auto-correcting analyser is like having a speedometer in your car which decides on your speed based on some phoney math. You need to take all parameters, like road conditions, traffic situation etc. into account. A measurement tool is just a measurement tool, nothing more. Good luck with the automatic speedometer …

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Virtual Production: Smaart Should Be on Your Set

LED volumes like those on The Mandalorian are now standard in high-end film and TV. Stunning visuals—but a nightmare for dialogue. Hard panels create reflections, comb filtering, and acoustic shadows that can muddy your sound.

Smaart should be your radar. Measure the acoustic response with a PA or reference speaker, pinpoint problem reflections, and advise where to place treatment—all without touching the shot.

If you’re working on a virtual set, don’t guess—measure. Bring Smaart to the stage and protect your dialogue.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

ETC: The “Radar” of Room Acoustics

If an RTA is a snapshot of your sound, the Energy Time Curve (ETC) is its radar. Found in Smaart’s Impulse Response mode, the ETC tracks the energy of a sound as it travels through a room over time.

The first and largest spike represents the direct path—the sound travelling straight from the speaker to the microphone. Every spike that follows is a reflection.

By measuring the time delay in milliseconds between the direct spike and a reflection, you can calculate exactly how far the sound has travelled before hitting a surface. For example, a prominent spike 25 ms after the direct sound corresponds to a reflection that has travelled roughly 8.5 metres further than the direct path (1 ms ≈ 34 cm).

This makes it possible to identify whether the reflection comes from a back wall, a balcony rail, or a side-stage monitor desk. Do not EQ the “dip” in the frequency response caused by that reflection; it is better to fix the reflection physically whenever you can.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

One Microphone or Several? Spatial Averaging Explained

Question

Is it better to move one microphone around the room, or to deploy several microphones and measure them simultaneously? Well ….

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The Engineering Reality

Often misunderstood – A single microphone describes one listening position only. A system optimised for that position often performs poorly just a few metres away.

Using multiple microphones or multiple positions of that matter allows you to capture the spatial average of the system response. So when moving one microphone around you can capture as many traces as you like, but the measurements would not be simultaneously. This can be a caveat to be considered. In Smaart v9, you average thee traces in “post” so to say, or in real time using a Live Average trace across all measurement channels.

So when you then find out that a frequency deviation appears consistently across all measurement channels, it is a systemic issue and can most likely be addressed with EQ.

If it appears in only one position, it is a local effect (reflection or interference) and should be dealt with with appropriate measures like dampening the reflection, fixing loudspeaker placement and delay, and so forth.

Practical Conclusion

Spatial averaging is essential if the goal is to optimise the system for the room, not for a single seat.

In my view, this is standard practice and the main reason a systems engineer is involved at all.

The band’s sound engineer focuses on the artist and the mix. The systems engineer’s job is to make sure the sound works for the entire audience, so that everyone has a good experience — not just the people standing next to the mixing desk.

How you achieve spatial averaging is largely a question of workflow, time, and money. For this reason, the question itself cannot be answered in any universal or reassuring manner.

You may use several microphones, one microphone moved repeatedly, or a cheerful combination of wired and wireless systems — all are valid, provided you understand their limitations and do not lie to yourself afterwards.

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

The Ghost in the Machine: Why Phase Comes Before EQ

We all experienced this. One adds low-end EQ to the kick drum channel, but nothing seems to happen when you stepp out pf the center FOH and moves little to the side. That majestic impact disappears in the room? This is not subjective. It is a phase problem.

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Phase cancellation, not EQ

When two sources reproduce the same frequency but arrive at different times, their waveforms no longer add coherently. At certain offsets, they partially or fully cancel. No amount of equalisation can correct a timing error.

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The acoustic crossover

In most sound systems, subwoofers and main loudspeakers overlap somewhere around 80–100 Hz. In this region, both systems reproduce the same content.

At 100 Hz, one full wavelength is 10 ms.
If the subwoofer arrives 5 ms late, it is 180° out of phase with the main.
At 80 Hz, the same delay is still a severe phase mismatch (≈144°).

Result: cancellation in the crossover region. Boosting EQ here does not restore energy; it increases drive into a null and often makes the result less consistent across the audience.

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The correct fix

Fix the system in time before touching any EQ.

Using Smaart, measure the relative delay between subs and mains and apply the appropriate time offset. However, in classic L/R subwoofer arrangement you have often lost before you even started. Here more drastic measures are required. – like placing a centre bass for example … and other dirty tricks we cannot mention here.

When the phase traces overlap through the crossover region, low-frequency energy sums correctly and the kick drum regains impact—without any EQ boost.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Averaging in Smaart v9: RTA Mode vs. Transfer Function (TF) Mode

Averaging in Smaart serves the same core purpose in both modes — to reduce noise, stabilize the display, and reveal the underlying signal trend — but the implementation, options, and practical use differ significantly between Real-Time Analyzer (RTA) mode and Transfer Function (TF) mode.

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RTA Mode (Spectrum Measurement)

The RTA is a single-channel magnitude measurement showing the frequency content of an input signal (e.g., pink noise or program material).

Averaging options:

• 1–10 + Infinite: Progressive levels of averaging.
• Settings 1–3: Traditional FIFO (First-In, First-Out) averaging — a fixed number of FFT frames are averaged and the oldest drops off as new ones arrive.
• Settings 4–10: Variable weighted averaging with frequency-dependent time constants (shorter in highs, longer in lows). This gives smoother, more perceptually natural behavior — the trace feels responsive in HF while remaining stable in LF.
• Infinite: Continuously integrates all data since it was started/reset. Ideal for building a highly stable reference with pink noise (run 10–20 seconds).

Typical use:

• Pre-show tuning: Infinite or high averaging for a rock-solid pink noise trace.
• During show: Moderate FIFO (e.g., 2–4 seconds) or weighted setting around 6 to see mix balance without chasing transients.

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Transfer Function Mode

The TF is a dual-channel measurement comparing output to input (magnitude and phase). It inherently rejects uncorrelated noise through coherent averaging.

Averaging options:

• Time-based: Specified in seconds (e.g., 0.25 s, 1 s, 4 s, up to 64 s) or as a number of FFT frames (1–1024).
• Coherent averaging: Only energy correlated between reference and measurement channels contributes to the average. Random noise and room reverberation average toward zero over time.
• No FIFO or variable weighted modes — it’s always exponential/coherent averaging.

Typical use:

• System alignment: Start with shorter averages (e.g., 1–4 seconds) for quick feedback while adjusting delays/EQ.
• Final verification: Increase to 16–64 seconds for maximum coherence and noise rejection, revealing the true direct system response.

Key difference: RTA averaging smooths the spectrum display over time; TF averaging actively improves measurement quality by extracting the coherent signal from noise. More TF averaging = higher coherence values and cleaner traces.

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In short:

Use RTA averaging to stabilize what you see; use TF averaging to improve what you measure. Both are essential, but they work in fundamentally different ways.

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Fast IR: Capturing Room Data Before the Audience Arrives

Impulse Response (IR) measurements are often avoided during setup because they are assumed to be time-consuming, particularly in rooms with long decay times. While traditional noise-based methods do require long analysis windows, Smaart v9 provides a faster and more robust alternative.

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The Pink Sweep Advantage

Rather than using steady-state Pink Noise, use Pink Sweep as the stimulus in IR mode. Pink Sweep is a logarithmic sine sweep that delivers a significantly higher signal-to-noise ratio than noise excitation.

Because the system response is extracted through deconvolution, the measurement is far less sensitive to background noise. In practice, this allows reliable IR capture even while house music is playing or crew noise is present—conditions that would normally invalidate a noise-based measurement.

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Practical Workflow

• Set the IR length (FFT size) to match the expected decay of the room(typically 1.4–2.7 seconds for most venues)
• Select Pink Sweep and set Averages = 0
• Press Play and capture the IR in a single pass

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Result

Each measurement takes only a few seconds. You can reposition the microphone, trigger the sweep, and store a valid IR in under ten seconds per location. This makes multi-position room analysis practical during load-in, rather than something postponed until the room is empty.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

For transfer function measurements, there are two commonly referred-to options for temporal averaging of magnitude data: Polar and Complex.

Polar averaging calculates the decibel magnitudes of each frame and then takes a moving average of the result. It is occasionally called decibel averaging for this reason. Polar averaging tends to be the more stable and forgiving of the two, especially when wind, air currents, mechanical movement, or similar noise is present. This type of averaging lets more reverberant energy into the average, which may better represent what you hear, particularly for musical program material. 

Complex averaging, on the other hand, keeps two separate running averages of the real and imaginary parts of the complex signal and then calculates magnitude and phase from these averages on the back end. It can provide better overall noise rejection and tends to exclude more reverberant energy than polar averaging does. This may give you better clues regarding speech intelligibility than polar averaging.

In Smaart v9 and newer, all data sets required for both averaging types are saved when a measurement is captured. This means that even after capture you can select the data set that best suits your needs from the Trace Info window. In Smaart v8.5 and older, averaging type selection is only available for live measurement data and trace info displays the averaging type used at the time of capture.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

How to use the Coherence curve effectively in your project.

The coherence curve is maybe the most underrated metric in Smaart. Everybody, or at the least the once having studied the manual and / or hav been to a Smaart seminar know what is, but is the coherence curve used enough?

Let’s break down what coherence is. The word “coherence” comes from the Latin “cohaerentia”, which means “a sticking together” or “consistency.” It’s from “co-” (together) + “haerere” (to stick). Originally it referred to things physically sticking together, and later it was applied metaphorically to ideas, speech, and writing.

Metaphorically speaking this basically what we strive for. Expectancy and outcome. If these match 100% we have a maximum coherence reading. Understanding a coherence focussed approach can be used in understanding to match the customers expectancy with the project result. So he will match your invoice 100% with a respective payment. Topp notch coherence achieved. That is measurable as well. You see in your personal or companies balance sheet.

Back to acoustics and Smaart.

So coherence is a comparison of at least two sets of data. The reference and the measurement channel. The essence of dual channel FFT. At each of the channels the complex audio waveform is transformed from time domain to frequency domain. That way we can see the energy content (magnitude) per frequency.

The reference channel is our “clean” undisturbed signal. The microphone which pics up our measurement signal does not only hear the loudspeaker. Besides the audio from the loudspeaker, there are tons of other signals hitting that little membrane. Unrelated noise from the ventilation system, traffic on the street, the cleaning ladies having a casual chat next to the microphone – all that affects the quality of our measurement. Besides these unreacted signals we get related signal. The reflections of the room bouncing the audio of the loudspeaker around and sending it to the microphone.

In this article I won’t go into all the very clever math and trickery that goes on inside Smaart so it can find the original, or better said direct signal in all the noise. If you want to dive deeper into that you can read this article – https://support.rationalacoustics.com/support/solutions/articles/150000183871-what-is-coherence-

So how can we use the coherence trace in a PA setup?

We can make use of the coherence trace very early in our rigging scenario. The coherence curve is not judging whether the sub system / single loudspeaker or array is already perfectly EQ’d etc.

100% coherence would be the best, which is only achievable at very close range or an anechoic chamber. Reflections degrade the coherence. Place a measurement mic at the furthest seat yo while your rig goes up. Aim your speaker system to this point until you hit the maximum possible coherence. It should read something like 70% or better. Should you find it impossible to a come to an acceptable result, you need to check these points:

• Measurement Delay is not set
  To fix, check that the measurement delay is set (if not, top end coherence measurement will be low). This can appear as if the coherence is stair-stepping down as frequency rises.
  
• Poor Signal-to-Noise Ratio
  To fix, check the strength of your signals. Slowly bring up your measurement level(s). If the coherence gets better with the raising level, it means that the measurement signal is overcoming environmental noise. When the coherence trace no longer improves, you’re there!
  
• Poor Direct-to-Reverb Ratio
  Reflections and reverberant energy can also cause low coherence. This looks like stalactites or “blood on the screen” on the coherence trace, which is where comb filtering gets its name.
  To fix, move your mic closer to your sound source, move your sound source closer to your mic, and/or dampen the room’s reverberance or reflections.

Still bad? Most likely you are dealing with Poor Direct-to-Reverb Ratio. If re-aming the speaker does not help, it means that the reflections are to strong, so you need to consider doing something to the room acoustics and dampen the reflections.

Not possible? If really bad you might want to discuss with production whether these seats should be blocked. That is a very tough call and a last resort option, but at least it shows that you care and make informed designs.

You can also discuss heling the bad signal back in the bleachers by installing a delay system. So you can also use coherence reading to find out whether you need a delay system and where to place it. You can also immediately identify misalignment delay times.

The coherence trace is an invaluable tool to all find out about problems and limitations early in the installation phase of the sound system. One could as well call it the QC curve.

Related article: Understanding Coherence in Real-Time Mode

Tip: press “C” to show / hide the coherence trace.

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Riksteatret søker lydtekniker i fast stilling

Riksteatret søker en erfaren og engasjert lydtekniker i fast stilling. Stillingen innebærer turnévirksomhet med inntil 120 dager per år.

Vi ønsker oss en kollega som trives i et aktivt og tverrfaglig arbeidsmiljø, og som bidrar til at Riksteatret leverer scenekunst av høy kvalitet på kulturhus over hele landet.

Riksteatret ønsker å gjenspeile mangfoldet i befolkningen med hensyn til kjønn, etnisitet, alder og funksjonsdyktighet. Kvalifiserte personer oppfordres til å søke.

Les hele annonse her:

https://www.finn.no/job/ad/452538379

Calibration Pitfalls: Is Your 94dB Actually 94dB?

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1. O-ring leakage

The calibrator must form a completely airtight seal to the microphone capsule.
If the O-ring or adapter leaks, the calibration level will read too low. Measurement software may then compensate incorrectly, resulting in logged SPL values that are higher than the actual sound pressure.

Recommendation:
Inspect calibrator adapters regularly. Replace O-rings showing cracks, wear, or loss of elasticity.

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2. Background noise during calibration

Calibration performed in a noisy environment, such as during stage load-in, can be contaminated by ambient sound entering the calibrator.

Observe the RTA during calibration. A correct setup shows a single, narrow peak at 1 kHz and a low, clean noise floor.
If the noise floor appears uneven or “hairy” around the peak, relocate to a quieter space and repeat the calibration.

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The principle

Calibrate at the start of every show day.
Changes in atmospheric pressure and temperature can alter microphone sensitivity enough to shift readings by 1–2 dB, which is significant for compliance and documentation.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

A Compact and Efficient Mobile Smaart Rig for 2026

In professional live sound engineering, particularly in touring and festival environments, a mobile measurement system using Smaart must prioritise rapid deployment, reliability, and precision. The following configuration represents a minimal, high-performance setup optimised for Smaart v9 users, balancing portability with professional-grade functionality.

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1. Audio Interface: Seamless Software Integration

The recommended core component is the Audient EVO 4 (2-in/2-out) or EVO 8 (4-in/4-out) USB audio interface.

Key specifications and advantages:

• Sample rates up to 96 kHz at 24-bit resolution.
• Low-latency performance suitable for real-time transfer function measurements.
• Bus-powered via USB-C (no external power supply required in most scenarios).
• Compact dimensions, facilitating storage in a small protective case.

The EVO 4 suffices for standard single- or dual-channel measurements, while the EVO 8 supports multi-microphone averaging or simultaneous reference/signal paths.

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2. Essential Accessories: Precision and Versatility

To maintain a lightweight rig while ensuring measurement accuracy, accessories are limited to proven, specialised components.

a) Wireless Measurement Solution

b) Acoustic Calibrator

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Recommended Complete Configuration

• Audio interface: Audient EVO 4 or EVO 8
• Measurement microphone: MYc-3 combined with a wireless system: GAODIMIC DT228G-P or the DT228G-R – all in one protective case
• Calibrator: AZ 8930 (with ¼-inch adapter;
• MiEMI IEM coupler for measuring in ear monitors
• Computer running Smaart v9

This setup is compact and light-weight and can be made operational within minutes of arrival at front-of-house. It provides professional-grade measurement capabilities suitable for a wide range of live sound applications.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Coherence: Your Trust Meter in Smaart Transfer Function Measurements

When tuning a sound system with Smaart, the Transfer Function mode reveals critical insights through traces like magnitude and phase. But the most vital one? The coherence trace, often called the “trust meter” or reliability indicator.

Coherence measures how closely the measurement signal (what your microphone captures) matches the reference signal (the direct input from the console). Expressed as a percentage, high coherence (near 100%) means the data is stable and trustworthy. Low coherence signals that noise, reflections, or misalignment are contaminating your measurement, making the magnitude trace unreliable.

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What Causes Low Coherence?

Several common issues can drag coherence down:

• Room Reflections: In reverberant spaces, echoes arrive delayed at the mic. The software sees multiple versions of the signal, reducing correlation, especially if the mic is far from the speakers where reverberant energy dominates over direct sound.
• Poor Signal-to-Noise Ratio (SNR): Background noise from crowds, HVAC, or stage activity overwhelms your pink noise test signal. Aim for at least 10-20 dB above the noise floor for solid coherence.
• Time Misalignment: If the reference and measurement signals aren’t properly delayed, high frequencies suffer most (due to shorter wavelengths). This creates comb filtering and drops coherence rapidly above certain frequencies.

Other factors like distortion, multiple overlapping sources (e.g., both sides of a stereo PA active), or even floor bounces can contribute.

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The Rule of Thumb: Trust Only High Coherence Data

A practical guideline: If coherence dips below about 80-90% (many users blank data below 85% for critical work), especially in high frequencies, ignore the magnitude trace in those regions. You’re likely seeing noise or artifacts, not the true system response.

Instead, fix the root cause first:

• Use Smaart’s Delay Finder to align signals precisely.
• Increase test signal level or average more frames.
• Move the mic closer to the source for better direct-to-reverberant ratio.
• Measure one subsystem at a time to avoid interference.

Smaart even has coherence blanking to visually obscure unreliable data, reminding you not to EQ based on garbage.

In the end, coherence keeps you honest. It prevents chasing phantom EQ fixes on noisy data, ensuring your tuning decisions are based on reality. Next time you’re staring at a wiggly magnitude trace, glance up at that coherence line, it’s telling you whether to trust what you see.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

TZ AUDIO moving to the middle of southwestern Norway, to a beautiful village called Lesjaskog.

Lesjaskog lies in the stunning Lesja municipality, surrounded by majestic mountains, deep forests, and crystal-clear rivers. It is a region known for its peaceful atmosphere, clean air, and unspoiled nature — the kind of place that inspires creativity and focus. The famous Lesjaskogsvatnet lake, the only lake in Norway with two outlets flowing in opposite directions, is just a short walk away.

From a practical point of view, Lesjaskog is perfectly situated — easily accessible by train and road, with good connections to both Oslo and Åndalsnes. Despite its rural tranquility, it’s well connected for business and travel.

This move marks a new and inspiring chapter for TZ Audio. I look forward to developing projects in this fresh environment and continuing to collaborate with you from this unique location — a place where nature and technology meet in perfect balance.

You are very welcome to visit. Whether for a project meeting, a creative retreat, or simply a cup of coffee by the lake, I would be delighted to show you the area and share a bit of the magic that makes Norway so special.

House & Guesthouse at Rundhaugvegen 6, 2668 LESJASKOG, Norway

click to open google maps in a new window

Decoding Magnitude and Phase

In audio system engineering, particularly for live sound reinforcement, the transfer function (TF) serves as the primary tool for analyzing and optimizing electro-acoustic systems. This dual-channel measurement compares the output to the input, revealing exactly how the system modifies the signal in both magnitude and phase domains.

Unlike a Real-Time Analyzer (RTA), which is a single-channel measurement displaying only the spectrum of the arriving sound energy, the transfer function provides differential data. An RTA shows the combined result of direct sound, reflections, and noise but cannot distinguish what the system itself contributes versus environmental factors. The transfer function isolates the system’s response by subtracting the reference signal, enabling precise identification of amplification, attenuation, phase shifts, and timing issues introduced by loudspeakers, crossovers, equalizers, and propagation delays.

Software platforms like Smaart employ dual-FFT analysis to compute the transfer function in real time. This involves two Fast Fourier Transforms: one for the reference signal and one for the measurement signal. The result yields magnitude and phase traces, along with coherence as a reliability indicator. High coherence confirms that the measured differences stem from the system rather than external noise or uncorrelated energy.

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Magnitude: The Frequency Response

The magnitude trace of the transfer function displays the system’s gain or loss across the frequency spectrum, typically in decibels (dB) versus frequency in hertz (Hz). A value of 0 dB indicates no change at that frequency; positive values show boosting, while negative values indicate attenuation.

For example, a +3 dB peak at 100 Hz means the system amplifies that frequency by 3 dB relative to the reference. Engineers use this trace to apply corrective equalization. Peaks represent over-emphasized frequencies that may cause harshness or feedback, while dips indicate lacking energy that can make the sound thin or unbalanced.

Achieving a “flat” magnitude response, centered around 0 dB, is not always the objective in public address (PA) systems. Venue acoustics, listener preferences, and program material often require a tailored target curve. In live sound, a slight downward slope from low to high frequencies may compensate for air absorption or align with perceptual balance. The magnitude trace precisely identifies deviations from the desired response, allowing targeted parametric or graphic EQ adjustments.

In practice, transfer function magnitude measurements guide EQ decisions for individual loudspeaker subsystems, such as mains, subwoofers, or fills. By averaging multiple measurement positions, engineers capture spatial variations and apply filters that improve consistency without over-correcting comb filtering artifacts visible in single-point data.

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Phase: The Dimension of Time

The phase trace plots the time relationship between input and output as a function of frequency, expressed in degrees (from -180° to +180°, often unwrapped for continuous viewing). Phase represents the delay experienced by each frequency component.

A flat phase response indicates that all frequencies arrive simultaneously at the measurement point, preserving the signal’s temporal integrity. Linear phase shift, a straight, downward-sloping line, corresponds to a pure time delay, where the entire spectrum is shifted equally.

Steep phase slopes often arise from filters, such as those in crossovers. Minimum-phase filters (e.g., Butterworth or Linkwitz-Riley) introduce phase shift directly tied to magnitude changes. All-pass filters or physical offsets create phase shifts without affecting magnitude.

In live sound, phase alignment is critical at crossover regions. For subwoofer-to-main integration, mismatched phase leads to cancellation, reducing low-frequency output regardless of level adjustments. When phase traces of the subwoofer and mains overlap or run parallel through the crossover band (typically 80-120 Hz), constructive summation occurs, yielding up to +6 dB of acoustic addition in ideal cases.

Smaart’s phase display facilitates this by allowing real-time observation while adjusting delay or polarity. Polarity inversion flips the phase by 180°, which can resolve issues at specific frequencies but may exacerbate others if not combined with delay.

Phase data also reveals overall system timing. Excessive phase rotation at high frequencies signals misalignment or processing latency, degrading transient response and clarity.

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The Delay Finder: The Essential First Step

Accurate transfer function data requires precise compensation for propagation delay, the time sound takes to travel from loudspeaker to microphone. Without this, phase information becomes unreliable, especially at high frequencies where small timing errors cause rapid phase wrapping.

In Smaart, the Delay Finder (activated via the “D” key or menu) computes this offset automatically. It analyzes the impulse response derived from the transfer function engine, locating the initial arrival time and setting the software’s internal delay compensation. This aligns the reference and measurement signals temporally, producing a coherent magnitude trace centered near 0 dB and an interpretable phase response.

Delay compensation must be performed for each measurement position or subsystem change. Tracking modes can maintain alignment during live adjustments, but initial finder runs ensure baseline accuracy.

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Practical Application and Strategic Insights

Transfer function measurements empower very good control over the electro-acoustic chain. Magnitude directs equalization: cut peaks to reduce feedback risk and smooth response; boost dips judiciously to match the target.

Phase directs timing corrections: add delay to the earlier-arriving source until traces align, maximizing summation and coherence.

Combined, these traces enable verification of polarity, crossover functionality, and overall system integrity. In subwoofer alignment, for instance, solo measurements of mains and subs (with fixed delay compensation from the mains) reveal phase overlap needs. Adjusting sub delay until traces match through the crossover yields maximum low-end support without level-dependent cancellation.

Coherence serves as a quality gate: low values indicate noise contamination or reflections, advising repositioning or averaging.

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However, interpreting measurement data in the room always requires a skilled engineer. A change in the magnitude response might stem from a loudspeaker fault, an electronic processing issue, room reflections, or audience absorption. The engineer must combine visual observations in the venue, listening for harshness, checking speaker placement, noting reflective surfaces, with the complex data from magnitude, phase, and coherence traces to identify the true cause and arrive at a meaningful solution.

EQ can be a partial fix for tonal imbalances, but it often only masks deeper problems. Electronic delay adjustments to properly align subwoofers with mains, or physical acoustic treatment such as dampening reflections that cause comb-filter effects, frequently prove far more effective and stable.

So be careful out there. Do not jump to conclusions too quickly and reach for those EQ knobs the moment you see a bump or dip. Take the time to understand the full picture.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Mastering the RTA in Smaart v9: Beyond the “Bouncing Bars”

The Real-Time Analyser (RTA) is one of the most powerful yet frequently misunderstood tools in a sound engineer’s arsenal. At first glance, it appears deceptively simple, just a set of bouncing bars showing frequency content. But the data displayed is the result of sophisticated mathematical processing and deliberate trade-offs. To truly harness its potential, you need to understand and control key settings like banding, averaging, and underlying parameters such as FFT size.

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Understanding Bandwidth: Fractional-Octave Banding

In Smaart v9, “bandwidth” in the RTA context refers to the fractional-octave banding resolution, which determines how the spectrum is grouped and displayed for easier interpretation.

• Smaart v9 offers resolutions ranging from full octave (1/1) down to an ultra-fine 1/48th octave, the highest available in the platform, delivering exceptional detail.
• Common options include 1/1, 1/3, 1/6, 1/12, 1/24, and 1/48 octave.
• How it works: Banding sums the energy (power) within defined bands centered on standard fractional-octave frequencies. This produces a smoother, perceptually relevant curve that better aligns with human hearing, wider bands in the lows, narrower in the highs.

Banding is a display mechanism distinct from smoothing (primarily used on transfer function magnitude and phase traces, where it averages dB values in overlapping octaves). You can adjust banding directly in the RTA plot controls or spectrum settings, and it applies to live traces, captured data, and spectrographs.

Higher resolutions (e.g., 1/48th octave) reveal fine details but can look noisier due to less inherent averaging. Lower resolutions (e.g., 1/3 octave) yield smoother traces, ideal for rapid system tuning or comparing against target curves.

The foundation of this display is the FFT size: Larger FFTs (e.g., 64k) provide narrower frequency bin resolution (calculated as sample rate ÷ FFT size), giving more raw data for banding to work with.

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The Power of Averaging

Averaging acts as your “statistics filter,” stabilizing the display against rapid fluctuations and noise.

Smaart v9 provides progressive averaging from 0, none to 1–10 (plus Infinite):

• Lower settings (more responsive) are prone to noise and instability.
• Higher settings offer greater stability and noise rejection but reduced responsiveness.

Specifically:

• Settings 1–3 use FIFO (first-in, first-out) averaging.
• Settings 4–10 employ variable weighted averaging with frequency-dependent time constants. Shorter in high frequencies, longer in lows (following an S-curve).

This clever design makes the trace feel more intuitive, like smoothly turning a knob, while maintaining quick response in the highs and steady behavior in the lows. The default of “6” strikes an excellent balance for most scenarios. Adjust up or down based on whether you prioritize stability or immediacy.

Smaart also supports live averaging across multiple RTA engines, enabling spatial averaging (e.g., from several microphones positioned around the venue).

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Decoupling Your Ears from the Screen

Remember: The RTA measures Sound Pressure Level (SPL) objectively, but it doesn’t “hear” like humans. Psychoacoustics play a huge role. A massive low-frequency peak (e.g., at 60 Hz) might look alarming on screen but could provide the desirable “weight” and impact audiences expect in a large venue. Always use the RTA to identify anomalies, then trust your ears to determine if they’re truly problematic.

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Adding the Time Dimension: The Spectrograph

If the RTA is a static snapshot of the spectrum, the Spectrograph is a dynamic “movie.” It introduces time as the z-axis, revealing how frequencies evolve and decay over time.

For instance, a snare drum hit might produce a lingering horizontal streak at 200 Hz lasting 500 ms. Clear evidence of resonance that a standalone RTA could miss or underrepresent.

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Pro Workflow Tip

For everyday system alignment and troubleshooting, try this setup: 1/24th octave banding on the RTA with a moderate FIFO average (e.g., around 2–3 seconds for responsiveness). Run the Spectrograph underneath for temporal context. This combination delivers high-resolution frequency insight while keeping an eye on how issues persist over time, striking the perfect balance for efficient, informed decisions.

You can also combine TF (transfer function measurements and RTA windows in one screen.

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Announcing Our Practical SPL Logging Seminar for Venues

We are excited to announce our upcoming Practical SPL Logging for Venues – Measurement, Documentation & Compliance seminar, delivered live online via Zoom. This 2-hour, hands-on training is designed for venue managers, administrative staff, technicians, and engineers who want to master SPL measurement and logging in real-world scenarios.

Why Attend?

Sound Pressure Level (SPL) logging is critical for venue compliance, audience safety, and operational efficiency. Whether you manage a venue, run technical operations, or oversee production, understanding SPL measurement is essential. This seminar goes beyond theory — it provides practical workflows, documentation strategies, and actionable insights that can be implemented immediately.

Seminar Details

• Date & Time: , 13:00–15:00 CET/CEST
• Format: Live Zoom seminar
• Duration: 2 hours
• Language: English, Norwegian, depending on seminar audience
• Max participants: 24
• Price: €120 per participant

What You’ll Get

• Live, instructor-led training focused on real-world SPL logging
• Practical workflows for measurement and documentation
• 20-page technical documentation (PDF)
• Full recording of the session for later review
• Live Q&A with the instructor
• Exclusive discounts on SPL measurement and logging equipment
• Certificate of participation

Who Should Attend?

• Venue managers and administrative staff
• In-house technicians and freelance engineers
• Production and technical managers
• Anyone responsible for SPL compliance or documentation

Seminar Structure

The seminar is structured in two parts:

• Part 1 (40 min) – Management & Administration Focus: Key takeaways for managers, including compliance, documentation requirements, and oversight of technical teams.
• Part 2 (80 min) – Technical Focus: Hands-on guidance for technicians and engineers, covering measurement setups, logging strategies, data interpretation, and practical examples.

Managers can attend Part 1 for critical insights, while technical staff will benefit from the full session.

How to Register

Secure your spot today — only 24 participants to ensure personalized guidance. Register here.

Don’t miss this opportunity to master SPL logging, improve venue compliance, and streamline your audio operations. Recording and full documentation are included, so your team can revisit the training anytime.

One of the defining characteristics of TZ AUDIO Norway’s In-Venue Smaart Z2H seminars is where the training takes place.
Rather than simulated classrooms, the seminars are held inside fully operational concert halls and theatres — venues designed for demanding artistic productions and professional sound reinforcement.

These spaces are not chosen for prestige. They offer predictable acoustics, professional infrastructure, and real-world system complexity, making them ideal environments for applied learning with Smaart. Below is an overview of the venues that have served, or continue to serve as classrooms for TZ AUDIO Norway’s in-venue seminars.

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

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From Zero to Hero: A Recap of the Smaart Z2H Seminar in Bucharest

Last week’s Smaart Z2H Seminar in Bucharest delivered exactly what its name promises a transformative four-day experience that took sound engineers from foundational measurement concepts into real-world system-tuning mastery. Hosted by Audiv Studio in Bucharest, this seminar didn’t just teach Smaart; it taught confidence and decision-making in live sound environments. 

A Structured Yet Flexible Curriculum

What stood out immediately was the seminar’s Zero to Hero philosophy a training pathway designed so that even engineers with limited prior alignment experience could follow, learn, and excel. Z2H isn’t merely about software operation; it’s about understanding why measurements look the way they do and how to use them to shape practical audio decisions. 

The first two days laid a solid theoretical foundation. Concepts such as frequency response behaviour, phase relationships, and cancellation patterns were explained in clear, practical terms ensuring every participant could see their relevance before diving into the hands-on sections. This wasn’t dry classroom theory; it was usable information you could immediately apply. 

Hands-On Learning in a Real Acoustic Space

Days three and four are where the seminar truly shined. Participants worked with a real sound system in a live venue environment, applying Smaart dual-channel FFT measurements to assess tonal balance, coverage, and system coherence. These sessions forced attendees to think like tuning engineers: setting up measurement rigs, evaluating venue acoustics, and using targeted workflows to solve real system challenges under realistic constraints. 

The final day’s workbench-style scenarios were particularly valuable. From identifying IEM anomalies to pinpointing calibration issues in under a minute, this segment felt like a professional sprint the kind of pressure engineers face in actual gigs. It was a masterclass in disciplined troubleshooting and efficient workflow. 

Thomas Züllich adds:
Romania is quickly establishing itself as a strong Smaart community, now counting 33 certified Smaart Operators. I started the program here in 2023 with our first class in Timișoara, and it has been a pleasure to see how it has grown since then. Teaching in Romania is always a joy. The engineers are exceptionally motivated, curious, and eager to dive deep into the material. Communication is effortless as well. There is effectively no language barrier, with participants speaking excellent English. The energy in the room makes every class both productive and genuinely fun.

Narcis Claudiu Manole, Audiv Studio adds:
I participated in the very first seminar in Timișoara, and it immediately revealed the true potential of the Smaart Z2H Seminar concept. My goal is to raise the bar for professional audio in Romania and consistently deliver top-notch results to my clients. Achieving that level of quality requires well-educated, highly skilled engineers and this program is a key part of that journey.

Why It Matters for Today’s Engineers

What makes the Smaart Z2H Seminar special is its balance of theory, hands-on practice, and real-world context. Beyond understanding Smaart controls or measurement views, attendees walked away with methods systematic approaches that improve tuning consistency and decision confidence in live sound situations. 

If you’re serious about elevating your system-tuning game, this seminar isn’t just training it’s a professional investment that reshapes how you approach measurement and alignment.

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The year has started on a very positive note for TZ Audio, with strong interest in our training programs and seminars across Europe and online.

Our Smaart Z2H (Zero to Hero) Seminar in Bucharest was sold out, showing just how high the demand is for hands-on, practical Smaart training. It’s great to see so many engineers eager to deepen their measurement and system optimization skills.

Momentum continues with the Smaart Z2H Seminar in Oslo this May, which is also filling up quickly. With only six places left, we encourage anyone interested to secure their spot soon to avoid missing out.

In addition to our in-person seminars, TZ Audio is expanding its educational offerings with online seminars. The first online seminar series will start in March, making it even easier for participants to access high-quality training, regardless of location.

Thank you to everyone who has already signed up and supported TZ Audio. We’re excited about what lies ahead and look forward to a year full of learning, growth, and great sound.

Stay tuned for more updates and we hope to see you in one of our upcoming seminars!

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Is the Cable Broken? Troubleshooting with Smaart

Smaart is maybe the world’s most expensive cable tester, and it’s worth every penny when the show is about to start. If you aren’t getting signal, don’t panic. Use this logical flow.

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Step 1: The Input Meter

Look at the Input Meters in Smaart. Is there green moving? No? The problem is likely your interface drivers or macOS/Windows privacy settings (make sure Smaart has permission to use the “Microphone”).

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Step 2: The Generator

Turn on the Pink Noise generator. Can you see it on your console meters? If not, check your output patching. If you can see it on the console but not in the room, check your amp racks.

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Step 3: The Coherence Check

If you have signal but the Magnitude trace looks like a “hairy mess,” look at **Coherence**. Low coherence usually means your Reference signal and Measurement signal don’t match. Are you measuring the Left PA but using the Right PA as your Reference? Check your patches.

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Small Venue, Big Challenges: A Smaart Case Study

Smaart in Small venues. Clubs are often harder to tune than arenas. Why? Reflections. In a 200-capacity room, the walls are close, the ceiling is low, and the “room sound” dominates the “PA sound.”

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The Problem

Imagine this: A certain “someone” mentions a sense of “muddiness” in the audio in the local live music pub, despite his third-octave-banded RTA on the cellphone looked somewhat neutral.

So you agree to pay the place a visit. You bring you measurement kit and right. at firing up Smaart you immediately notice a second spike in the Live IR (Impulse Response). For the public: That is the reading on top of the three windows in a Transfer function measurement in Smaart. It is the first thing a good Smaart Operator looks at, not only to time-align his TF measurement, but also to see such things – academically called analysing the reflection structure of the room. Well, there is a massive reflection – apparently from a glass surface (normal people say window) near the main right PA, arriving only 2 ms after the direct sound at FOH where you just placed you MELLab.

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some Smaart Z2H Seminar information can be of use here …

When two identical signals arrive with a 2 ms arrival time difference, they create what is known as a comb filter, because the measurement looks literally like a comb. This delay causes frequencies to interfere constructively or destructively depending on their wavelength relative to the 2 ms offset. The example calculation is based on the signals having the same amplitude.

Comb Filter Peaks and Nulls (2 ms delay, equal amplitude)

Nulls (destructive interference) 250 Hz, 750 Hz, 1.25 kHz, 1.75 kHz, 2.25 kHz, 2.75 kHz, 3.25 kHz, 3.75 kHz, 4.25 kHz, 4.75 kHz, 5.25 kHz, 5.75 kHz, 6.25 kHz, 6.75 kHz, 7.25 kHz, 7.75 kHz, 8.25 kHz, 8.75 kHz, 9.25 kHz, 9.75 kHz and so on …

Peaks (constructive interference) 500 Hz, 1 kHz, 1.5 kHz, 2 kHz, 2.5 kHz, 3 kHz, 3.5 kHz, 4 kHz, 4.5 kHz, 5 kHz, 5.5 kHz, 6 kHz, 6.5 kHz, 7 kHz, 7.5 kHz, 8 kHz, 8.5 kHz, 9 kHz, 9.5 kHz, 10 kHz and so on …

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The Solution – “Absorption”

A Smaart operator knows that EQing can’t fix such a problem. You were lucky and the owner of the place was understanding as well as cooperative and installed a heavy curtain he could pull in front of the window during concerts. No reflection – no comb filter.

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Takeaway:

Also, in small rooms you can use a Dual FFT Measurement tool like Smaart to identify what can be fixed with EQ and what must be fixed by treating the room. Even though this is sort of obvious to an avid sound engineer, it can be a tricky discussion with the club owner.

Mostly it starts with audience complaints or bad reviews about the sound quality, so the sound guy is already on the defense. Not a good start for a constructive and positive discussion, so when you do your venue evaluation (big word for just having a look at the 200-cap club), you were guesstimating that this will be a bit tricky. The conversation possibly involving raised eyebrows and crossed arms.

So, armed with laptop, your trusted Audient EVO sound-card, your MELLab TX-3 wireless kit – all neatly hidden in your laptop sling – you arrive in style by public transport and are set up in minutes to start measuring.

That issue described before shows up instantly. Since you have a wireless mic, it does not take much effort to sample some more positions in the room, ideally without anyone noticing or panicking. Using your wireless MELLab kit you avoid destroying the carefully set-up table decorations by pulling your microphone cable around.

So in the process you are maybe already identifying the mid–high top misalignment colleagues mentioned, etc. After 15 minutes you know more about that club’s PA than the “locals” … okay, that might sound arrogant, but hey, knowledge has a habit of doing that.

Tip: try to be smarter than me and do not run the club owner and open the conversation with “Dude, there are a lot of problems with your PA, the subs – oh man …”. Be nice and kind and – what was that word again: diplomatic, yes.

Anyway, draw the curtains in front of that big-ass reflection and Bob’s your uncle … or is it Bob’s your bruncle? At this point, no one dares to correct you, and peace is restored.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Your First Smaart Setup: A Practical Guide to Gear Selection and Initial Configuration

As a certified Smaart instructor, I’m often asked about the best way to get started with Smaart setup, whether it’s choosing the right version, picking reliable hardware, or walking through that first measurement without frustration. This guide combines the essentials of hardware selection, software configuration, and a straightforward workflow to help you build a trustworthy measurement rig from day one. Whether you’re aligning a live PA, just checking IEMs, or verifying installed systems, a solid initial setup is the foundation for accurate, repeatable results.

Step 1: Choose the Right Smaart Version for Your Work

Before buying gear, decide what type of measurements you’ll primarily do. This determines which edition of Smaart you need:

• Frequency response and phase alignment (system tuning, EQ, crossover alignment)
• Impulse Response (room acoustics, reverberation time, speech intelligibility)
• SPL logging (full history, LEQ, compliance)

If you need Impulse Response (aka Room Acoustics) or comprehensive SPL logging, go for Smaart v9 ST (Suite). For just frequency/phase work, Smaart v9 RT or Smaaart LE will suffice (they have limited SPL features). Take a moment to think about your gigs, many engineers start with RT or LE and upgrade later when they discover the power of the Impulse Response (IR) or SPL modes.

Step 2: Selecting Your Measurement Hardware for your Smaart setup

Measurement Microphone

You need an omnidirectional condenser microphone with a flat frequency response to go with your Smaart setup, no coloration, so you measure what’s really there, not what the mic adds. Funny enough these type of microphones do not need to be super expensive. Our most modestly priced option is the RTA-420 for around 100 Euros, the most expensive mic we carry is the MELLab T-60 for roughly 6 times that price. Most users go for something in between, like the MELLab MYc-3 or the TX-3 kit.

Key considerations:

• Maximum SPL handling: For accurate high-level measurements and proper SPL work, choose a mic rated for at least 135–140 dB SPL (e.g., Earthworks M30, dbx RTA-M, or similar). Many pros keep one high-SPL mic in their Smaart setup for high SPL work and less expensive / lower-SPLmics for “risky” microphone positions. When leavening a mic in audience areas to check for delay line performance can have a higher risk for being damaged or stolen.
• Always use a calibrated mic when possible, individual calibration files improve accuracy, especially above 10 kHz. However, you also need an …
• Acoustic Calibrator to check the gain of the signal path, so SPL readings are accurate. A calibrated mic alone does not give you a correct SPL reading. Remember that fat old gain knob on the sound-card?!?

A Real-World Perspective on Calibrators for Live Sound Measurements

Acoustic calibrators come in many shapes, sizes, and standards, designed for a wide range of applications. Here’s the good news for us live sound engineers: our needs are relatively straightforward. We don’t require high-end, laboratory-grade calibrators that meet the strictest standards. A simple, reliable model like the iSEMcon SC-1 or the  AZ 8930 is more than sufficient for in-field verification, ensuring your measurement chain is consistent before a gig or system tune.

The catch? If you’re ever in a situation where documentation matters (e.g., legal disputes, compliance audits, or client requirements), you’ll need a valid calibration certificate, typically no older than one year. Renewing that certificate means sending the unit to an accredited test house or the manufacturer.

Factor in 3–6 weeks (or longer) for shipping both ways, processing, and return, plus customs handling, calibration fees, and potential repairs, and you’re easily looking at €50–€80 or more. That’s often approaching (or exceeding) the price of a brand-new basic calibrator from reputable Far East manufacturers.

That’s why we’ve chosen to stock models like the AZ 8930: high-quality, affordable, and purpose-built for live sound work.
In most cases, buying a new one is simply cheaper, faster, and more practical than recalibrating an older unit. You get fresh performance, no downtime, and peace of mind without the hassle.

We source our AZ 8930 from reliable European partners who ensure fast availability, even handling direct fulfilment when needed, so you always get a fresh, ready-to-use unit without delays.

If compliance-grade certification is critical for your workflow, we can always discuss options, just get in touch!

Audio Interface (Sound Card) for your Smaart setup

Your Smaart setup needs at least two input channels for transfer function measurements (reference + measurement). Choose a reliable, low-latency USB or Thunderbolt interface with stable drivers:

• Budget-friendly, but professional grade: Focusrite Scarlett series or the AUDIENT Evo series – read the https://www.tzaudio.no/which-sound-card-for-smaart-in-2026/ article if you want to dive deeper into the topic.

Avoid built-in laptop sound cards, they add noise, latency, and instability. Look for phantom power (for the mic) and solid ASIO (Windows) or Core Audio (Mac) performance.

Cables & Accessories

• Quality balanced XLR cables
• Y-splitter or insert cable to tap the reference signal
• Adapters as needed

Best practice: Keep your measurement rig independent of the console whenever possible. This gives you an objective view of the entire system. (console out = reference)

Step 3: Initial Software Configuration for a good Smaart setup

1. Install and Launch
   • Download the latest version from Rational Acoustics.
   • Use a dedicated laptop with plenty of processing power. Close unnecessary apps during measurements. Read our article about the minimum system requirements.
   • On first launch, Smaart will guide you through I/O setup. Choose 48 kHz sample rate (standard for most work).
2. Configure Inputs and Outputs
   • Go to I/O Config.
   • Assign output channels for the signal generator (pink noise is ideal).
   • Set Input 1 as Reference (pre-system signal) and Input 2 as Measurement (mic).
   • Name channels clearly (e.g., “Ref – Console Pre-Fader”, “Meas – Mic”).
   • Smaart v9 creates the Spectrum (RTA) single channel FFT for you, but you have to define the dual channel measurements (TF – Transfer Function) measurement engines.
3. Set Proper Levels
   • Run pink noise through a clean path (bypass all processing initially).
   • Adjust gains so both reference and measurement inputs peak around -12 to -6 dBFS (“green to yellow” zone).
   • Never clip. Clipped data becomes useless.
   • For SPL work, you need to calibrate (gain) your signal chain. Don´tb touch the gain afterwards … or even better use a sound-card supporting gain tracking.

Step 4: A Simple Everyday Workflow

Here’s the fastest path from “gear connected” to “trustworthy measurement”:

1. Connect Hardware
   • Mic → Interface Input 2
   • Signal generator output → splitter → one leg back to Interface Input 1 (reference), other leg to system input
2. Start with RTA
   • Confirm signal path and tonal balance. Use RTA to verify everything is passing signal correctly.
3. Switch to Transfer Function
   • Start pink noise.
   • Run the Delay Finder to time-align reference and measurement channels.
   • Check coherence. Aim for 70%+ across most of the spectrum. Low coherence means move the mic, increase level, or reduce background noise.
4. Interpret the Data
   • Magnitude: Your EQ roadmap
   • Phase: Timing and driver alignment
   • Make broad corrections first, re-measure after every change.
5. Verify and Save
   • Always listen critically after data-driven adjustments. Smaart shows reality, but your ears make the final call.
   • Save traces, snapshots, and I/O configurations as templates for recurring gigs.

Final Tips for Reliable Results

• Measure in controlled conditions when setting up. Quiet environment, minimal reflections.
• Start with a blank slate: flat EQ, no limiting/compression in the path.
• High coherence = trustworthy data. If it’s low, fix the measurement conditions before trusting the trace.
• Invest time in proper setup; it saves hours during tuning.

Smaart is incredibly powerful, yet the core workflow is straightforward once your rig is dialed in. This guide keeps things practical. There’s deep physics behind everything, but in daily work, you focus on clean setup and reliable data.

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Beyond the RTA: Why Spectrum Analysis is Your Mix’s “Reality Check”

In a world of high-definition line arrays and digital consoles, why do we still look at a Real-Time Analyzer (RTA)? For the modern engineer, the RTA isn’t just about finding feedback; it’s about contextual awareness.

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1. Identifying Masking in Real Time

Our ears adapt quickly. After 30 minutes of mixing, you might stop noticing that the low-mids are cluttered. Smaart’s RTA mode provides an objective visual of your spectral balance. If you see a massive buildup in the 200–400 Hz range, your mix likely lacks clarity, even if your brain has “tuned it out.”

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2. Spectrograph: The Secret Weapon

While the RTA shows you what is happening, the Spectrograph shows you when and for how long. This is invaluable for identifying:

• Room Modes: Frequencies that “ring out” longer than others.
• Instrument Resonances: A floor tom that rings at 80 Hz long after the hit.

The Strategy: Use the RTA to guide your EQ moves, but use the Spectrograph to diagnose temporal issues in the room. Remember, a great mix isn’t just about frequency; it’s about how those frequencies behave over time.

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Smaart input calibration is primarily for accurate Sound Pressure Level (SPL) measurements. It establishes the sensitivity of your measurement chain (microphone + preamp + audio interface) by correlating a known level from an acoustic calibrator to the digital signal level in Smaart. This is essential for reliable SPL, Leq, and exposure logging.

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Prerequisites

• A measurement microphone connected to your audio interface.
• An acoustic calibrator (e.g., producing 94 dB or 114 dB at 1 kHz; 114 dB is often preferred for more headroom in loud environments).
• Appropriate adapter for your mic to ensure a snug fit. Most calibrators are made for 1/2″ microphones, so you need an adapter reducing the diameter to 1/2″ | 7mm for a proper Smaart input calibration.
• Audio interface gains set appropriately (do not change gains after calibration unless your interface supports gain tracking).

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Step-by-Step Procedure for Smaart input calibration

1. Open I-O Config:
   • Go to Config > I-O Config (or use shortcut: Ctrl/Cmd + I).
2. Select the Input Channel:
   • In the Input tab, check “Use” for your audio device.
   • Highlight the channel connected to your measurement microphone.
   • Optionally, assign a “Friendly Name” (e.g., “FOH Mic”).
3. Open Amplitude Calibration:
   • Click the Calibrate button at the bottom (or double-click the channel row).
4. Prepare the Calibrator:
   • Fit the calibrator snugly over the microphone (slowly to avoid pressure damage).
   • Turn on the calibrator and note its output level (usually 94 dB, 110dB or 114 dB).
5. Adjust Input Gain for Headroom:
   • Monitor Smaart’s signal meter for the channel.
   • Set preamp gain so the signal peaks around -12 to -6 dBFS (green-to-yellow transition) — this provides headroom for peaks up to 130–140 dB SPL without clipping.
6. Run Calibration:
   • In the Amplitude Calibration window, confirm the correct device/channel is selected.
   • Click Calibrate.
   • Smaart measures the incoming level (progress bar reaches 100%).
   • Enter the calibrator’s exact output level (e.g., 114 dB) if prompted, or confirm it.
   • Click Apply / OK. Smaart calculates and applies an offset (visible in the “Cal. Offset” column).
7. Verify and Close:
   • Check the signal meter or SPL display — it should now read close to the calibrator’s level.
   • Remove the calibrator.
   • Close windows and start measurements.
   • You have finished your Smaart input calibration

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Tips and Best Practices for Smaart input calibration

• Headroom: Setting the calibrator at the highest level helps high levels during a concert having re-adjust your measurement gained so having to re-calibrating. All this is easier when you use a sound-card allowing the gain tracking option.
• Multiple Channels: Repeat for each mic input. You can stay in the calibration “window” for this and just change the input channel from there.
• Gain Changes: Avoid adjusting preamp gain post-calibration (breaks accuracy). Some interfaces (e.g., Rational Acoustics Smaart I-O*, Roland Octacapture*, Audient EVO 4, EVO8 and EVO 16) support gain tracking.
  *discontinued – only available 2nd hand or some very old stock
• No Calibrator?: You can manually enter an offset, but it’s inaccurate — not recommended for compliance or critical work.

• Mic Correction Curves: Separate from SPL calibration; import these for frequency response flattening (via I-O Config > Mic Correction column). Microphone manufacturers like iSEMcon and MELLab supply frequency response curves in digital format. Smaart then applies an internal correction to normalise the microphones frequency response. So the term correction curve can be a little misleading. But hey … we are smart, aren’t we 😉

• For transfer function or RTA, precise SPL calibration isn’t always needed, but good input levels prevent clipping/distortion. Ad hey – it is always nice to know how loud it actually is, isn´t it?

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

AI in Audio: The End of the System Tech?

As we head into 2026, the buzz around “AI-assisted” measurement is reaching a fever pitch. Some claim that AI Assisted Sound Analysis will soon replace the need for an engineer to interpret a Transfer Function. Here is the reality from a distributor’s perspective.

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Machine Learning vs. Physics

Current AI trends in audio—such as neural-network-driven EQ suggestions—are very effective for broad, corrective tasks. These systems can analyse thousands of “good” measurement traces and attempt to make yours conform to that statistical norm. Where AI-assisted sound analysis falls short, however, is acoustics. It cannot know whether a dip in your magnitude response is caused by phase cancellation at a crossover point, a reflection from a nearby surface, or a physical obstruction in the venue.

AI is fundamentally a tool for processing data, not for making informed decisions in complex, real-world situations like a live gig. It may help organise, compare, and filter large amounts of measurement data, but it cannot explain why a room feels the way it does. That understanding only emerges when someone is physically present, observing the space and connecting the dots.

An amplitude response can look the way it does for a multitude of reasons. Applying EQ is very often not the correct solution. Misalignment, reflections, or multiple loudspeakers arriving at the listening position at slightly different times will colour the sound through comb filtering. Comb filtering is caused by time-of-arrival differences of the same signal, and diagnosing it requires more than a graph—it requires situational awareness.

To understand why this is happening, you need to be there, looking at the loudspeakers, the room geometry, and the audience area. Current AI systems simply do not have access to that contextual information. They work with the data they are given, while a human engineer works with the data and the environment. In the end, the best “AI” is still the engineer who understands the math—and knows how to apply it in the real world.

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Starting the Year Right: Reliable SPL Compliance with 10EaZy

As we kick off another busy year of live events in Norway, SPL monitoring remains a key requirement for most concerts and festivals. Local authorities often enforce the Norwegian Directorate of Health guidelines, recommending a maximum of 99 dB L_Aeq,30min (the loudest 30-minute period) and 130 dB L_C,peak to protect audience hearing. Accurate, documented measurements are essential for compliance and post-event reporting.

The 10EaZy system provides a straightforward, calibrated solution for this. It’s a complete turn-key package: a precision Class 1 or Class 2 measurement microphone, dedicated USB interface, and software that handles automatic logging of Leq(m), Leq(1min), peaks, and full history.

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Key technical advantages:

• Factory-calibrated closed chain – no periodic recalibration needed
• Full IEC 61672 compliance for traceable results
• Seamless integration with Smaart (including Mac support via drivers) for combined SPL and system measurements
• Remote viewing, alarms, and automated email reports

Whether you’re running FOH at a club gig or managing a multi-stage festival, 10EaZy delivers reliable data without complicating your workflow. Truly a plug-and-play solution for a very complex task.

Smaart v9 Suite is the flagship audio measurement and analysis software from Rational Acoustics, widely regarded as the industry standard for professional sound engineers and acousticians. First introduced in the 1990s, Smaart has continually evolved, with the v9 platform (latest update: v9.6 as of August 2025) representing a major overhaul featuring a unified 64-bit code base, streamlined interface, and enhanced multi-mode capabilities.

The Suite edition is the most comprehensive version, integrating three powerful measurement modes—Real-Time (RT), Impulse Response (IR), and SPL—into a single application with no functional limitations. Users can seamlessly switch between modes using radio buttons in the upper-right corner of the interface, while sharing a common configuration. This all-in-one design supports unlimited simultaneous measurements, multi-channel I/O, and advanced features for SPL monitoring.

Other editions include Smaart RT (focused on Real-Time mode), Smaart LE (simplified Real-Time), and Smaart SPL (dedicated level monitoring). The Suite is ideal for professionals needing full versatility, from live sound system alignment to room acoustics analysis and regulatory noise compliance.

Recent updates in v9.6 (released August 13, 2025) include docked SPL meter grids, SPL compensation for virtual measurement points, improved calibration dialogs, and reorganized menus for better workflow efficiency.

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Exploring Real-Time Mode

Real-Time mode is the core of Smaart, providing single and dual channel FFT-based frequency-domain analysis for immediate system feedback. It’s the mode most engineers associate with “using Smaart,” perfect for aligning PA systems, EQing monitors, and troubleshooting sound systems.

Key displays include:

• Spectrum (RTA): Real-Time Analyzer with fractional-octave banding up to 1/48th octave, Spectrograph for frequency-over-time visualization.
• Transfer Function: Magnitude, Phase, Coherence, and Live IR traces, supporting unlimited simultaneous measurements with averaging.
• Phase and Magnitude: Essential for time-aligning drivers and subsystems.

Unlimited measurement engines allow comparing multiple positions or sources. Features like delay tracking, larger FFT sizes (up to 128K), and progressive averaging make it powerful for precise tuning.

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Exploring Impulse Response Mode

Impulse Response mode shifts focus to the time domain, ideal for acoustical analysis of rooms, reverberation, and detailed system behavior. It excels where Real-Time mode’s frequency-domain view falls short, such as identifying reflections or calculating speech intelligibility.

Primary views include:

• Linear, Logarithmic, and ETC (Envelope Time Curve): For examining arrival times, reflections, and decay.
• Histogram and Spectrograph: Advanced visualization of energy distribution.
• Frequency Response: Derived from IR data.

Acousticians benefit from built-in calculations like RT60 (reverberation time), STI/STIPA (speech transmission index), CIS (clarity index), and more. Larger FFT sizes (up to 512K) enable high-resolution measurements.

IR mode is crucial for tuning concert halls, studios, or houses of worship, helping mitigate problematic reflections and optimise clarity.

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Exploring SPL Mode

SPL (Sound Pressure Level) mode is a robust tool for monitoring, logging, and reporting noise levels, ensuring compliance with regulations in venues, festivals, or installations. It’s the industry’s leading software-based SPL solution, supporting Class 1/2 accuracy with compatible hardware like 10 EaZy.

Features include:

• Multi-channel metering with customizable “traffic light” indicators, alarms, and event notes.
• Leq calculations (A, C, unweighted, octave bands) over user-defined periods.
• Remote web-browser viewing, history plots, and automated report generation.
• New in v9.6: SPL compensation for virtual mic positions and docked meter grids.

Perfect for fixed installations or touring productions needing to track SPL limits.

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Conclusion

Smaart v9 Suite brings together Real-Time, Impulse Response and SPL modes in a way that no other software quite matches. It’s powerful, surprisingly straightforward once you get going, and it keeps getting better with every update. Whether you’re lining up a festival PA, sorting out room acoustics in a concert hall, or keeping an eye on noise levels for compliance, the Suite gives you the tools you need in one place.

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acoustics pioneers & audio measurement scientists

By featuring their portrait on their birthdays on out logo are we honouring acoustics pioneers & audio measurement scientists. As tribute to the work that still shapes modern audio measurement the TZ Audio logo is modified to show their portrait. Follow along … 100% nerd factor guarantee.

Isaac Newton (1643–1727)

Birthday: 4 January

Contribution: Foundations of mechanics and wave theory; essential groundwork for vibration and acoustics.

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Harry Nyquist (1889–1976)

Birthday: 7 February

Contribution: Sampling theory; defines the fundamental limits of digital audio measurement.

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Heinrich Hertz (1857–1894)

Birthday: 22 February

Contribution: Electromagnetic waves; foundation for radio, wireless transmission, and modern audio systems.

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Alexander Graham Bell (1847–1922)

Birthday: 3 March

Contribution: Electrical transmission of sound; telephony, early microphones, and loudspeakers.

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Harvey Fletcher (1884–1981)

Birthday: 11 March

Contribution: Loudness perception and measurement; Fletcher–Munson equal-loudness curves.

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Albert Einstein (1879–1955)

Birthday: 14 March

Contribution: Photoelectric effect; foundations for electronics and signal detection.

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Jean-Baptiste Joseph Fourier (1768–1830)

Birthday: 21 March

Contribution: Fourier analysis; cornerstone of frequency analysis and spectrum measurement.

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Wallace Clement Sabine (1868–1919)

Birthday: 13 June

Contribution: Reverberation time and room acoustics; first practical acoustic metrics.

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Hermann von Helmholtz (1821–1894)

Birthday: 31 August

Contribution: Harmonics, resonance, and auditory perception; bridge between physics and hearing.

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Leo Beranek (1914–2016)

Birthday: 15 September

Contribution: Modern room acoustics and measurement practice; foundational reference works.

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Lord Rayleigh (1842–1919)

Birthday: 12 November

Contribution: Wave propagation, modal behaviour, and classical acoustics theory.

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Norbert Wiener (1894–1964)

Birthday: 26 November

Contribution: Noise theory, filtering, and time/frequency-domain analysis.

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This single, evergreen list reflects the calendar year.
The logo changes mark the birthday; this page provides the context.

Learn more about sound and join our seminars – online or in-venue – https://www.tzaudio.no/product-category/seminars/

iSEMcon microphone alternatives are essential for professionals who require immediate acoustic measurement solutions. Some iSEMcon microphone models have long delivery times, sometimes extending to several months. Considering alternative measurement microphones helps maintain project schedules and ensures accurate testing.

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iSEMcon Availability and Planning Ahead

Certain iSEMcon microphones and calibrators are available only in limited quantities. While we continue to support existing customers, obtaining additional products or replacement parts from iSEMcon may take significant time. Using iSEMcon microphone alternatives ensures projects can proceed without interruption.

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MELLab microphones – a reliable alternative to iSEMcon?

The https://www.tzaudio.no/brand/mellab/MELLab microphones are designed for precise acoustic measurements and include:

• Flat frequency response for accurate sound capture
• Stable sensitivity for consistent results
• Low self-noise for improved measurement reliability
• Compatibility with standard measurement and calibration systems

MELLab microphones are suitable for SPL verification, system alignment, and environmental acoustic testing. Explore the full range here: MELLab Measurement Microphones.

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Choosing iSEMcon Microphone Alternatives for Measurement Projects

When evaluating iSEMcon microphone alternatives, consider the measurement application, frequency range, and calibration needs. MELLab microphones provide reliable replacement solutions for most professional applications.

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Supporting Existing iSEMcon Users

We continue to support customers who own iSEMcon microphones and calibrators. However, obtaining parts or replacements may take time. Using alternative microphones like MELLab allows ongoing projects to continue smoothly while maintaining measurement precision.

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Conclusion

In summary, for professionals who need reliable gear with immediate availability, MELLab measurement microphones are an outstanding alternative to iSEMcon—delivering comparable technical performance without the frustrating lead times that have become all too common.

The same practical mindset applies to calibrators: while models like the iSEMcon SC-1 have long been a field standard, the cost and downtime of regular recalibration often make a fresh, affordable unit like our AZ 8930 the smarter choice for most live sound work.

Both iSEMcon and MELLab products meet the high technical demands of precise acoustic measurements, but choosing readily available alternatives—for both microphones and calibrators—ensures your testing, calibration, and system tuning projects stay on schedule with minimal disruption.

We’re here to help you make the switch smoothly. Browse our MELLab range, check out the AZ 8930 calibrator, or get in touch if you have any questions—we’re always happy to discuss the best options for your workflow.

MELLab T‑60 Measurement Microphone – Ultra-Precise – 60 kHz – 150 dB SPL – new for 2026

The MELLab T‑60 is a high-precision measurement microphone built for demanding system tuning, calibration, and acoustic analysis. With extended bandwidth up to 60 kHz and high SPL handling, it delivers cleaner, more accurate data than standard 20 kHz microphones.

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Why 60 kHz Bandwidth Matters

Although human hearing stops around 20 kHz, accurate measurement goes beyond the audible range. The T‑60’s extended bandwidth ensures more reliable results within the audible band:

• Maintains a flat, stable response up to 20 kHz without early roll-off or HF resonances that distort phase.
• Produces cleaner impulse responses, better transient accuracy, and precise delay measurements in Smaart and other FFT tools.
• Captures ultrasonic behavior from amplifiers, drivers, and electronics, preventing audible distortion caused by intermodulation.
• Supports high-rate FFT measurements at 48, 96, and 192 kHz without being the limiting factor.

Extended bandwidth is not about hearing 60 kHz—it’s about measuring 20 kHz correctly.

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Headroom and Stability

Designed for modern high-power sound systems and detailed acoustic evaluation:

• Handles up to 150 dB SPL without distortion—ideal for large PAs, close-mic measurements, and loud environments.
• Free-field response from 10 Hz to 60 kHz with ±2 dB tolerance ensures consistent accuracy across the full spectrum.
• Pre-polarized condenser design captures omnidirectional sound naturally for reliable transfer-function and SPL work.
• Stable performance make it suitable for both field use and lab-level measurements.

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Built for Professional System Tuning

The T‑60 delivers trustworthy data for critical applications:

• High-resolution dual-channel FFT analysis (Smaart, SATlive, REW, etc.)
• Accurate delay alignment, impulse responses, and reflection analysis
• Reliable long-term SPL logging and compliance monitoring
• Detection of ultrasonic resonances and distortion products
• Support for loudspeaker, transducer, and HF system testing

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MELLab T-6060kHz measurement mic

If you’re serious about real system tuning—aligning delays, managing phase relationships, verifying SPL compliance, and making decisions that hold up under pressure—freeware simply isn’t enough. Basic tools may show you something, but they rarely tell you the truth. Without dual-channel FFT analysis, reliable coherence data, and properly calibrated SPL measurements, you’re often guessing instead of measuring.

This is where the Smaart Z2H (Zero-to-Hero) seminars by TZ Audio become essential. They are not product demos or marketing fluff; they are structured, hands-on training sessions built around Smaart as a professional measurement platform. Participants learn not just what buttons to press, but how to interpret data correctly—and, just as importantly, how not to misinterpret it.

The bundled Smaart measurement kits used in these seminars provide a complete, dependable measurement chain straight out of the box: calibrated microphones, stable interfaces, and software designed for real-world sound systems. But the real value lies in the knowledge transfer. You learn how to verify your signal path, evaluate coherence before trusting a trace, distinguish acoustic problems from electrical ones, and make informed decisions under real gig conditions.

In short, these seminars turn measurement from a visual comfort blanket into a decision-making tool—which is exactly what professional system tuning demands.

How to Use 10EaZy With Smaart

10EaZy is a self-contained measurement unit comprised of a microphone, I/O device, BNC cable, and USB-A-to-USB-B connector cable. In order to ensure maximum consistency, they are calibrated and verified as a whole unit (including the specific cables that they ship out with). They can be purchased in two varieties: Class 1 and Class 2. 

While it is largely designed as a “plug and play” unit with no user-configurable settings, there are a few steps you must complete before using your 10EaZy system. Unlike other I/O devices, you don’t need to download the drivers for the 10EaZy unit: they are downloaded and installed with Smaart.

As such, you can simply boot up your copy of Smaart. From there, access the I-O Config dialog by either navigating to Config > I-O Config or using the [Alt/Opt] + [A] hotkey. Within the Input tab of this menu you’ll see a new option labeled “USB: 10EaZy”, followed by your individual unit’s four-digit serial number.

Like any other I/O device, checking its box will enable it for use. Once you’ve enabled your 10EaZy, you only need to select it as your input for SPL metering and/or logging, and you’re good to go!

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Checking Your 10EaZy’s Calibration

Within the I-O Config dialog, you’ll see that it has a pre-programmed calibration offset that cannot be edited. The “Calibrate” option still exists within this page. Since the 10EaZy comes factory-calibrated, the Amplitude Calibration dialog that comes up has a slightly different function.

SPL calibrator

While normally you’d use an SPL calibrator to calculate and apply an offset to your input, you can only test your 10EaZy’s offset here. To do so, affix your SPL calibrator of choice to the end of your 10EaZy’s microphone and set its level to 94 dB (if it has more than one level available). Ideally, you’ll find an offset of +/-1.5 dB or less, which is considered an acceptable range. However, over time (or when damaged) you may see a ‘drift’ towards a larger value, in which case Smaart will give you the following message:

If you do encounter this message, we recommend first replacing the battery in your SPL calibrator. Strangely enough, a low battery can sometimes affect the level of the SPL test tone it emits. Because of this, we recommend changing your calibrator’s battery often.

If you’re still encountering an offset greater than 1.5 dB, your 10EaZy may need to be recalibrated. SG Audio / 10EaZy is happy to measure and recalibrate your 10EaZy system, while inspecting the system for any damage.

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Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Here’s what Jacob, the old danish guy behind 10EaZy just wrote – by the way – his company is called SG Audio. SG stands for Sound Guru! Go figure … more

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10EaZy is like a steady old car – no massive accelerations but steadily doing its thing. I feel grateful.  Today marks a major milestone… I’ve finally had time to develop, test and now deploy version 2.9 of the software.  It’s only been 6 years since the last update 🙈 While I still frequently get questions from customers and users, the number of actual requests for the software are very few and far apart – so there are no major ground breaking innovations in this release. BUT, it solves a few things that was long overdue AND offers a few new bells and whistles.. 

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New stuff:

• Windows 11 compatible Driver – no more reducing security settings to install
• Script that auto removes old non compliant legacy drivers – users will still need to reengage the core protect feature after install. 
• 10EaZy SW users will be auto upgraded to normal 10EaZy feature set including full log file etc. 
• Removed B&W log files – they are not readable and never were
• Pimped the exit screen to allow for more information and easier read out – removed the black background to allow printing on paper if need be. 
• MaM is now visible on the web viewer display for easier check of current situation at FoH
• Calibration date is now stored on USB device EEPROM for carrying calibration date with actual hardware – will only work after first time users actually perform a calibration
• Added a JSON server beta test allowing for read out of all relevant values across the network. Access thru port 8002 – details in updated User Guide. 

Bug fixes:

• Removed the Screen resolution check for screens below 1024*640 – I assume that there are no more left in the world, and the test throws weird errors when on multiple display setups
• Removed a bug in the launch scheduler that would prevent the main program from showing the web view.
• Exit screen does not show path to log file – bug must have existed for +15 years without being noticed. Fixed now.

The new version is available from 10EaZy.com as download. In Late January I will push the auto update to all existing users, but upgrades will require download from the website.

10EaZySPL Monitoring System

Smaart is excellent on its own, but most users find they get much more out of it after some structured training. That’s where our seminars come in. At TZ Audio we run practical seminars, both online and in-venue. We offer seminar-only or full “all you need packages” including software & hardware. It’s simply the fastest way to become comfortable and confident with the measuring a sound system.

If you’re in Norway, Sweden, Denmark or Iceland – or elsewhere – we offer is online seminars and traveling to Norway is a valid option too of course. We’re here if you have any questions about the software or upcoming seminars.

Thanks for reading!

Wireless measurement setups let technicians move freely while taking accurate, time-aligned measurements. Below are common systems used with Smaart, focusing on models designed or adapted for precision audio measurement. All listed systems operate compander-free or with modern digital modulation suitable for measurement use.

GAODIMIC — DT228G-P Kit

The GAODIMIC DT228G-P Kit is a digital UHF wireless system developed for measurement and high-fidelity audio transmission. It supports 48 V phantom power for condenser measurement microphones and uses modern digital modulation. The DT228G-P is often bundled as part of turnkey measurement kit together with the MELLab MYc-3 microphone.

Lectrosonics — TM400 (Test & Measurement System)

The Lectrosonics TM400 is a purpose-built wireless test and measurement system. It provides 24-bit digital performance at up to 88.2 kHz, selectable phantom power (5 V / 15 V / 48 V), balanced XLR output, and long-range RF capability. It is explicitly designed for compander-free operation, ensuring full accuracy for impulse and FFT-based measurements.

MiPro — TA-80 Plug-on / ACT-800 Family

MiPro’s TA-80 plug-on transmitter and ACT-800 digital receivers are a professional combination for turning any XLR measurement microphone into a wireless system. The TA-80 provides switchable phantom power (12 V / 48 V) and operates on wide UHF digital bands. MiPro also offers multi-channel receiver modules suitable for simultaneous multi-mic setups.

Sennheiser, Shure, Line 6 and RØDE (Context)

Systems from Sennheiser (EW-D / EW-DP), Shure (QLX-D / GLX-D+), Line 6 (XD-V series), and RØDE (Wireless Pro / II) can be adapted for measurement when used with suitable plug-on transmitters or phantom-power accessories. Always verify that the specific model runs in a digital, compander-free mode before relying on it for impulse or phase-coherent measurements.

Why Compander-Free or Digital Transmission Matters

Accurate acoustic measurement—especially impulse response, delay, and dual-channel FFT analysis—demands a linear, time-coherent signal path. Legacy analog wireless systems used companders (compressor/expander) that alter phase and dynamic response, making them unsuitable for measurement. All systems listed above are either fully digital or digital-hybrid and maintain un-companded linear transmission.

Summary Table

System	Type	Phantom Power	Compander-Free	Notes
Lectrosonics TM400	Digital UHF	5 / 15 / 48 V	Yes	Purpose-built measurement system, 24-bit/88.2 kHz
GAODIMIC DT228G-P Kit	Digital UHF	48 V	Yes	Compact, linear response
MiPro TA-80 / ACT-800	Digital UHF	12 / 48 V	Yes	Plug-on transmitter with multi-channel receivers
Sennheiser EW-D / EW-DP	Digital UHF	With adapter	Yes	Pro-grade wireless, high dynamic range
Shure QLX-D / GLX-D+	Digital UHF / 2.4 GHz	With adapter	Yes	Reliable and service-friendly
Line 6 XD-V Series	Digital 2.4 GHz	With battery adapter	Yes	Proven live-sound workhorse
RØDE Wireless Pro / II	Digital 2.4 GHz	No	Yes	Convenient for quick frequency-response checks only

Final Thoughts

Whichever system you choose, always verify that transmission is digital and uncompanded to maintain time and phase accuracy.

The summary was created by an AI service from ChatGPT. The content has been quality-checked by TZ AUDIO before publication.

TZ`s Comment

My personal preference is the GAODIMIC DT228G-P combined with either a MELLab MYc3 or a TX-3 (same mic as the MŸc-3 just that the mic pre-amp is in a separate XLR housing. This make the TX-3 a very compact a light solution.

Field Application Example – Border Collie “Einstein” as Measurement Assistant

In large venues or outdoor measurement sessions, relocating microphones efficiently between measurement points can be both time-consuming and physically demanding. To streamline this process, I have experimented with a trained animal — most notably my Border Collie named Einstein — to assist in positioning a wireless microphone.

Einstein is trained to carry and place a lightweight, shock-isolated microphone mount using a soft harness system. Under my supervision, he moves precisely to predefined locations on stage or audience areas. This allows the me to gather data at many points in the “room” more quickly.

His body minimises ground refections on to of it all. Perfect!

If you use Rational Acoustics Smaart for system measurement and tuning, the choice of audio interface is crucial.
Below is a ranked comparison of the most widely used and reliable interfaces for Smaart, covering everything from compact two-channel models to larger multichannel rigs.

Audient EVO 4 – Best Compact Interface for Smaart

Inputs/Outputs: 2 in / 2 out (USB-C)
Features: Phantom power, gain tracking*, Smaart integration
Best for: Portable rigs or single-mic measurements
Verdict: Excellent driver stability, compact design and full Smaart compatibility make it the top overall choice for most users.

Focusrite Scarlett 18i16 (4th Gen) – Multichannel Option

Inputs/Outputs: 18 in / 16 out
Features: Reliable drivers, large I/O count, flexible routing
Best for: Theatres, system integrators, and users with several measurement microphones
Verdict: Professional-grade flexibility without a huge price tag.

Steinberg UR22C – Reliable Entry-Level Choice

Inputs/Outputs: 2 in / 2 out
Features: Metal housing, clean preamps, stable macOS/Windows drivers
Best for: Education, small FOH measurement, or backup rigs
Verdict: Well-built, simple and dependable.

Audient iD4 Mk II – Compact with Premium Preamps

Inputs/Outputs: 2 in / 2 out
Features: Audient console-grade preamps, phantom power
Best for: Users who want higher preamp quality in a small box
Verdict: Great sound and solid construction for its size and cost.

Universal Audio Volt 2 – Premium Small Interface

Inputs/Outputs: 2 in / 2 out
Features: “Vintage” analog coloration mode, solid build, stable drivers
Best for: Studio or hybrid users who also use Smaart for calibration
Verdict: Professional design, simple operation and reliable performance.

Behringer UMC202HD – Budget Option

Inputs/Outputs: 2 in / 2 out
Features: 48 V phantom power, USB bus powered
Best for: Students, training, and basic measurement setups
Verdict: Inexpensive, functional and adequate for simple two-channel Smaart work.

Audient EVO 8 – Four-Channel Upgrade over the EVO 4

Inputs/Outputs: 4 in / 4 out
Features: Smaart gain tracking*, compact form, USB-C
Best for: Mid-size measurement rigs or multi-mic setups
Verdict: Same workflow as EVO 4, with more flexibility and headroom.

How These Interfaces Were Ranked

Ranking is based on:

• Driver stability and operating-system support
• Quality of microphone preamps and phantom power
• Gain-tracking or calibration stability with Smaart
• Input/output flexibility
• Price versus performance

References include Rational Acoustics’ official support documentation and user feedback from professional audio forums.

Recommendations by Use Case

Use Case	Recommended Interface	Reason
Portable / single mic	Audient EVO 4	Compact and fully Smaart-compatible
Multi-mic / venue	Focusrite Scarlett 18i16	Many inputs and stable drivers
Education / budget	Behringer UMC202HD	Low cost and simple setup
Studio calibration	Universal Audio Volt 2	High quality and quiet operation
Medium rigs	Audient EVO 8	More I/O without going rackmount, fully Smaart-compatible
Legacy systems	Roland Octa-Capture	Proven stability and long support life, fully Smaart-compatible, discontinued / 2nd hand

Key Considerations Before You Buy

• Phantom power is required for most measurement microphones (e.g. iSEMcon, MELLab, Earthworks).
• Dual-channel FFT measurements need at least two inputs: one measurement mic and one reference signal.
• Avoid USB hubs or extenders; connect interfaces directly to the computer.
• For networked or large multichannel systems, consider Dante Virtual Soundcard or similar solutions.
• Choose an interface with more channels than you currently need to allow for expansion.

Conclusion

For most engineers, the Audient EVO 4 or Focusrite Scarlett 18i16 offer the best balance of price, stability, and Smaart functionality. However, currently only the Audient EVO series offers Smaart GUI integration & gain tracking.

*IMPORTANT – Gain Tracking in the Audient Evo is not supported in Mac OS Tahoe 26.2!

Smaart Certification Success in Oslo and Hammerfest – A Landmark for Sound Professionals in the North

Oslo & Hammerfest, Norway – July 2, 2025

The Norwegian audio community continues to raise the bar for professional standards. Following two intensive Smaart Operator courses held this spring—one in Oslo in May and one in Hammerfest in June—participants from both classes have now successfully passed the official Smaart Certification Test.

• Jens Benthin, Malmö Sound&Music AB, Sweden
• Ricardo Blumenkranz, BLUMENKRANZ, Norway
• Sondre Forselv, Arktisk Kultursenter Hammerfest, Norway
• Lars K. Lande, Lars K. Lande Consultant, Norway
• Dag Jarle Nilsen, Arktisk Kultursenter Hammerfest, Norway
• Kimmo Peltola, Electro Waves Sweden Ab, Sweden
• David Press, JK Eventteknik, Sweden
• Eirik Tovar, Arktisk Kultursenter Hammerfest, Norway

These newly certified operators represent a growing wave of technically proficient sound professionals in Norway, and Sweden equipped with cutting-edge knowledge in real-time sound system measurement, tuning, and optimization using Rational Acoustics’ industry-leading Smaart software.

The Oslo class gathered a diverse group of technicians and engineers from across Southern and Central Norway, contributing to a lively and insightful session filled with shared experiences and collaborative learning.

Meanwhile, the Hammerfest course marked a milestone not just for the participants but for the town itself. With this latest certification round, Hammerfest becomes the first city in the world where all active sound staff are officially Smaart certified—a remarkable achievement for a town best known as the northernmost city in the world. This underscores the region’s commitment to technical excellence despite its remote location.

Course instructor Thomas Züllich, praised both groups for their dedication and curiosity:

“The enthusiasm and focus shown by the participants in both Oslo and Hammerfest were exceptional. It’s clear that Scandinavia is investing in sound quality and technical competence on a serious level.”

The success of these certification events highlights not only a national trend towards higher audio standards but also the potential for small and remote communities to lead by example in professional development.

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Smaart-sertifisering i Oslo og Hammerfest – Profesjonell milepæl for skandinaviske lydteknikere

Oslo / Hammerfest, 2. juli 2025

Det skandinaviske lydmiljøet tar et nytt steg mot høyere faglig standard. Etter to vellykkede Smaart Operator-kurs tidligere i år – ett i Oslo i mai og ett i Hammerfest i juni – har en stor del av deltakere bestått den offisielle Smaart-sertifiseringstesten.

Disse nysertifiserte operatørene er nå en del av et voksende nettverk av teknisk kompetente lydfolk i Norge, med inngående kunnskap om systemmåling, tuning og optimalisering med det bransjeledende verktøyet Smaart fra Rational Acoustics.

Kurset i Oslo samlet teknikere og lydansvarlige fra Sverige og Norge, og ble preget av faglig engasjement, gode diskusjoner og erfaringsdeling på tvers av bransjen.

Kurset i Hammerfest markerte samtidig en helt spesiell milepæl – ikke bare for deltakerne, men også for byen:
Med denne sertifiseringsrunden er alle aktive lydteknikere i Hammerfest nå Smaart-sertifisert.
Dermed blir Hammerfest, som allerede er kjent som verdens nordligste by, også den nordligste, og kanskje den eneste byen i verden der hele lydstaben i Kulturhuset er Smaart-sertifisert.

Kursinstruktør Thomas Züllich uttrykte stor begeistring:

“Det var imponerende å se det engasjementet og den lærevilligheten deltakerne viste – både i Oslo og Hammerfest. Dette viser tydelig at Norge satser seriøst på lydkvalitet og teknisk kompetanse, også langt utenfor de største byene.”

Denne utviklingen viser at det ikke bare er mulig, men også ønskelig, å satse på høy teknisk standard i alle deler av landet – fra hovedstaden til nordkalotten.

It’s not every day that a world-class audio training event makes its way to the far north of Norway—but this past week, the town of Hammerfest played host to a unique and inspiring edition of the SMAART Bootcamp.

From June 3rd to 6th, a small but highly motivated group of three students gathered at the Arktisk Kultursenter for an intensive course in sound system measurement and optimization. Leading the course was veteran instructor Thomas Züllich, who, true to his word, made the long journey—some 1800 kilometers—all the way from Oslo to the northernmost town of the world, despite the modest class size.

From left to right: Eirik Gustavo Diesen Tovar, Dag Jarle Nilsen, Thomas Züllich & Sondre Forselv

THOMAS ZÜLLICH (Instructor):

“I did this as I truly love Northern Norway. From an economic perspective, it was maybe a little less than ideal, but the incredible hospitality and eagerness of the students made more than up for it. We really had a blast.”

Originally, more local technicians had planned to attend, but many were called away at the last minute to mix live shows—a common challenge during the busy summer season. Still, Züllich remained committed to bringing high-level training to Hammerfest.

SONDRE FORSELV (Sound Engineer, Arktisk Kultursenter):

“We were really happy Thomas made the effort to come to our place. These four days were some of the most informative and educational I’ve ever had. The class superseded my wildest expectations. I’ve used SMAART before, but Thomas introduced a whole new approach—his way of thinking about sound systems is both simple and sophisticated. All in all, very motivating & inspiring.”

The bootcamp blended hands-on measurement techniques, system tuning theory, and practical exercises, tailored to the unique acoustics of the Arktisk Kultursenter. Despite the small turnout, the enthusiasm was sky-high, and participants left the course with fresh insights and renewed energy.

Dag Jarle Nilsen (Sound Engineer, Arktisk Kultursenter):

“Wow, those four days were intense — and a lot of fun. It’s going to take some time to fully process all the information, but I’m really looking forward to taking the certification test. I plan to use SMAART extensively in my work. It´s quite an eye (and ear) opener this one”

Eirik Gustavo Diesen Tovar (Technician, Arktisk Kultursenter):

“As a multi-purpose technician working across lighting, video, and audio, I’m really glad I took the course. It provides a solid foundation for adjusting sound systems based on facts rather than guesswork. Thomas made even the most complex topics easy to understand, and I’m planning to take the certification test soon as well.”

It’s a reminder that sometimes, the most meaningful learning happens not in crowded halls, but in committed, close-knit groups—especially when guided by a teacher willing to cross the country to share his passion.

For the team in Hammerfest, this was more than just a workshop—it was a landmark moment. And perhaps a signal that with the right dedication, professional development can reach even the northernmost corners of Norway.

In addition to the seminar the AKS invited interested people to a free of charge Sound Pressure workshop.

THOMAS ZÜLLICH (tz audio):

“I want to extend a heartfelt thank you to Arktisk Kultursenter, the entire staff, and the administration—especially Linda Hassfjord—for making it possible for me to take part in this course. I truly appreciate the opportunity and support. It’s been an incredibly valuable experience that I’ll carry with me into my daily work.”

Captured in Hammerfest—the world’s northernmost town—this photo features the MELLab MYc-3 microphone in action. Attached is the high-performance DT228G-P transmitter by GAODIMIC®, delivering reliable audio even in extreme environments.

This week, 15 aspiring Smaart operators from across Norway and Sweden have gathered at the Riksteatret in Oslo to take part in an intensive training course in sound system measurement and optimization using the industry-leading Smaart platform.

Continue reading 15 New Smaart Operators in Training at Riksteatret, Oslo

Thomas snakker med Oddgeir Løvold, lydtekniker til Vassendgutane. Oddgeir deltok i Smaart seminar ledet av Thomas Züllich og er certified Smaart operator. Mer informasjon om SMAART og lyd seminarer – https://www.tzaudio.no

Om Oddgeir Løvold og Løvold Lyd Løvold Lyd AS er en bedrift med et unikt, bredt og stort nedslagsfelt. Med mer en 15 års erfaring fra store festivalscener, konserter, teater, klubber, festarrangement, turnerende virksomheter, IT-drift, salg og installasjon, kan Oddgeir Løvold som eier og daglig leder vise til høy kompetanse som han alltid lar kundene, komme til gode. Det er denne kompetansen sammen med våre samarbeidspartnere og leverandører som gjør Løvold Lyd AS så unik og det er den samlede kompetansen som er vår nummer en handelsvare.

Vassendgutane har lenge vært kjent som Originalen av festcountry, og de lever virkelig opp til dette navnet. Siden 1996 har bandet vært banebrytende i musikkmiljøet, kjent for sitt unike visuelle uttrykk på scenen og den energiske tilstedeværelsen som få andre band kan matche. Med en lidenskapelig tilnærming til musikk og et spektakulært live-show har de etablert sitt «brand» som den definitive festbandopplevelsen. … https://www.vassendgutane.no

FOR IMMEDIATE RELEASE

Experience the Midnight Sun at the Smaart System Engineering Bootcamp in Hammerfest, the World’s Northernmost Town!

Hammerfest, Norway – June 3-6, 2025 – This summer, the northernmost town in the world, Hammerfest, will host an exciting, hands-on educational experience for sound engineers and enthusiasts: the Smaart System Engineering Bootcamp. Taking place from June 3rd to 6th, 2025, the bootcamp offers an unmatched opportunity to sharpen sound system measurement and alignment skills while soaking in the breathtaking beauty of Hammerfest during the Midnight Sun.

An Educational Adventure in the Arctic Circle

Set against the backdrop of one of Norway’s most iconic and remote locations, the bootcamp will provide participants with cutting-edge training in live sound system measurement using Smaart v9 software. Taught by industry expert Thomas Züllich, this meticulously crafted course combines classroom learning with practical, real-world applications inside Hammerfest’s premier cultural venue, Arktisk Kultursenter. Whether you’re a seasoned professional or an aspiring sound engineer, this is a unique chance to expand your expertise while exploring a remarkable Arctic destination.

Continue reading Experience the Midnight Sun at the Smaart System Engineering Bootcamp in Hammerfest, the World’s Northernmost Town!

Are you ready to elevate your audio engineering skills? This October, Timisoara becomes the epicenter of professional audio training with the highly anticipated Smaart Bootcamp. Designed for sound engineers, audio technicians, and anyone passionate about live sound, this intensive workshop offers a unique opportunity to master the industry-standard Smaart software.

Led by seasoned experts, the Smaart Bootcamp covers everything from basic principles to advanced techniques in system measurement and optimization. Whether you’re a beginner eager to learn the ropes or a seasoned pro looking to fine-tune your skills, this boot camp has something for everyone.

Set in the vibrant city of Timisoara, known for its rich cultural scene and welcoming atmosphere, the boot camp promises top-notch training and a memorable experience. Engage with like-minded professionals, expand your network, and immerse yourself in the latest audio technologies.

Don’t miss out on this chance to stay ahead in the fast-evolving world of audio engineering. Secure your spot at the Smaart Bootcamp in Timisoara today, and take the next step in your professional journey!

When: October 7th to 10th
Where: TIFF, Timisoara, Romania
Register Now: https://www.tzaudio.no/product/4-day-smaart-bootcamp-timisoara-07-10-2024/

The Smaart Bootcamp class of Timisoara in March 2023 🙂

Harstad Kulturhus recently hosted a vibrant and enriching Smaart Bootcamp, which concluded with resounding success! The event, held over four intensive days, saw five dedicated students come together to deepen their understanding of sound system optimization using Smaart software. The boot camp was a testament to the students’ commitment and a showcase of the power of hands-on, focused learning. Let’s take a closer look at what made this boot camp special.

The Venue: Harstad Kulturhus – A Perfect Setting

Nestled amidst the scenic beauty of Northern Norway, Harstad Kulturhus provided an inspiring backdrop for the boot camp. Known for its rich cultural heritage and stunning landscapes, Harstad offered the perfect mix of tranquility and vibrancy, setting the tone for an immersive learning experience.

A Focused Learning Journey

The Smaart Bootcamp is designed for beginners and intermediate users of Smaart software. The curriculum covers various topics, from sound measurement and analysis basics to advanced system alignment and optimization techniques.

The five students, Espen Esp, Per Bjørn Olsen, Thomas Olsen, Gjermund Nilssen, and Martin Nordvik Olsen, each bringing unique experiences and questions, formed a close-knit group, fostering an environment of collaborative learning. The small class size ensured personalized attention, allowing the instructor to address specific queries and provide hands-on guidance.

Hands-On Experience and Practical Applications

One of the highlights of the boot camp was the emphasis on practical application. Students engaged in hands-on exercises, using Smaart software to analyze real-world audio scenarios. This practical approach solidified their theoretical understanding and equipped them with the skills to tackle live sound challenges effectively.

Celebrating Success: One Student Already Certified

A significant milestone of the boot camp was the certification test, which evaluates proficiency in using Smaart software for sound system optimization. We are thrilled to announce that one student has already passed the certification test, a testament to the quality of instruction and the student’s dedication. This achievement is particularly noteworthy given the rigorous standards of the certification process.

The Instructors: Experts in the Field

Thomas Züllich, a seasoned professional with extensive experience in sound engineering and system optimization, led the boot camp. His expertise, coupled with his passion for teaching, created a dynamic and engaging learning environment. The instructors imparted technical knowledge and shared valuable industry insights and best practices.

Feedback from Participants

The feedback from the participants was overwhelmingly positive. Students appreciated the depth of the content, the practical focus, and the personalized instruction.

Looking Ahead

The success of the Smaart Bootcamp in Harstad is a promising sign of what’s to come. Plans are already underway for future boot camps in various locations aimed at empowering more sound professionals with the skills they need to excel in their careers.

In conclusion, the Smaart Bootcamp in Harstad was a resounding success, marked by enthusiastic participation, expert instruction, and tangible achievements. We look forward to continuing this journey of learning and professional growth, one boot camp at a time.

Smaart BOOTCAMP @Harstad Kulturhus in Northern Norway

The Harstad Kulturhus in Norway is a modern cultural hub, showcasing theater, music, art, and community events. With its sleek design and diverse programming, it offers a vibrant space for locals and visitors to immerse themselves in the arts and connect with others.

Harstad, nestled in the breathtaking landscapes of Northern Norway, beckons travelers with its stunning fjords, majestic mountains, and vibrant cultural scene. Explore historic landmarks like Trondenes Church, indulge in outdoor adventures like whale watching and hiking, and immerse yourself in the local arts at the Harstad Kulturhus. With its unique blend of natural beauty and cultural richness, Harstad promises an unforgettable journey for every traveler.

Dates – 22.05.2024 to 25.05.2024
info and booking:
 https://www.tzaudio.no/product/4-day-smaart-bootcamp-harstad-22-05-2024/

Learn to Make Sense of the Noise

• Smaart Operator Fundamentals

After completing the Smaart Operator Fundamentals course, you will receive an AVIXA-approved certificate of attendance. Additionally, your name will be included in the Smaart Operator directory on our website.

A Smaart operator has the option to undergo an online examination. Upon successfully passing this test, you will attain the status of a Certified Smaart Operator. This certification entitles you to a 5% discount on all products available in our webshop. Read more about the Smaart operator certification here https://www.tzaudio.no/training-classes/smaart-operator-certification-program/

• Smaart Application Practicums

In the application practicums we practise and use Smaart in real live situations in a concert venue. 

• Bootcamp

Since 2023, these two modules are combined in the 4-day Smaart Bootcamp. To continue, just purchase a ticket from one of the classes listed below.

• Retaking the class.

Smaart Operators wishing to attend another boot camp can benefit from a 50% discount on the registration fee. It is also possible to participate only in the boot camp’s practical sessions, which usually occur on days 3 and 4. To continue, just purchase a ticket from one of the classes listed below. Your discount will be automatically applied at checkout in the webshop.

• EDU

Students in an Educational Partnership can avail of a 50% discount to participate in the boot camp. To continue, just purchase a ticket from one of the classes listed below.

…… READ MORE – https://www.tzaudio.no/training-classes/

https://mailchi.mp/a022bed90428/harstad

Arnar Markusson, Thorhallur Vilbergsson, Johann Runar Thorgeirsson, Hrannar Kristjansson, Jón Örn Eiríksson, Finnur Ragnarsson, Throstur Albertsson, Róbert Steingrímsson, Gylfi Bragi Guðlaugsson, Sveinn Reynir Pálsson, Teitur Ingi Sigurðsson, Árni Sigurðsson, Ernir Thor, Sölvi Karlsson & Thomas Züllich

In a remarkable convergence of engineering excellence and a commitment to better sound quality, a four-day intensive BootCamp under the banner of Smaart (System Measurement Analysis for Acoustic Real-time Testing) was successfully conducted at Harpa, Reykjavik, Iceland. The event drew 14 highly motivated engineers who are now equipped to contribute to making Iceland and the world a better-sounding place. The BootCamp was conducted under the expert guidance of Mr. Thomas Züllich.

Continue reading Smaart Bootcamp in Iceland – the full report

We would like to extend our congratulations to those who successfully cleared the SMAART Operator Level 1 exam.

October 2023

• Árni Sigurðsson, Menningarfélag Akureyrar, Húsavík, Iceland 

September 2023

• Kenth Lyshaug, Riksteatret, Oslo, Norway 
• Charles Kjøbek, CnK Production, Örebro, Sweden

May 2023

• Vetle Madsen, Høyskolen Kristiania, Oslo, Norway 
• Aksel Rønningen, Norsk Produksjon AS, Trondheim, Norway
• Åsmund Hansen, Konsertsystemer LLB AS, Oslo, Norway

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April 2023

• Adrian Serban, EDS Profesional SRL, Mosnita-Veche, Romania 
• David Grimes, Konsertsystemer, Oslo, Norway 
• Erwan Thomas, Trondheim Lyd, TRONDHEIM, Norway 
• Helge A. Bentsen, Perfekt Lyd AS, Oslo, Norway 
• Henry Haugen, Molde Live AS, Molde, Norway 
• Mindaugas Bucius, Mindaugas Bucius Tjenester, Jar, Norway 
• Morten Friis-Lund, Konsertsystemer, Oslo, Norway 
• Claudiu Manole, AUDIV Buftea, Romania 
• Odd Terje Kvilhaug, Konsertsystemer, Fyllingsdalen, Norway 
• Oddgeir Løvold, Løvold Lyd AS, Batnfjordsøra, Norway 
• Ole Marius Holden, Trondheim Lyd, Trondheim, Norway 
• Pelle Johansson, LBJ Studio, Bromma, Sweden 
• Sepehr Haghighi, Åmot Kommune, Rena, Norway 

To locate individuals who have completed the SMAART Operator program, please refer to this directory: https://www.tzaudio.no/training-classes/smaart-operator-directory/

Please visit the Smaart Operator Training pages to learn more about our intensive and unique training & certification program.

Interested?

Book your place at the next class! – new dates to be released soon.

Konsertsystemer, a renowned sound company in Norway, recently held a smaart class in their state-of-the-art recording studio, Studio A. For those unfamiliar, smaart is an acronym for “Sound Measurement Acoustical Analysis Real Time Tool,” a powerful software used by sound engineers to optimize and troubleshoot sound systems.

The class was led by Thomas Züllich, a certified Smaart instructor with years of experience in sound system design and optimization. The class covered various topics, from acoustics and sound system design to advanced measurement techniques using the smaart software. Participants were able to use the studio’s equipment and facilities to gain hands-on experience with the software and learn how to optimize sound systems for different environments.

The engineers at Konsertsystemer are taking the exams to pass the Level 1 certification, a mark of expertise in using the smaart software and highly valued in the sound industry. The class was a valuable learning experience for the engineers and demonstrated Konsertsystemer’s commitment to providing high-quality sound systems and services to their clients.

Konsertsystemer is a well-known company in the Norwegian sound industry, providing sound systems and services for concerts, events, and festivals. Their expertise ranges from small corporate events to large-scale festivals, and they are known for their commitment to high-quality sound and professional service.

Are you looking to upskill your audio engineering knowledge and gain certification in just four days? You had to look no further than the Smaart Operator Fundamentals and Operator Application Practicums at Riksteatret in Oslo!

Continue reading report – Smaart bootcamp – April 11. to 14. 2023 – Riksteater, Oslo, Norway

Continue reading Report – Smaart class – April 3. to 5. 2023 – Arva trading AB, Stockholm, Sweden

Timis County Youth Foundation, Timișoara, Romania in Timișoara, Romania was buzzing with excitement as 12 students gathered for the Smaart class taught by Thomas Züllich from March 20th to 23rd, 2023. The course was divided into the 3-day Smaart Operator Fundamentals and the 1-day Smaart Application Practicums Class.

The Smaart Operator Fundamentals provided an in-depth understanding of setting up a Smaart measurement rig and using Smaart to make single and dual-channel FFT measurements. The course also covered the fundamentals of system alignment, phase measurement, transfer function analysis, and more. The students were thrilled with the knowledge they gained and appreciated the hands-on experience.

The Smaart Application Practicums class focused on the practical use of the Smaart measurement platform in real-world professional audio engineer work. The course provided students with a wealth of knowledge on how to optimize sound systems and overcome challenges that arise during live events.

The Timis County Youth Foundation in Timișoara, Romania provided the perfect venue for the Smaart class. The students enjoyed the vibrant atmosphere and the opportunity to learn from Thomas Züllich, a renowned expert in the field. The course was a great success, and the students left with a newfound understanding of Smaart and its practical applications in professional audio engineering.

Overall, the Smaart class taught by Thomas Züllich was an incredible learning opportunity for anyone interested in professional audio engineering. The students gained valuable insights and practical experience, and the Timis County Youth Foundation provided the perfect setting for this exceptional course. Don’t miss out on future Smaart classes – sign up now and take your audio engineering skills to the next level!

The course is split in two parts:

• 3-day Smaart Operator Fundamentals
• 2-day Smaart Operator Advanced Class
• 16 students maximum per class

The classes start at 9:30 and are finished by 16:00 with a lunch break from 12:00 to 12:30. The classes will be taught by Thomas Züllich and be held in English.

Continue reading coming up – Smaart class mega session – September 12. to 16. 2022 – Steinkjer, Norway

and another one in the box. 9 eager engineers sat through 4 intense days of Smaart training. First a 3 day operator class followed by a full day of practice sessions. The dinner after the last day was well deserved.

Kristian Dørum, Espen Mjøen, Eivind Dahl, Stian Strander, Christer Amundsen, Ole Jørgen Kjørholt, Erlend Stein, Rune Sundby, Lars Andersen & Thomas Züllich

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12 eager sound engineers from all over Norway, Sweden & Lithuania came and spent 4 days learning how to optimise a sound system with Smaart.

Henrik Gjøsæter, Kolbjørn Lysol, Fredrik Hagland, Thomas Trelease, Said Rifay, Klas Praméus, Rune Bjønnum, Sigbjørn Lillestøl, Vytautas Stasiukaitis, Øyvind Skaaden, Øyvind Kobberstad, Stian Aune

Continue reading report – SMART Class, OSLO, Riksteatret, April 2022

18 engineers came to learn how to use Smaart properly.

The class was held at Musikhuset Aarhus in the “Rytmisk sal”, so we had full access to a real world environment. This allowed for a lot of practical use of Smaart. The class was hosted by alfa audio and taught by certified Smaart instructor Thomas Züllich with the help of Fródi Vestergaard Dam of Alfa Audio Denmark. The class was mainly taught in English with tranlations by Fródi, should this be needed. Thomas speaks fluent Norwegian as well, so there was not much of language barrier for the Danes.

In co-operation with the Møre & Romsdal Fylkeskommune and initiative of Lydkjelleren AS of Ålesund there will be a combined Smaart Operator fundamentals & Application Practicums class held in the first week of October 2021.

Continue reading Sykkylven Kulturhus – SMAART OPERATOR FUNDAMENTALS & APPLICATION PRACTICUMS – october 2021

… made easy!

with the SLS Audio MiEMi™

Continue reading Testing in ear monitors …

Fra Tirsdag 6. Oktober til Torsdag 8. Oktober gjennomføres det SMAART OPERATOR kurs på Stormen Konserthus i Bodø. Foreleseren var Thomas Züllich. Kurset ble holdt på Norsk.

Det var mye “action” alle dager og “elevene” fikk en god innblikk i funksjon av SMAART.

Fredag var det en dag med “aplication practicum” der et helt lydanlegg ble innjustert fra bunn av.

Stor takk til alle som kom og. til Stormen Konserthus for hyggelig vertskap.

Da var 3 dagers Smaart operator kurset vel overstått. I disse vanskelige tider er det viktig, kanskje enda viktigere enn ellers, å bruke tiden fornuftig og jobbe med å øke bedriftsintern kompetanse.

Jeg ble kontaktet av Terje Watterud som fortalte meg om ønsket hans om å gjennomføre et Smaart kurs. Vi ble fort enige, og Terje fikk stor hjelp fra Dampsaga kulturhus som tilbød oss å bruke deres store sal for arrangementet.

Så i løpet av 2 uker fikk vi samlet 5 interesserte lydteknikere som kom på kurset. Det var en meget hyggelig gjeng og vi hadde det veldig bra sammen. Etter første “tunge” dag med mye teori hadde vi to dager med massiv lyd-nerding på høyt nivå.

Jeg ville herved igjen takker alle deltagere, Terje for å organisere kurset og sparke prosessen i gang, og selvfølgelig takke masse til Dampsaga Kulturhus for hyggelig vertskap.

Vanligvis holdes kurset på Engelsk, men siden alle deltagere var norske denne gangen kunne kurset holdes på norsk. Tilbakemeldingene jeg har fått er at det gikk veldig bra.

Gjerne ta kontakt skulle du ønske å organisere Smaart kurs hos ditt firma, kulturhus eller teater.

thomas@rationalacoustics.no – +47 971 23 033

Rational Acoustics has introduced an online certification for those looking for confirmation not only that they’ve been to a class or read the manual, but that they can competently operate the software and understand the results. 

Successful candidates will additionally join the Smaart Operators Network, providing them with a listing on the Rational Acoustics global website.

This of course does not guarantee that someone is a talented engineer, but it does demonstrate a baseline knowledge of electroacoustics and system measurement. 

The certification relates specifically to v8 – although core principles are consistent between versions, some questions are v8-specific.

There is a small charge for the test ($24.99), which is payable per test or retest in the event of failure. This reflects the costs involved in using a professional, paid test platform as well as the extensive time dedicated to the creation of educational materials and the test itself.

If you have attended an on-site Smaart v8 training in the past, you are entitled to one test free of charge. A voucher is available from thomas@rationalacoustics.no for this purpose.

A final note – even for seasoned users, the test is not a walk in the park! It’s an open book exam, with the goal of encouraging users to research answers they are unsure of to help them to fill in any flaky areas of knowledge.

Dear friends,

In consideration of the latest information regarding the Covid-19 pandemic, Rational Acoustics Scandinavia has taken the following steps to ensure the health and safety of our employees and customers, and the greater community as a whole.

OFFICE STAFFING

As this is a one person office, working from home has always been the standard, so I will still be available via mobile phone, skype, facetime and email.

SMAART TRAINING CLASSES

Due to the risks associated with travel and close-contact group events, we have made the decision to prospone all upcoming in-person Smaart Training Classes through the end of June 2020. 

All registered class attendees will be contacted directly with information about receiving a refund or transferring to another class later in the year.

A list of all currently scheduled classes can be found on www.rationalacoustics.no. 

ONLINE STORE SALES

Smaart License Code orders from the Rational Acoustics online store (www.rationalacoustics.com/store)  will continue to be delivered via email as normal.

HARDWARE SALES

iSEMcon microphones & 10EaZy systems are available through our dealer network. – https://www.tzaudio.no/rational-acoustics-scandinavia/dealer-network/

We all will continue to monitor the Covid-19 situation and make adjustments to our operations as necessary to ensure minimal impact for our customers.  We are acutely aware of the enormous impact this pandemic has had on the professional audio and live events industry and we appreciate your patience and understanding.

I wish everyone health, safety and peace during these strange and uncertain times. 

Yours most sincerely,

Thomas Züllich

These events had to be cancelled in light of the Corona virus situation.

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In March 2020 we will conduct a few Smaart Intro Workshops at our new dealers in Scandinavia. These events are geared towards all professionals interested in Smaart v8, Smaart SPL or 10EaZy.

This 4 hour Workshop will give you a good insight in what Smaart is used for and when and why you should measure your sound systems with it.

There will be a focus on SPL measurements and logging, which is a very interesting and very important topic for all using sound systems in live shows.

https://www.tzaudio.no/events/intro-workshop-200317/

https://www.tzaudio.no/events/smaart-intro-workshop-200319/

https://www.tzaudio.no/events/smaart-intro-workshop-200324/

Härnösand is a town in Västernorrland County, Sweden with 17,556 inhabitants in 2010. It is called “the gate to the High Coast” because of the world heritage landscape just a few miles north of Härnösand. That is Wikipedia-lingo for “pretty remote”.

Last week Harnösand attracted many sound engineers from Sweden and abroad. In total it were 12 participants attending the class. Tarek even came all the way from Amman, Jordan.

Continue reading Report – Smaart class in Harnösand

3-Day Smaart Operator Fundamentals, Kilden on August 18. to 20.

More information and booking – click here

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1-Day Smaart Application Practicums, Kilden on August 21.

More information and booking – click here

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Kilden Teater- og Konserthus
Sjølystveien 2
Kristiansand
Norway

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related article:

Smaart class at Kilden Concert house Kristiansand, August 2019

Do not miss this chance to participate in the Smaart class in northern Scandinavia. 

Härnösands Teater stora scenen
Storgatan 9
87129 Harnösand
Sweden

Dates: February 11th – 13th 2020

Instructor: Thomas Züllich

The course is open to all interested persons – no prior measurement / system alignment experience required. However, this course does assume a working knowledge of professional sound system engineering practices and basic audio fundamentals.

Please bring a laptop with Smaart v8 (demo or licensed) and a sound-card with minimum 2 channels. You can download a demo version of Smaart v8

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Please note that the license discounts outlined above are for classes hosted and instructed by Rational Acoustics Scandinavia

To avoid disappointment, please book us as soon as possible. We will reply promptly to confirm. Your booking is to be confirmed by a 100% deposit. Accommodation is not included in the price. Basic refreshments are included.

14 sound engineers from all over Norway, Great Britain and Ireland came to the amazing Kilden concert house in the lovely town Kristiansand on the south coast of Norway.

Kristiansand historically spelled Christianssand and Christiansand, is a city and municipality in Norway. It is the fifth largest city in Norway and the municipality is the sixth largest in Norway, with a population of about 90.000.

Tourism is important in Kristiansand, and the summer season is the most popular for tourists. Kristiansand Zoo and Amusement park is the largest zoo in Norway. It receives over 900,000 visitors every year. Markens Street is the main pedestrian street in downtown Kristiansand. Bystranda is a city beach located in Kvadraturen; in addition, Hamresanden beach is the longest beach in Kristiansand. Hamresanden Camping is a popular family camp during the summer season. The city hosts a free concert in downtown Kristiansand once every week in the summer. Outside the city is the industry park Sørlandsparken, which has Sørlandssenteret, the largest mall in Norway.

The Venue is perfect and the support from the Kilden staff absolutely top notch. The group was amazing too. It felt like many became friends during these days on the “school bench”. That is, besides talking sound all day (and evenings in the pub) the part I like the most.

Smaart serves as a platform, based on which the engineers can have fact based discussions, without blurring the communication with “opinion and believe”. The creates a very nice atmosphere.

I love teaching Smaart and sound system design.

Thomas Züllich

Check out our class schedule and make sure to book a place early enough. – https://www.tzaudio.no/rational-acoustics-smaart-training/

On August 13th to 15th Thomas Züllich will be teaching a 3 day Smaart operator class at the Kilden Theater & Konserthus in Kristiansand.

– the class will be taught in English.

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Click here for more information and online booking.

16 sound engineers from pretty much all over the world came together at Riksteatret to enjoy 3 days of Smaart class. It were three intense days with sound system measurements and a lot of “nerding”, as they call this in Norway.

The atmosphere in the group was amazing. It was pleasure and honour to teach these 3 days at the Riksteatret. I also want to thank all the attendees and of course the Riksteatret crew for being such amazing hosts. – Thomas Züllich

Check out our class schedule and make sure to book a place early enough. – https://www.tzaudio.no/rational-acoustics-smaart-training/