Smaart (System Measurement Acoustical Analysis in Real Time) is a suite of audio and acoustical measurements and instrumentation software tools[1] introduced in 1996 by JBL's professional audio division. It is designed to help the live sound engineer optimize sound reinforcement systems before public performance and actively monitor acoustical parameters in real time while an audio system is in use. Most earlier analysis systems required specific test signals sent through the sound system, ones that would be unpleasant for the audience to hear. Smaart is a source-independent analyzer and therefore will work effectively with a variety of test signals including speech or music.
Smaart is a real-time single and dual-channel fast Fourier transform (FFT) analyzer. Smaart has two modes: Real-Time Mode and impulse response mode. Real-Time mode views include single channel Spectrum and dual channel Transfer Function measurements to display RTA, Spectrograph, and Transfer Function (Live IR, Phase, Coherence, Magnitude) measurements. The impulse response mode will display time domain graphs such as Lin (Linear), Log (Logarithmic), ETC (Energy Time Curve), as well as Frequency, Spectrograph, and Histogram graphs. Impulse Response mode also includes a suite of acoustical intelligibly criteria such as STI, STIPA, Clarity, RT60, EDT, etc.
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Smaart is based on real-time fast Fourier transform (FFT) analysis, including dual-FFT audio signal comparison, called "transfer function", and single-FFT spectrum analyzer.[3] It includes maximum length sequence (MLS) analysis as a choice for impulse response, for the measurement of room acoustics. The FFT implementation of Smaart includes a proprietary multi-time window (MTW) selection in which the FFT, rather than being a fixed length, is made increasingly shorter as the frequency increases.[4] This feature allows the software to 'ignore' later signal reflections from walls and other surfaces, increasing in coherence as the audio frequency increases.[4]
The latest version of Smaart 8 runs under Windows 7 or newer, and Mac OSX 10.7 or newer, including 32- and 64-bit versions. A computer having a dual-core processor with a clock rate of at least 2 GHz is recommended.[5] Smaart can be set to sample rates of 44.1 kHz, 48 kHz or 96 kHz, and to bit depths of 16 or 24. The software works with computer audio protocols ASIO, Core Audio, WAV or WDM audio drivers.[6]
Smaart's transfer function requires a stereo input to the computer because it analyzes two channels of audio signal. Using its dual-FFT mode, Smaart compares one channel with the other to show the difference. This is used by live sound engineers to set up concert sound systems before a show and to monitor and adjust these systems during the performance. The first channel of audio undergoing analysis is connected directly from one of the main outputs of the mixing console and the second channel is connected to a microphone placed in the audience listening area, usually an omnidirectional test microphone with a flat, neutral pickup characteristic. The direct mixing console audio output is compared with the microphone input to determine how the sound is changed by the sound system elements such as loudspeakers and amplifiers, and by the room acoustics indoors or by the weather conditions and acoustic environment outdoors. Smaart displays the difference between the intended sound from the mixer and the received sound at the microphone, and this real-time display informs the audio engineer's decisions regarding delay times, equalization and other sound system adjustment parameters.
Transfer function measurements can also be used to examine the frequency response of audio equipment, including individual amplifiers, loudspeakers and digital signal processors such as audio crossovers and equalizers. It can be used to compare a known neutral-response test microphone with another microphone in order to better understand its frequency response and, by changing the angle of the microphone under test, its polar response.[8]
Transfer function measurements can be used to adjust audio crossover settings for multi-way loudspeakers; similarly, they can be used to adjust only the subwoofer-to-top box crossover characteristics in a sound system where the main, non-subwoofer loudspeakers are flown or rigged but the subwoofers are placed on the ground. One of the traces in the Smaart display shows phase response. To properly align adjacent frequency bands through a crossover, the two phase responses should be adjusted until they are seen in Smaart to be parallel through the crossover frequency.[8]
In Spectrograph view, Smaart displays a real-time spectrum analysis, showing the relative strength of audio frequencies for one audio signal. Needing only one channel of audio input, this capability can be used for a variety of purposes. With Smaart's input connected to the mixing console's pre-fade listen (PFL) or cue bus, Spectrograph view can display the frequency response of individual channels, several selected channels, or various mixes.[8] Spectrograph mode can be used to display room resonances: pink noise is applied to the room's sound system, and the signal from a test microphone in the room is displayed on Smaart. When the pink noise is muted, the display shows the lingering tails of noise frequencies that are resonating.[8]
Smaart can be used to find the delay time between two signals, in which case the computer needs two input channels and the software uses a transfer function measurement engine. Called "Delay Locator", the software calculates the impulse responses of two continuous audio signals, finding the similarities in the signals and measuring how much time has elapsed between them. This is used to set delay times for delay towers at large outdoor sound systems, and it is used to set delay times for other loudspeaker zones in smaller systems.[10] Veteran Van Halen touring sound engineer Jim Yakabuski calls such delay locator programs as Smaart a "must have" item,[11] useful for quickly aligning sound system elements when setup time is limited.[12]
Smaart is primarily aimed at sound system operators to assist them in setting up and tuning sound systems. Other users include audio equipment designers and architectural acousticians. Author and sound engineer Bob McCarthy wrote in 2007 that because of Smaart's widespread acceptance at all levels of live sound mixing, the paradigm has reversed from the 1980s one of surprise at finding scientific tools in the concert sound scene to one of surprise if the observer finds that such tools are not being used to tune a sound system.[13]
As early as 1978, field analysis of rock concert audio was undertaken by Don Pearson, known by his nickname "Dr. Don", while working on sound systems used by the Grateful Dead. Pearson published articles about impulse response measurements taken during setup and testing of concert sound systems, and recommended the Dead buy an expensive Brüel & Kjær 2032 Dual Channel FFT analyzer, made for industrial engineering. Along with Dead audio engineer Dan Healy, Pearson developed methods of working with this system to set up sound systems on tour, and he assisted Meyer engineers working on a more suitable source-independent measurement system which was to become their SIM product.[17] As well, Pearson had an "intimate involvement" with the engineers who were creating Smaart,[17] including a meeting with Jamie Anderson.[18]
Smaart was developed by Sam Berkow in association with Alexander "Thorny" Yuill-Thornton II, touring sound engineer with Luciano Pavarotti and The Three Tenors.[13] In 1995, Berkow and Thorny founded SIA Software Company, produced Smaart and licensed the product to JBL.[19] First exhibited in New York City at the Audio Engineering Society's 99th convention in October 1995 and described the next month in Billboard magazine,[20] in May 1996 the software product was introduced at the price of $695, the equivalent of $1,201 in today's currency.[21] Studio Sound magazine described Smaart in 1996 as "the most talked about new product" at the 100th AES convention in Copenhagen, exemplifying a new trend in software audio measurement.[22] Calvert Dayton joined SIA Software in 1996 as graphic designer, technical writer and website programmer.[19]
EAW developed a digital mixing console prototype in 2005, the UMX.96; a console which incorporated SmaartLive 5 internally.[28] Any selected channel on the mixer could be used as a source for Smaart analysis, displaying, for instance, the real-time results of channel equalization.[28] The console could be configured to send multiple microphone inputs to Smaart, and it offered constant metering of sound pressure level in decibels.[29] When it was put into production in 2007, band engineer Don Dodge took the mixer out on a world tour with Foreigner, the first concert mixed in March 2007.[30] With its 15-inch touchscreen able to serve both audio control and Smaart analysis functions,[31] Dodge continued to mix Foreigner on it throughout 2007 and 2008.[32]
CM6206 hardware is perfectly capable going all the way down to a sub-hertz (less than 1 Hz) flat frequency response if desired / required. You can even bypass input AC coupling capacitors to enable DC input, with some precaution (useful for audio oscilloscope applications and DC signal measurements e.g. using Daqarta software).
C-MEDIA CM6206 audio codec is used in many different sound cards, including 7.1 surround models. It supports separate Headphone output, mute, rec mute, digital volume controls, dual mono MICROPHONE inputs and more! Of course, in this 5.1 model not all the features are used (obvious cost reduction saving on external parts and components), but what can you expect from a $5 or $10 sound card? More expensive $20 models come with 7.1 audio, dedicated headphones output, dual MIC and LINE-IN inputs, Volume and Mute controls, but those are not really essential, as you can achieve the same in software, although they can be convenient as dedicated hardware buttons. 2ff7e9595c
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