Discipline
Measure the room, shape what goes into it, fire the cues, and talk to whatever is doing the amplifying.
Audio at an event is several unrelated jobs sharing one word. Something has to tell you what the room is actually doing, in numbers that survive being questioned. Something has to shape what goes into it. Something has to fire the cues on time and put them out of the right output. And something has to talk to the amplifiers, the network they sit on and the radio mics above them, usually over a protocol somebody else designed and never published.
These are the tools written for those jobs, in most cases because the existing answer was a demo licence, a spreadsheet, or a laptop that had to stay in the rack for one feature. Every one of them has a public repo you can read and build.
4 projects · 4 with builds to download · 9 to try in a browser
The numbers you quote to a licensing officer or a production manager, and the ones you use to decide whether the system is working.
A desktop sound level meter and dual-channel analyser, with a fractional-octave RTA, a spectrograph, time-weighted SPL and as many LEQs as you care to set up, plus level history charts, CSV logging, a signal generator and transfer function measurement with phase, coherence and delay finding. It all sits on a grid of tiles you lay out yourself.
Getting the right thing out of the right output at the right moment, from a surface that isn't a laptop keyboard, and keeping what came back.
A cross-platform audio cue player for theatre and live events, with cues, fades, links, loops and vamps, and a per-cue output routing matrix. You can drive it with OSC, MIDI, MSC, MMC, Art-Net or sACN.
Talking to the boxes, in whatever they happen to speak, and to the people wearing the other headsets.
A control bridge for Dante kit from different vendors: preamp gain and phantom power across Behringer/Midas, Allen & Heath and Yamaha, plus radio-mic telemetry from Shure and Sennheiser.
Everything else in the category.
An optional desktop app for all the Stoatworks software: plugins, tools, applications and Companion modules. It shows what you've got installed and what has an update, and installs each one in whichever formats you use, whether that's FFGL for Resolume, OpenFX for Resolve, After Effects, or VST3 and Audio Units for a DAW. It keeps itself up to date too. You don't need an account, and it doesn't send anything anywhere.
Hosted builds in this discipline that you can open right now, with no install and no account. Each one also has a page of its own underWeb tools, with what it does and doesn't send anywhere.
Nearly all of it went into measurement maths and DSP, because those are the parts that go wrong quietly. An LEQ derived by tilting a spectrum with a weighting curve changes when you change the transform size, the window or the overlap, none of which have anything to do with the sound. A weighting filter designed by a naive bilinear transform is exact at 1 kHz and more than ten decibels out at the top of the band, so it passes the one check most people run and fails everywhere nobody looks. Zero EQ shipped four releases with a broadband saturator where a frequency-selective one belonged, because a single-tone test can't tell the two apart, and that's on its page, in those words.
This is why the project pages here explain the method rather than only listing features. A screenshot of a meter tells you nothing about whether the number on it is right, and that difference is why these exist at all.
Each project says on its own page exactly what has been tested and what has only been reasoned about. The pattern across the audio work is consistent: the maths and the DSP are covered by tests, and the last cable usually isn't. No acoustic calibrator has ever been connected to LEQtion or Contourtonist, and no MIDI or lighting hardware to SimpleCue. Dante BabelBox has met real hardware for two adapters (a Yamaha DM3's head amps and a Sennheiser EM 500 G3), while every other adapter has only met mock devices, and its page says which captures would fix that, if you have the hardware.
None of that makes a tool unusable. It means the caveats on each page are worth reading before a show depends on one, and that a bug report from real hardware is the most useful thing anyone can send.
The whole catalogue
The full index carries every project at once, searchable and filterable by discipline, type and how finished it is, including the disciplines that don't have a page of their own yet.
