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.

host automation

Every point is a family of parameters in your DAW: Point N X, Y, R (its size) and Q (its bend), N from 1 to 16, and under Point N Mod the point's LFO with the same lanes a knob's modulation has (amount, rate, division, type, sync, env, the envelope follower, life) plus where it goes (X, Y, angle, R). Draw or record automation on them like on any knob. A point keeps its number for as long as it exists, even when you drag it past its neighbours, and a new point takes the lowest free number. Hover a point to see which number it has. Point N On says whether a point stands behind the number: switching it on from the DAW makes a point from the number's other lanes, switching it off removes the point, so adding and removing record too. The lanes of a number that is off do nothing.

The rest of the sound is a parameter as well: the knobs and their modulation, FFT size, mode and resolution, key and scale, every row of the Audio settings page, and the tuning. Tuning lists the built-in tunings in a fixed order, so a lane recorded on one machine picks the same tuning on another. A tuning you imported or made yourself shows as Other on that lane and stays with the project; moving the lane to Other changes nothing. When the tuning lane switches tunings, key and scale stay where their own lanes have them. What automation cannot carry: the corpus files, a modulation's step sequence, and modulation of a modulation.

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.

The same works while dragging an existing point: hold ⌥/Alt as you release the mouse and the point goes back to where it was, with nothing in 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. Skew moves the peak: right rises slowly and falls fast, left the reverse.

Square (SQR)

Square. Width sets how long it stays high: left gives short blips up, right short dips.

Up (UP)

Upward saw. Curve bends it: right starts slow and finishes fast, left the reverse.

Down (DWN)

Downward saw, with the same Curve knob.

S&H (S&H)

Random held values at the selected rate. Glide slides into each new value instead of jumping.

Random Walk (RND)

Continuous wandering perlin motion. Texture sets how busy it is: left is one slow drift, right is jittery.

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 and a row of editable values, with Env at its left and a die at its right. 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 puts Time, Scale, and Emph where the other types have their shape knob, Rate, and Life. Time sets how fast the follower moves: the number is how long it takes to fall all the way. Scale trims the input driving the follower. Emph picks what it listens to: turn it left to follow only the lows, right to follow only the highs.

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 Notes row under Key and Scale shows which notes attract. Key and Scale fill it. Click a key to turn that note on or off, or drag across keys to change several. Alt-click keeps one note alone. Once the notes differ from the scale, Scale lists them (E G B) and Key shows a dash, because it no longer moves them. Pick a Key or Scale to fill the row from it again. On tunings where the key retunes the pitches, such as 5-limit JI, Key keeps its value. Tunings with more than 24 steps open a larger grid when you click the row. Edited notes are saved with the project and with presets.

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 shows the period as a ring, one dot per degree, beside a list of the degrees. Drag a dot round the ring to retune it, click the empty track to add one, and double-click a dot to remove it. Each row in the list takes a typed value in cents or a ratio such as 5/4. Set the period and the reference pitch, choose fixed-pitch or root-relative key behavior, then save a new Scala file.

The custom tuning editor: the period as a ring beside its degree list, with reference and key-behaviour controls.
Custom tunings are edited on the ring and in the degree list, then 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
109 tunings in 17 categories, with 371 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) · Kirnberger II · Half-comma Meantone · Silbermann (after Sorge) · Werckmeister Septenarius

indonesian

Slendro (Idealized) · Balinese Saih Pitu (Semar Pegulingan) · Balinese Gong Kebyar (Begbeg) · Sundanese Salendro Sejati · Sundanese Pelog Degung Sejati · Sundanese Sorog Madenda Sejati · Javanese Slendro (Ellis No. 94) · Javanese Pelog (Ellis No. 96) · Banyumas Jemblung (Kalijering) Slendro (Idealized) carries Slendro (5-tone)Balinese Saih Pitu (Semar Pegulingan) carries Saih pitu (7-tone) · patutan: Selisir (5 tones), Tembung (5 tones)Balinese Gong Kebyar (Begbeg) carries Begbeg (5-tone)Sundanese Salendro Sejati carries Salendro (5-tone)Sundanese Pelog Degung Sejati carries Pelog degung (5-tone)Sundanese Sorog Madenda Sejati carries Sorog madenda (5-tone)Javanese Pelog (Ellis No. 96) carries Pelog (7 tones) · ellis's selections: Pelog (5), Dangsoe (5), Bem (5), Barang (5), Miring (5), Menjoera (5)

indian

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 Maqām (24 Quarter-Tones) · al-Fārābī 22-Note ʿŪd · Ṣafī al-Dīn 17-Note Arabic Maqām (24 Quarter-Tones) carries maqāmāt: Rāst, Bayātī, Ḥijāz, Nahāwand, Kurd, ʿAjam, Ṣabā, Sīkāh, Huzām, Ḥijāz Kār, Nikrīz, Nawā Athar, Rāst family (union), Bayātī, Ṣabā, Ḥijāz, Kurd (union), Twelve principal maqāmāt (union) · more maqāmāt: Sūznāk, Nayrūz, Māhūr, Bayātī Shūrī, Ḥusaynī, ʿIrāq, Awj ʿIrāq, Bastanikār, Mustaʿār, Zanjarān, Ḥijāz Kār Kurd, Nahāwand Murassaʿ, ʿUshshāq Maṣrī, Shawq Afzā, Athar Kurd, Ṣabā Zamzam, Jiharkāh, Lāmīal-Fārābī 22-Note ʿŪd carries genera: Diatonic genus (7), Zalzal genus (7)

turkish

Arel-Ezgi-Uzdilek · Turkish 53 Koma (Holdrian) · Yarman 31 (Makam) Arel-Ezgi-Uzdilek carries makam: Rast, Uşşak, Hicaz, Hüseynî, Nihavend, Kürdî, Hümâyun, Zirgüleli Hicaz, Karcığar, Sabâ, Segâh, Mâhur, Nikriz, SuzinakTurkish 53 Koma (Holdrian) carries makam: Rast, Uşşak, Hüseynî, Hicaz, Nihavend, Kürdî, Hümâyun, Zirgüleli Hicaz, Karcığar, Sabâ, Segâh, Mâhur, Nikriz, Suzinak, HüzzamYarman 31 (Makam) carries core: Yarman 24 core (24) · makam: Rast, Mâhur, Nihavend, Nikriz, Hicazkâr, Kürdîlihicazkâr, Uşşak, Hüseynî, Hicaz, Kürdî, Bûselik, Karcığar, Sabâ, Segâh, Hüzzam, Bestenigâr

persian

Vaziri 24 Quarter-Tone · Dastgāh Practice (Farhat) Vaziri 24 Quarter-Tone carries shūr and its āvāzes: Shūr, Abū ʿAṭā, Dashtī, Bayāt-e Tork, Afshārī · other dastgāhs: Segāh, Chahārgāh, Homāyūn, Bayāt-e Esfahān (āvāz of Homāyūn), Navā, Māhūr, Rāst-PanjgāhDastgāh Practice (Farhat) carries shūr and its āvāzes: Shūr, Abū ʿAṭā, Dashtī, Bayāt-e Tork, Afshārī · other dastgāhs: Segāh, Chahārgāh, Homāyūn, Bayāt-e Esfahān (āvāz of Homāyūn), 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) · Guanzi Pentatonic Shí-èr-lǜ (Twelve Lǜ) carries pentatonic modes: Gōng pentatonic, Shāng mode, Jué mode, Zhǐ mode, Yǔ mode

thai

Thai Seven-Equal Model Thai Seven-Equal Model carries modes: Pentatonic

philippine

Maranao Kolintang (Taraka) · Maranao Kolintang (Taraka, Octave)

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) · Mandinka Kora (Knight) · Chopi Timbila · Sena Valimba (Malawi) · Shona Mbira (John Kunaka) Mandinka Kora (Knight) carries tunings: Silaba, Hardino, Tomora, Sauta

ethiopian

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

melanesian

'Are'are Panpipes 'Are'are Panpipes carries ensembles: Equiheptaphonic (7), 'Au paina (5)

scottish

Great Highland Bagpipe Great Highland Bagpipe carries modes: Chanter (7), Pentatonic (5), Hexatonic (6)

greek

Byzantine (72 Moria) Byzantine (72 Moria) carries genera: Diatonic, Soft chromatic, Hard chromatic, Enharmonic

experimental

Harmonic Partials 33-64 · Subharmonic Partials 33-64 · Bohlen-Pierce · Bohlen-Pierce (Just) · 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 · Hexany (1-3-5-7) · Eikosany (1-3-5-7-9-11) · Centaur (7-limit) · 88CET (Gary Morrison) · Dreyblatt Overtone Lattice · Harry Partch 29-Note (Adapted Viola) Harmonic Partials 33-64 carries harmonic subsets: Partials 16 to 31 (16 tones), Tenney twelve of partials 16 to 30 (12 tones), Partials 8 to 15 (8 tones)Subharmonic Partials 33-64 carries subharmonic subsets: Subharmonics 16 to 31 (16 tones), Subharmonics 8 to 15 (8 tones), Tenney twelve, mirrored (12 tones)Bohlen-Pierce carries modes: Lambda (9)Bohlen-Pierce (Just) carries modes: Lambda (9)Harry Partch 43-Note carries subsets: Harrison National Steel guitar (12 tones) · tonalities: Otonality on 1/1 (6 tones), Utonality on 1/1 (6 tones)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)Lou Harrison 16 (Ptolemy Duple) carries modes: Just major, 10/9 (7 tones), Just minor (7 tones), Septimal pentatonic (5 tones)Ben Johnston 22 (Quartet No. 4) carries modes: Just pentatonic (5 tones), Just pentatonic + 7/4 (6 tones)Wendy Carlos's Harmonic Scale carries Harmonic gamut 16-30 (12) · harmonic subsets: Partials 8 to 15 (8 tones), Harmonic pentatonic (5 tones)Eikosany (1-3-5-7-9-11) carries cps subsets: Otonal 5:7:9:11 (4 tones), Hexany 3.5.7.9 (6 tones), Dekany 3.5.7.9.11 (10 tones)Dreyblatt Overtone Lattice carries harmonic subsets: Partials 8 to 15, no 13 (7 tones), Harmonic pentatonic (5 tones)

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 · 29-EDO · 31-EDO · 34-EDO · 35-EDO · 36-EDO · 41-EDO · 43-EDO · 46-EDO · 48-EDO · 50-EDO · 53-EDO · 55-EDO · 72-EDO · 96-EDO 9-EDO carries mavila: Mavila (7)10-EDO carries subsets: 5-EDO subset (5 tones)11-EDO carries mavila: Mavila (7), Mavila (9) · temperaments: Orgone (7), Machine (6)13-EDO carries temperaments: Oneirotonic (8)14-EDO carries subsets: 7-EDO subset (7 tones)15-EDO carries temperaments: Porcupine (7), Porcupine (8), Blackwood (10) · subsets: 5-EDO subset (5 tones)16-EDO carries mavila: Mavila (7), Mavila (9) · temperaments: Diminished (8) · subsets: 8-EDO subset (8 tones)17-EDO carries temperaments: Neutral thirds (7)18-EDO carries subsets: 6-EDO subset (6 tones), 9-EDO subset (9 tones)19-EDO carries temperaments: Magic (7), Magic (10), Magic (16)20-EDO carries subsets: 5-EDO subset (5 tones), 10-EDO subset (10 tones)21-EDO carries subsets: 7-EDO subset (7 tones)22-EDO carries temperaments: Pajara decatonic (10), Porcupine (7), Orwell (9), Magic (7), Magic (10), Magic (16) · subsets: 11-EDO subset (11 tones)23-EDO carries mavila: Mavila (7), Mavila (9)24-EDO carries maqam: Rāst, Bayātī, Ṣabā, Sīkāh, Huzām · subsets: 6-EDO subset (6 tones), 8-EDO subset (8 tones), 12-EDO subset (12 tones)26-EDO carries subsets: 13-EDO subset (13 tones)27-EDO carries subsets: 9-EDO subset (9 tones)31-EDO carries temperaments: Mohajira (7), Orwell (9), Miracle decimal (10), Blackjack (21)34-EDO carries subsets: 17-EDO subset (17 tones)35-EDO carries subsets: 7-EDO subset (7 tones), 5-EDO subset (5 tones), 7-EDO with 5-EDO (11 tones)36-EDO carries subsets: 6-EDO subset (6 tones), 9-EDO subset (9 tones), 12-EDO subset (12 tones), 18-EDO subset (18 tones)41-EDO carries temperaments: Miracle decimal (10), Blackjack (21), Canasta (31), Magic (10), Magic (16)46-EDO carries subsets: 23-EDO subset (23 tones)48-EDO carries subsets: 6-EDO subset (6 tones), 8-EDO subset (8 tones), 12-EDO subset (12 tones), 16-EDO subset (16 tones), 24-EDO subset (24 tones)50-EDO carries subsets: 5-EDO subset (5 tones), 10-EDO subset (10 tones)55-EDO carries subsets: 5-EDO subset (5 tones), 11-EDO subset (11 tones)72-EDO carries temperaments: Miracle decimal (10), Blackjack (21), Canasta (31) · subsets: 6-EDO subset (6 tones), 8-EDO subset (8 tones), 9-EDO subset (9 tones), 12-EDO subset (12 tones), 18-EDO subset (18 tones), 24-EDO subset (24 tones), 36-EDO subset (36 tones)96-EDO carries subsets: 6-EDO subset (6 tones), 8-EDO subset (8 tones), 12-EDO subset (12 tones), 16-EDO subset (16 tones), 24-EDO subset (24 tones), 48-EDO subset (48 tones)

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, Mid, and HQ, the Quality row naming the latency.
Latency, the bottom row, is what the mode and FFT size above it cost.
Live

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

Mid

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

HQ

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

FFT Size

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.

Each entry in the Mode and FFT Size menus shows the latency it would give you. Live and Mid do not support larger FFT sizes.

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.