Updates to the Squaresmile platform — shipping log, newest first.
Clearer, corrected pages for SoundSense, SetlistForge, Stage Plot and KlarFunk.
The SoundSense page now shows what you can use on day one and what opens at 50 and 150 correct answers, and gives Ring-Out, Name the ring and the show-day warm-up their own section. The help now counts the games correctly: 16 modules let you hear your guess, and the ladder has 13 games.
A new FAQ explains what the GEMA portal does and what SetlistForge adds. The page now says correctly that the account backup runs automatically when you are signed in and can be switched off.
The page no longer claims a CSV export of the input list: the input list goes into the PDF rider, and the DMX patch exports as CSV. The price now sits in the first screen.
The KlarFunk page now lists all 14 regions with their rules, explains what a €40 RTL-SDR dongle can and cannot measure, and compares fairly against free manufacturer software.
SoundSense: eight new Mix Balance songs and more stems for every game.
Mix Balance now has ten multitrack songs instead of two: Denny Crane, Disco Stew, Funny Pizza, Motor 54, Shake It, Ska Punka, The First Time and Uka Mambo join Melancholy and Boom Bap. Some have three faders (drums, bass, other), some four (with vocals).
The new songs' drums, bass and vocals, and their full mixes, join the stems the EQ, compression, delay, pan and other games pick from — loudness-matched like the rest, so level never gives the answer away.
Show Clock page: price and Buy at the top; the site menu in German and Spanish.
The Show Clock page now says what it is in its heading (stage timer and run-of-show clock), shows the price and a Buy button at the top, and leads with the curfew that never moves. It also states correctly when a crew link is deleted: only after 90 days without an update and 30 days after the show.
On German and Spanish pages the site menu is now fully translated, and its tool links go to the pages in your language.
Show Clock: duplicate a timetable.
The timetable switcher has a "Duplicate timetable" button under "+ New timetable". The copy keeps every slot, the fixed times and the time zone, opens straight away and asks for a new name. Attachments, the live offset and share links are not copied, and a copy of a past show gets today's date.
Copying a timetable while another device's rename arrived could write the old name back. The copy now reads the latest list before saving.
The KlarFunk browser demo opens without an account.
The browser demo at /klarfunk/demo now opens for everyone — no account, no licence, no dongle — just like the download. It runs the real spectrum view on synthetic data.
Stage Plot: Option/Alt-drag copies, and your own equipment with your own icons.
Hold Option (Mac) or Alt while you drag an element or a selection: a copy follows the pointer and the original stays where it was, with its cables, channel and group. Copies get free channels of their own, a group copied whole becomes a new group, and one undo takes the copy back.
The palette has a "Your equipment" section with an "Add your own" button (also under Edit). Upload a picture, and it becomes a small icon: a line drawing takes the plot's colours on the dark canvas, the light canvas and in the PDF; a photo or logo keeps its own. Rename, replace or delete it with the ✎ button. Your equipment follows your login, and shared or exported plots carry the icons they use.
KlarFunk downloads without an account, and the hardware claims are corrected.
The KlarFunk installers for macOS and Windows now download straight from the landing page — no account, no licence. Every install runs a 14-day full-feature trial; a Gumroad key keeps it going after that and works on 3 computers.
The landing and help now say it plainly: the live waterfall works on RTL-SDR and in demo mode, every other device gets the sweep-history strip. On macOS there is nothing to install; on Windows you run 'KlarFunk - Install RTL-SDR Driver' once from the Start menu.
LoudSense gets a Live concert button with two targets.
LoudSense has a new Live concert group with two targets: one for concert recordings and livestreams (−14 LUFS, a convention — there is no published standard for concert recordings) and one for a live programme on TV (EBU R128, −23 LUFS ±1 LU). Both show their verdict and can fix the file to the target.
A new TempoSense landing page with the real detector built in.
The TempoSense page now runs the real detector: play the built-in groove or let it listen to the room, and watch it lock to the beat, drive the lights lanes and hand the tempo to BPM Forge. It shows what TempoSense sends on (MIDI clock, beat notes, tempo as CC) and how the detectors work. In English, German and Spanish.
A new BPM Forge landing page with the tool built in.
The BPM Forge page now opens with the tool itself: tap a tempo, hear the metronome, and watch the count-in, delay times and setlist follow it. The tuner card shows every preset the app has, and the page shows how BPM Forge hands the tempo on to the rest of the show. In English, German and Spanish.
A new dashboard: search, jump back in, and tools grouped by the show day.
Search all tools with "/", jump back into the tools you worked in last and pin them in the order you like, and browse the library by moment of the show day or A to Z, as cards or a list. Premium tools now sit next to the free tools they belong with, with their price and an Unlock button, and a "Picked for you" card suggests the next one that fits your work.
TempoSense keeps your interface and offers every channel; iPhone playback after the mic is normal again.
Safari gives inputs a new id every session, so TempoSense used to fall back to the default input. It now finds your interface again by its name. Larger interfaces can pick channel 3 and up, not only Sum, L and R.
After using a tuner or a measuring tool, the metronome and other sounds could come out quieter or from the earpiece. The phone now switches back to normal playback as soon as the last microphone stops.
Microphone fixes for iPhone, iPad and external audio interfaces.
In the installed app on iPhone and iPad, the tuners, SpectraSense and TempoSense could refuse the microphone after the metronome, ClickSmith, SoundSense or LoudSense had played sound. Every microphone start now works without restarting the app. The top bar also sits below the iPhone status bar again, so the menu button can be tapped.
BPM Forge, PitchSense, TempoSense, SpectraSense and RoomSense now notice when a call or Siri interrupts the input, or an interface is unplugged, and tell you instead of freezing. A 44.1 kHz interface no longer stops them from starting, a missing saved input falls back to the default one, and every microphone error shows its error code.
Donations now go through PayPal.
The Donate buttons now open PayPal instead of Ko-fi. After a donation you land on a thank-you page; if you cancel, nothing is charged and you're simply brought back. The privacy policy explains what PayPal shares with us.
A new frontpage and a new ClickSmith page.
The frontpage now walks through a show day, from plan the rig to doors and encore, and shows which tool does which job, with a live Show Clock in the hero and how your stage plot becomes your rider. Available in all 11 languages, in dark, light and high contrast.
The ClickSmith page shows the whole way from dropped song to in-ear click, lets you hear the click and try the sounds, and compares it with building a click by hand. In English, German and Spanish.
With the redesigned light theme in place, the theme switcher now simply says Light.
The light theme is redesigned across the whole platform.
The light theme has been designed from scratch instead of derived from dark: a calm, neutral page with white cards and soft shadows, clean honey-gold buttons, and a light version of every tool's own colour. Selected, disabled and status states look the same in every tool: selected is tinted with a firm edge, disabled is dashed, and every status carries a symbol, not just a colour. Charts, meters and spectra use colours made for a light background. Dark and high contrast are unchanged; printouts stay paper-white.
Stage Plot's save indicator tells the truth, the input list is fixed, and the preview images are new.
The save indicator could say "Saved to account" for an edit your account didn't have yet, and an edit made just before leaving the page could stay on this device only. It now shows "unsaved" the moment you edit, waits for the account to confirm, and sends a missed save again on your next visit.
A channel typed as "Ch 16" no longer shows up as "Ch Ch 16", and the open input list no longer covers the PDF and PNG buttons in the menu bar.
The Stage Plot pictures on the landing page, the dashboard and link previews now show a clean, logical stage.
The light theme gets a round of fixes and a Beta label while its redesign is in progress.
In the light theme, tool buttons no longer all turn yellow, dark-mode glows and shadows are gone, placeholders and beat dots are quiet, off-palette colours are replaced and selected states look the same within each tool. The light theme is marked "Light (Beta)" while a fully redesigned light look is on its way.
Light and high contrast now cover the whole platform, every tool included.
The colour scheme you pick next to the language — Dark, Light or High contrast — now applies to every tool, every tool page and the shared views a band or venue opens. Charts, waveforms and meters redraw in the new colours the moment you switch, without a reload.
Every game, chart and meter follows the colour scheme. In high contrast nothing is faded and states are shown with an edge or a shape, not colour alone.
In light and high contrast, hearing-safety and level verdicts carry a shape — ✓ fine, ▲ caution, ✕ over — and printed sheets are always paper white, whatever the screen shows.
FreqSense spectra and RoomSense sheets print dark on white in every colour scheme.
Dark stays the default — Light and High contrast are new, per account or just on one device. Show Clock and SetlistForge already follow; the other tools come one by one.
Next to the language picker in the top bar there is now a theme switch: Dark (still the default), Light — Show Clock's white design, for daylight and bright rooms — and High contrast, black and white with strong outlines for low vision or direct sun. Your choice follows your account to every device and is there from the first moment a page loads. If your device asks for more contrast and you never picked a theme, you get High contrast automatically.
Tick "Only on this device" in the theme switch or under Account → Appearance to keep, say, the stage iPad light while your laptop stays dark. Untick it — or press "Use my account setting" — to follow your account again.
The dashboard, account, sign-in pages, help center, what's new, the front page and the Show Clock page, plus Show Clock and SetlistForge themselves — their own theme buttons now change the platform setting. The other tools follow one by one; until then they stay dark and the switch tells you so.
Every tool page now shows the real tool at work, recorded from the tool itself, in English and German.
Every tool page now opens with the real tool at work — a short silent loop on a laptop next to the phone view, recorded from the tool itself with invented example data. German pages show the German interface. If your device asks for reduced motion, you see a still instead, and the loops only play while they are on screen.
Links to a tool now preview with a current picture of that tool, in English or German, instead of an old drawing.
On an iPad held upright, tool pages no longer move a little sideways when you scroll.
SoundSense gets eleven new training games, EQ Characters, an adaptive ladder per listening device and custom sessions — all inside the same purchase.
Next to EQ Recognition: EQ Shelves, EQ Low Cut and EQ Two Moves. Compressor match — set threshold, ratio, attack and release by ear until yours sounds like the target, with make-up automatic on both — plus delay time, reverb decay, saturation and gate matching, all on our own models and level-matched where loudness would give the answer away. Quick drills: Which is louder? (down to 0.5 dB), Q width and Name the ring. All included in SoundSense, no extra purchase.
Under Games: explore, pick the curve you hear and match it by ear on three EQ characters — a passive tube program EQ that boosts and cuts at once, a proportional-Q EQ that gets narrower the harder you push, and a resonant shelf. They are our own curve models, described by what they do; they do not emulate any unit.
The EQ games and the new games climb eight levels: two strong answers in a row move you up, a miss moves you down. In the EQ games you hear your own move while you place it — Original, Question, Yours — and that help fades as you climb. Name your headphones or speakers and your levels and results are kept per device; phone-speaker mode plays mono, asks only about mids and highs, and hides the stereo and low-end games.
Build your own session: pick games by group, 5, 10 or 20 questions and the listening device. The setup is saved to your account, and the answers count to each game's mastery like normal practice. The Mix Engineering games now sit in rows — EQ, Dynamics & drive, Time & space, Level & stereo, Quick drills — the Daily Shift takes at most two games from one row, and the show-day warm-up opens with Name the ring.
New games never lower your rank. If you are not Legend yet, Legend now asks for 80 % mastery in every scored game, the new ones included.
SetlistForge backs up automatically, so your library is on every device you sign in on.
Signed in, your songs, setlists and settings are kept in your Squaresmile account and appear on every device you sign in on — no question to answer first. The cloud button says in words whether this device is backed up, and its settings can keep your library on this device only (which also deletes the copy in your account). Attached audio files are never uploaded.
A tab left open for days now picks up the other device's changes, an empty library on a new device says why it is empty, and a copy you once answered "Not mine" for can be added back from the backup settings.
ClickSmith follows the song smoothly while it plays, and the loop clears from the transport.
The playhead stays a third in from the left and the song scrolls smoothly underneath it. On a whole-song view, Play zooms in to about twelve seconds so bars stay readable, and Stop gives the whole song back. Scroll by hand while it plays and following pauses until the playhead catches up.
A "Clear loop" chip appears next to Play while a loop is set — or press L. The "⋯" button is now called "Export settings".
SpectraSense grows a small measurement suite next to the ring-out: input channel and calibration, an SPL meter with a DIN 15905-5 / WHO protocol, and a transfer function with a delay finder.
Ring-out is still the first tab and works as before. Next to it, Setup picks the input channel your measurement mic is on (with a meter per channel), loads its calibration file — miniDSP UMIK, REW or plain frequency / dB text — calibrates SPL with a 94 or 114 dB calibrator or against a reference meter, and plays pink or white noise, a sine or a log sweep. It never starts by itself and starts at −40 dB FS.
LAF, LAeq over 10 s, 1 and 15 minutes, LCeq, LCpeak and LAFmax, checked against DIN 15905-5, the WHO standard and other audience limits. Log a show one level per second and print the protocol on A4 with a SHA-256, or import a real meter's CSV log. With a phone or laptop mic the levels are indicative — for a record a permit asks for, use a sound level meter.
Measure a system against a second input from the desk or the test tone as sent. A delay finder compensates the arrival time; smoothing from 1/3 to 1/24 octave; store up to eight traces and compare them. Transfer needs a tablet or computer screen and, best, an audio interface.
The mic calibration, level logs, saved protocols and stored traces stay in this browser and are never synced to your account — export them as a file to take them to another computer. How many input channels you see depends on the browser: Chrome and Edge pass them all, Safari and Firefox often only one or two.
The descriptions on the dashboard, the licence page and the coming-soon pages now follow the platform language in all eleven languages.
ClickSmith exports MP3 and 44.1 kHz, MicSense shades instrument ranges on its charts, and Show Clock's multi-stage wall gets its own page; RiderSmith (beta) learns your own translations.
Choose 44.1, 48 or 96 kHz and 16 or 24 bit — the song and click are rendered at that rate, not relabelled. MP3 at 320 kbps is encoded in your browser. A new Click L · cues R layout feeds in-ear rigs, silence before and after the song is adjustable, the WAV marks where the song starts, and a whole set downloads as "01 Title – 120 BPM" files.
Pick an instrument — kick, snare, bass, vocals, speech and more — and its typical fundamental and harmonic ranges are shaded behind the response curve, on one mic or in a comparison. MicSense also says whether a mic is tagged for that source.
Up to five stages side by side on one screen, each following its own share link — now with its own section on the Show Clock page and a step-by-step explainer.
Changed a standard clause? Add your own English, Spanish or other translation right under it — if you change the original later, the translation stays and asks you to check it. RiderSmith never translates your words for you. Pick several document languages and export one PDF per language, or all of them as a ZIP. RiderSmith is still coming soon — beta testers have it today.
After renaming a bus or matrix under Outputs & routing, the socket lists show the new name straight away instead of the old one.
LightSense (beta) gets its review: corrected lighting content, honest scoring, progress in your account, a calmer Busk It, phones and eleven languages. LightSense is still coming soon.
Fault Find now teaches the real causes — a fixture in the wrong mode, the cable between two fixtures — and how to test for them. Stage left and stage right are where a crew expects them, Cover It's brightness follows zoom and throw the way a real beam does, gels use Lee's published values and say so, and Pan & Tilt teaches the flip. An answer you never touched is never scored. LightSense is still coming soon — beta testers have it today.
Answers, streak, rank and settings are saved in your account and merge across devices, even after training offline. Ranks count the games that exist, so a perfect player can reach the top, and one wrong answer no longer drops you a rank.
Busk It's song stops when you check, move on or end, the screen no longer shows the section you are meant to hear, and a sound-delay setting lines up your taps with Bluetooth headphones. Pan & Tilt gives positions in metres on a grid. LightSense now opens on phones, and it speaks all eleven platform languages.
MicSense gets honest pages before launch: a source and a last-checked date on every mic, a reason for every empty cell, curves that say they are approximate, corrected notes, and the landing in German and Spanish. MicSense is still coming soon.
Hold your phone near the singer's mic, bring the wedge up and SpectraSense names the ringing frequency, its note and the GEQ band, with a suggested cut — and keeps every ring in a list you can copy for the next engineer. Free, in eleven languages, nothing recorded.
Search the way riders spell it, compare up to four mics on one scale, and find the closest alternatives in published specs when the house doesn't have the rider's mic — 123 microphones, each checked against the maker's own datasheet, in eleven languages.
Each microphone page links the maker's document its figures were read from and says when it was last checked. An empty cell now says why: "not published by the maker" or "not yet checked" — never a guess and never a zero. Max SPL shows the distortion figure it was published at, and a model the maker no longer lists is marked discontinued.
A curve is redrawn from the maker's published graph and is approximate, within about ±2 dB; the page says so. A mic without a redrawn graph says that too, instead of claiming the maker publishes none. Price tier and the year introduced sit under MicSense's own notes, apart from the maker's figures.
Four comparisons in the per-mic notes were wrong and are fixed (OM7 against SM58, MMD 845 against MMD 835, e 935 against Beta 58A, e 845 against e 935), and statements about named products that we could not source are gone.
The MicSense page is now at /de/micsense and /es/micsense, and the guide is in German. The 110 microphone pages stay in English for now. MicSense is independent and not affiliated with or endorsed by any manufacturer; every page says so.
LoudSense gets its review: three fixes that went live first (cover-art MP3s, long shows, honest landing copy), then 5.1 measured properly, Fix it that lands on the target with room for the encoder, verdicts that say what really happens, safe syncing of your own targets and a phone layout with the verdict first.
Open LoudSense and drop a file — verdicts, charts, A/B and Fix it work without signing in. Only your own saved targets need a free account, so they follow you to every device.
MP3s with embedded artwork failed to open in Chrome and Edge; they open now, and any MP3 the fast decoder cannot read goes to the browser's own decoder instead of failing. Recordings longer than about an hour and three quarters no longer stop with an error.
A 5.1 file is measured on every channel the way a broadcaster measures it, with the surround channels weighted and the LFE left out; before, only left and right counted. True peak is found more precisely and never reads below the sample peak, the loudest momentary moment is no longer missed between two measuring points, and FLAC, AAC and other formats are measured at their own sample rate. Large RF64 WAVs open too.
Fix it now measures the fixed file and corrects it until it lands within 0.1 LU of the target with the true peak under the ceiling — heavy limiting no longer leaves it short. Delivering MP3 or AAC? Fix it lowers the ceiling to leave room for the encoder. Every verdict row has its own Fix to this button, and the fix follows the group you are looking at.
A clipped master gets its own Clipped verdict instead of "too loud". A broadcast target says the file is out of spec and would be rejected, because a broadcaster sends it back rather than turning it down. The targets follow the published specs: EBU R128 at −23.0 ±0.5, R128 s1 for ads and trailers, Deezer, and Spotify's −2 dBTP for loud masters; the podcast window is called what it is, a convention.
Custom targets are merged per target across your devices, so a new phone or laptop no longer overwrites the list on your account. After an update the tool loads its newest version, and a file shared to the Android app waits for your tap and is kept while you are offline.
On a phone the verdict sits right under the file name, the file picker works with the keyboard and a screen reader, and A/B and "Hear as" change the level on iPhone and iPad too.
The LoudSense pages and the guide in English and German now match the tool: which browsers stream which format, what stays in your browser, how accurate the numbers are, how much an encoder can overshoot, and the corrected targets table with its sources. The desktop plugin is in preparation and has no price yet.
SpectraSense (beta) gets its review: a detector that keeps up on a phone, a ring-out list with a suggested cut for every ring, an answer you can read at arm's length, and all eleven languages. SpectraSense is still coming soon.
Finding a ring takes a fraction of the work it did, so a slower phone no longer misses one. A ring that stands stays flagged instead of flickering between ringing and gone, a howl loud enough to clip the input is shown as the one howl it is, and mains hum or a bass note no longer hides a low howl next to it. SpectraSense is still coming soon — beta testers have it today.
Every ring SpectraSense confirms goes into a Found list with its time, frequency, note and GEQ band, labelled with the wedge or mix you are ringing out. Each one comes with a suggested cut — start at −3 dB and narrow, deeper if the same ring comes back, and the neighbouring GEQ fader when it sits between two. Copy the list as text for the next engineer. It stays on your device and is never uploaded.
On a phone the answer sits at the top of the screen with the frequency in large type, readable at arm's length while the other hand is on a fader. The help now walks through a ring-out step by step: where to hold the phone, and why low hoots look smaller on a phone microphone.
The input you pick is remembered on each device instead of following your account, so choosing the tablet's own microphone no longer swaps out the measurement mic on the FOH laptop. An update of the site no longer leaves the Start button dead in a cached copy, and an unplugged input is noticed.
The tool speaks all eleven platform languages, not just English and German, and it has its own icon on the dashboard.
PatchSmith (beta) gets its review: sync that never loses a patch, console exports that keep your desk's settings, pasting that reads ordinary spreadsheets, and a printed sheet with the outputs on it. PatchSmith is still coming soon.
A new device loads your patches before it saves anything, and edits from two devices are merged patch by patch instead of one replacing the other. Switching patches no longer counts as an edit, saved versions and routing presets are merged the same way, and an older copy of the tool stops with a notice instead of overwriting newer work. "Saved" now covers all three. PatchSmith is still coming soon — beta testers have it today.
Exporting into your own X32/M32 scene keeps the low cuts and stereo links you set on the desk: PatchSmith only writes a low cut you switched on, keeps the desk's own frequency, and only links pairs that are on the sheet. SQ names keep their last word when they are cut to six characters, and any names that still clash are listed. Accented letters become plain ones on the desk instead of vanishing, and the export dialogs say plainly that 48 V and gains are never written.
Ordinary spreadsheets import as they are: "Ch | Input | Mic" headers, Hi-Hat and Floor Tom, colour names, line breaks inside a cell and empty trailing cells. L/R rows next to each other become stereo pairs, pasting the band's updated list updates your channels instead of doubling them, and stereo elements from a Stage Plot keep their mic, 48 V and link.
ST links the real other half ("Keys L" + "Keys R") and moves both to an odd→even pair instead of copying the channel. On an iPad in landscape, 48V, low cut, colour and stereo stay visible and the row moves sit in the ⋯ card. Enter adds the next channel at the end, DCAs can be typed straight into the row on a laptop, a removed patch can be undone or restored later from Versions, and on a phone "View the sheet" opens the patch read-only with Print and PDF.
The PDF and the printed sheet gain an outputs table — every named mix and the output sockets it feeds — and the strip name the desk shows. 48V prints white on black, every page carries band, venue, date and version, and an unnamed patch no longer prints "Version: Patch". Polish and other non-Western-European labels print correctly.
The routing presets, the paste review, the outputs section and the instrument categories are translated into all eleven languages, and the guide now explains the SQ show and exists in German.
On a shared laptop, the next person to open Stage Plot used to see the previous user's plots and could carry them into their own account. Now the plots in a browser belong to the account that made them: sign in as someone else and they are set aside, not shown and not synced. A copy from before this update is offered back once with "Is this yours?" — nothing is deleted. RiderSmith and PatchSmith import only the signed-in account's plot.
A new device loads your riders before it saves anything, and edits from two devices are merged rider by rider instead of one replacing the other. RiderSmith is still in beta and not on sale yet.
Share a rider as a link the venue opens without an account. It shows the version you last sent; phone numbers and email addresses stay off it unless you include them, and Stop sharing ends it at once.
Every PDF, CSV or venue link you send gets a version number and date, and page 1 can list what changed since the last one. Band, version, date and contact now sit on every page of the PDF.
Send the input list as a CSV file next to the PDF. Pick a second language and headings and standard clauses print twice — German and English on the same page; your own text prints once, as typed.
Importing the Stage Plot input list again updates the channels you have instead of adding them twice, and mics, +48V, insert and who provides each item come across. New columns for insert, stage box and provider; imported labels follow the rider's language.
Dates spell out the month, so 5 Nov can't become 11 May. Japanese, Korean and Chinese riders go to PDF through the browser's print dialog, with an explanation in your language.
Edit a standard clause where it stands, drag it into place, and take back a delete with Undo. A new row keeps the cursor and Enter moves on. RiderSmith opens on a phone without asking for a bigger screen, and table rows become cards there.
A hint in the hospitality section asks you to keep allergies, other health details, religion and passport numbers out of the rider — "on request" is enough.
The RiderSmith page now exists in German and Spanish, the guide in German, and every page says plainly that RiderSmith is in beta and not on sale yet.
A new device used to push its empty start over your account, two devices editing at once overwrote each other, and on a shared browser one account's library could end up in the next. Now a new device loads your library before it saves anything, edits from two devices are merged song by song and setlist by setlist, and the data in a browser stays with the account that made it. Restoring a backup works again for libraries without audio.
Lyricist and ISWC now appear in every society's report, not only GEMA's. Mark a song as a medley and list its parts: each part gets its own row (for GEMA marked as a medley part), so each writer is credited. Show details with Polish, Czech or Cyrillic letters print correctly; Chinese, Japanese and Korean titles, which the PDFs can't print yet, are flagged before the export instead of coming out blank.
SUISA gets the Tariff K event details (organiser, event duration without breaks, ticket price, musicians), PRS takes shows abroad, and GEMA gets arranger and publisher from the library. Date and venue are checked for every society, and "Export anyway" marks the gaps in the file.
AKM (Austria) joins as the ninth society. For the societies that only take setlists typed into their website — AKM, PRS, ASCAP, BMI and SOCAN — you get a copy-ready list next to the PDF. Mark each show as reported once you have submitted it. The first society ticked now follows your language instead of GEMA for everyone.
Show Mode takes the whole screen with bigger type and one bottom bar. A Bluetooth page-turner pedal or the keyboard moves through the set (Page Down, →, Space; Page Up, ←), and a change synced from another device never replaces the set you are playing.
Send bandmates a read-only link to a setlist; they open it in their browser without a licence of their own.
The picker marks songs already in the set, a removed row can be undone, each set shows its own subtotal, and the Stage sheet is now the default PDF. The timeline and Ahead / Behind count planned breaks, and half- and double-time tempos no longer raise a BPM warning.
The SetlistForge pages now say it prepares your report — it fills in a society's own form only for Buma/Stemra — and that only the members who wrote the songs are paid. Buma/Stemra and AKM get their own pages, the society count comes from the tool itself, and "I have a key" goes straight to the claim page.
The tuner now runs the same pitch detector as BPM Forge's tuner. It used to read low notes sharp, showed the wrong note for a bass low E and read feedback rings above about 3.3 kHz an octave low. On clean test tones it now lands on the right note within a cent from a 5-string bass's low B up to A6. It reads about 30 Hz to 3 kHz, says "above range" beyond, "no clear pitch" for noise, holds a steady note still and clears the last reading after about 1.5 seconds.
"440,5" typed the German way read as 4405 Hz in some browsers. Every number field in PitchSense and the demo on its page now reads a decimal comma or a point the way you meant it.
Every Hz → Note result now names its ISO 1/3-octave band and the fader on a 31-band graphic EQ, and gives the wavelength and quarter-wave distance at the air temperature it states. A new table lists the low notes of the song's key, for tuning a kick, an 808 or a sub.
One tap for 440, 442, 443, 415 or 432 Hz, or type any other value. A shared link's A4 now applies to that visit only and no longer replaces your own setting.
Hold a sustained reference drone to tune or sing against. While you ring out a wedge, a note history keeps each ring the tuner found. A big-digit stage view reads from across the stage, and the screen stays awake while the tuner listens. Microphone messages now tell a blocked microphone, a missing one and one in use by another app apart.
The tool follows your platform language. German shows German note names (H for B), and Do-Ré-Mi names can be switched on. The help is now in German too.
The PitchSense pages drop the "±1 ¢ tuning" claim: the converter is exact to 0.1 cent, and the tuner's measured range is stated instead. "Works offline" now says "once opened". PitchSense moves to "Studio & prep" next to BPM Forge, whose tuner is the one to use for tuning an instrument.
Each cable run now has "Protected by" — the breaker in front of it, the feed breaker by default. A run whose breaker is bigger than the cable's rating is flagged, whatever the load is today. In North America mode, 3-phase runs take their rating from the NEC column for three current-carrying conductors.
Every run has its own 1-phase or 3-phase setting, uneven 3-phase runs are also computed on the most loaded phase, and copper is taken at operating temperature. Earlier versions treated every run as balanced 3-phase with cold copper and could show about half the real drop. Lists on a generator use 6 % and 8 % as their drop limits.
Tell a run whether it is on a drum, bundled with other circuits or out on a hot day, and it shows the rating after derating next to the base value. A list marked mostly LED / switch-mode gets a warning that its harmonics can load the neutral as much as a phase, and its cables are rated lower. Sizing the neutral stays the electrician's call.
Auto-balance splits a row of several units across the phases instead of putting all sixteen washes on one. Generators are compared with the engine's kW as well as the kVA, turn amber from 70 % and red from 90 %, and a custom feed can be marked as a generator. In North America mode, more than 80 % of a breaker is flagged for continuous loads, as the NEC requires.
A run or list that passes now reads "Within guideline values" instead of "OK" — PowerSense is a planning aid, and the electrician checks the real installation. The printout carries your assumptions (region, voltage, power factor, safety margin), amps per phase and per row, the cable runs, a box with what the plan does not check and a blank box for the electrician's sign-off. The CSV carries the cable runs too.
Two new regions: UK and Japan (100 V). Numbers take a decimal comma, so "2,5" mm² and "1.500" W typed the German way read the way you meant them. All six help pages are now in German too, with the German trade terms — Absicherung, Belastbarkeit, Spannungsfall, Häufung, Oberschwingungen.
The pages, the tool and every printout call RiggingSense what it is: a trainer for rigging statics. Where the sandbox said "Checked against" a hoist, it now compares its highest hoist load with an example WLL, and a printout is headed as a training exercise. On the frontpage it sits under "Train your senses". Its numbers are for learning — not a load rating, a rig check or a sign-off.
The D8, D8 Plus and C1 descriptions now follow the industry standard IGVW SQ P2 for electric chain hoists, and the tool names its source. Look up the current edition for real work.
In Truss & hoists each hoist can now hang in from its end of the truss, so a load slid past the last hoist shows uplift — the far chain would have to push, and a chain can only pull. Bridle angles say "from horizontal" and show the angle from vertical (β) and the angle between the legs next to it, the way German sling tables and the 120° rule count. Quiz drawings now show the angle the question asks about.
An estimate that comes in low — the unsafe side — gets less room than one that comes in high, and the result tells you which side you were on. The stability questions no longer leave out the truss's own weight without saying so.
Dragging keeps working under a finger on a tablet, the diagram labels are easier to read, and a presenter view puts the diagram first for a projector. On a phone the Training quiz opens; the sandbox and the bridles still need a tablet or a computer.
Print a worksheet of generated problems with a separate answer key for a class or a toolbox talk. Exam-style sets are timed and marked exactly, with a pass mark, so you can practise the way a written exam asks.
Practise reading a truss load table — which column applies, and does the load fit? The table is made up for training and clearly marked as such; it is never real manufacturer data.
A question type you miss comes back after a day, then three, then seven, mixed in with the rest. New drills ask for bridle leg lengths and apex heights, with the working shown afterwards.
All six help pages are now in German too, with the German UI labels and the trade terms — Auflagerkraft, Neigungswinkel β, Spreizwinkel, Betriebskoeffizient.
Timetables now sync one by one between your devices: a timetable made on the phone appears on the laptop, deletes and renames stick, and two people editing different slots both keep their edit. A small badge says when something has not reached your account yet ("Not synced", "Sign in again to sync"), and a shared computer never mixes two accounts.
The Share sheet can now stop a link: everyone on it sees "This link has expired or doesn't exist" within seconds — the same page a mistyped or expired link shows, never a stale clock. "Link for no signal" gives a link that opens without any network (it never updates). Printing no longer creates a share link, rider files follow the link's riders setting and open on desktop too, and crew links stay out of search engines.
The clock mode you pick stays for the next slots. In Wall mode the line under the time counts down to the next slot. Deleting a slot or a timetable and replacing the running order with a paste can be undone from a message on phones and iPads too, or from the ⋯ menu. The new Projector view (P) shows big digits without the running order. No more "new version" notice on a first visit, and the installed app starts offline in under two seconds.
Each timetable can have a secret control link. Bitfocus Companion, an OSC controller, TouchDesigner or a script can press Next and Previous, move the delay, go back on schedule, cue, black out and send stage messages; a status address feeds a live countdown on a button. Previous slot is also on Shift+N.
Blackout (B) turns every audience screen black while you keep working. Add &obs=1 to a share link for a transparent OBS or vMix browser source. The new Artist link gives the act on stage just their countdown, the time and your stage messages — "5 min", "Wrap up", "Encore OK?", "Last song" or your own text — and never riders, notes or contacts.
Put two to five share links side by side on one screen — a projector or a TV at the stage manager's desk — each lane with its stage's live slot, countdown and over/under the next fixed time. Open it from Share → Multi-stage wall.
The operator app, the crew viewer, the artist display and the wall now follow each person's account language — English, German, Spanish, French, Italian, Japanese, Korean, Dutch, Polish, Portuguese or Chinese. A crew member abroad reads the same running order in their own language, and stage-message presets like "Wrap up" show in the viewer's language.
A slot's countdown now runs from its start time (or from when you pressed Next), not from when a device happened to open it. A laptop waking up at FOH, a second iPad and a crew phone joining mid-set all show the same numbers, and editing a slot no longer restarts the running countdown.
Every timetable now has a show date and a time zone (under "This timetable"). Club nights until 07:00, sunrise sets, multi-day festivals running late across midnight and the night the clocks go back all show the right slot — the hour from 02:00 to 03:00 no longer plays twice. Crew in another time zone see the venue's times, labelled, and every device runs on the server's clock.
Curfew, Doors and Broadcast — and any slot you mark as a fixed time — no longer move with "running late". The delay moves the slots before them, and Show Clock shows how far over or under the curfew you are. An overrunning set counts up as "+mm:ss" instead of stopping at 0:00, and Next keeps the planned time next to the actual one.
Running late, cues and the current slot now belong to each timetable, and each device remembers which timetable it has open — Stage B's "+10" no longer moves Stage A. Yesterday's delay is cleared on the next show day. Reordering rows with the keyboard no longer shifts the show.
The old Hearing Test is now a hearing check under Your ears. Before the tones it asks whether you were at a loud show in the last 48 hours and whether your headphones are wired or Bluetooth, and you set your volume against a quiet reference tone. Tones never go above −30 dBFS and you can stop at any time. The result compares your left and right ear and shows the change since your last check on the same kind of headphones — no score. It is not a medical test, and the results stay on your device.
The Ring-Out Simulator now builds the loop from wedge to mic: mic pattern, wedge distance and angle, open mics and the room. A tone rises over the music until you cut enough at its frequency — it can sit between two graphic-EQ bands, and at higher tiers two can ring and narrow notches join the 31-band GEQ. Points reward cutting narrow and just enough, fast. On a phone, tap a band and use one cut control.
Masking now follows how masking really spreads (much further upwards than downwards), Equal Loudness uses the ISO 226 curves at 60 phon, Haas and Precedence use thresholds that fit clicks, and the chorus in Delay is really modulated. Stems are loudness-normalised and Compression, Distortion and Stereo Width compare level-matched, so loudness no longer gives the answer away; answer positions are random. Close answers earn points where answers sit on a scale — EQ, Level, Pan, Mix Balance, Equal Loudness — and Compression and Combination tones are right or wrong.
After a miss, Hear your guess plays your answer next to the right one in 13 modules, and the reveal names both in listening words. Wrong answers, answers under 50 points and "I don't know" now go to review: due the next day, then after 3 and 7 days, until you get them three times in a row. Review on the dashboard mixes due items from different modules.
Pick club, theatre, open-air or church hall: find a ring, work your weakest EQ bands, one drill for the room and a review item that is due. It ends with a card on protecting your ears tonight.
Signed in without a licence? Try the demo on the dashboard card or the activation page: 5 questions a day in each of EQ, Delay, Pan, Level and Compression. Demo progress stays on your device and carries over when you buy.
The app follows your account language — one of 11. Progress now syncs record by record, so a phone that trained offline no longer overwrites your personal bests or your review when it comes back, and a badge on the dashboard shows when sync is behind.
Audio now plays on an iPhone with the ringer switch on silent. A link straight into a module, a reload or a restored tab shows the screen first and starts the audio with one tap. One Cues on/off switch controls the answer sounds.
An intermod product that lands exactly on one of your channels now counts as the hit it is — the old check dropped those and handed out evenly spaced plans. Frequencies sit on the 25 kHz raster, and every row is checked after every change (add, edit, import, load): spacing, 3rd- and 5th-order products from two and three transmitters, and spectrum your region does not allow. Problems show in the table, on the spectrum and in print, and an export asks before handing them on.
The regulatory data was rebuilt from the regulators: Germany per BNetzA Vfg. 37/2026 and 91/2025 (470–698 MHz for professional production until 31.12.2030, 736–753 MHz, the duplex gap from 821.5 MHz), the EU's decision (EU) 2025/105, the UK's licence-exempt 800 MHz and 1.8 GHz gaps, US Part 15 at 50 mW, and corrected entries for Canada, Switzerland, Austria, Australia and Japan. Every band links its source, shows how long it holds, and every country when it was last checked.
Coordinate several bands in one plan: re-coordinating the IEMs keeps the mics where they are and stays clean against them, and names stay with their gear. Roles read Mic and IEM, a band holds up to 64 channels, and backups per band stay clean as the plan changes. WWB's Group and WSM's Bank now carry each row's own band.
Saved plans sync plan by plan across your devices — a delete reaches the other devices, and nothing is overwritten while you are offline. The plan you are working on survives a reload and the sidebar link; Clear, Load and Import offer Undo; scan files with semicolons and decimal commas load.
The whole tool — the regulatory notes included — speaks the platform's 11 languages. The print sheet fits on one or two pages with the rule for your region, its source and expiry. Live SDR is hidden until it has been tested on a real RF Explorer; scan files from the device work as before.
Hearing protection is derated the NIOSH way before the 7 dB come off (a foam plug at 105 dB(A) was shown 3.5 dB too well protected), a dB(C) reading uses the music's C − A difference, exposure times round down and respect OSHA's 115 dB(A) ceiling, and the sub check now tells you which box to delay and by how much. The live meter asks the browser to switch its voice processing off — and says when it didn't.
The SPL tab summarises the audience rule for your country — DIN 15905-5, V-NISSG, WHO, the Dutch covenant, the French décret, VLAREM or HSE — with the limit, the averaging window, the duties, the source and a printable audience notice. A crew-day card adds up load-in, soundcheck and show against the EU action values and the 87 dB(A) limit.
Measure the correction value between the loudest audience place and FOH with pink noise, run an indicative level monitor against your rule (calibrated to your own meter), and fill a show protocol with the DIN 15905-5 Annex D fields from the monitor or your class meter's exported log — printed on A4 with a hash, saved to your account.
RT60 is Eyring with air absorption throughout, judged against the DIN 18041 target for the room's volume; treatment sizing uses the same model; every mode up to about twice the Schroeder frequency; the proportions check is EBU Tech 3276; ISO 7029:2017 with its real tables; the live meter sums every channel with overlapping BS.1770 blocks; critical distance takes your speaker's directivity.
The "bigger screen" gate is gone: tabs stay pinned, tables scroll, the help tips sit where they belong. Every label, result and message speaks the platform's 11 languages, a reload keeps your work, German decimal commas count, and venue profiles sync profile by profile — one saved offline no longer deletes another device's.
Detection now tracks the beats themselves: exact tempo (to 0.01 BPM), tempo changes, beat 1 and the meter, and it says "no steady beat" instead of guessing. A strip under the waveform colours every bar by how close the click sits to the music, with a jump to the worst bar; beat 1 at the cursor, snap to the music, ×2 / ÷2 and tap-along fix the rest, with undo and a lock.
The WAV now puts the click on the left and the song on the right, the split most players use (the old way round is one tap away), at 48 kHz / 24-bit with an optional 1- or 2-bar count-in. Or take one zip with separate files, a MIDI tempo map for your DAW and a list of your markers.
Name your cues ("Verse", "Chorus", "Bridge"…) and ClickSmith can announce them a bar ahead and speak the count-in, in English, German or Spanish. The tempo map takes meter changes and gradual tempo glides, edited by bar number.
Pick a SetlistForge set and work through it song by song, with the setlist's BPM as a guide; export the whole set as one zip and copy it into Show Clock as a schedule. BPM Forge's click sounds are here too.
Everything you set is saved per song and restored when you open it again, on your other devices too — it used to be re-detected on every load. ClickSmith also speaks all eleven platform languages now.
SetlistForge gets its biggest update yet: a Royalties tab that works, Show Clock's themes and Buma/Stemra's own sheet. SpectraSense (coming soon) is new, Show Clock's crew link shows delays, and PatchSmith (coming soon) exports straight to X32/M32 and SQ desks.
A new tool: a live spectrum of your microphone that flags narrow, steady peaks in red with their frequency, note and nearest GEQ band, while ordinary music stays unflagged. Switch to a waterfall to see a ring build over time, freeze the picture with the space bar, and set how fast peaks come and go. A console-style tilt and a 40 Hz start are in the settings, and it fits a phone. SpectraSense is still coming soon — beta testers have it today.
The header, the notice and the society bar no longer stay pinned while you scroll; only the tabs do, so the form gets the whole screen. The tab now reads top to bottom: the societies you report to, the details each one needs, then the song list. "Complete fields" takes you straight to what is missing, typing no longer closes the phone keyboard, and prices keep their decimal comma.
For Buma/Stemra, SetlistForge now fills in Buma's own submission sheet (the performance and the songs) instead of drawing a PDF. Upload it in MijnBumaStemra under Live → Setlists.
SetlistForge now wears the same Dark, Light and High contrast themes as Show Clock, with Dark as the default. It uses the platform's fonts, a compact header, and rows on a phone half as tall. It lives at squaresmile.de/setlist-forge now; old links still work.
Dragging a song to a new place is saved again, so exports keep your order. The add-song form keeps what you typed when a field needs fixing, a duplicated setlist keeps every society's details, a rename sticks when you tap away, and each setlist keeps its own logo. Every society's check now sees the songs, and saved society fields come back after a reload.
With a delay set, the shared crew and tech view now shows the new time with the planned time struck through underneath, just like the operator's running order. Slots that are done keep the time they actually ran. A cue you send now also shows on the viewer's Clock tab.
Export the patch as a scene for Behringer X32 and Midas M32 (checked on a real M32) or as a show for the Allen & Heath SQ series, with channel names and colours. PatchSmith also prints an A4 sheet, has a Save button, imports files by drag and drop, and can take the input list from a Stage Plot. PatchSmith is still coming soon — beta testers have it today.
Your stage plots are listed on your account page and the last one is on the dashboard. Share links carry the band name and whether they are view-only or a copy, and a dot shows when your plot is saved. Truss is flown at 4 m by default or ground-supported, and the lighting elevation appears once something is rigged. The band name and rigging points are editable again, and redo works with Ctrl+Shift+Z.
When the true peak is over the limit, the verdict now tells you the fix: turn down if the loudness stays in range, otherwise use a true-peak limiter at the ceiling.
PatchSmith grows outputs and routing presets, a rebuilt paste import with a review step, and a far better instrument recogniser.
A new Outputs & routing section: your console's Main L/R, mix buses, matrices and physical output sockets, each with a name and colour, and which mix feeds which socket. Save a layout as a preset per console family, mark one as the default, and every new patch starts from it. Two starter presets are included.
Spreadsheet columns are now read from their header row (English or German), so the mic column no longer ends up as the source. Plain lines from an email work too: "12 Lead Vox SM58 tall 48V". A review table shows every channel first; add to the patch or replace it. A taken channel number moves only that one row, not the whole sheet.
"Vox Gtr" is a vocal, "Synth Bass" a bass, "Westerngitarre" an acoustic guitar; T1–T12, Sprecher, Bläser, Streicher and line sources like Click and Tracks all get a category now. On a test set of 200 real wordings it went from 125 to 195 right. Strip names are abbreviated the way you would ("Backing Vocals 1" → "BV 1"), never cut off.
On a tablet the colour column is hidden and the card had no way to set it. It does now, along with 48V and low cut. Removing a channel shows an Undo for a few seconds, and a stereo partner inherits a hand-set colour.
Stage Plot's sync and share pages, and RiderSmith's PDF, after a full audit of both.
Laptop at home, iPad at the venue: the second device used to replace the first one's plot and every named save slot. Slots now sync one by one, and when your other device's plot arrives, the plot that was here is kept as a slot — you're told which.
A shared plot used to be a picture with nothing around it. The venue now gets the band name, the input list, zoom and PDF/PNG export — only the editing tools are gone.
Every PDF export quietly created a public one-year link with the crew's phone numbers in it. The QR code is now a tick box in the export dialog, off by default, and view-only links never carry contact details.
Anything placed out in the audience was cropped out of the export; the elevation page came out in the dark on-screen theme. Both fixed, and "Export to file" asks for a new file after you load a different plot.
Letters like ł, ś and ę came out garbled in the PDF, and a long band or venue line ran under the logo. The right font is picked automatically and every header line wraps. Transparent logos are no longer black boxes, and line breaks survive printing.
Importing your input list from Stage Plot used to wipe rows you'd typed by hand. Removing a section with content asks first. On a tablet an Editor / Preview switch replaces a preview that sat five screens down. Japanese, Korean and Chinese riders can be printed but not yet exported as PDF — the app says so instead of exporting empty text.
A data-safety release: sync can no longer overwrite your account from a bad first load, and Stage Plot stops losing edits on slow clocks and closed iPad tabs.
When a tool opened on venue Wi-Fi and its first sync check failed, the next thing you typed could replace what your account held with an empty page — and your other devices then picked that up. Tools now wait until they have really seen your account copy before sending anything, and say "not synced yet" until they have. PatchSmith, RiderSmith, PowerSense, RiggingSense, RoomSense and LoudSense.
A device whose clock ran a few minutes behind had every autosave quietly rejected and rolled back on reload. And on iPad, closing the tab within a minute of an edit lost it. Autosave now happens seconds after each change and the moment you switch away; a clash with another device keeps what you see on screen and tells you.
Starting a new plot deleted the plot you had explicitly saved, here and on the account. It now clears only the canvas. And a save slot the browser refused (storage full) no longer reports "Saved".
If your other device changed the patch while a channel's edit card was open, what you typed next was lost. It now lands in the right channel.
Logged in without a licence? The dashboard card and the activation page now offer the interactive browser demo — the real spectrum view on synthetic data, no dongle needed.
Show Clock learns to read the schedules people actually send — and shows you what it read before anything changes.
Paste schedule now reads a schedule the way it reaches you, greeting and phone numbers included. Times can sit anywhere in the line, in digits or words: "Doors are at seven", "Einlass halb acht", "quarter to nine", "10.30pm", "2000 Headliner". An end time like 20:00–20:45 becomes the slot's length.
A review step lists every slot with its time, label, type and length — all editable, with the original line underneath. Amber rows are the ones worth a glance, like a time that was read from words. Lines that aren't slots are listed, never dropped silently. Then replace the rundown or add to it; undo brings the old one back.
The date is read from the text. Whatever stands above the first slot — the venue, the tour — is offered as chips: tap Stage or Show name on the ones that are.
With the evening option ticked, "10:00 Load-in" used to become 22:00. Now 08:30, 19:00 and anything with AM/PM is taken as written; only a bare "7:00" or "at 8" is read as evening — and load-in and crew calls stay in the morning.
No file needed: paste an exported CSV or JSON into the same dialog and it imports exactly like the file.
A big cleanup release: every tool was tested state by state on small phones, tablets and desktops, and what that turned up is fixed.
Pressing Next slot in the same minute the live slot began could mark the new slot Done and leave the old one Live. The new slot now always takes over, even on two quick presses.
The Dismiss button only existed on bigger screens, so on a phone the flash kept pulsing. A full-width Dismiss now appears while the alert is up, on the running order too.
Slot names get the room in the running order, the share and settings sheets no longer squash their buttons, and the tablet bar shows all three clock modes. Finished slots keep their real time when you're running late.
A finger tap selected the element and dropped it again in the same touch, so its properties never opened. They now slide up from the bottom, and the sheet no longer covers half the screen before you've picked anything.
The rigging report and the custom fixture editor showed buttons with no text, and the public link's QR code was an empty white square. All labelled, and the QR scans.
On an iPad the toolbar ran off the left edge and took the setlist dropdown with it. It wraps now, and the exit, export and validation dialogs are readable again when your device is in dark mode.
On a phone the file list pushed the reference star and the remove button past the edge of the screen. Rows now fit, with the full file name on its own line.
Recording on top of last night's log counted from the old start time. It now carries on from where the last entry ended, and nothing from the earlier log is lost.
Clicking anywhere inside a help article replaced it with "Could not load this page." Help now opens and follows links as it should.
A new test run clicks through all the tools like you would and checks every screen it reaches, not just the first one. This round fixed about sixty things it found, from PowerSense and PatchSmith sliding sideways to FreqSense's zoom, RoomSense's stale results and SoundSense's squeezed titles.
When a slot ran out and the next one started on its own, the running order moved the highlight but left the Live and Next badges where they were. The badges now move with the slot, the moment it changes.
The rank and daily-shift cards were wider than a phone screen, so the whole dashboard scrolled left and right. They now fit, down to the smallest Android phones.
After an EQ guess, the Play and A/B bar sat on top of the "your call / actual" line. It now steps out of the way, and the result card no longer says "Correct: Confirm guess".
On the narrowest phones the top bar ran past the screen edge and pushed Log out out of view, on every tool. The language picker is now narrower there, so everything fits.
SoundSense, Show Clock, Spektra and Airchain have their own Gumroad pages, linked from every landing and from the activate page.
The four paid products now have their own pages in the Squaresmile Gumroad shop, and every landing links straight to the right one: SoundSense, Show Clock, Spektra and Airchain. Each is a one-time purchase with no subscription. Buy on Gumroad, enter the key on the tool's activate page (or follow the claim link in your receipt), and the tool is unlocked on your Squaresmile account for good.
Opening a paid tool without a licence used to show a key field and nothing else. It now shows the price and a Buy button for that tool next to the key field, in every interface language.
The Buy buttons on the Spektra page and in the Spektra demo pointed at an old shop address that no longer exists. They now open the Spektra product page.
LoudSense, a new free tool: LUFS, true peak, clips and LRA for any audio file, with a verdict per platform — measured in the browser, nothing uploaded.
A new free tool. Drop a mix, a podcast episode or a show file — WAV, MP3, AAC, FLAC or OGG, up to 1 GB — and read it in one panel: the waveform with red clip marks, cyan peak marks and the orange loudness curve, then Peak, True Peak, Clips, LUFS-M, LUFS-S, LUFS-I and LRA. Underneath, a verdict per platform — Spotify, Apple Music, YouTube, Amazon, Tidal, Apple Podcasts, EBU R128, club and festival PA, plus Audible/ACX for audiobooks — with the fix in dB. Drag across the waveform for the loudness of one section; health checks flag channel balance, phase, DC offset, silence, gaps and dropouts. "Fix it" writes a WAV at the target with a true-peak limiter, original untouched; "Encode preview" runs the file through an MP3 encoder in the browser and measures what it did to the peaks. Drop several files to compare them, mark a reference, read the album loudness, export the panel as PNG or the table as CSV. A strip splits speech from music with a loudness for each, the history block tracks a series episode by episode, A/B plays two files level-matched and "hear A as" plays the file at a platform's normalised level. Charts show the loudness histogram and curve (CSV too), folders analyse as a batch, custom targets sync to the account, and on a phone with the app installed LoudSense sits in the share sheet. Everything is measured in the browser; nothing is uploaded.
The LUFS tab keeps its live input meter; checking a file now has a tool of its own.
A rare in-app "How is this tool working for you?" card — one tap, anonymous, with an off switch in your account.
After you finish something in a tool — an export, a shared link, a finished shift — a small card may ask how the tool is working for you: Good, OK or Bad, with an optional line. It asks at most once per tool every few months, never while a clock or audio is running, and never stores who answered. Turn it off any time under Account → "Ask me about my experience occasionally", or with "Don't ask again" on the card itself.
The Help Center: 106 guide pages for every tool, a "?" drawer beside each app, search, German twins for the paid tools, and a direct line to support.
squaresmile.de/help is the new home for everything "how do I": every tool has an overview that says why it exists, a five-minute start, how-to pages, an FAQ and a troubleshooting table — 106 pages, no login needed. A tree on the left lists all tools and their pages, search finds any heading, and inside a tool the new "?" button in the top bar opens the guide beside the app, remembering where you were. Every page ends with a direct line to support@squaresmile.de and a "was this helpful?" vote. Show Clock, Stage Plot Generator, SoundSense, SetlistForge, Spektra and TempoSense are also available in German at /de/help.
The Help Center is one click away from the site menu, the front-page footer, the app footer and the signed-in sidebar.
TempoSense, a new free tool: live tempo detection from the mic or any input, with layers, delay times, bar tracking and MIDI out.
A new free tool. Point it at the band or the DJ — laptop mic, phone, or a line feed from the desk through your interface — and it shows the tempo as one big number, with the ÷2 / ÷4 / ÷8 layers and the full delay-time table underneath. Four detectors (Transient, Groove, Low-end, Harmonic) and an Auto mode that follows the clearest beat; a range pill and ½× / 2× for octave errors, Hold, and a release time so a breakdown cannot drag the number away. Bar tracking shows beat 1 and lets you set it by hand. MIDI output in Chrome, Edge and Firefox: the tempo and a delay time as controllers for Ableton or LiveProfessor, beat pulses for ÷1 / ÷2 / ÷4 / ÷8 as notes for lighting desks, and MIDI clock. A set log records the night as CSV, and a fullscreen display puts the number on any monitor. The "?" guide has step-by-step setups for Ableton, LiveProfessor, grandMA2/3 and ChamSys.
/app/bpm-forge?bpm=124 fills the manual BPM field on load — that is what TempoSense's "Send to BPM Forge" uses, so a detected tempo lands in the metronome, the delay calculator and your setlist in one click.
Show Clock's Paste schedule learns slot types, countdown and count-up from plain text, with a cheat sheet in the dialog.
Testers told us a pasted schedule turned every line into a plain Set and there was no way to say "this is a changeover" or "count this one down". Paste schedule now reads the type from the words you already write — Doors, Soundcheck, Umbau, Break, Curfew, Load-in — and lets you set anything exactly with tags: "#changeover #countdown" counts down to the next line, "#countdown 90m" runs a fixed timer, "#countup" counts up, "#alert" flashes at the end, and "// text" fills the notes. A cheat sheet sits inside the dialog and the full format is in the guide. Spreadsheet pastes and CSV imports accept the same spellings for type and mode. Also fixed: importing over an existing rundown asked for confirmation in a hidden panel, so "Add slots" looked like it did nothing — the question now appears right above the running order.
Show Clock gets adjustable text sizes: slot title, digits and info text, each set per device from Settings.
Testers asked for a bigger act name on the clock. Settings now has three text-size rows — slot title (S to XL), clock digits and info text — so you can size the clock for the screen it's on: a big title on the stage monitor, smaller digits in a browser tab next to your desk. At L and XL the title turns into a proper heading in both the Stage and Console styles. It's a per-device display preference like the clock style: it never travels with your share link, so a viewer's tablet keeps its own sizes.
An accuracy release: PowerSense counts three-phase amps right, Stage Plot weighs hidden layers, FreqSense refuses to call illegal spectrum safe, and Show Clock viewers can watch but not steer. Plus emails in your language, a newsletter opt-out, SoundSense sessions at a tenth of the download, and updates that show up the moment they ship.
A hoist plated 16 A draws 16 A on each of L1, L2 and L3 — PowerSense was splitting it three ways, so per-phase current and total watts came out 3× too low and a plan could show green headroom while the real rig tripped the breaker. Amp-plated three-phase gear now loads every phase in full; loads entered in W or VA were always correct and are unchanged.
Hiding a layer to declutter the canvas silently removed its fixtures from motor loads, truss breakdowns and the rigging PDF — ten hidden moving heads were 280 kg the report didn't mention. Load maths now ignores what's drawn and counts what's rigged.
Spectrum the tool had no data for was treated as free, so some regions showed cellular bands and unlicensed ranges as coordination windows — France offered 790–960 MHz, Australia the whole 694–820 digital dividend. Windows and the Coordinate packer now only work inside each region's declared-legal PMSE bands; no data means no suggestion.
Someone opening your share link could hit Space or an arrow key and end the current slot, shift the offset — and those changes persisted into the operator's own timetable on that device. Shared views are keyboard-read-only now; display keys still work. Print output also stopped being cream-on-white, and the "mark as my slot" star actually arms band notifications.
Turning on sync on a device that already had a hand-built library could replace it with the server's copy from another device. The first pull now recognises unsynced local work, keeps it, and uploads it instead. The sync consent dialog also speaks your platform language.
The last 46 training stems were uncompressed studio WAVs — a stem-heavy session pulled 20–50 MB. They're now the same 192 kbps MP3 quality as the rest of the library: 63 MB of audio became 5.8 MB, and while stems load you get a proper loading state instead of a frozen question.
The dose calculator's derating for in-ears and custom plugs overstated protection — the corrected factors are the conservative ones your ears would prefer. The live LUFS meter was rebuilt on modern audio plumbing so its R128 gating windows and levels measure what they claim.
Bridle drops were silently capped, making legs steeper than ~45° impossible to model. The cap is gone, and several practice-quiz explanations that contradicted their own scenarios — wrong percentage on the wrong support, self-weight hidden from the answer — now teach the maths they test.
Pausing inside a loop and resuming could land the click a beat away from the audio. Resume re-anchors to the song position, so what you hear is where you are.
Typing a manual BPM while the metronome ran killed it silently, and recalling a tempo from Previous BPMs looked like it worked before the next repaint reverted it. Both paths now do what they show.
Verification, password reset, welcome, licence and the account-deletion warning now render in your platform language — German shell, German emails, including the subjects. English stays exactly as it was.
The account page has an email-preferences section: one checkbox, opt in or out any time, same place the newsletter's "manage preferences" link goes. Consent given at registration was previously irreversible without support mail, which is not how consent works.
Since v2.0 the first visit after every release quietly served the previous version's styles and scripts once before catching up. The offline cache now recognises new asset versions immediately — one last stale load remains for devices that installed before this release, and then the problem is history. Deploys also stopped re-downloading unchanged fonts and audio.
A platform-wide pass on the small stuff: faint text lifted to WCAG AA contrast, skip-to-content links, focus that stays inside open dialogs, 44 px touch targets in Stage Plot's menus on tablets, German coverage for the licence, install and coming-soon pages — and every tool's public page checked against what the tool actually does today, with the stray claims removed. Changing your password now also signs out any other device that was logged in.
Your work now follows you to any device — every tool keeps its state with your account instead of one browser. Plus Stage Plot opens on your last plot and shares links the venue can actually open, RoomSense's Results tab is switched on, paid-tool prices are on the site, and the tools that had no public page now have one.
Log in on the laptop at FOH, the tablet at monitor world or a borrowed machine in the production office, and your saved work is already there. Every tool on the platform now keeps its state with your account instead of in one browser: stage plots, venue profiles, setlists, click settings, wireless plans, training progress. Nothing to switch on — open a tool somewhere new and it picks up where you left off.
Plots, venue profiles, save slots, group templates and your own custom elements all sync. Change laptop mid-tour and the plot you built last week opens on the new one. Account storage went from 10 MB to 50 MB in the same change, so branded plots with custom icons have room.
Stage Plot saved your work every minute and then opened an empty canvas anyway — the autosave was written and never read back. It now restores the newest snapshot on boot, and custom fixtures come back with it instead of reverting to defaults.
Sharing a plot pointed the recipient at a page behind the login and the licence gate, so the one person who needed it — the house tech — always hit a wall. Share links now run on the platform's public share system: send the link, they open it, no account and nothing to install.
RoomSense's synthesis tab was finished and translated but commented out of the build. It is live: your room modes, reverberation and SPL figures collected into one readout instead of scattered across the calculators.
Saved coordination plans were pushed to your account but never read back, so a second device saw nothing. Hydration runs before the app mounts now. The demo trace loader also pointed at files that were never shipped — four real demo sweeps are included.
Fifteen strings in the field-note cards existed only in German, so the English interface quietly fell back to it — the whole "avoid" section of the antenna card, three intermod tips, a squelch type and several footers. All translated.
Eighteen status messages — loading, decoding, cue set, loop cleared — only ever existed in German, so an English user got German feedback inside an otherwise English tool. They now follow your platform language, and your click settings sync with your account.
Your setlists, tempos, tuner and interface preferences are stored with your login rather than in one browser. Build the setlist at home, open it on the tablet at the gig.
The A4 reference, waveform and volume are remembered between visits and now sync with your account, so a 432 Hz session stays 432 Hz on every device you use.
Every paid tool's price used to live only inside Gumroad, which made "buy once, no subscription" hard to check. Show Clock, SoundSense and Stage Plot Generator are €49, SetlistForge is €29, and the number now appears on the tool pages, the dashboard and the front page.
SetlistForge, SoundSense and Stage Plot Generator were live, paid and completely invisible to search — no public page at all. Each has one now, covering what the tool actually does, its limits and its price.
Reporting a gig to GEMA, SUISA, ASCAP, BMI, PRS, SABAM or SOCAN each has its own page explaining exactly what SetlistForge prepares for that society and which extra fields it asks for — in German for GEMA and SUISA, Dutch for SABAM. They are preparation aids: the export is a clean PDF to work from, and you still file through the society yourself.
Three things worth reading without an account: RiggingSense's twenty-term rigging glossary, FreqSense's six wireless field-note cards, and PowerSense's eight stage-power rules. Same words as inside the tools, now on public pages you can send to someone.
The tech-rider builder in development was renamed before launch — the old name collided with an unrelated product in the same category. It joins ClickSmith and PatchSmith in the house naming. Still in build; old links redirect to the new ones.
RiggingSense arrives: learn the statics behind stage rigging by grabbing it — a live sandbox for loads and bridles, every formula solved step by step with your own numbers, and an adaptive trainer that levels with you.
Learn the statics behind stage rigging by grabbing it: drag loads across beams and two-hoist trusses, watch the hoist readings rebalance live, and see every formula solved step by step with your own numbers. Push a load past the last hoist and the tool teaches you about uplift — a chain can pull, but never push.
Drag a bridle apex between two anchors and read per-leg angle, length and tension with its vertical and horizontal components. Color bands flag flat bridles, and the landmark curve shows why: at 30° each leg carries the whole load. Working Load Limits and safety factors get their own explainer, wired to your sandbox's worst hoist load.
An adaptive quiz starts easy and climbs as you succeed — levels 1 to 9, XP, streaks and badges. Every answer ends with a plain-language explanation, the full math, and an "Open in sandbox" bridge. Scenarios are shareable links, everything speaks 11 languages, and forces show in kg, kN or lb.
PowerSense arrives: plan the venue's power before load-in — loads balanced across all three phases, cable gauge and voltage-drop checks, and a printable phase plan the house electrician can act on.
Plan power for audio & lighting rigs before load-in. Pick a feed (Schuko, CEE 16–125 A, generators — or US 120/208 V), add your gear from a preset library, and watch the loads balance across L1–L3 with live per-phase bars and headroom. Enter devices in W, VA or plated amps; 3-phase machines split across all phases automatically.
Every cable run gets a verdict — guideline ampacity plus voltage drop with 3 % / 5 % thresholds, in mm² or AWG. Build one list per distro, see the whole site added up in W and kVA, then export CSV or print a phase plan that shows exactly which device plugs into which phase.
Save the racks you use often to "My gear" for one-tap adding — plans and gear sync through your account across devices. The whole tool speaks all 11 platform languages, and the built-in help explains the formulas plus the good practices behind them.
SetlistForge gets its biggest release yet: account backup, a Show Mode that tracks your place mid-set, CSV import, stage-sheet printing, royalties forms in your language, and a readability pass across both themes — plus a platform-wide security hardening.
Turn on the cloud toggle in the header and your songs, setlists and settings sync to your Squaresmile account — build the set on your laptop, run it from the stage tablet. Opt-in, off by default, and audio attachments always stay on your device.
Tap a song to arm it, then drive the night with big Next/Back buttons. Played songs dim, the next one is marked, and a live clock tells you whether you're ahead of or behind schedule. Your spot survives a reload mid-show.
Paste a list or drop a CSV file, map the columns once, and hundreds of songs land in your library in one go. The add-song form also got faster: Enter saves, and "Save & add next" keeps you typing.
A new "Stage sheet" PDF preset prints huge type with a page per set — the classic taped-to-the-floor setlist. And "Copy as text" puts the whole set on your clipboard, ready for the band's group chat.
GEMA, PRS, BMI, ASCAP, SOCAN, SABAM and SUISA forms now follow the app language instead of staying German — the filed PDF keeps each society's official wording. Accented and Cyrillic song titles print correctly in PDFs too.
Set breaks can carry minutes, the footer shows true wall-clock time, and a slot target tells you live how far over or under you are. Filter and sort your library by key, BPM or energy, tap a tempo straight into the BPM field, and undo a song delete for ten seconds.
A full readability pass on both themes: stronger contrast on buttons, badges and banners, visible field borders, clearer focus rings, larger touch targets, and Show Mode offers dark mode when the house lights go down.
Every page now ships a strict content-security policy that blocks unauthorized scripts outright, alongside clickjacking protection — invisible in daily use, but it meaningfully hardens the whole platform.
SoundSense goes mobile and gets safer and steadier, Show Clock adds per-viewer settings on shared links plus clearer warnings and a batch of reliability fixes, and an update banner that used to block phone controls is finally out of your way.
The ear-training games run on phones now, not just desktop, with layouts that fit a small screen. Get your reps in anywhere — on the bus, in the wings, between soundchecks.
A few modules could load without their answer buttons, leaving you stuck; every game is playable again. We also stopped a sudden volume jump when you switch back to the tab mid-exercise.
Badges and scores stay in sync when you move between phone and desktop, instead of a reconnecting device quietly rolling back what you'd earned.
Anyone you share a timetable with can open the gear to pick light or dark and their preferred view. Their choice sticks on their own device instead of being reset every time your operator screen updates.
Warnings now use a distinct orange that stands apart from the live amber, so a slot heading into trouble jumps out at a glance.
Typing a slot's start time stays put and only re-sorts once you're done. Phone viewers also got their bottom controls back on shared links, and a pre-show slot no longer looks like it already finished.
A failed publish now retries and tells you instead of failing silently, and busy shows ease off gracefully instead of hitting rate limits. Text, contrast and tap targets got a clean-up across the app too.
On phones, the banner that shows up when a tool updates used to sit on top of your on-screen controls. It now stays out of the way, with a dismiss button, and clears itself after a few seconds.
Show Clock gets its biggest maintenance release yet: offline mode works again for the installed app, share links keep their access level, crew notifications are back, overnight shows keep correct time, and the whole run of show is keyboard-operable — plus a long list of battery and sync improvements.
Show Clock installed to your home screen now opens and runs without a connection — the offline cache had been pointing at the wrong address since the app moved to its new URL. Update prompts are also gentler now: a new version waits for you to tap Reload instead of swapping files under a running show.
A Band/Guest link stays a Band/Guest link. Previously, reloading the operator page and making any edit silently re-published the share with full access — exposing the live clock, tech riders and your private cue notes. The Producer/Crew/Band choice is now remembered per timetable.
The bell button on a shared link subscribes properly now, so "Notify band" actually lands on your crew's phones. The audience Clock view was also untangled — viewers see one clean full-screen clock with the running order, plus a "Run of show" button to switch back, instead of the operator's editing panel leaking in beside it.
Timers no longer freeze or mislabel slots when a show crosses midnight: the elapsed count-up keeps counting, "starting now" isn't shown hours early for after-midnight slots, and duplicating or dragging slots in multi-day timetables keeps every slot on its right day. The pre-slot warning beep works again too, and a mid-show reload no longer restarts a running countdown from full.
The run of show is now fully keyboard-operable — Enter opens a slot, Alt+↑/↓ reorders it, Escape closes menus — with visible focus rings, bigger touch targets, better contrast and a confirmation before a slot is deleted. Undo also behaves: typing in a slot no longer floods the undo history one letter at a time.
The clock redraws only when something changes and cross-device sync now uses a single lightweight request instead of three, so long shows are much easier on tablets and phones. Edits made while offline are kept and pushed up when you're back online instead of being overwritten, and stale data from a reconnecting device can no longer roll back a newer change.
BPM Forge gets a cleaner split between click and tune: the metronome now steps aside for the Tuner, compound meters play right, you can edit setlist songs in place, and a batch of robustness and accessibility fixes round it out.
Switching away from the Tapper now stops the metronome, so its clicks can't leak into the Tuner's microphone and throw off the pitch reading. The tuner also uses about half the CPU now, so the needle stays smooth on older phones.
Setlist songs in 6/8, 7/8 and other compound meters now click with the right subdivision instead of being played in 4. Existing songs are migrated automatically, and the steadiness meter is now tempo-independent so Steady/OK/ Unsteady means the same thing at any BPM.
Each setlist row gets a pencil to edit that song in place — tweak its name, BPM or time signature and Save, or press Escape to cancel. No more delete and re-add.
Custom click sounds reload reliably, imported setlists are validated (bad BPMs and fields are cleaned up), the tab bar is keyboard-navigable with arrow keys, the big BPM number and delay tag always agree, and tapping Space inside a field no longer fires a phantom tap.
PitchSense gains a real live mic tuner, shareable setups, choosable tone shapes and volume, and a batch of accuracy fixes — the biggest step up since it launched.
PitchSense now listens through your microphone and drives the cents gauge in real time, so you can tune by ear against it — with a graceful message if the mic is unavailable or blocked. It finally lives up to its name.
Your A4 reference, frequency, note and harmonic are now saved in the page URL, so you can bookmark or share an exact setup and it loads back just as you left it.
Choose a tone shape (sine, triangle, square or saw) and set the playback volume; overlapping taps are smoothed so they no longer clip or distort.
An empty input now shows a neutral prompt instead of a made-up note, the first playback tap on iOS is no longer dropped, note-to-frequency stays within range, and the reference search matches sharps and flats (♯/♭, Db, Eb…).
FreqSense gets sharper coordination — a missing intermod family, corrected regulatory edges and a recovered duplex gap — plus cross-device plans and a friendlier fit for touch and screen readers.
FreqSense now includes the missing three-transmitter intermod family (A+B−C), so crowded-band collisions are no longer understated. The German PMSE upper edge is corrected to 694 MHz, and the licence-free 823–832 MHz duplex gap now shows up as a usable coordination window.
Saved plans, plus your theme, patterns and language, now sync to your account instead of living in a single browser — set up on the laptop, pick it up on the tablet.
Bigger 44px dismiss buttons, higher-contrast labels, Space/Enter toggles, visible focus outlines, no accidental double-toggle on touch, and a live "parsing…" state while importing a scan CSV.
ClickSmith's transport grows up: pause holds your place and resumes from it, tempo and rhythm edits are audible the instant you make them, and the whole tool fits phones and reads correctly for every language and assistive tech.
Pausing now holds your exact spot instead of jumping back to the start, and Play picks up right where you left off — with a "Paused at 1:23 — press play to resume" note so you know where you are. A full Stop, or seeking on the waveform, still resets to the start as before.
Changing the BPM, offset, meter, subdivision, accents or the tempo map now updates the click you're hearing live during playback — not just the on-screen markers. No more stopping and restarting to hear your change.
On narrow screens the waveform is no longer squashed and the beat markers line up correctly, and the accent editor wraps so 5/4, 6/8 and 7/8 patterns stay on screen.
The tabs, accent editor and transport controls are now fully keyboard- and screen-reader-operable, all labels follow your chosen language, and the full and stem exports get distinct filenames so running both no longer overwrites.
RoomSense gets its biggest tune-up since launch: a dark-venue dim mode, venue profiles that give you real feedback, more accurate acoustics, safety and loudness figures, and a friendlier fit on phones and tablets.
RoomSense now has a one-tap dim toggle in the top bar, so you can knock the screen glare down at front-of-house without dimming anything else on the page. Your choice is remembered, and it follows your account across devices.
Saving, loading, importing and exporting venue profiles now confirm the result on screen. Delete asks before it wipes a profile, saving over an existing name asks first, and a bad import file says so instead of doing nothing. Your Seated/Standing audience setting is stored with the profile too.
Air-absorption HF loss now uses the full ISO 9613-1 model, critical distance uses the standard reverberation-radius formula, and the hearing-protection figures follow the NIOSH method. The hearing-dose timer no longer shows green once you are over the safe exposure level, and wildly out-of-range SPL entries are flagged rather than shown as real readings.
The built-in LUFS meter now gates Integrated loudness to the EBU R128 standard (so quiet passages no longer read it too loud), releases the microphone cleanly the moment you stop, and tells you why if it can't start — a denied permission or a device already in use no longer just fails silently.
Buttons, selectors and input fields in RoomSense are now comfortably tappable on touch screens, and the tool's styling stays fully inside the tool — no more stray effects on the rest of the page when printing or dimming.
A smoother way in — buy a premium tool and you're using it seconds later — plus a hands-on Spektra demo you can try in the browser today.
Premium tools now hand you straight from the Gumroad checkout into your new account with the key already applied — no separate sign-up or hunting for a redeem page.
A live, interactive Spektra demo runs the real spectrum view on simulated RF, so you can drag thresholds and mark bands before the plugin ships. Find it on the Spektra page.
On narrow phone screens the time-signature and BPM rows could get cut off at the edge. They now wrap so every control stays reachable.
v2.0 lays the groundwork for a lighter platform — a warm paper-white theme tuned to WCAG AA, rolling out across every authenticated surface.
A warm paper-white light theme for the dashboard, account, and admin is on its way — we're polishing it tool by tool, with a one-click dark toggle to follow.
Every button, input, and toggle now shows a clear honey focus ring in light mode, and contrast was tuned across the shell to meet WCAG AA.
Spektra first showed up at our v1.1 launch as the hardware companion to FreqSense: point an RTL-SDR dongle at the UHF band and watch every TV channel and mic frequency light up in real time, with the safe windows for your wireless gear called out automatically. We walked it back behind the curtain to finish it properly — live scanning that holds up in a packed venue, coordination with FreqSense's DE / UK / US / EU rules, and local licensing that just works. That work is nearly behind us, and a full launch is on the way.
Plug in an RTL-SDR dongle and Spektra scans the UHF band live, marking the clear windows for your wireless mics and IEMs before you walk into a venue. The heavy lifting is done — here's where the SDR plugin stands.
A fresh look for SetlistForge — now with a dark mode and a Timeline view.
A brighter, paper-style design makes your setlists easier to read at a glance — same tool, far less clutter.
Tap the toggle in the header to switch between the light paper theme and an easy-on-the-eyes dark one, and it remembers your choice next time.
A new Timeline view lays your songs on a time-rail with an energy spine, so you can read the night's flow and pacing at a glance. Switch between List and Timeline whenever you like.
Introducing What's New — and a big upgrade to BPM Forge's tuner and metronome.
Every platform update now lives here, newest first, so you can always see what's changed and what's improved across the tools.
New number fields let you set a custom time signature, and the bottom number actually changes the feel — 6/8 clicks twice as fast as 6/4.
The tuner now covers violin, viola, cello, double bass, mandolin and banjo — plus a Chromatic mode that reads any note for everything else.
Set each string from a dropdown to make a custom tuning, and BPM Forge remembers it per instrument.
A polish pass across the whole platform.
Lots of small fixes across the platform and tools — tidier spacing, steadier menus and fewer rough edges on mobile.
Frequency tables now scroll cleanly on tablets and stack into easy-to-read cards on phones, so nothing gets cut off.
The clock page no longer traps you mid-scroll — you can move through the whole thing on a phone.
The RoomSense top bar no longer goes see-through as content scrolls underneath it.
New look, clearer names, smoother tools.
The homepage got a fresh dark-and-gold redesign that puts the tools front and centre.
A few tools were renamed so what they do is obvious at a glance — say hello to BPM Forge, PitchSense, ClickSmith and SetlistForge.
Show Clock now fills the screen properly on phones, and the HUD controls stay where you expect them.
A round of fixes and speed-ups under the hood makes building and dragging your plot smoother.
BPM Forge no longer spills off the edge of narrow phone screens.
SetlistForge goes fully mobile — plus a dashboard you can arrange your way.
Build and tweak setlists right from your phone — no more pinching and scrolling a layout meant for a desktop. Every control is sized for a thumb.
A focused, distraction-free view for during the gig, with phone-friendly pop-ups for quick edits.
The Energy Arc now shows the key for every song, so you can spot an awkward transition before you're on stage.
The royalties tab is now called Tantiemen and fits whichever collecting society you report to, with a short note you can dismiss.
Both now adapt to your device instead of forcing a cramped desktop layout onto a phone or tablet.
Tools now show a preview image, you can reorder them, and some can link straight out to where they live (like SubPress).
A cleaner address for everything — and RoomSense that fits your phone.
Every page got a tidier address — a welcome page at the root, your tools under /app, and a dedicated page for each tool.
Added an /about page for the platform, and every old link now redirects on its own so nothing you've bookmarked breaks.
Charts are taller and tighter, nothing overflows the screen, and the embedded layout was rebuilt so it's genuinely usable on a phone.
Squaresmile Tools, now phone-friendly top to bottom.
The dashboard, account and admin screens are now fully usable on a phone — bigger tap targets and layouts that reflow instead of needing a pinch.
The tools menu, slide-out drawers and long license keys all sit and wrap properly on phones now.
The platform gets a warm new look, and every tool gets its own front door.
The dashboard and sidebar got a warm redesign — colour-coded tools, a cleaner layout, and everything easier to find at a glance.
Star any tool to pin it to the sidebar, so the ones you use most are always one tap away.
Each tool now has a landing page you can link to directly, and they're all cross-linked so it's easy to discover the rest of the suite.
A redesigned click-and-metronome builder — richer beat detection, live click sounds and a cleaner tempo panel.
Added EQ, spectrum and audiogram exercises plus a stack of new practice material to work through.
A live storage meter shows how much of your synced-settings space you've used.
Tightened the privacy and accessibility details and added clear legal pages — no cookie banner needed.
A new name, a bigger toolbox, and emails that finally look right.
Klangregie AudioTools has a new name and a new home at squaresmile.de.
A new ear-training app for sharpening your EQ, spectrum and audiogram skills — free for license holders to try early.
Our SDR plugin arrived with a license-gated download and a setup guide — grab an RTL-SDR dongle and you're on the air.
Lay out your stage — inputs, monitors and gear — and share the plot with the crew.
A cleaner frequency-and-pitch reference, now with cents readouts and harmonic detail.
A lighting tool joined the lineup as coming-soon — license holders can get an early look while we finish it.
Verification, password resets, welcome notes and license grants now arrive clear, branded and reliable.
The platform goes live — every Squaresmile tool in one place.
A single home for our stage-and-studio tools — one login, one dashboard, and your settings saved so they follow you between devices.
Bought a tool? Activate it with your key and it's ready right away — no separate downloads or extra logins.
Share a live clock link and everyone sees changes within a few seconds — no refreshing mid-show.
Supported tools can hand out a share link, so a bandmate or client can see your work without needing an account.