Smart tools for audio production have been making its way into modern audio production and is getting more popular in studio and postproduction work. In live sound however, there is few alternatives that exist. In this study live sound engineers experienced in live music sound reinforcement were interviewed about how they use gain and what considerations they make when adjusting gain. The aim of this study was to use their answers to create the foundation of a framework to an algorithm that can adjust gain automatically. The interviews were semi-structured, and the transcriptions were analysed using grounded theory. From the transcripts five categories were created and further divided into subcategories for deeper analysis. The study showed that the data in the study could not easily be proceduralized but instead two alternative ways of implementing this in practice, one that monitors the input signals and passes the information to the engineer. And another that adds a control layer to the monitoring where the parameter can be selected based on mixing strategy and the algorithms control can be switched on or off.

This research aims to develop a low-frequency response control methodology capable of delivering a consistent spectral and temporal response over a wide listening area. Low-frequency room acoustics are naturally plagued by room-modes, a result of standing waves at frequencies with wavelengths that are integer multiples of one or more room dimension. The standing wave pattern is different for each modal frequency, causing a complicated sound field exhibiting a highly position-dependent frequency response. Enhanced systems are investigated with multiple degrees of freedom (independently-controllable sound radiating sources) to provide adequate low-frequency response control. The proposed solution, termed a chameleon subwoofer array or CSA, adopts the most advantageous aspects of existing room-mode correction methodologies while emphasizing efficiency and practicality. Multiple degrees of freedom are ideally achieved by employing what is designated a hybrid subwoofer, which provides four orthogonal degrees of freedom configured within a modest-sized enclosure. The CSA software algorithm integrates both objective and subjective measures to address listener preferences including the possibility of individual real-time control. CSAs and existing techniques are evaluated within a novel acoustical modeling system (FDTD simulation toolbox) developed to meet the requirements of this research. Extensive virtual development of CSAs has led to experimentation using a prototype hybrid subwoofer. The resulting performance is in line with the simulations, whereby variance across a wide listening area is reduced by over 50% with only four degrees of freedom. A supplemental novel correction algorithm addresses correction issues at select narrow frequency bands. These frequencies are filtered from the signal and replaced using virtual bass to maintain all aural information, a psychoacoustical effect giving the impression of low-frequency. Virtual bass is synthesized using an original hybrid approach combining two mainstream synthesis procedures while suppressing each method‟s inherent weaknesses. This algorithm is demonstrated to improve CSA output efficiency while maintaining acceptable subjective performance.

Loud stage sound is a known challenge for live sound engineers, and the goal of this study was to investigate stage sound's role in live rock music performed in small venues. Stage sound is known to be prominent in small rooms as the total sound energy produced tends to contain a large proportion of stage sound. It commonly addressed that if the PA is overpowered by direct sound from instruments on stage, the mixing engineer may lose control over musical balance and overall sound level. To understand how engineers handle this, 6 professional engineers were interviewed by using semi-structured interviews. Additionally, 14 shorter interviews were conducted with musicians to gain further insight in what attributes of stage sound are desirable for performers and how they are affected by engineers' decisions. Results were interpreted through thematic analysis. 8 main themes were identified, some of which contained several subthemes. These themes were 1) Managing instruments' stage sound, 2) Monitor systems, 3) PA systems - what sources need reinforcement?, 4) Strategies for even coverage, 5) Sound level management, 6) Limitations of small venues 7) What is "good sound"? and 8) Communication regarding stage sound levels.

Sound levels in live sound reinforcement have long been a topic for debate in live concerts, but the subject is also important elsewhere. Swedish Christian free churches have also struggled for many years to optimize how sound reinforcement can serve the community. There are many different factors affecting the sound level preferences in live sound reinforcement environments. Among them are perception of loudness, musical preferences, hearing impairments and tolerances. This bachelor thesis investigated if musical preference affected the perceived loudness and/or the preferred listening level through a set of listening tests and qualitative surveys. It was investigated in one Swedish free church congregation, from which 16 subjects participated. The listening test was conducted with three parts: loudness matching stimuli to a pink noise, setting the preferred listening level of the stimuli and rating the preference of the stimuli. Subsequently, a survey after a service was conducted to investigate different factors affecting the experience. No connection between music preference and loudness perception or preferred level wasfound. However, the study did produce multiple findings that reveal factors affecting the sound level preferences in the chosen congregation, such as hearing impairments, expectations on the role of sound in worship services, and the balance of instruments. These findings revealed differences in opinion regarding the mix philosophy used in services, and the impact of these approaches on members of the congregation. Altogether, the findings point to recommendations and considerations for live sound engineers working in worship environments.