!

!
Note!
#

Some#popular#audio#articles#erroneously#call#the#free#field#region#the#near#field#and#the#diffuse#field#region#the#far#field.#Although#near#field#and#far#field#are#
often#used#loosely#in#the#pro9audio#industry,#the#near#field#is#simply#dependent#on#source#size#and#wavelength#and#has#nothing#to#do#with#room#acoustics#as#
such.#
#
There#is#no#standard#definition#at#the#time#of#writing#but#the#near#field#is#accepted#to#be#the#region#so#close#to#the#source#that#the#usual#6dB/doubling#of#
distance#attenuation#doesn’t#apply.#At#very#close#proximity#–#typically#within#a#wavelength#or#within#three#times#the#largest#dimension#of#the#source,#
whichever#is#the#greater#–#the#source#acts#a#bit#like#a#planar#array.#As#you#move#away#from#the#source#surface,#you#benefit#from#the#vector#sum#of#yet#more#
surface#radiation#and#this#partially#compensates#for#the#distance#moved.#
!
Early!decay!time!(EDT)!
#

The#reverberation#level#often#decays#steeply#at#first#(especially#in#the#free#field#area#forward#of#the#critical#distance),#and#then#decays#more#slowly#as#
reverberation#from#more#distant#areas#9#for#example,#a#deep#balcony,#or#sound#taking#a#much#longer#path#9#gets#back#to#the#measurement#position.#
#
When#we#listen#to#continuous#music#the#early#decay#characteristic#tends#to#be#important#as#most#of#the#long9term#decay#will#be#masked#by#successive#
musical#phrases.#
#
To#work#out#this#early#decay#time#(EDT)#the#decay#slope#is#usually#measured#between#0dB#(the#direct#arrival#point)#and#910dB#and#then#multiplied#by#six.#
The#quoted#EDT#is,#therefore,#the#time#it#would#take#the#decay#to#reach#960dB#if#it#were#to#continue#decaying#at#that#early#decay#rate.#
#
Note#that#early#decay#characteristics#are#strongly#influenced#by#the#local#listening#area#and,#therefore,#vary#widely#from#seat#to#seat.#
#
Direct3to3Reverberant!ratio!(DTR)!
#

Sound#technicians#often#talk#about#direct9to9reverberant#ratio#(DTR)#assuming#that#it#is#the#ratio#of#the#instantaneous#direct#sound#level#and#the#
reverberant#level#–#similar#to#the#concept#of#signal9to9noise#ratio.#It’s#not#quite#that#simple.#The#“direct”#sound#for#DTR#measurement#purposes#is#actually#
the#direct#sound#+#some#of#the#early#decay.#So,#in#reality,#it’s#more#like#a#Clarity#(early9to9late#ratio)#measurement#–#see#later.#
#
Smaart#uses#the#910dB#point#that#is#used#for#EDT#slope#determination#as#the#early9late#time#reference.#So#the#sound#energy#that#occurs#before#the#910dB#
point#is#regarded#as#the#direct#sound#and#the#sound#energy#that#occurs#after#the#910dB#point#is#regarded#as#the#reverberant#sound.#
#
#
#
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#

12#
#
This#may#sound#unintuitive,#but#it#has#been#found#that#some#early#arrivals,#typically#up#to#50ms,#are#used#by#our#ear;brain#system#to#reinforce#the#
instantaneous#direct#sound.#
#
The#concept#mustn’t#be#taken#too#far#though.#Although#diffuse#reverberant#energy#up#to#80ms#may#be#beneficial,#individual#broadband#reflections#
approaching#100ms#will#not#only#destroy#speech#intelligibility,#but#will#make#life#very#difficult#for#presenters#and#performers#if#those#one;syllable;late#
echoes#get#back#to#the#stage.#This#is#because#the#speech#syllabic#rate#can#approach#ten#syllables#per#second.#
#
Clarity((C10,(C35,(C50(or(C80)(
#

Like#direct;to;reverberant#ratio,#clarity#(C10,#C35,#C50#or#C80)#is#the#ratio#between#early#sound#and#late#sound#in#an#impulse#response.#The#C(number#
represents#the#split#time#in#milliseconds#between#early#sound#energy#and#late#sound#energy.#
#
For#example,#C35#is#the#energy#ratio#of#the#sound#arriving#within#35#milliseconds#of#the#direct#sound#compared#to#the#overall#reverberant#energy#from#35#
milliseconds#to#the#point#where#reverberant#energy#decays#below#the#ambient#noise#floor.#The#lower#split#times#are#used#for#assessing#speech#only#venues.#
Larger#split#times#tend#to#be#used#for#symphony#halls.#
#
Acceptable#values#are#between#+2dB#and#;4dB.#Again,#in#practice,#acceptable#ranges#vary#with#expectations#;#based#on#venue#size.#
#
Bass(ratio(
#

Bass#ratio#is#the#ratio#between#the#average#reverberation#times#for#the#125Hz#and#250Hz#octave#bands#(T;low)#and#the#500Hz#and#1kHz#octave#bands#(T;
mid).#
#
Bass#ratio#quantifies#the#“warmth”#of#sound#in#a#venue#and#is#a#particularly#important#parameter#for#concert#halls#if#a#highly#intelligible,#but#telephonic#
sound#is#to#be#avoided.#Note#that#bass,#here,#refers#to#vocal#or#instrument#bass#registers#and#should#not#be#confused#with#PA;type#sub;bass#frequencies.#
#
Again,#acceptable#values#are#dependent#on#expectations.#1.1#;#1.25#would#be#regarded#as#good#for#fairly#reverberant#concert#halls#(RT#60#greater#than#1.8#
seconds)#but#the#upper#figure#could#be#increased#to#1.45#for#less#reverberant#spaces.#
#
Speech(transmission(index((STI)(and(common(intelligibility(scale((CIS)
#
(

Speech#transmission#index#(STI)#is#an#estimate#of#a#(loudspeaker#and/or#room)#design’s#ability#to#convey#modulated#signals#(speech)#to#the#audience.#
#
The#STI#value#is#based#on#the#analysis#of#7#octave#band#signals#between#125Hz#and#8kHz.#These#are#modulated#by#14#very#low#frequencies#at#1/3rd#octave#
spacing#ranging#from#0.63Hz#to#12.5Hz.#
#
Here’s#an#excellent#article:###www.synaudcon.com/site/articles/a2do2it2yourselfers2guide2to2computing2the2speech2transmission2index/8#
#
#
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#

#
#
High#levels#of#reverberation,#particularly#beyond#the#critical#distance,#would#tend#to#blur#or#smooth#out#the#complex#modulations#that#are#designed#to#
simulate#speech#information.#The#end#result#is#presented#as#a#figure#of#merit#between#0#(pretty#useless)#and#1.0#(excellent).#
#

#
#
An#alternative#figure#of#merit#is#the#common#intelligibility#scale#(CIS)#–#see#bottom#of#illustration.#
#

The#relationship#between#STI#and#CIS#is:# ############# !"# = ! + !"# !"# #

#
STIPA&and&RASTI
#
&

Speech#transmission#index#for#public#address#(STIPA)#and#Rapid#speech#transmission#index#(RASTI)#are#scaled#back#STI#methods#dating#back#to#the#days#
when#computer#power#and#memory#were#limited.#STIPA#and#RASTI#used#far#fewer#octave#and#modulation#frequencies.##
#

#
#
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#
6.2$ $ FFT$size$and$sampling$rate$considerations$
#
Upper$frequency$limit$vs$sample$rate$
#

According#to#Nyquist’s#theorem,#when#we#sample#a#signal,#we#need#to#take#at#least#two#samples#per#cycle#at#the#signal’s#highest#frequency#component#to#be#
able#to#obtain#reasonable#resolution#without#aliasing.#Aliasing#occurs#when#the#sample#rate#is#too#low#for#the#incoming#signal#causing#the#analyser#to#make#
the#wrong#assumptions#–#generating#spurious#results.#
#

A"classic"example"of"aliasing"is"the"wagon&wheel&or"strobe&effect"often"seen"in"old"movies."If"a"wagon’s"wheel"spokes"are"moving"too"fast"for"the"movie’s"frame"
rate,"the"wagon"wheels"can"appear"to"run"slowly,"stop,"or"even"run"backwards…"
#
#

!!"# = !" !# # Where#Fmax#=#upper&frequency&limit#in#Hertz#and#SR$=#sample&rate&in#samples/second.#

#

#
For#audio#frequency#measurements#up#to#20kHz,#this#means#we’ll#need#a#sample#rate#of#at#least#40k#samples/second#–#preferably#higher#to#stop#small#
sampling#errors#from#creeping#in.#
#
FFT$size$and$time$constant$
#

Fourier#assumed#an#infinite#discrete#time#sequence.#Although#some#1970s#progLrock#solos#seem#to#go#on#for#ever,#the#realLworld#time#restrictions#dictate#
that#the#FFT#calculations#will#be#limited#to#a#finite#number#of#samples.#
#
In#recognition#of#this,#we#usually#describe#an#FFT#by#the#number#of#samples#being#use.#The#incoming#sample#rate#and#the#FFT#size#set#Smaart’s#usable#
measurement#range#and#accuracy.#See#Time&constant&and&frequency&resolution#section#in#a#moment…#
#
If,#for#example,#we#take#an#incoming#audio#stream#with#a#48k#sample/second#sample#rate,#a#48k#FFT#(an#FFT#based#on#48,000#samples)#will#take#1#second#
to#obtain.#The#time#it#takes#the#FFT#to#obtain#the#appropriate#number#of#samples#is#known#as#the#Time&Constant.#
#
The#incoming#digital#audio#stream#is#delivered#to#the#analyser#in#TCLlength#data#blocks#called#time#records#or#time#windows.#
$
#

!!!"
!" = !"$ Where$TC#=#Time&Constant#in#seconds,#Nfft#=#FFT&size#in#samples#and#SR$=#sample&rate&in#samples/second.#
#

#
The#time#constant#(TC)#defines#the#maximum#time#record#available#for#acoustical#analysis#and#Smaart’s#frequency#resolution.#
#
www.rationalacoustics.com""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""©"Rational"Acoustics"LLC"2014"
36#
#
#
!
Single(channel!Impulse!mode!using!a!transient!signal!source!
#

In#Smaart’s#Impulse#mode#we#tend#to#use#very#long#time#constants#(typically#up#to#12#seconds)#to#capture#data#well#beyond#the#reverberant#decay#
characteristic#being#measured.#
#
If#we#use#a#gun#shot,#impact,#or#some#other#transient#event#to#excite#the#room,#we#can#fit#a#singleCchannel#event#into#a#single#time#record#by#arranging#for#
the#data#“window”#to#open#just#before#the#transient#event#begins#and#to#close#once#the#reverberant#energy#has#decayed#well#below#the#noise#floor.#
#
Time!constant!and!frequency!resolution!
#

In#Smaart’s#realCtime#(Spectrum#and#Transfer)#modes#we#often#use#much#shorter#time#constants#to#speed#up#the#measurement#process,#bearing#in#mind,#of#
course,#that#our#measurement#system’s#frequency#resolution#is#determined#by#the#time#constant#as#follows…#
#
The#frequency#resolution#of#our#measurement#system#is#inversely#proportional#to#the#time#constant:#
#
#

!" = ! !"!! ! Where!FR!=!Frequency3resolution!in#Hertz#and!TC#=#Time3Constant#in#seconds.#

#

#
Fourier#analysis#works#on#linear#time#and,#therefore,#frequency#scale.#But#our#earCbrain#system#tends#to#be#more#fickle.#We#like#linear#time#scales#but#
logarithmic#frequency#scales.#
#
Although#we’re#happy#to#see#fixed#FFT#size#(fixed#TC)#data#on#our#screens#when#assessing#time#domain#events#(e.g.#arrival#time,#echo#or#reverb),#we#prefer#
logarithmic#or#octave#scaled#displays#for#frequency#domain#information#(e.g.#spectral#content#or#amplitude#&#phase#response#plots).#
!
Data!windows!
Continuous#audio#data#rarely#fits#a#time#record#with#an#equal#number#of#positive#and#negative#halfCcycles#or#starts#or#stops#at#perfect#signal#zero#crossing#
points.#
#
So#data#windowing#(a#kind#of#soft#gating)#is#used#when#analysing#continuous#signals#to#reduce#errors#such#as#“dc#offsets”#(when,#for#instance,#there#are#
more#positive#halfCcycles#than#negative#halfCcycles)#and#“leakage”#(when#rapidly#switched#waveforms#generate#switching#transients#etc).#
#
The#errors#are#called#leakage#because#they#tend#to#affect#adjacent#frequency#bins.#
#
#
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#
#

#
#
The#illustration#above#is#from#an#historic#Smaart#document#available#from:!www.rationalacoustics.com/files/FFT_Fundamentals.pdf.##
#
It#neatly#shows#why#we#use#data#window#shaping#to#prepare#blocks#of#samples#(TCAlength#time#records)#for#FFT#analysis:#
#
(a) This#is#how#Fourier#transforms#work#in#theory.#An#infinitely#long,#unbroken#data#stream#producing#maximum#frequency#resolution#–#as#shown#by#
the#single#frequency#point#
#

(b) Shows#a#more#practical#TCAlength#time#record#prepared#using#a#rectangular#data#window.#Note#the#leakage#into#adjacent#frequency#bins#which#will#
cause#spectral#response#errors.#
#

Rectangular#windows#can,#of#course,#be#used#to#analyse#transient#events#that#start#and#end#within#the#window#itself#
#

(c) Shows#the#time#record#prepared#using#a#Hann#(cosine)#window.#Note#the#reduced#leakage#A#but#the#slightly#wider#peak#caused#by#the#“pinching”#
effect#that#reduces#the#frequency#resolution#slightly.#This#can,#of#course,#be#overcome#by#starting#with#a#longer#TC.#
#
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#
#
Q)# So#which#data#window#is#best?#
#

A)# It#depends#on#your#measurement#criteria,#for#instance…:#
#
! A#Hann#window#provides#good#frequency#resolution#and#spectral#leakage#characteristics#and#fair#amplitude#accuracy#(typically#within#
0.5dB)#for#general#use#with#continuous#random#(noise#or#music)#signals#
#

If&in&doubt,&use&Hann&(called&Hanning&in&some&publications).&It&works&for&about&95%&of&applications…&
#

! A#Flat&top#window#provides#the#best#relative#peak#amplitude#accuracy#(typically#within#0.01dB)#with#singleItone#sine#wave#signal#sources#
#

! A#Rectangular#window#(sometimes#called#Boxcar##I#and#listed#as#None#in#Smaart)#offers#excellent#frequency#resolution#when#used#to#
analyse#transient#events#that#start#and#end#within#the#window#itself#–#and,#indeed,#to#analyse#synchronised#(pseudorandom)#signals#
#

! A#Tukey#window#can#be#thought#of#as#having#HannIlike#opening#and#closing#characteristics#with#a#rectangularIlike#section#in#the#middle.#It#is#
a#good#compromise#between#the#Hann#and#rectangular#windows.#It’s#good#for#the#long#time#constant#data#windows#used#for#room#analysis.#
#
For#further#inIdepth#–#but#rather#academic#I#reading,#see#https://ccrma.stanford.edu/~jos/sasp/Spectrum_Analysis_Windows.html.#
$
Data$windows$used$in$Smaart$
#
#

Spectrum$mode:#
#
UserPselectable#data#windowing#is#available#when#banding#is#not#in#use#(None#selected).#If#in#doubt,#stay#with#Hann#
### # # Hann#windowed#data#is#used#when#partIoctave#banding#is#selected#
#
Transfer$mode:# Hann#windowed#data#is#used#for#amplitude#and#phase#response#plots#
#
Impulse$mode:$
#
No&windowing#is#used#for#singleIchannel#analysis#–#where#a#transient#stimulus#is#used#with#a#userIcontrolled#data#recorder.#
############################################The#same#technique#is#also#used#for#the#dualIchannel#analysis#of#a#triggered#sweep#stimulus.#
#

# Tukey#windowed#data#is#used#for#dualIchannel#(transfer#functionIlike)#analysis#where#a#continuous#signal#is#used#as#the#stimulus.#
#

#
Multiple$time$window$(MTW)$option$in$real=time$mode$
#

We#saw#earlier#that#Smaart’s#frequency#resolution#(FR)#is#related#to#the#time#constant#(TC)#i.e.#the#length#of#the#time#record#or#time#window#used#for#our#
fast#Fourier#transforms#(FFTs).#This#means#that#a#fixed#TCIlength#time#window#will#give#us#a#fixed#frequency#resolution#(in#Hertz).#
#
However,#in#addition#to#preferring#logarithmic#or#octave#frequency#scales,#us#humans#also#tend#to#prefer#logarithmic#or#octave#frequency#resolution#(e.g.#
1/3rd#octave,#1/6th#octave,#1/12th#octave,#1/24th#octave#etc).##
#
#
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#
#
Smaart#provides#a#multiple#time#window#(MTW)#option#in#real9time#(Spectrum#or#Transfer)#mode#to#cater#for#this.#This#allows#Smaart#to#use#
progressively#smaller#FFT#sizes#with#increasing#frequency#to#maintain#the#octave9related#resolution#that#we’re#comfortable#with.#
#
Bit0depth0
#

Smaart#acquires#lossless#PCM#(Pulse#Code#Modulation)#audio#streams#from#your#IO#device#for#analysis.#The#audio#streams#are,#typically,#CoreAudio#for#Mac#
users#and#ASIO,#Wav#or#WDM#for#PC#users.#
#
Your#IO#device’s#ADC#(analogue9to9digital#converter)#outputs#a#binary#number#(typically#169bit#or#249bit)#for#each#sample.#Each#binary#number#represents#
the#signal’s#instantaneous#voltage#at#the#time#it#was#sampled.#
#
Signal5to5quantisation0noise0ratio0
#

The#process#assumes#that#sampling#will#be#sequential,#and#at#a#sample#rate,#so#no#other#information#is#required#and#all#of#the#binary#number#bits#are#used#
for#audio.#The#signal9to9quantisation#noise#ratio#is,#therefore,#determined#by#the#number#of#bits#used.#
#

The#signal9to9quantisation#noise#ratio#= !"×!"#!" !(!! )# Where#Q#is#the#number#of#(quantisation)#bits.#

#

The#theoretical#signal9to9quantisation#noise#ratio#in#dB!≈ !. !"!#!×!.#
#
This#gives#the#following#figures:#
#

0
! 96.3296dB0for0165bit0sampling0
! 144.624dB0for0245bit0sampling0
#
169bit#performance#is#adequate#for#most#real9time#(Spectrum#and#Transfer#mode)#measurements#using#Smaart.#
#
However,#249bit#performance#should#be#chosen#for#Smaart’s#Impulse#mode#measurements#to#keep#the#system#noise#floor#well#below#what#is#being#
measured.#This#is#particularly#important#if#accurate#reverberation#time,#clarity#and#speech#intelligibility#assessments#are#being#made.#
#
Real5world0signal5to5noise0ratio0
#

Note#that#the#above#theoretical#figures#are#for#signal9to9quantisation.noise#ratio#–#not#the#bottom9line#signal9to9noise#ratio.#In#reality,#the#249bit#figure#
tends#to#get#swamped#by#microphone#and#IO#pre9amplifier#noise,#ADC#imperfections#etc#so#the#achievable#signal9to9noise#ratio#can#be#significantly#less.##
#
To#ensure#you#get#full#performance#from#the#bit#depth#selected,#make#sure#that#there#are#no#effects#processors#or#attenuators#acting#on#the#digital#audio#
stream#between#your#IO#and#Smaart.#If#you’re#a#Windows#user,#for#instance,#and#discover#that#your#signal#level#is#being#affected#by#the#system’s#desktop#
“volume#mixer”#controls,#check#that#you’ve#configured#Smaart#to#source#and#access#your#IO#channels#directly#9#rather#than#via#some#internal#audio#function.#
Then,#if#all#else#fails,#make#sure#that#any#effects#are#switched#out#and#ensure#that#any#level#sliders#are#set#to#full.#
#
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Averaging)
#

FFT#analysers#are#often#used#with#random#signal#sources#8#even#music#or#speech#8#as#the#stimulus.#A#number#of#sequential#time#records#(time#windows)#are#
averaged#to#improve#accuracy#and#repeatability.#Smaart#allows#the#user#to#choose#the#number#averages#(or#the#total#time#to#run#the#averages)#required#to#
produce#a#trace.#The#normal#procedure#is#to#use#the#maximum#number#of#averages#that#is#practical.#
#
Polar)averaging)
#

Smaart#offers#Polar#averaging#for#Spectrum,#Transfer#and#Impulse#mode#magnitude#traces.#Polar#averaging#includes#the#RMS#sum#of#the#direct,#reverb#and#
noise#magnitudes#for#each#frequency#point.#It#is#the#best#type#of#averaging#where#reverberation#and#noise#levels#needs#to#be#assessed.#It#also#produces#
amplitude#traces#that#tend#to#correlate#well#with#the#way#we#perceive#sound#when#used#with#multiple#time#window#(MTW)#techniques.#
#

######################## ########################### #
)))))))))))))))))))))))))))))))))))))))))))))))))))))))))))Polar)averaging))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))Complex)averaging)
#
The#above#illustrations#are#vector#representations#of,#in#this#case,#a#dual8channel#transfer#function.#The#length#of#the#coloured#radial#lines#represents#
magnitude#whilst#phase#is#represented#by#the#angular#shift#from#the#horizontal.#
#
Complex)averaging)
#

Smaart#always#uses#Complex+averaging#for#Transfer#mode#phase#traces#as#phase#is#indeterminate#with#Polar#averaging.#Smaart#also#offers#a#choice#of#
Complex+averaging#for#Transfer#mode#magnitude#traces#as#a#way#of#showing#the#direct#magnitude#with#greatly#attenuated#diffuse#reverberation#and#noise.#
#
#
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#
8.6$ $
#
Impulse$response$Options$
Impulse#Response#options#may#be#accessed#by#selecting#Impulse(
Response…#from#the#Options#menu,#by#pressing#Alt(+(I#or#by#clicking#
the#Impulse(Response(title#bar#in#the#Control#strip.#
#
Time$Domain$Display$Settings$
#

FFT$Size$
As#both#FFT(Size#and#sample#rate#determine#the#length#of#the#time#
record,#this#setting#is#easier#to#select#from#the#Control#strip#as#the#
Control#strip#readout#also#shows#the#associated#time#record#length#in#
milliseconds.#Note#that#larger#FFT#Sizes#also#help#to#reduce#the#noise#
floor#(by#approximately#3dB#per#doubling#of#the#time#record).#
#

It’s(best(to(use(a(time(record(3(=(5(times(the(expected(RT60,(and(then(
zoom(and(crop(as(required(afterwards.(
#

The(bigger(the(FFT(size,(the(lower(your(noise(floor(will(be.(
#
Averages$
Averaging#improves#accuracy#and#repeatability#and#reduces#noise#when#
continuousJsignal,#dualJchannel#measurements#are#being#made.#The#
noise#floor#drops#by#approximately#3dB#per#doubling#of#averages.#
#

Use(the(maximum(number(of(averages(that(your(time(will(allow.!
#
Overlap$%#
Overlapping#successive#blocks#of#data#speeds#up#the#time#it#takes#to#
average#multiple#time#records.#Note#that#this#time#saving#comes#at#a#
cost.#Averaging#overlapped#data#blocks#doesn’t#reduce#the#noise#floor#as#
efficiently#as#averaging#contiguous#data#blocks.#50#–#65%#overlap#is#ok#
(causing#a#1#or#2dB#increase#in#the#noise#floor#over#16#averages).#
#

Higher#percentage#overlaps#can#cause#significant#reductions#in#
performance#due#to#a#phenomena#known#as#overlap#correlation#–#where#
data#is#so#overlapped#that#it#starts#to#look#like#just#one#data#block#with##
#
www.rationalacoustics.com!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!©!Rational!Acoustics!LLC!2014!
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some#interference.#90%#overlap,#for#instance,#can#increase#the#noise##
floor#by#several#dBs.#
#

Unless&you’re&in&a&really&big&hurry,&set&Overlap&%&to&between&0&(best)&
and&65%&(a&sensible&compromise)&
&
Show%IR%Peak#
This#does#what#you’d#expect#and#provides#a#useful#indication#of#the#
main#impulse#peak#–#including#a#subtle#horizontal#line#across#the#screen#
that#makes#it#really#easy#to#check#you#haven’t#overloaded#the#system.#
#

Unless&you’re&tidying&the&screen&for&report&illustrations,&it&makes&
sense&to&leave&this&ticked.&
#
AlCons%Split%Time%(ms)#
This#sets#the#breakEpoint#between#what#is#regarded#as#early#(more#
direct)#energy#and#late#energy#that#may#reduce#intelligibility.#
#

If&in&doubt,&leave&it&set&to&10ms&as&this&is&most&likely&to&make&your&
figures&comparable&with&archive&measurements.&
#
Filter%Settings%
#

Selecting#the#High&Pass&Filter#applies#an#8th#order#(48dB/octave)#high#
pass#filter#to#the#broadband#impulse#response#data.#The#filter’s#high#pass#
Frequency#is#selectable#up#to#12kHz.#
#

Note#that#the#high#pass#filter#setting#is#not#saved#with#the#impulse#
response.#
#
Frequency%Display%Settings%
#

Set#the#Magnitude&Range#and#frequency#Smoothing#for#the#Frequency#
plot#here.#
#

#
#
#
#
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Spectrograph+Settings+
#

FFT+Size+
The#Spectrograph’s#FFT#size#–#and,#to#a#certain#extent,#its#Data#Window#
type#=#affects#the#time#and#frequency#resolution.#Your#choice#of#FFT#size#
is#a#trade=off#between#a#small#FFT#which#provides#good#time#resolution#
but#poor#frequency#resolution#(particularly#obvious#at#LF#on#a#
logarithmic#frequency#scale)#and#a#large#FFT#which#provides#good#
frequency#resolution#but#poor#time#resolution#
#

The#usual#practice#is#to#try#a#variety#of#FFT#sizes#whilst#observing#the#
Spectrograph#display.#
#

2k#is#a#good#starting#point.#Go#lower#for#better#horizontal#(time)#
resolution.#Go#higher#for#better#LF#vertical#(frequency)#resolution.#
#

See#DualBchannel#plot#options#section#later…#
#
Overlap+%+
#

We#tend#to#use#the#overlap#facility#in#Spectrograph#to#increase#the#
displayed#signal#detail#by#increasing#the#data#density.#We#can#use#quite#
high#overlap#percentages#–#up#to#99%#is#possible#–#to#increase#the#
spectrograph#screen#detail.#Spectrograph#calculations#take#a#little#longer#
at#higher#overlap#settings.#
#

60%#is#good#starting#point#but#you#can#always#increase#this#to#99%#
if#you’re#zooming#in#and#need#maximum#resolution.##
#
Data+Window+
#

It#is#possible#to#use#the#Spectrograph#with#the#Data#Window#set#to#None#
–#which#tends#to#provide#good#time#resolution.#However,#good#general=
purpose#Data#Windows#such#as#Hann#or#BlackmanBHarris#can#provide#
good#low=level#frequency#detail#if#you’re#interested#in#decay#features#
that#are#close#to#a#very#low#noise#floor.#
#

Choose#the#settings#by#observation.#Use#settings#that#are#best#for#
looking#at#global#results#and#then#zooming#in#to#detailed#anomalies.##
#
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The$Schroeder$curve$
#

You’ll#see#a#thin#line#has#been#imposed#on#your#impulse#plot…#
#

#
#
This#is#known#as#the#Schroeder(curve#after#the#mathematician#and#acoustician#MR#Schroeder.#(You#may#remember#his#name#from#the#Schroeder#frequency#
mentioned#earlier).#The#Schroeder#curve#is#a#backwards#integration#curve#(in#other#words,#progressively#summing#the#squared#impulse#data#from#right#to#
left)#and#was#devised#to#make#it#easier#to#come#up#with#a#decay#slope#that#was#unFcluttered#by#the#noise#floor.#
#
“T60”#markers#can#now#be#placed#on#the#Schroeder#curve#to#indicate#parameters#generally#agreed#to#be#important#in#assessing#room#acoustics.#
#
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#
T60$markers$
#

If#curiosity#hasn’t#already#got#the#better#of#you,#click#the!T60#button#(near#the#top#of#the#Control#strip)#now.#
#

#
#
This#will#place#the#afore@mentioned#magnitude#vs#time#markers#at:#
#

#
! Ld## (the#first#–#usually#direct#–#arrival#position)#
#
! Le## (10dB#below#Ld#and#used#for#EDT#–#early#decay#time#–#calculations)#
#
! Lr1## (5dB#below#Ld#and#used#as#the#starting#point#for#RT60#calculations)##
#
! Lr2## (in#this#case,#30dB#below#Lr1#and#used#as#the#end#point#for#RT60#calculations.#Lr2#should#always#be#at#least#10dB#above#the#noise#floor)#
! Ln# (used#to#indicate#the#saddle!point#–#the#reverberation@to@noise#floor#transition#–#and#also#used#as#the#end#point#of#All0bands#calculations)#
#
You’ll#also#notice#that#figures#pertaining#to#the#various#markers#have#been#added#to#the#top#right#of#the#plot…#
#
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#
#
Note#that#the#Ln#marker#position#is#an#important#factor#in#calculating#Smaart’s#acoustical#metrics.#Its#positioning#can#sometimes#be#affected#by#excessive#
room#noise,#standing#waves#and#other#resonances#that#the#microphone#is#picking#up.#
#
A"word"about"reverberation"calculations."
#

One#curious#thing#you#may#have#noticed#from#the#onCscreen#figures#is#that#they#are#all#calculated#as#the#time#it#
would#have#taken#the#room#impulse#response#to#decay#60dB#(even#the#EDT#–#early#decay#time).#
#
Early"decay"time"
#

The#LdCLe#time#is#136.6ms#for#an#early#decay#of#10dB.#
#

136.6#x#6#(to#get#to#C60dB#at#the#same#decay#rate)#gives#an#EDT#of#819.6ms#
#
RT60"
#

Because#it’s#often#difficult#to#measure#a#full#RT60#60dB#decay#at#normal#listening#levels#in#rooms#full#of#air#conditioners,#buzzing#lights#etc.,#a#smaller#decay#
is#usually#measured#and#then#multiplied#as#required#to#meet#the#60dB#criterion.#
#
The#Lr1#to#Lr2#time#is#664.7ms#for#a#decay#of#30dB.#
#

664.7#x#2#gives#an#RT60#of#1,328.4ms#or#1.3284#seconds.#
#
Note"
If#your#RT60#figures#look#strange#–#perhaps#way#too#high,#for#example#C#you#can#check#for#“rogue”#1/3#octaves#using#the#Histogram’s#1/3-RT60#feature.#
#

Once#you’ve#spotted#an#unusually#high#RT60#bar,#for#instance,#you#can#switch#over#to#a#Log#or#ETC#plot#(with#the#markers#enabled)#at#the#frequency#bands#
in#question#using#the#appropriate#Filter#and#Band#(lower#Control#strip).#It#may#be#necessary#to#drag#the#markers#to#more#appropriate#positions#before#
continuing.#
#
All"Bands"
#

We’re#now#ready#to#have#a#look#at#Smaart’s#metrics.#
#
Click#the#All-Bands#button#(near#the#top#of#the#Control#strip)#
#
#
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#
#
#
The#All#Bands#sheet#also#includes#broadband#room#acoustic#criteria,#namely,#CIS,#STI,#STIPA,#Bass#Ratio#and#%Alcons.#
#
Again,#check#Section#3.1#for#further#information.#
#
#

%Alcons((not#covered#in#Section#3.1)(means#Percentage#Articulation#Loss#of#Consonants#and#is#a#measurement#of#the#percentage#of#lost#consonants#in#a#
transmission,#with#lower#values#representing#better#intelligibility.#
#

Smaart#performs#both#the#Short#(S)#and#Long#(L)#form#Alcons#measurements,#the#major#difference#being#that#the#Long#form#takes#ambient#noise#into#
account#and#the#short#form#does#not.#
#

Note#that#at#least#25dB#signal:noise#ratio#is#required#for#accurate#%Alcons#(S)#results.#
#

#
You#can#either#Save#the#figures#as#a#tabOdelimited#text#file#in#.csv((comma#separated#value)#form#for#use#in#an#external#spreadsheet,#or(Copy#the#figures#(in#
ASCII#form)#to#your#computer’s#clipboard#for#pasting#into#a#text#document,#a#table#etc…#
#
Details(
#

It#is#also#possible#to#dig#deeper#into#the#room#impulse#response#assessment#criteria#by#
clicking#the#Detail#button.#
#
MTI(
The#MTI((Modulation#Transfer#Index)#combines#the#loss#of#modulation#figures#for#
thirteen#amplitude#modulation#frequencies#for#each#“carrier#frequency”#octave#used#to#
calculate#STI.(
##
MTIPA#
The#MTIPA((Modulation#Transfer#Index#for#PA)#combines#the#loss#of#modulation#figures#
for#two#modulation#frequencies#for#each#“carrier#frequency”#octave#used#to#calculate#
STIPA.#
#
For#further#information#on#STI,#STIPA#and#CIS,#see#Section#3.1.(
##
#
#
#
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#
Important)note)
#

You’ll#need#to#be#using#a#dBspl4calibrated#microphone#channel#to#be#able#to#use#the#
Acoustic(Levels#facility#properly.#See#Section(7.6.#
#
Enter#your#I4O#input#channel#Calibration#Offset#figure#by#pressing#Alt(+(A#and#then#
clicking#on#Settings.#
)
EQ)dB)
#

The#Eq(dB#row#allows#you#to#type#in#equalisation#figures#to#test#for#potential#
intelligibility#improvements#without#having#to#revisit#or#re4measure#the#venue.#
#
Simply#type#in#your#figures#(remember#to#press#return#after#typing#in#a#box)#and#then#
click#Apply.#
#
Import)Noise)
#

Although#tucked#away#in#the#All(Bands#>#Details#
section,#being#able#to#import#a#variety#of#noise#spectra#
(and#to#check#their#effects#on#intelligibility)#is#very#
important#for#meaningful#STI#results.#
#
Assuming#you’ve#saved#a#calibrated#spectral#
measurement#as#an#.srf#(Spectrum#Response#File).#
#

See#here…#
#
Simply#click#Import(Noise.#This#will#take#you#to#a#
Select(Trace#list#of#your#saved#.srfs#where#you#can#
select#the#relevant#one.#
#
Note#that#you#may#edit#the#noise#figures.#
#
Click#Apply.#
#
#
#
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#
#
8.9$ $ Single+channel$Impulse$measurements$
#
As#mentioned#in#Section#4.1,#you#can#measure#a#venue’s#natural#acoustic,#with#no#calibrated#sound#
source#or#public#address#system,#using#a#starting#pistol,#a#hand?clap,#a#balloon#pop,#etc.#
#
This#method#gives#quick#and#convenient#results,#but#most#of#the#stimuli#are#not#calibrated#so#it’s#difficult#
to#conduct#intelligibility#tests#at#normal#or#repeatable#calibrated#speech#levels.#
#
Single?channel#testing#is#useful,#however,#for#general#purpose#acoustical#characteristics#such#as#EDT,#
RT60#and#for#trouble?shooting#phenomena#such#as#flutter#echoes.#
#
Smaart’s#Impulse#mode#Control#strip#provides#a#recording#facility#so#that#single?channel#impulses#may#
be#recorded#and#analysed.#In#essence,#we’re#bypassing#the#dual?channel#process#and#jumping#straight#in#
by#recording#a#transient#that#is#similar#to#the#.wav#file#that#we#usually#save#after#cropping.#
#
We#can#use#a#single#microphone#via#one#channel#of#an#I?O#(as#shown#on#the#right)#and#set#Smaart#to#
record#mode#by#clicking#the#Record'button#(which#will#turn#red)#in#the#control#strip.#
#

#
#
#
This#sets#Smaart’s#data#window#to#None#and#allows#you#to#manually#start#and#stop#the#recording#process#
and,#hence,#create#your#own#time#record.#
#
Press#the#Run#(triangular#button)#once#to#start#(it#will#turn#yellow),#execute#your#transient.##
#
#
#
Allow#sufficient#time#for#the#reverberation#to#decay#well#into#the#noise#floor#and#well#beyond#audibility#and#then#press#the#Run#button#again#to#stop#the#
recording#and#start#processing#the#data.##
#
#
#
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Single'channel+impulse+example+
#

Here’s#an#example#of#a#flutter#echo#–#stimulated#by#a#hand:clap…#
#

#
#
This#was#a#particularly#obvious#flutter#echo#in#a#music#venue#that#was#being#considered#for#live#recordings.#Sound#from#the#stage#was#fine#but#the#flutter#
echo#(from#parallel#walls#either#side#of#the#audience)#caused#strange:sounding#applause.#
#
The#solution#suggested#involved#diffusion#rather#than#absorption#as#the#hall’s#stage:stimulated#reverberation#was#very#nice.#We#didn’t#want#to#kill#the#
room’s#good#characteristics#by#suggesting#some#kind#of#absorbent#wall#covering…#
#
#
#
#
#
#
#
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