contents

manual

quickstart

Download the archive for your system from your account page. It is there after checkout, or after redeeming a gift code.

macOS

Open the .pkg. It installs the VST3, the Audio Unit and the CLAP into the system plug-in folders; any of them can be left out.

Windows

Run the installer. It puts the VST3 and the CLAP into the system plug-in folders; either can be left out.

Linux

Copy aquirosa.vst3 from the archive into ~/.vst3, or aquirosa.clap into ~/.clap. Pick whichever your DAW loads.

If your DAW does not list aquirosa afterwards, rescan its plug-ins or restart it. Insert aquirosa on a track with audio on it.

Until it is activated the window is veiled and the plug-in is silent. Click the veil: a browser opens on your account. Sign in with the address you used at checkout and press activate this device. The plug-in picks the license up within a few seconds. A license covers two devices; free a seat from the account page to move it.

Click the graph to add a point. Left/right chooses the incoming frequency; up/down chooses its destination. The Presets page behind the logo has starting points.

common controls

dragging or arrow keys

adjust a knob or selected point

Shift + drag or arrow keys

adjust 10× finer

type a number + Enter

set a selected knob value point frequency

right-click or Shift-click

open modulation for a point or modulatable knob

M

open, foreground, or background the selected point’s popup

/Ctrl + Z

undo; add Shift to redo

using aquirosa

The interface has three working areas, the curve editor, the control bar, and the main menu:

The aquirosa curve editor with a curved frequency map over the spectrum.
Curve editor
The full aquirosa control bar, isolated from the curve editor.
Control bar
The main menu, with all release-visible sections in order.
Main menu

curve editor

A graph-editor guide following an incoming frequency across the curve to its outgoing frequency.
The curve maps incoming frequencies (bottom x-axis) to outgoing frequencies (left y-axis).

frequency mapping

The input (bottom / x) and output (left / y) axes range from 20 Hz to 20 kHz; the full range of human hearing that aquirosa operates on. A point at 440 Hz on x and 660 Hz on y sends incoming A4 to E5. The faint diagonal is the identity line which preserves the original sound by mapping input to the same output.

The live input and output spectrum are drawn in the background.

bézier curve

aquirosa draws a bézier curve through the points. It always has one output frequency for one input frequency, although it might be cool to change that... The 20 Hz and 20 kHz endpoints can be moved, which can be interesting for filtering (changing their x position) or more radical effects (like inverting the whole spectrum).

Tip. Making the curve shorter by moving the endpoints closer together can act as a nice bandpass

You can hold /Ctrl while dragging a point vertically to change the Q/bend around it. Drag up for a tighter bend; down for a broader one.

A Command drag changing the sharpness of a curve bend.
/Ctrl-drag changes the sharpness of the local bend.

points

click empty space

Add a point. aquirosa allows up to 16 points.

drag a point

Change its input/output frequencies.

drag empty space

Draw a selection rectangle (helpful for catching modulated points!)

Tip. Dragging empty space makes it easy to catch modulated points & move via arrow keys
Shift-click a point

Add it to the selection to move multiple points.

/Alt-drag a point

Duplicate it and drag the new point.

double-click a point or Delete/Backspace

Delete point.

type a number, then Enter

Set the outgoing frequency of every selected point at once. A k after the number means kHz; Esc drops the entry.

A pointer creating, moving, and removing a point in the curve editor.
Click to create, drag to place, double-click to remove.
Two selected graph points taking a typed frequency of 1 kHz.
Two selected points set to 1 kHz via keyboard. Point frequency labels toggleable via interface settings.

temporary points

Hold /Alt and click/drag in empty graph space to create a temporary point that is audible immediately. Release /Alt before mouse-up to keep it; release the mouse while still holding it to discard the point. A discarded temporary point does not enter undo history.

Tip. Temporary points are a nice way of playing the curve and experimenting. If you discard it, all points and the curve are reset to before the temporary point
A pointer using Option to audition a temporary graph point.
Hold /Alt to audition; release it before the mouse to keep the point.

point size

Drag a point’s outer rim to change its size. At 1.0 the point only maps frequency. Above 1.0 it adds local spectral decay around the point’s output frequency. Below 1.0 it cuts that output band. The visible rim is the core of the affected band: pulling farther from neutral deepens and widens the effect.

Tip. Use negative curve points ("black holes") to cut out unwanted frequencies

Double-click the rim to reset size to 1.0.

A point rim being dragged out to create local sustain, then back through the point to a local cut.
Point size above neutral sustains; below neutral cuts.

modulation

A modulation popup with amount, waveform, rate, life, and point-destination controls.
Curve-point modulation adds X, Y, θ, and R destinations.

Create a modulation popup by right-clicking a curve point or a modulatable knob, or selecting a point/knob and pressing M.

A popup stays open as long as its amount is nonzero.

Tip. Close a modulation popup easily by double-clicking the amount knob
Amount

Depth and polarity, from −100% to +100%.

Type

Click for the radial picker; drag vertically or use arrow keys to cycle it. Learn more about modulation types.

Rate

Free speed in Hz. Free runs continuously; Sync follows host tempo with straight, dotted, and triplet divisions.

Life

Lets input signal speed up or slow down the rate. Positive values increase rate with input signal; negative values reduce it.

x / y

How much the point moves across x or y dimensions.

θ

How much the curve point bend changes.

r

How much point size changes.

sources

The modulation source picker showing its eight waveform previews.
Sine (SIN)

Sine.

Square (SQR)

Square.

Up (UP)

Upward saw.

Down (DWN)

Downward saw.

S&H (S&H)

Random held values at the selected rate.

Random Walk (RND)

Continuous wandering perlin motion.

Sequencer (SEQ)

Up to 16 editable values, stepped or shaped between steps.

Envelope Follower (ENV)

The input signal becomes the modulation.

sequence and follower

Sequence adds Steps, a row of editable values, Env, and a die. Drag a step to set it. Drag across multiple steps to set multiple at once. Env sets step value shape, from a pluck that decays at negative values to a upward rise at positive values. Click the die to replace values; /Alt-click it to randomize the step count as well.

A Sequence modulation popup with step values and envelope shape.

Envelope Follower replaces Rate and Life with Scale, Atk, and Dec. Scale trims the input driving the follower, Atk sets how quickly it rises, and Dec how slowly it falls.

An Envelope Follower modulation popup with Scale, Attack, and Decay.
Tip. For even more chaotic modulation, right-click a control inside a modulation popup to begin modulating recursively:
A child modulation popup attached to a parent modulation control.

control bar

The full aquirosa control bar, isolated from the curve editor.
From left to right: logo, tuning, wave controls, engine, and Mix.

Click the aquirosa logo to open the main menu.

tuning, key, scale, and attract

The tuning browser, with tuning categories, pitch structures, and provenance notes.
The tuning browser includes structure, description, provenance, and favorites.

Choose a tuning first. None disables Key, Scale, and Attract. Key and Scale choices adapt to the selected tuning family and are remembered by family. A disabled Key select means the selected scale does not use a root (like to a harpsichord).

The search field at the top of the browser matches tuning names, traditions, instruments, and scale names. The search returns not only tuning systems but specific scales as well.

Tip. Search for raga or heptatonic to quickly find related tunings.

Star a tuning to float it to the top. The browser can create a custom tuning, import .scl or .ascl files, and open the tuning editor to edit existing tunings.

A .kbm file with the same name next to an imported .scl is taken into account for the scale import. Specifically, the degrees mapping, the formal octave (which turns into period), and its reference note are used. A key range is not applied, since aquirosa retunes the whole spectrum rather than a keyboard.

The tuning editor lets you add, drag, and delete degree markers; set cents or ratios; set period and reference pitch; choose fixed-pitch or root-relative key behavior; then save a new Scala file. Double-click a marker to remove it.

The custom tuning editor with degree rail, reference, and key-behaviour controls.
Custom tunings are edited on the degree rail and saved as Scala files.

The Attract knob attracts post-curve-warp frequencies towards the selected tuning. 0–100% tunes tonal content and 100–200% progressively includes residual texture, with 200% tuning the whole incoming spectrum. In the audio settings you can toggle this behavior to Colored mode, where the attraction does not differentiate between tonal and residual content and determines attraction 0-100%.

built-in tunings
90 tunings in 15 categories, with 177 named scales
western

Equal Temperament · 5-Limit Just Intonation · 7-Limit Just Intonation · Pythagorean Twelve Tone · Quarter-comma Meantone · Werckmeister III · 5-Limit Just Intonation (Frozen) · 7-Limit Just Intonation (Frozen)

indonesian

Slendro (Idealized) · Balinese Saih Pitu (Semar Pegulingan) · Balinese Gong Kebyar (Begbeg) Slendro (Idealized) carries Slendro (5-tone)Balinese Saih Pitu (Semar Pegulingan) carries Saih pitu (7-tone)Balinese Gong Kebyar (Begbeg) carries Begbeg (5-tone)

indian

22-Śruti Five-Limit Model · Indian 12-Svara Indian 12-Svara carries thāṭ: Bilaval, Khamaj, Kafi, Asavari, Bhairavi, Kalyan, Bhairav, Todi, Purvi, Marwa · rāga: Yaman, Bhupali, Durga, Shivranjani, Hansadhwani, Malkauns, Chandrakauns, Bairagi, Megh, Kalavati, Jog, Desh, Bhimpalasi, Bageshri, Darbari Kanada, Ahir Bhairav, Charukeshi, Kirwani, Madhuvanti, Patdeep · indu chakra (1-6): 1 Kanakangi, 2 Ratnangi, 3 Ganamurti, 4 Vanaspati, 5 Manavati, 6 Tanarupi · netra chakra (7-12): 7 Senavati, 8 Hanumatodi, 9 Dhenuka, 10 Natakapriya, 11 Kokilapriya, 12 Rupavati · agni chakra (13-18): 13 Gayakapriya, 14 Vakulabharanam, 15 Mayamalavagowla, 16 Chakravakam, 17 Suryakantam, 18 Hatakambari · veda chakra (19-24): 19 Jhankaradhwani, 20 Natabhairavi, 21 Keeravani, 22 Kharaharapriya, 23 Gourimanohari, 24 Varunapriya · bana chakra (25-30): 25 Mararanjani, 26 Charukesi, 27 Sarasangi, 28 Harikambhoji, 29 Dheerasankarabharanam, 30 Naganandini · rutu chakra (31-36): 31 Yagapriya, 32 Ragavardhini, 33 Gangeyabhushani, 34 Vagadheeswari, 35 Sulini, 36 Chalanata · rishi chakra (37-42): 37 Salagam, 38 Jalarnavam, 39 Jhalavarali, 40 Navaneetam, 41 Pavani, 42 Raghupriya · vasu chakra (43-48): 43 Gavambodhi, 44 Bhavapriya, 45 Subhapantuvarali, 46 Shadvidhamargini, 47 Suvarnangi, 48 Divyamani · brahma chakra (49-54): 49 Dhavalambari, 50 Namanarayani, 51 Kamavardhini, 52 Ramapriya, 53 Gamanashrama, 54 Vishwambari · disi chakra (55-60): 55 Shamalangi, 56 Shanmukhapriya, 57 Simhendramadhyamam, 58 Hemavati, 59 Dharmavati, 60 Neetimati · rudra chakra (61-66): 61 Kantamani, 62 Rishabhapriya, 63 Latangi, 64 Vachaspati, 65 Mechakalyani, 66 Chitrambari · aditya chakra (67-72): 67 Sucharitra, 68 Jyotisvarupini, 69 Dhatuvardhini, 70 Nasikabhushani, 71 Kosalam, 72 Rasikapriya

arabic

Arabic 24-Quarter-Tone (Cairo Congress reference) Arabic 24-Quarter-Tone (Cairo Congress reference) carries maqāmāt: Rāst, Bayātī, Ḥijāz, Nahāwand, Kurd, ʿAjam, Ṣabā, Sīkāh, Huzām, Ḥijāz Kār, Nikrīz, Nawā Athar

turkish

Arel-Ezgi-Uzdilek · Turkish 53-Comma Reference Arel-Ezgi-Uzdilek carries makam: Rast pitch-set reference, Uşşak pitch-set reference, Hicaz pitch-set reference, Hüseynî pitch-set reference, Nihavend pitch-set reference, Kürdî pitch-set referenceTurkish 53-Comma Reference carries makam: Rast pitch-set reference, Uşşak pitch-set reference, Hüseynî pitch-set reference, Hicaz pitch-set reference, Nihavend pitch-set reference, Kürdî pitch-set reference

persian

Vaziri 24 Quarter-Tone · Dastgāh Practice (Farhat) Vaziri 24 Quarter-Tone carries dastgāh: Shūr, Abū ʿAṭā, Dashtī, Bayāt-e Tork, Afshārī, Segāh, Chahārgāh, Homāyūn, Bayāt-e Esfahān, Navā, Māhūr, Rāst-Panjgāh

japanese

Gagaku Jūni-ritsu · Koto Hirajōshi Measurement (Ellis) Gagaku Jūni-ritsu carries ryo chōshi: Ichikotsuchō (ryo on D), Taishikichō (ryo on E), Sōjō (ryo on G) · ritsu chōshi: Hyōjō (ritsu on E), Ōshikichō (ritsu on A), Banshikichō (ritsu on B) · movable cores: Ritsu pentatonic core (movable), Ryō pentatonic core (movable) · gamut: Jūniritsu (12)Koto Hirajōshi Measurement (Ellis) carries Hirajōshi (5-tone)

chinese

Shí-èr-lǜ (Twelve Lǜ) · Zhu Zaiyu's New Method (12-ET) · Guanzi Pentatonic Shí-èr-lǜ (Twelve Lǜ) carries pentatonic modes: Gōng pentatonic, Shāng mode, Jué mode, Zhǐ mode, Yǔ modeZhu Zaiyu's New Method (12-ET) carries pentatonic modes: Gōng pentatonic, Shāng mode, Jué mode, Zhǐ mode, Yǔ mode

korean

Korean Twelve Yul Korean Twelve Yul carries jo: Pyeongjo, Gyemyeonjo (historical five-tone), Aak heptatonic

thai

Thai Seven-Step Equal Model (contested)

african

West African Balafon (Ellis No. 86) · Pitt-Rivers West African Balafon (Ellis No. 87) · Pitt-Rivers Balafon (Ellis No. 87, Octave-Normalized) · Mandinka Balafon (Gambia) · Mandinka Balafon (Gambia, Octave Added) · Chopi Timbila

ethiopian

Ethiopian Qəñət (tempered reference) Ethiopian Qəñət (tempered reference) carries qəñət: Tizita major, Tizita minor, Bati major, Bati minor, Ambassel, Ambassel II, Anchihoye

greek

Byzantine Diatonic (Chrysanthos JI) · Byzantine Soft Chromatic (Savas) · Byzantine Hard Chromatic (PMC) Byzantine Diatonic (Chrysanthos JI) carries Diatonic first modeByzantine Soft Chromatic (Savas) carries Soft chromaticByzantine Hard Chromatic (PMC) carries Hard chromatic

experimental

Harmonic Partials 33-64 · Subharmonic Partials 33-64 · Bohlen-Pierce · Harry Partch 43-Note · La Monte Young's The Well-Tuned Piano (1964) · Harp of New Albion (Terry Riley) · Lou Harrison 16 (Ptolemy Duple) · Ben Johnston 22 (Quartet No. 4) · Carlos Alpha · Carlos Beta · Carlos Gamma · Wendy Carlos's Harmonic Scale · Stockhausen Studie II · Colundi (Normalized) · Hexany (1-3-5-7) · Eikosany (1-3-5-7-9-11) · Centaur (7-limit) · LucyTuning · 88CET (Gary Morrison) · Stopper OnlyPure (19√3) · Stretched 12 (Pizarro) · Dreyblatt Overtone Lattice · Daniélou 53-Position System · Ernest G. McClain's 37-tone "Holy Mountain" La Monte Young's The Well-Tuned Piano (1964) carries Well-Tuned Piano gamut (12)Harp of New Albion (Terry Riley) carries New Albion gamut (12)Wendy Carlos's Harmonic Scale carries Harmonic gamut 16-30 (12)

edo

3-EDO · 4-EDO · 5-EDO · 6-EDO · 7-EDO · 8-EDO · 9-EDO · 10-EDO · 11-EDO · 12-EDO · 13-EDO · 14-EDO · 15-EDO · 16-EDO · 17-EDO · 18-EDO · 19-EDO · 20-EDO · 21-EDO · 22-EDO · 23-EDO · 24-EDO · 26-EDO · 27-EDO · 31-EDO · 34-EDO · 36-EDO · 41-EDO · 48-EDO · 53-EDO · 72-EDO

life, purity, energy, and time

The Life, Purity, Energy, and Time controls with their animated orbs.
The four wave controls respond to value and incoming level.
Life · −100 to +100%

Animates the curve depending on the input spectrum. Positive values animate upward, negative values pull downward.

Purity · −100 to +100%

Sets tonal and residual balance. Positive keeps more tonal content; negative keeps more residual texture. The min/max values solo the tonal or residual content.

Energy · −100 to +100%

Positive emphasizes brightness and adds harmonics; negative darkens it. The outer ranges add spectral compression increasing energy.

Time · −100 to +100%

Positive values create spectral tails; negative values favor transients. Decay phase in audio settings changes decay tail character.

engine

The Engine controls stepping through Live, Balanced, and HQ, each mode naming its latency.
Mode carries the current or predicted latency in its label.
FFT

32, 64, 128, 256, 512, 1024, 2048, 4096, 8192, or 16,384 samples in real time. Smaller windows are better at transients; larger windows resolve pitch more clearly. Default of 4096 strikes a fair balance.

Live

The lowest-latency causal mode for playing and tracking. (11ms by default)

Balanced

Twice Live’s frequency resolution for twice its latency. (22ms by default)

HQ

The highest-quality mode, with the largest latency. (149ms by default)

Res

Eco, Normal, High, and Ultra set processing density. Higher choices use more CPU.

Tip. You can shorten HQ latency by increasing Res to High or Ultra.

Live and Balanced modes do not support larger FFT sizes or Eco resolution (but retain your HQ choice for when you return).

mix

The Mix knob at 66%.

The dry path is delayed to meet the processed path, and the crossfade is energy-balanced so the volume stays constant across its full range.

support

If you have further questions, don't hesitate to reach out at support@aquirosa.com.