ARIA ONE | User Manual

Altitude Auditory Innovations LLC Patent Pending — PCT/US2024/036841

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Getting Started

1. Quick Start

Getting Your Hearing Test Results Into The DSP

Step 1: Sign In

When you first launch ARIA ONE, you will be presented with the Authorization screen. If you already have an Altitude Audio account, sign in with your email and password. If you are new, tap "Create Account" to register.

Step 1b: Choose Cloud Mode or Local Mode

After signing in, you will be asked to choose between Cloud Mode and Local Mode:

• Cloud Mode (Recommended) — Enables the full feature set including cloud sync, AI preset generation, and multi-device support. Your hearing profiles and presets stay synchronized across all your devices.
• Local Mode — All data stays on your machine. No cloud connectivity. Best for privacy-focused users or offline environments.

Important: Choosing Local Mode is a permanent decision for this installation. Returning to Cloud Mode requires a full reset. We recommend Cloud Mode for the best experience.

Step 2: Activate Your License

After signing in, press the Activate License button. ARIA ONE resolves your account's license and activates it on your computer — no serial number required. This registers your machine as one of the licenses allotted to your account.

Tip: You can activate up to 5 machines at a time. To free up a license slot, deactivate any machine from your account page at https://altitude.audio.

Step 3: Take the Hearing Test

Once authorized, take the hearing test using one of these options:

• In-App Onboarding (Recommended) — Take the hearing test during onboarding with three pathways:

  • Full Accuracy — Complete hearing test with full setup and calibration
  • Quick Results — Skip setup, complete the hearing test
  • Instant — Skip testing, use demographic data to predict a characteristic profile for demo or use

• FullScale Desktop App — macOS or Windows with 48 test variants

• FullScale Mobile App — iOS or Android with 24 test variants

Note: If you already took the hearing test on another application (FullScale standalone, mobile app, etc.), you can skip this step and proceed to Step 4.

Step 4: Sync

1. Press the "SYNC" button in the Sync Panel
2. All your hearing profiles download automatically from the cloud

Step 5: Use Your Profiles

Your synced profiles appear in the SERVER source within the Hearing Profile Browser. Select any profile to load it into the EQ hearing correction module.

ARIA ONE also downloads a personalized Drive dB value for each synced hearing test. This value is used automatically when factory limiter presets are set to Personalized drive mode, so factory presets can play softer or harder based on the loaded hearing profile instead of using only their factory drive amount.

Exporting to ARIA Studio: Use the "Export Test" button to export profiles for use with the standalone ARIA Studio application.

First Launch Experience

1. Launch the application — Open ARIA ONE from your Applications folder (macOS) or Start Menu (Windows)
2. Set up audio routing — Open the Audio Settings menu (click GEAR in the top bar) and configure your input and output devices so audio flows through ARIA ONE (see Basic Audio Routing Setup below)
3. Complete onboarding — Follow the guided onboarding flow to take your hearing test (or choose the Instant pathway). At the end, ARIA ONE will automatically generate personalized presets for you and let you audition them immediately
4. Select your view experience — Choose between Simple View (streamlined, mobile-style controls) or Advanced View (full 400+ parameter interface) and start exploring

Basic Audio Routing Setup

1. Set INPUT to your Virtual Audio Device (VAD) output
2. Set OUTPUT to your speakers, DAC, or headphones
3. Match sample rates across all devices
4. Turn the internal audio player ON with the power toggle

Adding Your Music (Desktop)

ARIA ONE can link a music folder on your computer and populate the player library panels from that location. Supported formats: WAV, MP3, FLAC, M4A, AIFF, OGG.

Linking a Music Folder

1. Open ARIA ONE.
2. Open the FOLDERS panel.
3. Click the + button in the FOLDERS panel, or drag and drop a folder containing music into that panel.
4. Select the folder you want ARIA ONE to use as the linked library location.
5. ARIA ONE will populate the FOLDERS, TRACKS, and other audio player panels from that linked library location.
6. Add songs to playlists from the FOLDERS panel, the TRACKS panel, or any of the other populated audio player panels.

Adding Your Music (Mobile — iOS & Android)

ARIA ONE plays audio files stored on your phone. Supported formats: WAV, MP3, FLAC, M4A, AIFF, OGG.

Getting Music Files Onto Your Phone

You need music files on your phone before you can load them into ARIA ONE. Here are the easiest ways to do that:

From a Computer (Recommended)

1. On your computer, open a web browser and go to drive.google.com
2. Sign in with the same Google account you use on your phone
3. Click + New, then File upload
4. Select your music files and wait for them to finish uploading
5. On your phone, open the Google Drive app
6. Find the song you uploaded
7. Tap the three dots next to the song name
8. Tap Download
9. The song is now saved to your phone's Downloads folder

From an Email

1. Email the music file to yourself as an attachment
2. On your phone, open the email
3. Tap the attachment, then tap Download or Save
4. The song is now in your Downloads folder

From a Music Store or Website

1. On your phone, open your browser and visit the website where you purchased your music
2. Download the file — it will be saved to your Downloads folder automatically

Loading Music Into ARIA ONE

1. Open ARIA ONE
2. Tap the + button (in the Library or in your current playlist)
3. When the file browser opens, tap Downloads
4. Select the song you want to add
5. The song will appear in your library and is ready to play

Repeat these steps for each song you want to add.

Tip (iOS): On iPhone and iPad, you can also use the Files app to place music into any folder and browse to it from within ARIA ONE.

Tip (Android): On Android, always save or download your music files to the Downloads folder before importing. The file browser on Android works most reliably with the Downloads folder.

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2. Getting Your Hearing Test Results Into The DSP

This section walks you through the complete process in detail. If you have already completed the Quick Start steps above, you can skip ahead to the parts you need.

Step 1: Sign In or Create an Account

When you first launch ARIA ONE, the Authorization screen appears. You must sign in before you can use the application.

If you are a new user:

1. Click "Create Account"
2. Enter your email address and choose a password
3. Confirm your email if prompted

If you already have an account:

1. Enter your email and password
2. Click "Sign In"

Step 2: Choose Cloud Mode or Local Mode

After signing in, ARIA ONE asks you to choose how you want to use the application:

• Cloud Mode (Recommended) — Your hearing profiles, presets, and device settings sync across all your computers. You also get access to AI-powered preset generation. Choose this option unless you have a specific reason not to.
• Local Mode — Everything stays on this computer only. No internet connection is used after sign-in. Choose this if you prefer complete privacy or work in an offline environment.

Important: Choosing Local Mode is permanent for this installation. You cannot switch back to Cloud Mode without a full reset. If you are unsure, choose Cloud Mode.

Step 3: Activate Your License

Once signed in, you need to activate your license on this computer:

1. Press the Activate License button
2. Your machine will be registered as one of your five available license slots

Tip: You can activate up to 5 machines at a time. If you need to free up a slot (for example, if you replaced a computer), visit your account page at https://altitude.audio to deactivate an old machine.

Step 4: Take the Hearing Test

Now you are ready to take the hearing test. This is how ARIA ONE learns about your hearing so it can personalize your audio.

In-App Onboarding (Recommended)

The easiest approach is to launch the onboarding setup flow from the SETUP button in the SERVICES section of the Navigation Panel. You will be guided step by step. Choose one of three pathways:

• Full Accuracy — The complete hearing test with full setup and calibration. Takes about 15–20 minutes. Best results.
• Quick Results — Skips the setup steps but completes the full hearing test. Takes about 10 minutes.
• Instant — Skips testing entirely. Uses your age to select a characteristic hearing profile so you can try the software immediately. You can always take the full test later.

FullScale Hearing Test (Alternative)

If you prefer, you can also take the hearing test using the standalone FullScale application:

• Within ARIA ONE — Access via the HEARING button in the SERVICES section of the Navigation Panel
• FullScale Standalone App — A dedicated macOS or Windows application with 48 test variants

FullScale Mobile App

Take the hearing test on your phone using FullScale for iOS or Android (24 test variants). Your results sync to your account and are available in ARIA ONE when you sign in.

Step 5: Sync Your Profiles

If you took the hearing test on a different device or application, you need to sync your profiles to this computer:

1. Open the Sync Panel:
   • Advanced View: Click SYNC in the Vertical Tab Bar (left side) or the sync icon in the Bottom Bar
   • Simple/Mobile View: Navigate to the Devices tab, then tap SYNC
2. Press the "Sync Now" button
3. All your hearing profiles download automatically and are ready to use

Note: If you took the hearing test during onboarding inside ARIA ONE (Step 4 above), your profile is already loaded — you can skip this step.

Step 6: Use Your Profiles

Your synced profiles appear in the SERVER source within the Hearing Profile Browser. Select any profile to load it into the EQ hearing correction module. You can load two profiles at once (Profile 1 and Profile 2) and blend between them.

Offline / Legacy Import Methods

ARIA ONE consolidates several legacy import methods into one streamlined experience. The following offline options remain available but will be deprecated in favor of ARIA ONE sync:

• Mobile App Purchases — CSV result files purchased through FullScale iOS/Android
• FullScale Desktop Exports — CSV profiles exported from the standalone FullScale app

Note: Profiles from these legacy methods only work in ARIA Studio. They will not be recognized by ARIA ONE regardless of where they are placed locally. ARIA ONE uses cloud-synced profiles or anonymous local tests/profiles created by ARIA ONE.

Exporting to ARIA Studio

Exporting Hearing Test Results

Use the "EXPORT TEST" button to export your hearing profile for use with ARIA Studio. This button is available on the RESULTS view after completing a hearing test — either through the onboarding flow or from the included FullScale hearing test within ARIA ONE.

Exporting Presets

Use the "EXPORT PRESET" button in the Preset Panel to export a complete preset from ARIA ONE to ARIA Studio. All filter-related parameters will transfer. Limiter (LOUD) settings may require tuning after export in ARIA Studio.

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3. Installation and Resource Locations

Installation Overview

ARIA ONE's desktop installation package includes the standalone application and plugin formats for macOS and Windows platforms. ARIA ONE is also available as a fully functional mobile media player application for iOS and Android.

macOS:

• ARIA ONE Standalone Application
• ARIA ONE VST3 Plugin
• ARIA ONE AUv3 Plugin
• ARIA ONE AAX Plugin
• ARIA ONE Library & Resources
• Base FullScale Hearing Test Sample Library (48kHz)

Note: The ARIA-Audio-VAD Virtual Audio Device will be included in a future release. Until then, you can obtain it from the free ARIA Studio demo installer at https://altitude.audio.

Windows:

• ARIA ONE Standalone Application
• ARIA ONE VST3 Plugin
• ARIA ONE AAX Plugin
• ARIA ONE Library & Resources
• Base FullScale Hearing Test Sample Library (48kHz)

For Windows users, a Virtual Audio Device (VAD) is not included but can be obtained separately. Popular choices like VB-Cable's HiFi Cable & ASIO Bridge are readily available.

Mobile:

• ARIA ONE iOS Media Player Application
• ARIA ONE Android Media Player Application

Hearing Test Sample Library

The installer includes the base FullScale hearing test sample library at 48kHz. When you start a hearing test, you will be presented with the opportunity to download the full sample library for additional sample rates and enhanced accuracy.

Installation Paths

• macOS: ~/Music/altitude/
• Windows: C:\ProgramData\Altitude\

Directory Structure

Directory	Purpose
shared/preset/	Presets (Limiter, Eq, ARIA ONE)
shared/lib/	Hearing profiles
product/ARIA_ONE/	Product-specific data, settings, and logs

Authorizing ARIA ONE

To authorize ARIA ONE:

1. Sign In or Sign Up with your Altitude Audio credentials
2. Press Activate License in the application
3. Your machine will activate one of the licenses allotted to your account

License Management:

• You can activate up to 5 machines at a time
• To free up a license slot, deactivate any machine from your account page at https://altitude.audio

Note: A new account starts with a 30-day Demo (full features). When the Demo expires, ARIA ONE automatically continues on the Free tier. Purchasing unlocks the Paid tier permanently.

Support

If you encounter any issues during authorization, please reach out to Altitude Support at contact@altitude.audio for assistance.

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4. Authorization View

The Authorization View is displayed only when ARIA ONE is not yet authorized on your machine.

To Authorize

1. Sign In or Create an Account with your Altitude Audio credentials

2. Choose Cloud Mode or Local Mode — Cloud Mode is recommended for the full feature set

3. Press Activate License

Once authorized, this view will no longer appear on subsequent launches.

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5. Views & Navigation

ARIA ONE includes two user interfaces containing many of the same features in different layouts, plus a handful of capabilities unique to each experience.

Two User Interfaces

Simple UI takes a minimal approach to controls and screen size, making it compatible with mobile devices. Features unique to the Simple experience include:

• Primary macro controls (4 knobs + 2 toggles)
• Mood preset buttons and assignment
• Device management and automatic preset switching

Advanced UI exposes the complete plugin interface with 400+ parameters, 8 standalone graphing windows, and full DSP module control. This experience is designed for studio production and detailed sound shaping.

Users can toggle between UI types using the UI selector in the Bottom Bar. At the conclusion of onboarding, you will choose which experience to use as your default.

Shared Features

Both experiences include:

• The complete standalone FullScale Hearing Test
• A guided onboarding flow with three pathways:
  • Full Accuracy — Complete setup and full hearing test for maximum precision
  • Quick Start — Skip setup steps, complete full hearing test
  • Instant — No testing; uses age-matched characteristic profile for immediate demo

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Onboarding View

The onboarding flow guides new users through setup and hearing test.

Navigation Panel (left column on desktop, slide-out drawer on mobile):

• Shows current phase and progress
• EXIT ONBOARDING button to return to main plugin
• AUDIO HELP button for troubleshooting

Phases:

1. Choose Your Path - Select onboarding pathway
2. Sound Check - Verify audio setup before testing
3. Setup - Configure device and volume calibration
4. Hearing Test - Complete the FullScale hearing assessment
5. Your Results - Review test results and hearing profile
6. Experience It - Demo your personalized audio with AI assistant
7. What's Next? - Choose Simple or Advanced workflow

FullScale View (Hearing Test)

The dedicated hearing test interface.

Navigation:

• Top bar - Gear (Audio Settings), title
• Home view - Horizontal scrolling with "How It Works" info and test history
• Setup view - Device selection, volume calibration
• Test view - Active hearing test interface
• Results view - View test results and export options

Switching Between Views

Advanced View and Simple View share the same processing state. Use the UI selector described in the Advanced and Simple View sections to switch between them on desktop builds.

Onboarding and FullScale can be launched from the Services area in Advanced View. After completing onboarding or a hearing test, ARIA ONE returns to the previous view when possible.

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6. Advanced View

The Advanced View provides direct access to ARIA ONE's DSP modules, analysis tools, device services, and internal Audio Player. It is organized around one Navigation Panel on the left, the active workspace in the center, and the Bottom Bar.

Screen Structure

The Advanced View has four persistent regions:

1. Top Bar — preset controls, compare slots, global bypass, and Audio Settings
2. Navigation Panel — Audio Player, DSP workspaces, navigation utilities, and Services
3. Main Workspace — the DSP panel or graphing workspace selected from Navigation
4. Bottom Bar — Bottom Menu, language, Blackout, UI selector, sync status, and notices

Top Bar

From left to right:

Control	Function
Logo / ARIA ONE	Product identification
Preset stepper	Use the arrows to move through presets in the current category. Select the preset name to open the preset browser.
A / B / C / D	Compare four complete ARIA ONE states
Copy	Arm the current state for copying into another compare slot
Undo / Redo	Step backward or forward through recent parameter changes
Bypass	Bypass ARIA ONE processing
Gear	Open Audio Settings in the standalone application

Selecting the preset name opens the full preset browser.

A/B/C/D Compare Slots

ARIA ONE always works inside one of four compare slots.

• Selecting a slot recalls its saved state and makes it active.
• Parameter changes remain inside the active slot.
• Each slot keeps its own preset name and preset category.
• Modified preset text dims to show that the active state no longer matches the loaded preset.
• To duplicate a state, select Copy, then select A, B, C, or D. The destination slot becomes active.

Compare slots are local workspaces. They do not assign mood presets to registered devices.

Navigation Panel

The Navigation Panel is the full left column. From top to bottom, it contains:

1. Audio Player
2. DSP workspace cards
3. Navigation utilities
4. Services

Card Selection and Power

Some cards include a nested power control.

• Select the card body to open its workspace.
• Select the power control to enable or disable that DSP module without changing the open workspace.

Workspace selection and DSP power are separate. A panel can remain visible while its processing module is off.

The main DSP workspace cards are mutually exclusive. Selecting one replaces the current main workspace.

Audio Player Card

The AUDIO PLAYER card stays at the top of Navigation.

• Select the card body to open or close the Audio Player.
• Use its nested power control to select whether ARIA ONE uses the internal player as its input source.
• Closing the Audio Player does not stop playback or change the player power state.

See Audio Player for the full player workflow.

DSP Workspace Cards

The workspace cards appear in this order:

Card	Workspace	Nested Power
ADAPTIVE DRIVE	Automatic song-by-song input and Drive analysis	Yes
HEARING EQ	Hearing profiles, correction, and personalization controls	Yes
LIMITER	Limiter configuration, safety, and loudness controls	Yes
CROSSFEED	Headphone imaging and speaker-like crossfeed controls	Yes
CORRECTIVE EQ	Headphone correction, room correction, and imported target curves	Yes
MACRO CONTROLS	Macro assignments and grouped sound controls	Yes
GRAPHS	Embedded multi-graph analysis workspace	No

Descriptions on the cards may be shortened or hidden when the editor does not have enough vertical space. The card order and function remain the same.

Additional module workspaces:

Adaptive Drive Readout

When Adaptive Drive is enabled, a live readout appears beneath its card:

• ADAPT DRIVE — the current adaptive Drive amount
• COMMIT — add the adaptive amount to the main Drive parameter, reset the adaptive amount to 0.0 dB, and turn Adaptive Drive off

Commit only when you want to make the current adaptive offset part of the main Drive setting.

Adaptive Drive in a DAW / Plugin Host

Adaptive Drive re-runs its analysis automatically when your music changes tracks. That "new song" signal comes from your computer's system Now Playing source (Apple Music, Spotify, browser playback, and similar) — it does not read the host DAW's timeline or transport.

This has a few practical consequences when running as a plugin inside a DAW:

• The trigger follows system audio, not the project. Starting, stopping, or looping the DAW transport does not re-run the analysis; a track change in your system media player does.
• Analysis is suspended during offline bounces. Adaptive Drive no longer advances its analysis while the host renders offline (faster than realtime). A bounce uses the value already in effect instead of resolving to a different one part-way through the render, and a bounce can no longer change your live Adaptive Drive amount.
• Standalone use is unaffected. Run as a standalone app — or through an audio-routing host such as Audio Hijack or SoundSource — Adaptive Drive tracks system playback exactly as intended.

Recommended workflow in a DAW:

1. Let Adaptive Drive settle on a value you like during realtime playback.
2. Use Commit to bake that amount into the main Drive parameter (this also turns Adaptive Drive off), or leave it enabled if you prefer the live behavior.
3. Bounce/export against a committed, static value so every render is identical.
4. Use Reset whenever you want to start a fresh analysis.

A more DAW-aware trigger (transport-based re-analysis) is under consideration for a future update.

Navigation Utilities

The utility row sits below the workspace cards.

Utility	Function
METERS	Show or hide input, output, Drive, and gain-reduction metering
HELP	Show or hide the docked Help panel
SPLIT	Show or hide the optional second workspace column

The nested power control in HELP enables or disables hover tooltips. This is separate from opening the Help panel.

Split View

Select SPLIT to open a resizable second column.

• Drag the divider to change the column widths.
• The second column can host a Graph Inspector with up to two embedded graph tiles.
• Meters and Help dock beneath the active workspace. When Split is open, they use the second column where space permits.

Split state and divider position are retained with the editor state.

Services

The bottom section of Navigation is labeled SERVICES.

Service	Function
SETUP	Open the guided ARIA ONE setup and onboarding flow
HEARING	Open the FullScale hearing-test experience
AI	Open the ARIA AI drawer
DEVICES	Open registered-device and mood-slot management
SYNC	Open Profile Sync
LEARN	Open guided walkthroughs and saved tutorials

AI, Devices, and Sync open over the right side of the Advanced View. Opening one closes the other service drawers.

Setup and Hearing

Use SETUP when you need to:

• sign in or create an account
• choose Cloud or Local mode
• configure a listening pathway
• take or import a hearing test
• create the first personalized state

Use HEARING to go directly to FullScale for a new test or to review existing results.

ARIA AI

Select AI to open the assistant.

The assistant contains three working modes:

• PRESET — describe a sound change and generate a revised state
• HELP — ask questions about ARIA ONE
• LEARN — generate or open a guided tutorial

AI operations require the services and account state needed by the selected action. The panel reports sign-in, credit, or network problems when an action cannot run.

Registered Devices

Select DEVICES to manage devices attached to the current account.

Available operations include:

• select a device as the current working target
• review mood-slot assignments
• regenerate a selected mood
• copy one mood or all moods
• paste copied moods to another device
• rename a device
• delete a device

Selecting another device checks out that device's assigned mood states to the local application. Saves and regeneration then target that device until another device is selected.

This is a sync workflow, not live remote control. The remote device receives changes when it syncs.

Profile Sync

Select SYNC in Services or use the sync control in the Bottom Bar.

Profile Sync shows:

• current sign-in and sync readiness
• local and server hearing-profile comparison
• local and server preset comparison
• results from the last sync operation

Select Sync Now to compare and synchronize the supported local and server data.

Learn

Select LEARN to open the tutorial browser. Tutorials can move through the interface and may temporarily change settings as part of a demonstration. ARIA ONE saves the previous state before supported walkthroughs and can restore it when the walkthrough ends.

Graphing Workspace

Select GRAPHS in Navigation to open the embedded Graphing workspace.

The selector across the top contains:

Button	Graph
VECTOR	Vectorscope / Lissajous stereo display
P.SAMPLE	Polar Sample display
P.LEVEL	Polar Level display
FFT	FFT spectrum analyzer
SPECTROGRAM	Frequency-over-time display
WAVEFORM	Input/output waveform
METERING	Detailed level metering
LOUD	Loudness metering
MOBILE	Simple View preview window

Adding and Removing Graphs

• Select a graph button to add its embedded tile.
• Select an active graph button again, or select the tile's X, to remove it.
• The main Graphing workspace does not cap the number of embedded graphs. Add as many as the available space usefully supports.
• The layout changes with the number and type of graphs selected.
• Drag the dividers between tiles to adjust their sizes.
• Spectrogram and Waveform receive the larger feature area when the available size permits.

The selector collapses after the first graph is added so the graph tiles receive more vertical space. Expand it when you need the full selector again.

A Graph Inspector opened in Split View is different: that inspector column is limited to two embedded graphs. The limit applies only to the Split inspector, not to the main Graphing workspace.

Separate Graph Windows

Select OPEN on an embedded graph tile to open that graph in its own window. The embedded tile stays in the workspace; the separate window is an additional view of the same graph. Each graph type uses one reusable window per ARIA ONE instance.

The separate window can be moved and resized independently. Closing it does not change the underlying DSP settings and does not remove the embedded tile.

MOBILE is different: it opens the Simple View preview directly and does not create an embedded graph tile.

Graph Reference

Each graph is available as an embedded tile and as a separate window.

Metering

Vertical metering for the current signal path:

• Input level (pre-processing)
• Output level (post-processing)
• Gain reduction (limiter activity)
• Drive section

Waveform

Real-time waveform with retained history:

• Input, Output, and Gain Reduction views
• pause
• rewind and scroll back through roughly five seconds of retained history when paused
• zoom to change the visible time window
• adjustable vertical dB range
• automatic output peak callouts

Vector

Vectorscope / Lissajous stereo field:

• left/right samples plotted in a diamond field, rotated so mono reads vertical and wide stereo reads horizontal
• polarity readout (+1 in phase, 0 uncorrelated, −1 out of phase)
• stereo balance indicator

Polar Sample

Half-circle plot of instantaneous stereo samples:

• each sample placed by stereo angle and amplitude
• polarity meter
• stereo balance indicator
• Party mode adds ray-traced particle effects between strong samples
• Peak or RMS sample display

Polar Level

Half-circle plot of frequency-band level distribution:

• energy spread across angular sectors, in-phase centered and out-of-phase toward the edges
• peak-hold boundary outlines
• in-phase and out-of-phase color coding
• polarity readout and stereo balance indicator

FFT

Real-time frequency spectrum. Open the gear control on the graph to reach its settings:

• channel selection: Stereo, Left, Right, Mid, or Sides
• FFT size: 1024, 2048, 4096, 8192, or 16384
• window: Rectangular, Triangular, Hann, Hamming, Blackman, Blackman-Harris, Flat Top, or Kaiser
• averaging (integration time)
• attack and release ballistics
• adjustable Y-axis dB floor
• peak hold

Spectrogram

Frequency content over time. Open the gear control to adjust:

Setting	Purpose
FFT Size	Analysis frame size; smaller responds faster, larger resolves finer detail
Window	FFT window shape
Average	Integration and smoothing time
Release	How quickly energy fades after a region quiets
History	How much past analysis is retained
Slices	How many history slices are rendered
Fade	How strongly older slices fade back
Intensity	Overall visual strength
Angle	Perspective of the field, from flat to angled
Depth	Visual depth of the history field in perspective views
dB Floor	Quietest level shown

Reading the display:

• vertical flashes indicate transients
• horizontal bands indicate sustained tones
• dense low-frequency blocks indicate bass build-up or strong low-frequency correction
• fine high-frequency texture indicates air, brightness, or remaining top end after processing

The Spectrogram follows the post-DSP output stream, so it reflects what ARIA ONE is delivering rather than the dry input.

Loudness

ITU-R BS.1770 loudness metering with Input, Output, and Delta sections:

Meter	Meaning
M	Momentary loudness, 400 ms window, LUFS
S	Short-term loudness, 3 s window, LUFS
I	Integrated (gated) loudness since the last reset, LUFS
LRA	Loudness range, LU
TP	True peak per channel, dBTP

The embedded and separate loudness displays share one Loudness Meter Enabled state, so toggling one affects the other.

Bottom Bar

The Bottom Bar remains visible across the Advanced View.

From left to right:

Control	Function
MENU	Open the Bottom Menu
Language	Select the interface language
Blackout	Stop normal interface rendering while audio continues
UI: ADVANCED / UI: SIMPLE	Switch interface modes
Sync status	Show the most recent cloud-sync state
Sync	Open Profile Sync

The Bottom Bar can also show account or license status and temporary system notices. These are status messages, not additional navigation controls.

Examples include:

• Adaptive Input analysis in progress
• Internal Audio Player enabled
• forced Window peak detection
• signed-out or unlicensed state
• sync error or Local Only mode

Bottom Menu

Select MENU to open the Bottom Menu above the Bottom Bar.

Item	Function
DATA	Open audio status, optimization, and diagnostic data
ACCOUNT	Open account, license, update, and deletion controls
SETTINGS	Open general application settings
COLOR	Open theme and interface-color controls
AUDIO SETTINGS	Open local audio-device settings; standalone application only
MANUAL	Open this manual in ARIA ONE's manual window

Selecting an item closes the Bottom Menu. Use the X at the top of the popup to dismiss it without opening another panel.

Account

The Account drawer reports the current:

• account identity
• authorization and license state
• expiration state, when applicable
• sign-in status
• software version

It also provides sign-in/out, license refresh, update checking, account deletion, and support links when those operations are available.

Audio Settings

Audio Settings can be opened from:

• the Top Bar gear
• MENU → AUDIO SETTINGS
• the Audio Player's audio-device control

The standalone Audio Settings drawer provides:

• system output volume
• input mute
• audio driver type
• output device
• input device
• active input and output channels
• sample rate
• audio buffer size
• output test

The available driver types depend on the operating system:

• macOS uses Core Audio.
• Windows offers WASAPI in Shared, Shared AC (automatic channel-count), and Exclusive modes, alongside the other driver types the build exposes. Exclusive mode gives ARIA ONE sole control of the device; Shared modes coexist with other applications.

When input mute is enabled, a yellow MUTE indicator appears in the Top Bar.

Changing the audio driver, device, or sample rate can interrupt playback while the device restarts.

Overlay and Drawer Behavior

ARIA ONE uses several presentation types:

• Main workspace — replaces the center DSP workspace
• Docked panel — Meters or Help attached beneath a workspace
• Right-side drawer — AI, Devices, Sync, Account, Settings, Color, Data, or Audio Settings
• Full Audio Player — covers the Advanced workspace while keeping the main Top Bar visible
• Separate window — graph pop-outs, Mobile Preview, and the manual window

Most right-side drawers close competing drawers when opened. The Audio Player can cover a drawer without changing the drawer's underlying state; closing the player can reveal the previous drawer again.

Blackout

Blackout replaces the normal editor with a minimal black listening screen while DSP and audio playback continue.

• Select the moon control in the Bottom Bar to enter Blackout.
• Use WAKE to restore the interface.
• Use PLAYER from Blackout when the minimal player control is available.

Blackout is intended for listening without continuous interface rendering. It does not bypass audio processing.

Audio Player

The Advanced Audio Player is a full-width workspace for local music, playlists, queue management, and playback through ARIA ONE.

Opening and Closing

1. Select the AUDIO PLAYER card at the top of Navigation.
2. Select the X in the upper-right corner of the player to return to the Advanced workspace.

Panel visibility and player power are independent:

• Closing the player does not stop playback.
• Closing the player does not clear the queue.
• Closing the player does not turn the internal player off.

Player Power and Audio Routing

The power control appears in the Navigation card and in the Audio Player Top Bar. Both controls change the same player state.

Power On

When player power is on:

1. The internal file player becomes ARIA ONE's input source.
2. The normal host or audio-device input is replaced by the player's audio.
3. The selected file passes through ARIA ONE's DSP chain.
4. The processed signal is sent to the configured output.

The internal player is an alternate input source. It is not mixed with the normal input.

Power Off

When player power is off:

• ARIA ONE returns to the normal host or audio-device input.
• On supported macOS and Windows desktop systems, the transport strip can show system-media metadata and send Previous, Play/Pause, and Next commands to the active media session.
• External progress is display-only. Seeking remains an internal-player function.
• Repeat and Queue continue to belong to the internal player.

Processing another application's audio still requires that application to be routed into ARIA ONE's configured input. Turning the internal player off does not create an audio-capture route.

Player Layout

The Audio Player has three persistent areas:

1. Top Bar — power, recovery/reset, Home, search, and close
2. Navigation and main content — library, playlists, Queue, History, and the selected view
3. Now Playing strip — track information, transport, seek, repeat, Queue, device, volume, and file information

Drag the divider beside player navigation to change its width.

Player Navigation

The left side contains:

Section	Destinations
Home	Player dashboard
Library	Albums, Artists, Tracks, Folders
Playlists	Saved playlists and the new-playlist control
Queue & History	Opened from the transport strip and related actions

Home

Home reports the current playback session and provides direct routes into ARIA ONE.

Sections can include:

• Your local listening room
• Continue Listening
• Your Sound
• Personalization
• Sound Lab
• ARIA AI
• Help
• Listening Setup

Home cards can open the current playlist, Queue, recent tracks, hearing controls, Adaptive Drive, Crossfeed, Corrective EQ, ARIA AI, Learn, account, or Audio Settings. Opening another major ARIA ONE workspace closes the Audio Player when needed.

Tracks

Tracks scans the audio files inside linked folders.

• Track titles come from filenames when no usable metadata is available.
• Select a row to select it.
• Use Command/Ctrl-click or Shift-click for supported multi-selection.
• Double-click adds a track to the current loaded playlist.
• Right-click to add selected tracks to Queue, Up Next, a new playlist, or a saved playlist.
• Drag tracks into the current playlist, Queue, or a saved playlist in Navigation.
• Refresh to rescan linked folders.

Tracks are sorted automatically. The Advanced Tracks view does not provide a separate sort menu.

Folders

Folders is the main desktop library-import workflow.

To link a folder:

1. Open Folders.
2. Select the add-folder control, or drag a directory into the Folders view.
3. Choose the folder containing your audio files.

ARIA ONE stores a reference to the folder and scans it recursively.

• Removing a linked folder removes the library reference. It does not delete the folder or its files.
• Duplicate folder references are ignored.
• Double-click a folder to browse it.
• Double-click an audio file to add it to the current loaded playlist.
• Right-click a file or folder to add its recognized audio files to Queue, Up Next, a new playlist, or a saved playlist.

Desktop folder drag-and-drop accepts directories. Add individual files from the file chooser or by dragging them into a playlist.

Albums and Artists

The current Albums and Artists pages are summary groupings:

• Albums are grouped from linked-folder information rather than full album-tag indexing.
• Artist text may appear as Unknown Artist when the library scan does not provide artist metadata.
• Group rows may not provide a drill-down action in the current build.

Use Tracks or Folders when you need direct access to files.

Saved Playlists

Select the + beside Playlists to create a playlist. ARIA ONE uses New Playlist and adds a numeric suffix when that name already exists.

Open a saved playlist to:

• play the playlist
• shuffle it
• add its tracks to Queue
• rename it
• delete it
• add files
• reorder tracks
• remove tracks

Double-click a playlist track to play it. Right-click for Play, Add to Queue, Add to Up Next, or Remove from Playlist.

Changes to the loaded saved playlist are written back automatically. There is no separate Save button in the current Advanced playlist detail.

Shuffle

Enabling Shuffle randomizes the active working order, replaces Queue with that order, and starts playback. Turning Shuffle off does not restore the previous order.

Queue

Queue shows upcoming tracks. The currently playing track is not part of the upcoming list.

• Double-click an upcoming track to jump to it.
• Drag rows to reorder upcoming playback.
• Drag tracks into Queue from Tracks or a playlist.
• Clear removes upcoming tracks but does not stop the current track.

The current Advanced Queue does not provide the Simple View's row menu for Move to Top or Remove from Queue.

History

History records recently started tracks.

• Replaying a track moves it to the front instead of creating a duplicate.
• History retains up to 50 tracks.
• Double-click a row to play it.
• Selected rows can be added to Queue or the current playlist.
• Clear removes the History list.

Search

Use the Top Bar search field or search button.

Available scopes are:

• Songs
• Playlists
• Folders
• Recent

Search uses case-insensitive text matching. Current search results are built from the active track, Queue, History, loaded playlist, saved playlists, and related folder references. It does not yet index every track in every linked folder.

Now Playing Strip

The Now Playing strip remains visible throughout the Audio Player.

It can show:

• artwork
• track title and artist
• Previous, Play/Pause, and Next
• Repeat
• Queue
• elapsed and total time
• seek position for internal playback
• Audio Settings
• output volume in supported standalone desktop builds
• file and audio-path information

The output-volume control changes the operating system's output volume. It is not a separate player gain control and is not available in plugin builds.

Repeat

Repeat cycles through:

• Off
• Repeat All
• Repeat One

Repeat One applies when the current track reaches its end. Selecting Next still advances manually.

Previous and Next

• Previous restarts the current track when more than approximately three seconds have played.
• Otherwise, Previous moves to the preceding queue item.
• Next advances through Queue.
• At the end of Queue, playback stops unless Repeat All is enabled.

Playback Persistence

ARIA ONE retains the working queue, history, loaded playlist session, Repeat and Shuffle modes, player state, and selected file references.

Playback does not automatically resume after relaunch. Missing files are skipped when a saved session is restored.

Supported Formats

ARIA ONE uses the audio decoders available in the current application build and operating system. The file chooser advertises common formats including WAV, MP3, AIFF, FLAC, OGG, M4A, and WMA, but actual decoding support can vary by platform and build.

If a file is accepted into a playlist but cannot be decoded, ARIA ONE reports a load failure when playback is attempted.

Sync, Profiles, and Preset Sharing

Profile Sync keeps hearing profiles and presets aligned across your devices. The server is the source of truth.

How Sync Runs

• Sign in, open Profile Sync, and select Sync Now to compare and pull profiles and presets from the server.
• Saving, renaming, or deleting a preset syncs that action to the server.
• Full automatic sync is not enabled yet. Use Sync Now to synchronize manually.

Profile Sources

The hearing-profile browser groups profiles by source:

• Factory — built-in characteristic profiles, read-only
• Server / synced — your synced hearing-test profiles
• Server / account — manual server exports used with ARIA Studio
• User — local profiles, shown in Local mode

Personalized Drive

Each hearing profile can carry a personalized Drive dB value, separate from its correction curve:

• the correction curve shapes frequency response
• the Drive dB value sets the recommended limiter drive for that profile
• factory and average/reference profiles are neutral and do not personalize drive
• synced profiles download their Drive dB with their CSV data

Editing Drive dB on a server profile saves back to the server. Editing a local user profile writes to that test's local data. Factory and reference profiles are read-only.

Factory Preset Drive Modes

Factory limiter presets load their drive one of three ways:

• Baseline — the preset's authored drive
• Neutral — 0.0 dB drive
• Personalized — the authored drive scaled by the loaded profile's Drive dB

Preset Sharing

• Limiter presets are shared with Altitude Limiter through the local preset library.
• Presets exported to ARIA Studio are a one-way copy. ARIA Studio does not sync back with the server.

Macros

Open MACRO CONTROLS in Navigation to configure macros.

Knobs and Toggles

• Four macro knobs, each controlling up to 24 parameter slots.
• Two toggle buttons that write their assigned on/off parameters directly.

Bipolar and Unipolar Knobs

• Bipolar knobs use center as neutral. Moving left subtracts and moving right adds.
• Unipolar knobs use zero as neutral. Any movement adds.

At its neutral position a knob applies no change. The bipolar setting is stored per macro in the preset.

Curves

Each parameter slot has a response curve mapping knob position (0–1) to a parameter modifier (−1 to +1). Curves use breakpoints with linear or smoothed interpolation, so a single knob can move many parameters at once through separate slot curves.

Non-Destructive Overlay

Macro knobs apply on top of stored parameter values in real time. They do not rewrite those values.

• Standard preset saves store the underlying values without the macro offset.
• Meta and Mood presets store both the underlying values and the macro configuration, still without the offset baked in.
• Toggle A/B are different: they set their assigned parameter directly and share its stored state.

Apply to State

To bake macro knob movements into the stored parameter values, use Apply to State in the Macro panel. It reads each parameter's current value, calculates the macro-adjusted result, and writes that back as the new stored value. Reset the knobs afterward for a clean starting point.

Switching to Simple View

Use the UI: ADVANCED / UI: SIMPLE selector in the Bottom Bar.

DSP state is shared between the two views. The interface changes; the active processing state does not reset.

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7. Simple View

Simple View uses the same ARIA ONE processing state as Advanced View with a compact navigation model. The four primary destinations are Home, Library, Search, and Sound.

Supported Layouts

Simple View is used in:

• the compact desktop interface
• the desktop Mobile Preview window
• iOS and Android builds

Desktop Simple View starts from a compact 390 × 844 layout and can expand to wider tablet-style sizes. Mobile builds use the device safe areas around notches, status bars, and gesture controls.

Mobile builds always use Simple View. Desktop users can switch between Simple and Advanced with the UI selector at the bottom of the window.

Screen Structure

From top to bottom:

1. Top Safe Area — operating-system space and optional system-volume control
2. Contextual Top Bar — changes with the active tab or Sound page
3. Main Content — Home, Library, Search, or the Sound carousel
4. Now Playing strip — current track and essential transport controls
5. Tab Bar — Home, Library, Search, and Sound
6. Bottom Safe Area — desktop UI selector and status information, or the mobile system gesture area

The compact Now Playing strip remains available across the four tabs.

Tab Bar

The bottom Tab Bar uses icons without permanent text labels.

Tab	Function
Home	Playback status, current sound, personalization, ARIA AI, Learn, and setup summaries
Library	Queue, tracks, saved playlists, and current playlist
Search	Search local playback and playlist data
Sound	Six swipeable DSP and response pages

Changing tabs closes temporary overlays and returns the new tab to its current navigation state.

Contextual Top Bar

The Top Bar changes with the active destination.

Home

Home can provide:

• active device name
• DEVICES
• LEARN
• ACCOUNT

Select the active device name or DEVICES to open Registered Devices.

Library

Library changes its controls with the selected sub-view. Depending on context, it can provide:

• Back
• search
• filter or sort
• additional playlist actions
• Account

Search

Search keeps its local search controls in the main page. Use the scope buttons to change the result type.

Sound

The Sound Top Bar identifies the current Sound page and provides direct access to:

Control	Function
TEST	Open FullScale hearing testing
SETUP	Open guided setup and onboarding
LEARN	Open guided walkthroughs
ACCOUNT	Open the Account drawer

The active device name shown beneath SOUND opens Registered Devices.

Home

Home is a dashboard for playback, current processing state, personalization, and related ARIA ONE tools.

Sections appear only when their data or actions are available.

Your Local Listening Room

This area reports the current listening session. It can show:

• current track
• active playlist
• playback readiness
• current sound

Continue Listening

Continue Listening can provide routes to:

• the current playlist
• Queue
• recent tracks
• Library when no listening session exists

Your Sound

Your Sound summarizes:

• active hearing profiles
• current device
• Adaptive Drive state
• Hearing EQ state
• Limiter state
• Crossfeed state
• Corrective EQ state

This summary is read-only. Open the related Sound page to edit a processing module.

Personalization

The Personalization section provides access to FullScale hearing testing and saved hearing-test results.

Sound Lab

Sound Lab links to:

• Hearing and Personalization
• Adaptive Drive
• Crossfeed
• Headphone Correction / Corrective EQ
• Frequency Response

These routes open the corresponding page inside the Sound tab.

ARIA AI

Home can open three AI modes:

• AI Tuning — request a change to the current sound
• Make a Custom Tutorial — request a guided walkthrough
• Ask ARIA AI — ask a product or setup question

On iOS and Android, the AI Credits card opens Purchases. On desktop it opens Account.

Help

Use Guided Walkthroughs to open Learn.

Listening Setup

Listening Setup reports audio-device readiness. In the current build, this card is informational and may not open another panel.

Home Card Gesture

Actionable Home cards currently open with a left swipe across the card.

• Start the gesture on the card.
• Swipe left far enough to activate its route.
• A short tap does not activate these cards in the current build.

Library

The Library tab opens a landing page with routes into playback and collection management.

Available destinations include:

• Now Playing / current playlist
• Queue
• Tracks
• Saved Playlists
• Playlist Detail

Artists and Albums may appear as disabled destinations in the current build. Folders is not currently shown as a complete mobile browsing destination.

Library Navigation

Library retains a short navigation stack:

• Use Back to return to the previous Library view.
• If there is no previous view, Back returns to the Library landing page.
• If the saved-playlist browser is open inside Playlist Detail, Back closes that browser first.

Queue

Queue contains upcoming tracks. The currently playing track is not part of the upcoming list.

Available actions:

• drag rows to reorder
• long-press or open the row menu for Move to Top
• long-press or open the row menu for Remove from Queue
• select CLEAR to remove all upcoming tracks

Clearing Queue does not stop the current track.

Queue rows do not use tap-to-play in the current Simple View.

Tracks

Tracks contains audio files imported into ARIA ONE's managed mobile library.

Available actions include:

• add files
• select one or more tracks
• select all
• delete a managed library file
• Play Now
• Play Next
• Add to Queue
• Add to New Playlist
• Add to Saved Playlist
• search
• sort

Deleting a managed library item can remove ARIA ONE's stored copy. Confirm the deletion prompt before continuing.

Saved Playlists

Saved Playlists lists the playlists stored by ARIA ONE.

Available actions include:

• load a playlist
• create a playlist
• rename the selected playlist
• delete the selected playlist
• sort by Date Added, Date Modified, or Alphabetical

Selecting a playlist loads it and opens Playlist Detail.

Playlist Detail

Playlist Detail provides:

• Play
• Shuffle
• Add Songs
• Reorder / Done
• Sort A–Z or Z–A
• Rename Playlist
• Delete Playlist
• Delete Song
• saved-playlist browser

The active playlist and its working order are retained between supported sessions.

Search

Search is currently limited to local ARIA ONE playback and playlist data.

Available scopes:

• Songs
• Playlists
• Folders
• Recent

Search uses case-insensitive text matching and displays up to four primary results in the compact page.

Results can route to:

• immediate track playback
• a saved playlist
• current Playlist Detail
• Queue
• Library

Current Search Limits

• Search does not currently index every file in every linked desktop folder.
• Streaming-service discovery is not connected.
• Folder results can route into an incomplete mobile Folders mode.

Use Tracks for the complete imported mobile library.

Sound

Sound contains six DSP and response pages:

1. Personalized Audio
2. Expanded Audio
3. Adaptive Drive
4. Crossfeed
5. Corrective EQ
6. Frequency Response

Swipe left or right to move between pages. The row of six dots shows the current position. Swiping past the final page wraps to the first Sound page, and swiping before the first wraps to the final page.

Home cards can open a specific Sound page directly.

Personalized Audio

Personalized Audio is the main compact listening-control page.

It contains:

• processing bypass
• ARIA AI
• Audio Settings in supported standalone builds
• Calm, Natural, and Intense mood controls
• Save to Mood
• Macro 1 and Macro 2 controls
• limiter preset stepper
• Soft / Neutral / Hard scale
• Modern / Classical selection

Macro labels can change with the loaded macro assignment.

Processing Bypass

The main processing control switches between:

• PERSONALIZED AUDIO — ARIA ONE processing active
• ORIGINAL AUDIO — processing bypassed

Bypass does not delete or reset the current sound.

Mood Selection

The three mood controls represent:

Icon	Mood
Meditating figure	Calm
Walking figure	Natural
Flame	Intense

Activating a mood loads the complete DSP state assigned to that slot.

The current build requires either:

• a double-click, or
• a press and hold of approximately half a second

A single short tap does not load the mood.

If no preset is assigned, ARIA ONE updates the selected mood indicator without loading another DSP state.

How Moods Are Generated

ARIA ONE creates the first three moods automatically:

• after onboarding, from your personalized post-test state
• on first opening Simple View if you skipped onboarding, from your current state

In Cloud mode, if your account already has moods on the server, those are downloaded instead of regenerating new ones. In Local mode, moods are generated and stored on the current device.

Saving to a Mood

1. Select the Save control. The mood controls change to three pulsing destination controls. This is the armed state.
2. Select Calm, Natural, or Intense.
3. A confirmation flash appears on the saved mood.

The armed state cancels automatically after 12 seconds. Select the Save control again to cancel it manually.

A mood save captures the full sound:

• all Hearing EQ / correction parameters
• all limiter parameters, including drive
• all four macro knob positions, curves, toggle states, and parameter mappings

In Cloud mode, the save is committed to the currently selected registered device. In Local mode, it is stored on the current device only.

Macro Controls

The two visible macro cards change one or more DSP parameters through the active macro assignment.

• Use the down and up controls for stepped changes.
• The displayed percentage reports the macro position.
• The small value text can report the underlying mapped value.

Macro controls do not permanently rewrite a preset until the state is saved or applied through the relevant preset workflow.

Limiter Preset Stepper

Use the left and right arrows to move through the available limiter choices.

The card can present:

• a compact Soft / Neutral / Hard set
• the expanded limiter preset set

MODERN / CLASSICAL controls the preset's soft-safety mode:

• MODERN enables soft safety.
• CLASSICAL disables soft safety.

Expanded Audio

Expanded Audio is the second Sound page. It provides profile selection and the controls that do not fit on Personalized Audio.

Available controls can include:

• Profile 1 and Profile 2
• active device
• Macro enable
• Macro 3 and Macro 4
• two programmable toggles
• M/S, LRC, and LRS stereo modes
• metering
• Presets

Controls that do not have a current macro assignment can be hidden.

Hearing Profiles

Select P1 or P2 in the profile strip to open its profile browser.

The browser can contain:

• server hearing-test profiles
• factory profiles
• demographic Average profiles
• locally available profiles

Select a row to load it into the chosen profile slot. Drive dB availability depends on the profile source and stored data.

Presets

Select PRESETS to open the full preset browser.

The browser provides:

• All, Factory, and User filters
• preset category list
• preset name and source
• Load
• Save
• Resave
• Delete

The browser opens to the Meta category for the complete ARIA ONE state workflow.

Adaptive Drive

The Adaptive Drive Sound page provides:

• module power
• live adaptive Drive amount
• Commit
• Reset
• Target Percent
• Bend
• GR Count
• Max dB

Commit

Commit adds the current adaptive amount to the main Drive parameter, resets the adaptive amount, and turns Adaptive Drive off.

Reset

Reset clears the current adaptive analysis state without baking it into the main Drive setting.

Adaptive Drive on Mobile

On mobile builds, Adaptive Drive is tuned to conserve CPU and battery. The first analysis after Adaptive Drive is enabled runs the full (slow) threshold determination to establish an accurate starting point. Every analysis after that uses a lighter fast determination, so ongoing adaptation stays responsive on subsequent song changes without repeating the full calculation each time.

The fast path stays in effect until you request a fresh analysis with Reset. Pressing Reset clears the current adaptive state and forces the next run to perform the full slow determination again, after which mobile returns to the fast path for all following runs.

Note: This slow-first / fast-after behavior is specific to mobile builds, where it saves CPU and battery. Use Reset whenever you want mobile to re-establish the drive target from scratch.

Crossfeed

The Crossfeed Sound page provides:

• enable
• three preset buttons
• Mix
• Focus
• Width
• Boost
• Cutoff
• Feedback

Crossfeed changes headphone imaging. It does not change the selected hearing profile.

Corrective EQ

The Corrective EQ Sound page provides:

• enable state
• Mix
• Gain
• Import File
• Clear
• correction-curve preview

The current Sound Top Bar can label this page HEADPHONE EQ, while the page itself uses CORRECTIVE EQ. Both names refer to the same Sound page in the current build.

Detailed import formats, FIR/SOS rendering controls, and preset behavior are covered in the dedicated Corrective EQ section later in this manual.

Frequency Response

The Frequency Response page combines:

• Target response
• Filter response
• Hearing Test response
• left-channel visibility
• right-channel visibility
• live response graph

Use this page to inspect the current correction response. It does not replace listening checks.

Now Playing Strip

The compact Now Playing strip remains above the Tab Bar.

It provides:

• artwork
• track title
• Play/Pause
• Next
• progress
• Audio Devices

Additional controls appear when the player is expanded.

Expanded Player

Select the compact Now Playing strip to expand the player.

Expanded mode replaces the main carousel content and provides:

• large artwork
• title and artist
• Previous
• Play/Pause
• Next
• Repeat
• seek bar
• elapsed and total time
• collapse control

Select the collapse chevron to return to the previous tab and page.

The expanded state is retained. Account, AI, and Audio Devices can temporarily collapse the player and restore it when their overlay closes.

Player Power

Desktop Simple View can expose the internal-player power control.

• Power on uses the internal file player as ARIA ONE's DSP input.
• Power off returns to the normal input and can expose supported desktop system-media controls.

iOS and Android use the internal player path and do not expose the desktop external-media control mode. The internal player still integrates with the operating system's media surfaces where supported — lock screen, Control Center or notification controls, and Bluetooth media commands. This is separate from the desktop external-media remote-control mode.

Registered Devices

Registered Devices is an overlay, not a primary tab.

Open it from:

• DEVICES on Home
• the active device name on Home
• the active device name on Sound

Each device card can provide:

• device selection / checkout
• local or remote status
• Calm, Natural, and Intense mood-slot status
• selected mood slot
• regenerate
• copy
• paste
• rename
• delete

Checking Out a Device

Selecting a device:

1. stores the selected device identity
2. downloads or resolves its mood assignments
3. updates the device name shown on Home and Sound
4. makes future mood saves and regeneration target that device

This does not provide live remote audio control. The selected device receives cloud changes through synchronization.

Device Selection on Launch

By default, ARIA ONE selects your local device on launch, even if you were working with another device previously. This avoids accidentally saving to a remote device.

Enable Remember Device Selection in Settings to restore your last-selected device instead. If that device is no longer registered, ARIA ONE falls back to your local device.

Regenerating a Mood

Select a device, select a mood slot, then regenerate to rebuild that one slot from your current state:

• Calm applies the soft factory limiter over your current EQ and scales its drive.
• Natural snapshots your current state unchanged.
• Intense applies the aggressive factory limiter over your current EQ and scales its drive.

The other two slots are left untouched. The result is committed to the selected device.

Copying Mood Assignments

• Select a mood slot before Copy to copy one slot. Copy without a selection to copy all three.
• Select Copy again on the source card to cancel without pasting.
• Select Paste on another device to write the copied moods to it. A single copied slot can be pasted into a different target slot.
• Paste creates an independent clone with its own identity (new UUID), so later changes on one device do not affect the other.

Managing Devices

• Refresh re-fetches the device list from the server.
• Rename edits the device name.
• Delete removes the device and requires confirmation.

Cloud Requirement

Registered Devices requires Cloud mode and a signed-in account. Local mode keeps mood presets on the current installation and does not provide cross-device operations, including copy, paste, and regeneration onto other devices.

Account Drawer

Select ACCOUNT from Home or Sound, or use an Account control exposed by the current Library view.

The drawer slides in from the right and shifts the main Simple View left. Select Back or the exposed area behind the drawer to close it.

The drawer contains:

• ACCOUNT
• SETTINGS
• PURCHASES on iOS and Android

Account

Account can show:

• signed-in identity
• license and authorization state
• expiration state
• sign-in status
• update availability
• support links

Available actions depend on account state and can include:

• Sign In
• Logout
• Refresh License
• Check for Updates
• Delete Account
• offline authorization operations

Account deletion removes the account and associated cloud data after confirmation.

Purchases

Purchases is available on iOS and Android.

It can show:

• available AI credits
• consumed AI credits
• credit-source breakdown
• current credit pack
• Purchase AI Credits
• Restore Purchases

Use Restore Purchases after reinstalling, after signing back into the same store account, or when a previous purchase does not appear. Low-credit prompts elsewhere in the app can also route here.

Store, network, and sign-in errors are reported in the Purchases view.

Settings

Open ACCOUNT → SETTINGS.

Current settings include:

Control	Function
Language	Select the interface language
Step Size	Set the percentage used by stepped controls
Factory Preset Drive	Select Baseline, Neutral, or Personalized drive behavior
Mood Macro Override	Choose how Mood presets recall macros: Force Macros On (default) or Pass Through
Drive dB	Edit and save the selected hearing profile's personalized Drive value when supported
MANUAL	Open the ARIA ONE manual
SYNC	Open Profile Sync
Color Theme	Open the Color System
Remember Device Selection	Restore the previously selected registered device on launch
Bypass Correction On Bounce	Pass audio through unprocessed while the host renders offline, so your correction is not printed into a bounce (on by default)
Always Show Volume Slider	Force the desktop standalone system-volume control to remain visible
BLACKOUT	Enter the display-off listening view

Always Show Volume Slider is a desktop standalone setting. It does not appear on mobile builds.

Mood Macro Override controls how Mood presets bring back their macro state. A Mood is inherently a macro preset, so the default Force Macros On turns macros on whenever a Mood is recalled — the setting is then captured if you re-save that Mood. Choose Pass Through (use saved value) to instead recall exactly the macro-enabled state stored in the Mood.

Bypass Correction On Bounce is on by default, and it appears in Settings in both the Advanced and Simple interfaces. Your hearing correction is tuned to your ears, so printing it into a mixdown would bake a personal listening curve into a file that other people hear. While the host renders offline — a bounce, export, freeze, or "export as audio" — ARIA ONE passes audio through untouched, then returns to normal processing as soon as realtime playback resumes. Turn it off only if you genuinely intend the correction to be part of the printed file.

Two limits are worth knowing. ARIA ONE can only step aside for a render that the host reports as faster-than-realtime; a realtime bounce is indistinguishable from ordinary playback, so use the global Bypass control for those. And this preference is stored with your session rather than exposed as an automatable parameter, so switching it never touches your host's automation or saved parameter values.

Profile Sync

Open ACCOUNT → SETTINGS → SYNC.

Profile Sync provides:

• sign-in and readiness state
• Sync Now
• local/server hearing-profile comparison
• local/server preset comparison
• sync results and errors

AI and Sync use separate overlays and do not remain open at the same time.

Color System

Open ACCOUNT → SETTINGS → Color Theme.

The Color System can control:

• animated background family
• background color
• panel tint
• primary accent
• secondary accent
• pastel lift
• panel backing
• theme presets

Closing the Color System returns to Settings without closing the Account drawer.

ARIA AI Overlay

ARIA AI opens over the current Simple View content.

Available modes:

• PRESET — request a sound change
• HELP — ask an ARIA ONE question
• LEARN — request a tutorial

The overlay reports the selected model, ARIA AI agent, and available credit state. AI operations that require cloud services are unavailable in Local mode or while signed out.

Opening AI closes Sync. If the player is expanded, ARIA ONE temporarily collapses it and restores it when AI closes.

Learn and Tutorials

Open Learn from LEARN in the Sound Top Bar or from Guided Walkthroughs on Home.

Learn contains two kinds of content:

• Walkthroughs — bundled guided tours of major features
• Custom Tutorials — tutorials generated by ARIA AI and saved for replay

During playback, a tutorial steps you through the interface and may temporarily change settings to demonstrate a feature. ARIA ONE saves your previous state first and can restore it when the tutorial ends or is interrupted.

Custom Tutorials can be replayed or deleted. Generating a new AI tutorial requires Cloud mode, an internet connection, and available AI credits. Bundled walkthroughs do not require AI generation and run without credits.

Audio Devices

Audio Devices configures the local audio path. It is separate from Registered Devices.

Open it from:

• the Audio Settings control on Personalized Audio in supported standalone builds
• the audio-device control in Now Playing

Audio Devices can provide:

• output device
• input device
• active channels
• sample rate
• audio buffer size
• input mute
• output test
• system output volume where supported

Registered Devices manages cloud device identities and mood slots. Audio Devices manages the hardware and driver used by the current installation.

System Volume

Desktop standalone builds can display a thin system-volume slider in the Top Safe Area.

• It controls operating-system output volume.
• It is not an ARIA ONE gain parameter.
• It updates when system volume changes outside ARIA ONE.
• It is hidden in plugin builds.
• It can be hidden when the output device does not report software-volume support.

Use Always Show Volume Slider in Settings to override automatic detection on desktop. The override forces the slider to appear, but it cannot add software-volume control to a device that does not support it.

Volume Keyboard Shortcuts

In the desktop standalone application, when the ARIA ONE window has focus:

• Cmd/Ctrl + F12 — system volume up
• Cmd/Ctrl + F11 — system volume down
• Cmd/Ctrl + F10 — toggle system mute

These control the same system output volume as the slider and are not available in plugin builds.

Blackout

Select BLACKOUT in Settings to replace the normal interface with a minimal black listening screen.

Audio processing and playback continue. Use the wake control to restore Simple View.

Desktop Bottom Safe Area

Desktop Simple View shows:

• account or license status when needed
• UI: SIMPLE / UI: ADVANCED

The current Bottom Safe Area does not contain a global Macro toggle.

Mobile devices use this area for the operating system's gesture or navigation space.

Switching to Advanced View

On desktop, use UI: SIMPLE / UI: ADVANCED at the bottom of the window.

The DSP state is shared between views. Switching views does not reset processing.

Advanced View is not available in iOS or Android builds.

Platform Notes

Desktop Standalone

• Simple and Advanced views are available.
• Audio Devices can control local driver settings.
• System output volume can be available.
• Always Show Volume Slider is available.
• AI Credits opens Account instead of mobile Purchases.

Desktop Plugin

• Simple and Advanced views are available.
• Host audio replaces standalone device configuration.
• System output-volume controls are not shown.

iOS and Android

• Simple View is always used.
• Purchases is available when the store integration is active.
• Mobile safe areas replace desktop status strips.
• The internal Audio Player is used instead of desktop external-media mode.
• Android reduces selected animation and update rates to limit rendering load.

Current Limitations

The current Simple View includes several visible but incomplete routes:

• Artists and Albums can appear disabled.
• Mobile Folders browsing is not complete.
• Streaming search is not connected.
• Search does not cover every imported or linked file source.
• Listening Setup currently reports status without opening another panel.
• Corrective EQ is also labeled Headphone EQ in part of the Sound navigation.

These limitations affect navigation only. They do not disable the underlying ARIA ONE DSP modules.

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8. Macro Reference

This section is the technical reference for macro behavior. For where macro controls appear in Advanced View and Simple View, see Sections 6 and 7.

Macro Concept

Macros provide four curve-based knob controls plus two direct programmable toggles:

• 4 Macro Knobs: Each controls up to 24 parameter slots
• 2 Toggle Buttons: Direct on/off control for assigned boolean parameters; the assigned parameter and the toggle share the same state

Bipolar vs Unipolar Mode

Each macro knob can operate in one of two modes:

Mode	Neutral Position	Range	Use Case
Bipolar	Center (0.5)	Adds or subtracts from parameter values	Most controls — allows both increase and decrease
Unipolar	Zero (0.0)	Only adds to parameter values	Drive, intensity — values only increase from baseline

When a knob is at its neutral position, it applies no modification to any assigned parameters. Moving away from neutral activates the curves.

• Bipolar knobs use center as neutral — moving left subtracts, moving right adds
• Unipolar knobs use zero as neutral — any movement adds to the parameter value

The bipolar setting is stored per-macro in the preset (macro_bipolar_0="1" means MACRO 1 is bipolar).

Macro Assignment View

Use the Macro Controls workspace in Advanced View to configure macro mappings:

1. Select Macro: Choose MACRO 1-4 or TOGGLE A/B
2. Add Parameters: Select parameters from available list
3. Edit Curves: Draw response curves for macro knob assignments
4. Set Display Name: Customize the knob/toggle label
5. Set Bipolar Mode: Toggle whether a macro knob operates from center or from zero

Slot Structure

Each macro knob can control up to 24 parameter slots. A slot consists of:

• Parameter ID: Which DSP parameter this slot controls (e.g., drive, freq_attack_scale)
• Enabled: Whether this slot is active
• Curve: The response curve mapping knob position to parameter modification

Multiple slots allow a single knob movement to adjust many parameters simultaneously — for example, a "SMOOTH" knob might lengthen attack times, increase release times, and reduce lookahead across multiple limiter stages.

Curve Editing

Each parameter slot has an associated curve:

• X-axis: Macro knob position (0.0–1.0)
• Y-axis: Parameter modifier (−1.0 to +1.0, scaled to parameter range)
• Breakpoints: Add points to shape the curve
• Interpolation: Piecewise-linear segments between breakpoints; optionally smoothed with Catmull-Rom interpolation

Curve Data Format

Curves are stored as semicolon-separated breakpoints: x,y,type;x,y,type;...

• x: Knob position (0.0–1.0)
• y: Modifier output (−1.0 to +1.0)
• type: Interpolation hint (0 = linear, 1 = smooth)

Example: 0.000000,0.000000,0;0.310000,0.080000,0;1.000000,0.710000,0

This curve starts at (0,0), rises gently through (0.31, 0.08), and ends at (1.0, 0.71).

Toggle Buttons

The two toggle buttons (TOGGLE A and TOGGLE B) work differently from knobs:

• Binary state: On (1.0) or Off (0.0) — no intermediate values
• Direct parameter state: Each toggle writes the assigned boolean parameter directly instead of applying a macro offset
• Common uses: Enable/disable Mid-Side processing, bypass limiter stages, switch between modes

Toggles are ideal for parameters that represent distinct states rather than continuous adjustments. If the same parameter is changed from its main control, the assigned Toggle A/B state follows it.

Default Curve Behavior

For macro knobs, a flat curve at Y=0 means no modification (the parameter uses its direct VTS value). Curves offset from center apply additive modification. Toggle A/B assignments do not use curves; they directly write the assigned on/off parameter.

How Macros Interact with Presets (Non-Destructive Overlay)

The four macro knobs operate as a non-destructive overlay on top of your saved parameter state. Toggle A/B are different: they directly set assigned on/off parameters so the toggle and the main control share one state. This is a critical concept to understand:

• What you hear from macro knobs is the combination of your stored DSP parameter values plus the macro modifications applied on top in real time
• Standard preset saves (Full Preset, Limiter, EQ subpresets) store only the underlying DSP parameter values. The real-time macro offsets that shape what you hear are not written into those parameter values
• Macro presets save the macro configuration itself (knob positions, curves, toggle states, parameter assignments). Macro knob offsets are not written into DSP parameter values, but Toggle A/B states directly update their assigned boolean parameters when used or loaded
• Meta presets save both the DSP parameters and the macro configuration together — but the DSP parameter values are still stored as-is, without macro offsets baked in
• Mood presets (Simple View) save the full state including macro configuration, behaving like Meta presets
• This means you can experiment freely with macro knobs without permanently altering your preset. Moving a macro knob back to its neutral position (center for bipolar, zero for unipolar) removes the knob's effect entirely. Toggle assignments are real on/off parameter changes, just like using the main control

Example: You load a preset where the limiter threshold is set to −12 dB. A macro curve pushes it to −8 dB. You hear −8 dB. But if you save a Full Preset right now, it saves −12 dB — the macro offset is not captured in the parameter value. (A Meta or Mood save would preserve the macro curve that produces the offset, but the stored threshold value would still be −12 dB.)

Apply to State — Baking Macro Adjustments

If you want to permanently write what you hear into the DSP parameter values themselves, you must first "bake" the macro modifications into the parameter state:

1. Adjust your macros until the sound is exactly how you want it
2. Open the Macro Controls workspace in Advanced View
3. Click the "Apply to State" button (circular arrows icon)
4. This performs a one-shot operation that:
   • Reads each parameter's current stored value
   • Calculates the macro-adjusted effective value (what you are actually hearing)
   • Writes the effective value back as the new stored parameter value
5. Now save your preset — the parameter values themselves now reflect the macro adjustments

Important: After applying, the macro knobs and curves remain in their current positions. This means the macros will continue to apply their offset on top of the newly baked values. If you want a clean starting point after applying, reset the macro knobs to their neutral positions (double-click to reset).

Tip: Think of "Apply to State" as a "flatten" or "commit" operation — similar to flattening layers in an image editor. The macro layer merges into the base layer.

Macro Presets

Save and load macro configurations as presets:

• Directory: ~/Music/altitude/shared/preset/ARIA_ONE/{FACTORY,USER}/MACRO/
• Format: XML with knob positions and curve assignments
• Sync: Macro presets sync via cloud (ARIA ONE only)

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9. Graphing & Metering Reference

ARIA ONE includes embedded graph tiles and separate graph windows. The graph list, opening behavior, and basic controls are covered in Section 6 — Advanced View. This chapter keeps the deeper reference material for Spectrogram and Loudness behavior.

Spectrogram

The Spectrogram window shows how the frequency content of your audio changes over time. A standard spectrum analyzer answers "what frequencies are present right now?" A spectrogram adds history: each slice is a short FFT analysis, and the display stacks those slices so you can see motion, decay, density, and tonal balance as the music evolves.

In ARIA ONE, the Spectrogram is especially useful for seeing:

• How quickly low-frequency energy blooms and decays
• Whether high-frequency content is steady, transient, or sparse
• How limiter, Crossfeed, PostDSPEQ, and hearing-correction choices affect the shape of the music over time
• Whether a preset is creating smooth broadband motion or narrow-band emphasis

The display uses frequency on one axis, time/history on another, and intensity/brightness to show level. Brighter areas indicate stronger energy. Darker areas indicate quieter or absent frequency content.

Opening The Spectrogram

Open Spectrogram from the Advanced View graphing workspace or as a separate graph window. It can also appear as an embedded graph inside supported panels, such as PostDSPEQ.

Spectrogram Settings

Click the gear icon in the Spectrogram window to open the settings overlay. These settings are stored as ARIA ONE parameters, so your preferred analysis view can persist with the session.

Setting	Options	What It Changes
FFT Size	1024, 2048	The number of samples used for each analysis frame. 1024 responds faster; 2048 gives finer frequency detail.
Window	Rectangular, Triangular, Hann, Hamming, Blackman, Blackman-Harris, Flat Top, Kaiser	The FFT window shape. Hann is the general-purpose default; other windows trade frequency leakage, level accuracy, and visual sharpness differently.
Average	0.02, 0.1, 0.2, 0.3, 0.5, 0.7, 0.9, 1.0	Integration/smoothing time for the incoming analysis. Lower values feel more immediate; higher values create a calmer, more averaged trace.
Release	10 ms to 500 ms	How quickly visible energy falls away after a frequency region gets quieter. Short release feels faster and more percussive; longer release leaves more afterglow.
History	30 to 540 frames	How much past analysis is retained. Larger values show a longer musical memory.
Slices	40, 60, 80, 100, 120, 160, 200	How many history slices are rendered. More slices show smoother depth and time detail, with a denser display.
Fade	5% to 100%	How strongly older slices fade into the background. Lower values keep history subtle; higher values keep past energy more visible.
Intensity	40% to 100%	Overall visual strength of the spectrogram energy. Increase this if the display feels too dim; lower it if dense material is visually crowded.
Angle	Left-115, Left-72, Flat, Right-72, Right-115	Perspective of the spectrogram field. Flat is the most literal view; angled modes create a three-dimensional history view.
Depth	80 to 540	The visual depth of the history field when using perspective views. Higher values push the history farther back.
dB Floor	-40, -60, -80, -100, -120	The quietest level shown in the display. A higher floor emphasizes strong content; a lower floor reveals quieter detail and noise tails.

Reading The Display

• Strong vertical flashes usually indicate transients: drums, consonants, plucks, attacks, or limiter action.
• Long horizontal bands usually indicate sustained tones, resonances, notes, or steady broadband content.
• Dense low-frequency blocks can reveal bass build-up, kick/bass overlap, or strong room/headphone correction below the midrange.
• Fine high-frequency texture can reveal brightness, hiss, air, cymbal detail, or how much top-end content remains after correction and limiting.

Use the Spectrogram as a listening companion, not a target to "fix" by sight alone. A healthy display changes with the song. The goal is not to make every preset look identical; the goal is to understand what the processing is doing so your ears and the visualization agree.

The Spectrogram follows the same post-DSP output stream as the standalone analysis graph windows. It reflects the signal after ARIA ONE's active processing stages, so it is best read as a view of what is being delivered at the output rather than the dry input signal.

Loudness Meter

ITU-R BS.1770 compliant loudness metering with INPUT, OUTPUT, and DELTA sections:

Meter	Description
M (Momentary)	400 ms sliding window loudness (LUFS)
S (Short-term)	3 s sliding window loudness (LUFS)
I (Integrated)	Gated integrated loudness over entire measurement (LUFS)
LRA (Loudness Range)	Dynamic range of the program in LU (0–20 scale)
TP (True Peak)	Per-channel (L/R) true peak level in dBTP (−60 to +3 scale)

Loudness meter displays

Two displays show the same underlying data:

• Singleton Loudness Meter Window — Pop-out window opened from the GRAPH toolbar (LOUD button). Shows INPUT, OUTPUT, and DELTA loudness with bar meters and true peak.
• Embedded Loudness Meter — Permanent panel inside the Adaptive Gain designer view. Same INPUT, OUTPUT, and DELTA sections in a compact layout.

Both displays are controlled by the same Loudness Meter Enabled parameter — toggling one affects the other.

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10. Sync System

ARIA ONE keeps hearing profiles, presets, and device mood assignments synchronized across your devices. The server is the source of truth for Cloud Mode data.

How Sync Works

1. Sign in to ARIA ONE with your Altitude Audio credentials
2. Use Sync Now to compare local data with the server and download available profiles and presets
3. When you save, rename, or delete a preset, that individual action syncs to the server

Note: Full automatic sync will roll out after the current system is validated. For now, use the Sync Panel to manually sync your library.

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Cloud Sync vs Local Only Mode

You choose between Cloud Mode and Local Mode during initial setup (see Section 2 — Step 2). Cloud Mode enables sync, AI presets, and multi-device features. Local Mode keeps everything on your machine with no server communication. This choice is permanent for the installation.

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Hearing Profile Sync

Hearing profiles from online tests sync to the Server/synced folder on all your devices.

Profile Sources:

• Factory — Built-in characteristic profiles (read-only, included with installation)
• Server/synced — Your synced hearing profiles from online tests
• Server/account — Manual server exports (used with ARIA Studio)
• User — Local profiles (only visible in Local Only mode)

When you rename or delete a Server profile, the change syncs to the server and propagates to other devices on their next manual sync.

Personalized Drive Values

Each hearing profile can also carry a personalized Drive dB value. This is separate from the hearing correction curve itself:

• The hearing profile shapes frequency correction.
• The Drive dB value tells ARIA ONE how much limiter drive is recommended for that profile.
• Factory profiles are neutral and do not personalize drive.
• Average/reference profiles use a backend-provided drive value while the session is active.

For synced cloud profiles, the server calculates and stores the recommended drive from the hearing test. When you press Sync Now, ARIA ONE downloads the profile CSV files and the matching Drive dB values together. The Drive dB column appears in the Hearing Profile Browser, and editable server/local profiles also show a Drive dB editor.

If you edit Drive dB on a SERVER profile, ARIA ONE saves the edit back to the server, then updates the local profile drive store. If you edit a USER local profile, ARIA ONE writes the value into that local test's JSON file. Average/reference and factory profiles are read-only.

Factory Preset Drive Modes

Factory limiter presets can load their drive value in three ways:

• Baseline — Use the factory preset's authored drive.
• Neutral — Load the factory preset with 0.0 dB drive.
• Personalized — Scale the factory preset's authored drive using the Drive dB value from the loaded hearing profile.

In Personalized mode, ARIA ONE compares the loaded profile's Drive dB against the Cake_Crashers reference baseline (6.2 dB). A profile below that reference pulls factory preset drive down; a profile above it pushes factory preset drive up. In dual-profile mode, Profile 1 has most of the weight and Profile 2 contributes a smaller amount.

If ARIA ONE cannot resolve a usable Drive dB value, it keeps the factory preset's authored baseline instead of applying an unknown value. This can happen before older server data has been backfilled, before an average/reference profile finishes loading, or if a local profile does not yet have drive data.

Personalized Drive Technical Reference

For future troubleshooting, the implemented path is:

1. The backend serves drive_db with hearing-test list/detail responses and with average-profile responses.
2. Sync writes server profile drive values to server_profile_drive.json.
3. Local anonymous tests keep their authoritative drive_db in their own JSON files; ARIA ONE may mirror them into the same drive store as an anon cache for fast profile loading.
4. When a profile is loaded, ProfileDriveResolver reads the slot identity and writes htProfile0DriveDb / htProfile1DriveDb.
5. When a factory preset is loaded in Personalized mode, PresetService reads those slot drive values and scales the preset's drive.

Diagnostic values are intentionally visible: -1.0 means a user profile drive was missing, and -0.5 means an average/reference profile drive was not available yet in this session. Factory profiles resolve to the neutral reference value, so they do not change personalized drive scaling.

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Preset Sync

User-created presets sync to the server when saved, renamed, or deleted. Factory presets are included with the application and do not sync.

What Syncs:

• Meta Presets — Complete EQ + Limiter + Macro state
• Full Presets — Complete EQ + Limiter state
• EQ Subpresets — EQ Full, Base, Profile, MBE variants
• Limiter Subpresets — Limiter Full State, type presets, column presets, Adaptive Input
• Macro Presets — Macro knob positions and curve assignments

Deletion Sync: When you delete a preset, it is removed from the server. Other devices see the deletion on their next manual sync.

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Device Registration

Each installation of ARIA ONE registers as a unique device with the server. This enables per-device features like mood preset assignments and AI-generated live presets.

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AI-Generated Live Presets

When you generate a preset using AI, it is stored as a live preset associated with your current device. Live presets are:

• Device-specific — Generated for your current listening setup
• Synced to your account — Accessible from the server
• Not copied to other devices — Each device maintains its own AI-generated preset

This ensures AI presets remain optimized for the specific environment they were created in.

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Mood Preset Assignments

Mood presets are the core of the Simple View listening experience. Each mood button stores a complete snapshot of your DSP settings — hearing correction (EQ), dynamics processing (limiter), macro configuration, and drive level — so you can switch between listening styles with a single tap.

Mood assignments are per-device — each of your registered devices maintains its own independent set of three mood presets. This means your laptop can have different moods than your desktop, each tuned for its specific listening environment.

Mood Slots:

Slot	Button Icon	Name	Character
1	Meditate	Calm	Relaxed, gentle — suited for focused listening or winding down
2	Walking	Natural	Balanced, everyday listening — your default sound
3	Fire	Intense	Energetic, punchy — suited for active listening or high-energy content

These three moods represent a spectrum of listening intensity. The initial set is generated automatically from your hearing profile combined with factory limiter characters. As you refine your sound — whether through the AI assistant, manual tuning, or loading presets — you can save improved versions to any slot, replacing the defaults.

In Registered Devices, each device card displays these three slots using the same mood icons.

What Mood Buttons Do

When you tap a mood button (Calm, Natural, or Intense) on the Player tab:

1. ARIA ONE loads the preset assigned to that mood slot from your local MOBILE folder
2. The entire DSP parameter state is replaced — EQ settings, limiter settings, macro knob positions, curve assignments, and toggle states all change to match the saved mood
3. The macro system is reactivated with the mood's saved configuration, applying its offsets live on top of the restored parameter values
4. The tapped button highlights and the other two dim

If no preset has been saved to a slot (the slot is empty), the button toggles visually but no parameter change occurs. You must save or generate a preset to that slot first.

Mood buttons are a full state swap. Tapping a different mood replaces everything — it is equivalent to loading a Meta preset. Any unsaved changes to your current parameters will be overwritten. If you want to keep your current settings, save them to a mood slot before switching.

Initial Generation

ARIA ONE automatically generates your first three mood presets in one of two situations:

• After completing onboarding — The initial set is created from your personalized post-hearing-test state
• When first opening the Simple View (if you skipped onboarding) — Generated from your current default state

Cloud Mode: If your account already has mood presets on the server (for example, saved from a previous session or generated on another device), those are downloaded instead of regenerating new ones. The server is the source of truth.

Local Mode: Mood presets are generated locally and saved to disk without any server communication.

Saving a Mood Preset

To save your current settings to a mood slot:

1. On the Player tab, tap the save button (floppy disk icon) — it lights up and the three mood buttons are replaced by pulsing overlay buttons (the "armed" state)
2. Tap one of the three pulsing buttons to choose which mood slot to save to (Calm, Natural, or Intense)
3. A confirmation flash appears on the saved mood button

The armed state automatically cancels after 12 seconds if no slot is selected. You can also tap the save button again to cancel manually.

What a mood save captures:

• All EQ / hearing correction parameters
• All limiter parameters (including drive)
• All four macro knob positions, their curve assignments, toggle states, and ParameterRouter mappings

Cloud Mode: The saved preset is uploaded to the server and committed to the currently selected device's mood slot. If you have checked out another device on the Devices tab, the save targets that device — not your local machine. The cloud always holds the latest version. If a conflict is detected (another save happened first), ARIA ONE automatically downloads the server's version to reconcile.

Local Mode: The preset is written to your local MOBILE folder. The existing file is updated in place.

Mood saves and macros: Mood presets save both DSP parameter values and the full macro configuration. Macros are restored and reapplied live on load. The stored parameter values are not modified by macro offsets — use "Apply to State" first if you want to bake them in. See Section 8 — How Macros Interact with Presets.

Regenerating a Mood Preset

Regeneration creates a fresh mood preset from your current DSP state, using the same process as initial generation (see above). The difference is that you can regenerate a single slot without affecting the other two.

To regenerate, select a device in Registered Devices, select the mood slot, then use the regenerate control for that slot.

What regeneration produces depends on the slot:

• Calm — Loads the soft factory limiter preset onto your current EQ, scales drive, captures the result
• Natural — Snapshots your exact current DSP state with no modifications
• Intense — Loads the aggressive factory limiter preset onto your current EQ, scales drive, captures the result

After regeneration, the mood slot is updated in place. The regenerated preset is committed to the currently selected device's cloud slot — if you have checked out another device, the regeneration targets that device.

Tip: Regenerate is useful when you have changed your hearing profile, loaded a new base preset, or want to refresh one mood's character without affecting the others.

Copying Between Devices

You can copy mood preset settings from one device to another using the Devices tab:

1. On the source device card, optionally select a mood slot (or leave unselected to copy all three)
2. Tap the copy button (clipboard icon) — the source card highlights and other device cards show a paste button
3. On the target device card, optionally select a target slot, then tap the paste button
4. Tap the copy button again on the source card to cancel without pasting

When copying a single slot, you can paste it into any slot on the target device (cross-slot pasting is supported). When copying all three, they are pasted into the same slot positions on the target.

Important: Copying creates an independent clone of the preset on the target device. After pasting, each device has its own separate copy with a new UUID. Changes you make to a mood on one device will not affect the other device's mood presets. This ensures you can customize each device independently after copying.

Device Selection and the Checkout / Commit Workflow

ARIA ONE uses a checkout / commit model for working with other devices' mood presets. This is the same system described in the Registered Devices sections of Sections 6 and 7, summarized here for reference:

Step	Action	What Happens
Checkout	Tap the power button on another device's card	That device's mood presets are downloaded to your machine. The Hero Panel shows the checked-out device name.
Work	Listen, tweak parameters, audition changes	You hear everything locally on your own hardware, using the checked-out device's DSP state as your starting point.
Commit	Tap the save button and select a mood slot	Your current settings are saved to the checked-out device's mood slot on the cloud. The target device receives your changes on its next sync.
Return	Tap the power button on your own device card	Your own mood presets are re-downloaded from the cloud, restoring your normal state.

Common use cases:

• Setting up another device — Check out your phone, fine-tune its sound using the Advanced View on your laptop, save to its mood slots, then return to your own device. Your phone picks up the changes on its next launch or sync.
• Getting help from a professional — An audiologist or audio engineer can check out your device on their system, dial in your settings, save them to your mood slots, and return to their own device. You pick up the tuned presets on your next sync.
• Previewing another device's sound — Check out a device to hear its moods on your hardware, then return to your own device without making changes.

Note: Checkout / commit is a device-sync workflow. It does not provide live remote control of another running ARIA ONE instance.

Automatic Sync Behavior

• On app launch (Cloud Mode): ARIA ONE contacts the server to refresh your current device's mood presets, ensuring local files match the latest server state — even if you saved changes from another machine
• On manual sync: Clicking "Sync Now" in the Sync Panel also downloads the latest mood presets for your current device
• Offline fallback: If you are offline, your most recent local mood preset files are used until connectivity is restored. Changes made while offline will be reconciled on next connection.

Local Mode Behavior

In Local Mode (no cloud sync), mood presets work with the following differences:

• Generation — Mood presets are generated locally from your current DSP state. No server communication occurs.
• Saving — Saves update the local file in place. No upload to server.
• Registered Devices — Unavailable. A notice is displayed indicating that device management requires Cloud Mode.
• Mood buttons — Work exactly as in Cloud Mode: tapping a mood loads the local preset file and replaces the DSP state.
• No cross-device features — Copy, paste, and device selection are not available. Your moods exist only on this machine.
• Permanence — Local Mode is a permanent choice for this installation. Mood presets created in Local Mode are not recoverable via cloud sync if you later reset to Cloud Mode.

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Sync Panel Reference

The Sync panel is described in the Advanced View and Simple View sections. Use it to view sync status, manually run Sync Now, and compare local data with server profiles and presets.

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Cross-Product Sync

Altitude Limiter: Limiter presets are shared with Altitude Limiter via the local preset library. When ARIA ONE syncs, these presets become available in both applications.

ARIA Studio: Presets exported to ARIA Studio are a one-way copy. ARIA Studio does not sync with the server.

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11. Average Characteristic Profiles

Demographic-based profiles for quick demos and instant gratification.

What Are Average Profiles?

Average profiles are pre-computed hearing correction curves based on demographic data:

Profile	Age Range	Description
avg_20_39	18-39	Typical young adult hearing characteristics
avg_40_59	40-59	Middle-age hearing compensation
avg_60_99	60+	Senior hearing assistance

How They Work

1. User selects Instant pathway during onboarding
2. User provides demographic info (age range)
3. System matches to appropriate average profile
4. Profile applied immediately for demo experience

Security & Privacy

Average profiles are handled differently from personal test results:

• Server Reference Only: Profile data fetched on-demand, not stored locally
• Login Required: Average profiles require authenticated session
• Temporary Use: Designed for demos, users encouraged to complete full test

12. ARIA AI — Preset Generation & Tutorials

ARIA ONE includes a built-in AI assistant that can generate and refine personalized presets based on your hearing profile and listening goals. You describe what you want in natural language — for example, "make the bass warmer" or "I want more clarity in the highs" — and the AI analyzes your current DSP state, proposes changes, and applies them as a new or updated preset.

The AI panel entry points are covered in Sections 6 and 7.

Note: AI preset generation requires Cloud Mode and an active internet connection. In Local Mode, the AI panel is not available.

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Selecting an AI Agent

At the bottom of the AI panel, you will see a dropdown labeled ARIA AI with the currently selected agent. Tap or click the dropdown to choose a different agent. Your selection is remembered across sessions.

ARIA ONE provides four AI agents, each with a different approach to modifying your preset:

Agent	Style	Passes	Description
v0.8.5 "Standard"	Full Scope	1	Makes broad, sweeping changes across the full parameter space in a single pass. Best when your preset sounds significantly off and needs a major rework.
v0.8.5 "Fine Tune"	Controlled	1	Makes small, incremental adjustments to one or two parameters at a time. Best when your preset sounds close but needs subtle refinement.
v0.8.5 "Thinking"	Deep Analysis	2	Performs a two-pass analysis — first studying your current state and planning changes, then executing them. Most thorough and considered approach.
v0.8 "Thinking"	Deep Analysis (Legacy)	2	An earlier version of the two-pass analysis agent. Available for comparison or if you prefer its response style.

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LEARN Mode and Guided Tutorials

ARIA ONE includes a guided tutorial system for learning the interface through narrated, in-app walkthroughs.

The tutorial browser includes two tabs:

• Walkthroughs — bundled guided tours included with ARIA ONE
• Custom Tutorials — saved tutorials generated by ARIA AI

During playback, ARIA ONE guides you step by step through the interface. Tutorials may temporarily change audio settings in order to demonstrate features. Your previous settings are automatically saved before playback begins, and ARIA ONE can restore them when the walkthrough ends.

AI-Generated Tutorials

In addition to preset generation and help, ARIA AI can create guided tutorials tailored to your question.

Ask a tutorial-style question such as:

• "Show me how to use the Simple View player"
• "How do I set up my hearing test in this app?"
• "Teach me the macro controls"

ARIA ONE builds a step-by-step tutorial for the current app workflow and saves it to Custom Tutorials for later use.

Custom tutorials can be:

• Replayed from the tutorial browser
• Reviewed again later without re-generating them
• Deleted when you no longer need them

Note: AI-generated tutorials require Cloud Mode, an active internet connection, and available AI credits. Bundled walkthroughs do not require AI generation.

Tip: If your credits are low or depleted, use Buy Credits from the mobile PURCHASES view to add more AI credits.

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13. Preset Management System

ARIA ONE uses a hierarchical preset system that stores settings for different parts of the DSP chain. Presets sync across your devices via the cloud (when in Cloud Sync mode) and can be shared between compatible products.

Preset Types Overview

• Meta Preset — Complete EQ + Limiter + Macro state in a single preset (ARIA ONE only). This is the recommended preset type for most users — it captures everything about your sound in one file.
• Full Preset — Complete EQ + Limiter state without macro settings (ARIA ONE only)
• Limiter Full State — Complete limiter state (shared with Altitude Limiter)
• EQ Full — Complete hearing correction state (exportable to ARIA Studio)
• Macro — Macro knob positions and curve assignments (ARIA ONE only)
• PostDSPEQ — Final correction state for imported correction curves (advanced workflow placeholder)

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Limiter Presets

Limiter presets store settings for ARIA ONE's dynamics processing. These presets are shared with Altitude Limiter—changes made in one application are reflected in the other via the shared preset library.

Note: Cloud sync only happens through ARIA ONE. Altitude Limiter reads/writes to the same local preset folders but does not connect to the server.

Factory Preset Drive

Factory limiter presets can include a tuned drive value. ARIA ONE lets you choose how that built-in drive is applied when factory presets load, using Preset Settings > Factory Preset Drive from the gear button in the Preset Panel title bar.

• Neutral — Default. Factory presets load with Drive at 0 dB so you can set the amount yourself.
• Baseline — Loads the factory preset's authored drive value.
• Personalized — Reserved for hearing-profile-based scaling. Until that profile scaling is active in the client, it loads the same way as Baseline.

This setting only changes factory preset loading. User-saved presets and AI-personalized presets always load their own saved Drive value, and the Drive lock always takes priority: if Drive is locked, loading any preset keeps your current Drive.

Limiter Type Subpresets

Each limiter type has two stages (Pass 1 / Pass 2), stored as L1 and L2 variants. When saving, use the Source Column toggle to select which stage to save from.

• ARIA_PASS1 — Type, Attack, Release, Lookahead, Max Filter Cutoff/Slope/Enable. L2 adds Enabled toggle.
• SIMPLE — Type, Attack, Release, Lookahead, Knee Width. L2 adds Threshold and Enabled toggle.
• STANDARD — Type, Lookahead, Attack, Release, Smooth Amount, Auto Env Trans. L2 adds Enabled toggle.
• ENHANCED — Type, Lookahead, Attack, Release, Running Avg Size/Weight, Max Filter Length/Hold. L2 adds Enabled toggle.

Column Subpresets

• Global — Channel Link, Threshold, Max Filter Buffer Length, Max Filter Hold Samples, ARIA Max Filter enable, Buffer Defense.
• Multiband — Tone, Tone Balance, Frequency Response, Reconstruction settings, Drive Reduction Scale, Safety/Output Leveling/Pass 2 enables, Math Functions.
• Soft Safety — Output leveling controls: Block Size, Overlap, Peak/RMS Smoothers, Limiter Release, Max/Min Gain dB, Crest Compensation.
• Hard Safety — Safety limiter: Attack, Release, Knee, Safety Enable.
• Meter Container — Input Gain, Output Gain, Drive.
• Drive X Threshold — Math Functions toggle, 6 control points per limiter type (Drive/Reduction pairs).

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EQ (Hearing Correction) Presets

EQ Subpresets

• EQ Full — All EQ parameters including hearing profiles.
• Base — Global correction parameters: Glob Corr Up/Down, Max Corr dB, Max Stereo Corr, LR Mono blend, MS Blend/Angle, Smooth, Outlier Threshold, Std HQ, Stereo/MS/Low Freq modes, MBE Selector, FIR Size.
• Profile — HT Sub-Profile 0/1, HT Mode (Single/Dual), HT Blend.

MBE Subpresets

Each MBE type saves: number of bands, 5 crossover frequencies, and 18 band parameters (6 bands × 3 params).

• MBE Reference — Reference curve
• MBE Profile Blend — Hearing Test Based / Profile Blend
• MBE Mid Sides — Combined Mid + Sides
• MBE MS Middle — Mid channel only
• MBE MS Sides — Side channel only
• MBE LR Combined — Left-Right Pan
• MBE Left Gain — Left channel gain
• MBE Right Gain — Right channel gain
• MBE Correction — Correction amount

FIR and SOS Filter Topology

ARIA ONE supports two internal filter topologies for hearing correction:

• FIR — A convolution-based filter path
• SOS — A cascaded second-order-section path using biquad filters

The hearing-correction controls allow you to switch between FIR and SOS. This changes the internal processing topology used to realize the correction curve.

When SOS is enabled, FIR-specific controls such as FIR Size and related FIR-tuning options are not used. When FIR is enabled, those controls remain available.

This gives you an additional way to choose how ARIA ONE realizes your hearing-correction target while keeping the same overall listening workflow.

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14. Corrective EQ / PostDSPEQ Presets

Corrective EQ is ARIA ONE's final post-DSP correction stage for imported frequency-response curves. In preset categories, import dialogs, and some technical text, the same module can appear as PostDSPEQ or Post-DSP EQ.

Use this section to understand how the module fits into ARIA ONE preset organization:

• A PostDSPEQ Preset stores the imported correction stage separately from Hearing EQ, Limiter, and Crossfeed presets.
• A Meta Preset can include Corrective EQ state along with the larger ARIA ONE sound state.
• Corrective EQ remains separate from hearing-test-based personalization. Hearing profiles belong to the Hearing EQ / Hearing Correction workflow.

The dedicated Corrective EQ section later in this manual covers file import, supported correction formats, FIR/SOS rendering, SOS RATE, GAIN, MIX, embedded graph behavior, and troubleshooting.

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Exporting to ARIA Studio

Full Preset and EQ Full presets can be exported to ARIA Studio using the "EXPORT PRESET" button in the Preset Panel. When exporting a Full Preset, the limiter section may require manual tuning in ARIA Studio after export since parameter mapping differs between products.

Important: This is a one-way system. You cannot import presets from ARIA Studio into ARIA ONE.

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Saving Presets

To save a preset:

1. Click the SAVE button in the Preset Panel
2. Enter a preset name
3. Select a category from the dropdown (Full Preset, Limiter, EQ, Macro sections)
4. For limiter type presets (ARIA_PASS1, SIMPLE, STANDARD, ENHANCED), use the Source Column toggle to choose L1 or L2
5. Optionally add a description
6. Click Save

Presets are saved to the USER folder and automatically sync to the cloud (when signed in).

Macros and preset saves: Standard saves (Full, Limiter, EQ) do not capture macro offsets. Meta and Mood saves include the macro configuration but still store unmodified parameter values. Use "Apply to State" to bake macro offsets into parameters before saving. See Section 8 — How Macros Interact with Presets.

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Loading Presets

Advanced View

Open the Preset Panel to see all presets organized by category. Double-click a preset to load it, or use the category filter to narrow your search.

Simple / Mobile View

Use the Preset Stepper Card in the DSP Main Panel to step through limiter preset options. In compact mode, the card shows the three simplified choices Soft, Neutral, and Hard. Tap the expand/compress icon to switch between this 3-option view and the full 12-option limiter preset view.

The same Preset Stepper Card appears in both mobile Simple View and the desktop MACRO panel. Its MODERN / CLASSICAL control directly changes the loaded limiter preset's soft safety setting:

• Use MODERN for hot, compressed, or recently mastered music, and whenever stronger hearing correction needs extra support from soft safety.
• Use CLASSICAL for highly dynamic material, older recordings, classical music, and sources that have not already been heavily limited.

For full preset browsing, use the PRESETS button in the Simple/Mobile Expand Panel. Factory presets and your synced user presets are both accessible. On the desktop MACRO panel, this full preset browser button is hidden so the panel stays focused on macro and limiter-shaping controls.

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AI-Generated Presets

ARIA ONE can generate personalized presets using AI based on your hearing profile and listening preferences. AI generation requires Cloud Mode. In Local Mode, only Pure Theory preset creation (which does not use AI) is available.

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Mood Preset Assignments

Mood presets assign complete DSP state snapshots to the three mood buttons (Calm / Natural / Intense) in Simple View. Each device maintains its own independent set of mood assignments. Mood presets are generated automatically after onboarding and can be saved, regenerated, and copied between devices.

For the complete reference — including what mood buttons do, how initial generation works, saving behavior in Cloud vs Local mode, regeneration mechanics, cross-device copy/paste, the checkout/commit workflow for remote device management, and automatic sync — see Section 10 — Mood Preset Assignments.

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Pure Theory Presets

Pure Theory presets are scientifically-derived starting points based on hearing research. They provide a neutral baseline that you can customize.

When completing an anonymous or offline hearing test, a Pure Theory preset is automatically generated during the demonstration phase of onboarding. This preset uses your test results to create a personalized baseline without requiring cloud connectivity.

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Meta Presets

Meta presets are the most complete preset type in ARIA ONE. A single Meta preset captures your entire sound — hearing correction (EQ), dynamics processing (Limiter), and macro control assignments — all in one file.

What Meta Presets Include:

• All EQ / hearing correction parameters
• All limiter parameters
• All four macro knob positions and their curve assignments
• Toggle A and Toggle B states
• ParameterRouter state (which parameters each macro controls)

When to Use Meta Presets:

• Simple View users — Meta is the default preset type. When you browse presets from the expandable advanced panel's PRESETS button, you see Meta presets first.
• Sharing your complete setup — Meta presets sync across devices and capture everything needed to reproduce your sound.
• Switching between listening contexts — Save a Meta preset for each context (headphones, speakers, car) and switch between them instantly.

Meta presets are stored in ~/Music/altitude/shared/preset/ARIA_ONE/{FACTORY,USER}/META/ and sync via the cloud.

Tip: If you only want to change your macro knob mappings without affecting your EQ or limiter, use a Macro preset instead. If you only want to change dynamics, use a Limiter preset.

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Adaptive Input Presets

Adaptive Input presets save the settings of ARIA ONE's input leveling and adaptive gain system. This system automatically adjusts input levels before processing to ensure consistent dynamics behavior regardless of source volume.

What Adaptive Input Presets Include:

• Input soft safety parameters (leveling enable, block size, peak/RMS smoothers, gain limits, crest compensation)
• Adaptive drive parameters (target percent, drive step, eval interval, ramp rate, velocity floor, GR budget, drive limits, baseline, crest offset)
• Measurement and analysis parameters (short/integrated/long windows, frame sizes, acceleration threshold, jump threshold, drop hold, song change detection)
• Servo parameters (auto gain enable, attack/release/hold, max/min gain, crest deadband, gain amount)

When to Use Adaptive Input Presets:

• Tuning the adaptive system for different content types (music vs. podcasts vs. film)
• Saving conservative vs. aggressive adaptation profiles
• Sharing adaptive gain settings between devices

Adaptive Input presets are stored in ~/Music/altitude/shared/preset/Limiter/{FACTORY,USER}/ADAPT_IN/ and are shared with Altitude Limiter.

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Macro Presets

Macro presets save the state of the four macro knobs and their curve assignments. This allows you to:

• Save complex parameter mappings
• Switch between different macro configurations
• Share macro setups across devices

Macro presets are stored separately from Full Presets—loading a macro preset does not change your EQ or limiter settings.

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L1-L2 Sync Mapping

When you save a limiter type subpreset (ARIA_PASS1, SIMPLE, STANDARD, ENHANCED), ARIA ONE automatically creates both L1 and L2 versions. Parameters are mapped between stages:

• L1 parameters map to their L2 equivalents
• L2-only parameters (like Threshold for SIMPLE, and Enabled toggle) use default values
• This ensures presets work regardless of which stage you load them into

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15. Audio Player {#audio-player}

ARIA ONE includes a built-in audio player for listening without external apps. The Advanced View and Simple View player layouts are described in Sections 6 and 7.

Player Routing

When player processing is enabled, the audio player routes through ARIA ONE's DSP chain:

1. Player output → ARIA ONE input
2. DSP processing applied
3. Processed audio → System output

Mobile System Media Integration

On mobile builds, ARIA ONE integrates with the operating system's media surfaces on both iOS and Android so playback can appear in system media controls where supported.

Earlier versions included a Disable iOS media integration toggle in Settings as a stability workaround. Improvements to the iOS player engine have resolved the underlying issues, and this toggle is now disabled. If you experience unexpected media-control behavior on iOS, fully close and reopen the app.

Supported Formats

• MP3, AAC, M4A
• WAV, AIFF
• FLAC, OGG
• Any format supported by system codecs

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16. Account & Authorization

Manage your Altitude Audio account and license activation.

Account Panel

Access account settings to:

• View account email and name
• Check license status
• Sign out

Authorization Flow

1. Sign Up / Log In: Create an account or sign in with your existing Altitude Audio credentials

2. Activate License: Press the Activate License button. ARIA ONE resolves your account's license and saves it to your machine — you do not need to enter a serial number.

Multi-Device Activation

• A paid license can be activated on up to 5 machines
• Deactivate old devices to free up slots
• View active devices in the account panel

License Tiers

ARIA ONE runs in one of three tiers. Your tier is tied to your Altitude Audio account, not to a specific machine.

Tier	What you get	How long it lasts	Notes
Free	Core feature set	Permanent — never expires	Sign in once to activate; keeps working offline afterward
Demo	Full feature set	30 days, one time per account	When it ends, ARIA ONE automatically falls back to Free — nothing breaks or locks up
Paid	Full feature set	Permanent	Tied to your account; activate on up to 5 machines

A new account starts on the Demo tier (full features for 30 days). When the Demo period ends, ARIA ONE drops to the Free tier automatically. Purchasing unlocks the Paid tier permanently.

Staying Connected

Your license is saved to your machine, so ARIA ONE does not need a constant internet connection.

• Offline use: Free and Paid licenses keep working offline indefinitely. There is no offline time limit and no periodic re-verification requirement for your license.
• Launch check: ARIA ONE performs a quick license check when it launches. If you happen to be offline, it keeps running on the license already saved to your machine.
• Signing in again: The only thing that expires is your login session, not your license. After roughly 90 days without signing in, you may be asked to sign in once to refresh the session. Your license and settings are unaffected.

In short: Sign in once. Your license lives on your machine. You will only be asked to sign in again if you stay signed out for about 90 days or when you authorize a new machine.

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17. Audio Settings (GEAR) View

Audio Settings controls how audio streams into and out of ARIA ONE in standalone builds. Plugin versions (VST3, AUv3) inherit audio settings from the host.

Controls

• Mute Input — Mute the audio input. When enabled, ARIA ONE displays a visible mute indicator.
• Audio Device Type — Select the operating-system audio driver, such as Core Audio on macOS or WASAPI on Windows.
• Output Device — Choose the speakers, DAC, headphones, or interface used for processed output.
• Input Device — Choose the virtual audio device or physical input that feeds ARIA ONE.
• Sample Rate — Set the processing sample rate. Match the native rate of your audio path when possible.
• Buffer Size — Adjust latency and performance tradeoffs.

For standalone routing examples, see Section 18 — Audio Routing.

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18. Audio Routing

ARIA ONE processes any PCM digital audio input, functioning both as a standalone application and as a plugin within Digital Audio Workstations (DAWs) or plugin hosts.

Standalone Routing Overview

To route system audio through ARIA ONE, use a Virtual Audio Device (VAD):

1. Set your computer's system output to the VAD
2. In ARIA ONE's Audio Settings, set Input to the VAD's output
3. Set Output to your speakers, DAC, or headphones
4. Match sample rates across all devices

macOS Routing

Use the included ARIA-Audio-VAD (or alternatives like BlackHole or Loopback):

1. Set system sound output to ARIA-Audio-VAD (System Settings → Sound → Output)
2. Match sample rates in Audio MIDI Setup
3. In ARIA ONE: Input = ARIA-Audio-VAD, Output = your playback device
4. Audio Device Type = Core Audio

Note: ARIA-Audio-VAD will be included in a future ARIA ONE release. Until then, obtain it from the free ARIA Studio installer at https://altitude.audio.

Windows Routing

Use a third-party VAD such as VB-Audio's HiFi Cable:

1. Set system sound output to the VAD input (e.g., HiFi Cable Input) in Windows Settings → System → Sound
2. Match sample rates in Sound Settings (see Sample Rate Management below)
3. In ARIA ONE: Input = VAD output (e.g., HiFi Cable Output), Output = your playback device
4. Select WASAPI driver mode (Shared recommended for compatibility)

Plugin Usage (VST3 / AUv3)

When using ARIA ONE as a plugin in a DAW or plugin host:

• Audio routing is handled by the host application
• Insert ARIA ONE on the master bus or individual tracks
• The Audio Settings view is not available—settings inherit from the host
• Offline bounces pass through unprocessed by default—see Bypass Correction On Bounce in Settings

Tip: You can still use a VAD to route system audio into your DAW's input, then process it through ARIA ONE as a plugin on the input track or master bus.

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19. Sample Rate Management

Set the sample rate in the Audio Settings view to match your streaming audio source. This synchronization is important to avoid discrepancies that might affect sound quality.

Windows users: You can verify and set sample rates for your input and output devices in Windows Sound Settings:

Handling Mismatches

If the sample rate of the audio stream changes between tracks, you may hear glitches or artifacts. To resolve this:

1. Adjust ARIA ONE's sample rate to match the new source
2. Audio will automatically restart with the new configuration

Automatic WINDOW Peak Detection at High Sample Rates

ARIA ONE includes a high-sample-rate protection feature for limiter peak detection. The Peak Detect control in Advanced View can normally be set to INSTANT or WINDOW. INSTANT analyzes the lookahead buffer directly, while WINDOW uses bounded window-based peak detection.

At higher sample rates, some sidechain modes can become much more CPU-intensive in INSTANT mode. To reduce the chance of dropouts, ARIA ONE may temporarily force WINDOW peak detection internally:

• At 96 kHz or higher when an Enhanced sidechain is active
• At 176.4 kHz or higher when a Standard sidechain is active
• Above 196 kHz for any sidechain mode

This does not overwrite your preset or automation value for the Peak Detect control. If you selected INSTANT, the control still stores INSTANT; ARIA ONE simply uses WINDOW internally while the high-sample-rate condition applies. When the condition no longer applies, the stored user setting is used again.

When ARIA ONE is forcing WINDOW mode, the Bottom Bar displays a persistent notice such as "WINDOW PEAK DETECTION FORCED: ENHANCED SIDECHAIN AT 96 KHZ+".

System-Level Resampling

Both macOS and Windows offer built-in resampling algorithms that can handle sample rate mismatches. Whether to use these depends on your setup and desired fidelity.

Virtual Audio Devices

VADs operate independently and may handle resampling differently. For optimal performance, keep sample rates consistent across:

• Your audio source
• The VAD
• ARIA ONE's settings
• Your DAC or output device

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20. Virtual Audio Devices (VADs)

A Virtual Audio Device (VAD) creates a software audio path between applications. ARIA ONE uses a VAD to receive audio from your system or streaming applications.

macOS Options

• ARIA-Audio-VAD - Included with ARIA Studio (coming soon to ARIA ONE)
• BlackHole - Free, open-source VAD available at https://existential.audio/blackhole/
• Loopback - Commercial option with advanced routing features from Rogue Amoeba

Windows Options

• VB-Audio HiFi Cable - Free high-quality VAD from https://vb-audio.com/Cable/
• VB-Cable - Basic free option from VB-Audio
• ASIO4ALL - Universal ASIO driver for low-latency audio

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21. Troubleshooting

No Sound

If you hear no audio output:

1. Open the Audio Settings panel (click GEAR in the top bar)
2. Confirm that Mute is not enabled (the Mute toggle is at the top of the Audio Settings panel)
3. Verify the correct output device is selected

Feature Not Functioning

If a feature does not respond or behave as expected:

1. Restart the application
2. Sign out and sign back in
3. Try the feature again

If the issue persists, please contact Altitude Audio support.

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22. Technical Specifications

Mac

CPU: Apple Silicon or 64-bit Intel Mac

Memory: 8 GB RAM minimum (16 GB recommended)

Storage: 16 GB free disk space

Operating System: macOS Ventura 13 or newer

Screen Resolution: Minimum 1280×1024 (1600×1024 recommended)

Plugin Formats: Standalone, AU, AUv3, VST3, AAX

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Windows

CPU: 64-bit Intel or AMD CPU

Memory: 8 GB RAM minimum (16 GB recommended)

Storage: 16 GB free disk space

Operating System: Windows 11

Screen Resolution: Minimum 1024×768 (1280×1024 recommended)

Plugin Formats: Standalone, VST3, AAX

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iOS / iPadOS

Operating System: iOS / iPadOS 15.0 or newer

Device: iPhone and iPad

Formats: iOS app, AUv3 App Extension

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Android

Operating System: Android 6.0 / API 23 or newer

Formats: Android app

Target SDK: Android API 35 in current builds

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Audio

Channels: Mono or stereo host bus layouts; stereo input/output by default

Sample Rates: 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz

Bit Depth: Host/device dependent PCM audio

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FullScale Hearing Test

Introduction & Overview

FullScale is a full-spectrum hearing test that measures up to 37 frequencies between 125 Hz and 20 kHz. It determines your hearing threshold at each frequency — the softest level at which a tone is just barely audible. Results are presented in dB SPL and Implied dB HL (Decibels Hearing Level), comparable to traditional audiogram values but derived differently for the extended frequency range.

Output

• In-App Results — Audiogram scatter plot and threshold data table, available immediately after test completion on all platforms

The following are available on the FullScale mobile app (iOS / Android) only and are not included in the desktop ARIA ONE / FullScale standalone application:

• Extended In-App Results — Additional visuals and tables (premium, mobile only)
• PDF Report — 8-page analysis emailed to you (premium, mobile only)
• CSV Data — Raw and cleaned threshold data in CSV format (premium, mobile only)

Platforms

FullScale runs on iOS, Android, Mac, and Windows. The desktop version runs as a standalone application or as a plugin inside a DAW or plugin host.

Getting results into ARIA ONE

Your hearing profile must reach ARIA ONE for threshold-based sound personalization. There are several paths:

• Onboarding — When you take the hearing test during the ARIA ONE onboarding flow, your results are applied automatically. No extra steps required.
• FullScale inside ARIA ONE — In Advanced View, open SERVICES > HEARING. In Simple View, open the hearing/personalization section and launch the test there. After completion, use Export Test if you want a local desktop export, or use ARIA ONE's sync workflow for server-based profiles.
• FullScale Standalone / Mobile — Take the test in the standalone desktop app or the iOS/Android app. Desktop builds can write a local shared-library export with Export Test; signed-in cloud workflows can also bring results into ARIA ONE through sync.
• Sync Now — If you have taken a test on any platform while signed in, open SERVICES > SYNC in ARIA ONE, or use the Bottom Bar sync control, and run Sync Now to compare/pull available profiles from the server.

Limitations

The test uses your headphones' full volume range. Some frequencies naturally require higher playback levels to be audible — this is expected. For the widest frequency coverage, use calibrated devices that support extended high-frequency output. A "no response" at a given frequency may reflect the device's output limits rather than hearing ability.

Notice

The FullScale Hearing Test is not a diagnostic or treatment tool for any medical condition. It should not be relied upon for self-management of health issues. Consult a medical doctor or qualified health professional for any hearing-related questions. This application is intended for sound personalization and as a preparatory resource before consulting a healthcare provider.

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How It Works

The FullScale experience is organized around a small set of dedicated views that are shared across standalone and embedded workflows:

• Home view — Informational cards plus your saved test history
• Setup view — Device, volume, and calibration flow
• Test view — Active hearing test interface
• Results view — Audiogram, threshold table, definitions, and export actions

In standalone desktop builds, these views live inside the FullScale window. In ARIA ONE, the same hearing-test flow is embedded inside the main application.

Overview

The test plays tones at various frequencies and volume levels through your headphones. Press the HEARD button each time you hear a tone. The volume adjusts automatically to find the softest level you can detect at each frequency.

Test Controls

A toolbar at the top of the test screen provides play/pause, settings, audition, and save & exit controls (detailed in Section 7).

Audio Settings

Before starting, confirm your headphones are connected and the correct output device is selected in Audio Settings (top bar). The test pauses automatically when Audio Settings is opened.

Tips

• Test in a quiet environment with minimal background noise.
• Use headphones or earbuds — the test cannot run through speakers.
• Set device volume to a maximum level before starting.
• You can pause and resume at any time — progress saves automatically.

After Part One

After completing Part One (standard frequencies), you can continue with Part Two (extended psychoacoustic frequencies) or save and exit with your current results.

Export to ARIA Studio

From the results view, Export Test writes a local hearing-profile export into the shared Altitude library used by ARIA desktop products.

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Path Selection

When starting a new standalone or non-onboarding test, the first screen presents two pathway options:

:::

:::

Calibrated

Uses device-specific frequency response data to compensate for headphone characteristics.

• Requires selecting your headphone/earbud model from the device list
• Supports extended high-frequency testing with compatible devices
• Setup takes a few extra minutes

Express

Uses generic defaults. No device selection required.

• Works with any headphone or earbud
• Less accurate without device-specific calibration
• High-frequency results may be limited by uncalibrated output

Guidance

• Use Calibrated when your headphones are in the device list.
• Use Express when your device is not listed or you want to skip setup.

Note: In onboarding mode (launched from the ARIA ONE onboarding flow), the path is selected automatically from your earlier onboarding choice instead of showing this choice screen.

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Setup

The setup flow walks through several cards before testing begins. In standalone or non-onboarding flows, the Calibrated path shows all steps below while Express bypasses device selection. In ARIA ONE onboarding, the path may already be chosen for you before setup opens.

5.1 Your Details

Collects basic information:

Field	Description
Name	Auto-populated from your account (read-only)
Email	Auto-populated from your account (read-only)
Age	Select from dropdown (18–99)
Gender	Select from dropdown (Prefer not to say, Male, Female, Non-binary, Other)

Press Create Test to register the test on the server (or locally in offline mode).

5.2 Volume Guidance

Two guidance cards:

• Bluetooth Devices — Volume guidance specific to calibrated Bluetooth headphones.
• Other Devices — General assumed-volume guidance for wired or uncalibrated devices.

Set your device volume according to the guidance before proceeding.

5.3 Device Selection

The unified device search combines two device sources:

Calibrated Devices

Dropdown of internally measured headphones and earbuds with known frequency response data. The list is OS-specific (iOS/Mac vs Android/Windows).

Community Database

Searchable table of headphones and earbuds with frequency response data from the AutoEq project. Type a model name to search.

Device Not Listed

If your device is not in either list, proceed without device-specific calibration.

1 kHz Volume (dB SPL)

For community database devices, enter the 1 kHz output volume of your headphones in dB SPL. Default: 112 dB. This calibrates test levels to your hardware.

Press Submit to confirm the device selection and apply calibration data.

5.4 Frequency Response

After device confirmation, a frequency response graph displays the response curve of your selected device. X-axis: frequency (125 Hz – 20 kHz). Y-axis: relative level.

5.5 Review & Submit

The final card displays a summary of all selections:

• Name, email, age, gender
• Selected device and source
• Volume setting

Review and press Submit & Start Test to begin.

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Taking the Test

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The test screen

Displays three readouts during testing:

• Current Frequency — the frequency under test (e.g., "4000 Hz")
• Ear Side — which ear is being tested ("Left" or "Right")
• Volume Level — the current playback level in dB

The HEARD button

Large button at center/bottom of the screen. Press it each time you hear a tone. The test engine adjusts volume levels adaptively based on your responses to find your threshold at each frequency.

Test structure

Two parts:

Part One — Standard Frequencies Tests standard audiometric frequencies across both ears in four segments:

1. Right ear — first frequency group
2. Left ear — first frequency group
3. Right ear — second frequency group
4. Left ear — second frequency group

Part Two — Extended Psychoacoustic Frequencies Tests additional frequencies using psychoacoustic scales (Bark, ERB, extended lows). Optional and configurable after Part One completes (see Section 9).

Tone types

The test plays one of four stimulus types (configurable in Settings):

• Pure — Steady single-frequency sine wave
• Pulsed — Intermittent beeping pattern
• Noise — Narrow-band noise centered on the test frequency
• Noise Pulsed — Intermittent narrow-band noise

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Test Controls

Five controls in the toolbar at the top of the test screen:

Settings

Opens a settings overlay on the left side. The test pauses automatically when opened.

Setting	Options	Description
Tone Type	Pure, Pulsed, Noise, Noise Pulsed	Stimulus type
Calibration	Standard, Enhanced	Calibration method
Speed	Multiple levels	Tone presentation speed
Display	Multiple modes	Visual feedback during testing

Restart / Skip Previous

Opens a restart dialog with up to three options:

• Restart Current Frequency — Re-test the current frequency.
• Go Back to Prior Frequency — Return to the previous frequency (unavailable at segment boundaries).
• Restart from Checkpoint — Return to the last major checkpoint.

Play / Pause (Center)

Starts and stops tone playback.

Audition

Opens a manual audition panel on the right side. Allows you to:

• Select a specific frequency
• Choose ear (Left/Right)
• Select tone type and calibration
• Play at a target dB level

Useful for verifying responses or inspecting specific frequencies.

Save & Exit

Saves progress and returns to the home screen. Resume later from the My Hearing Tests list (Section 12).

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Progress & Breakpoints

Breakpoint modals

At 25%, 50%, and 75% completion, a modal appears showing:

• Current progress percentage
• Two buttons: Resume (continue) and Save & Exit (save and return home)

Dismiss the modal by clicking outside it to continue testing.

Automatic saving

Progress saves continuously. If the application closes unexpectedly, resume from where you left off.

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Part One Complete & Part Two

Part One complete screen

After Part One finishes, a screen presents:

• Part Two customization options
• Resume Test and Save & Exit buttons

Part Two options

Three checkboxes select which extended frequency scales to include:

Option	Description
Bark	Bark scale — models frequency resolution of human auditory perception
ERB	Equivalent Rectangular Bandwidth — models auditory filter bandwidths
Mids	Extended mid-frequency testing

Select one or more and press Resume Test, or press Save & Exit to conclude with Part One results only.

Part Two testing

Same format as Part One — tones play, press HEARD when you detect them. The additional frequencies extend your hearing profile across psychoacoustic scales.

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Understanding Your Results

In-app results view

The Results View displays after test completion or when viewing a saved test.

Audiogram scatter plot

Plots hearing thresholds across frequency:

• X-axis — Frequency (Hz/kHz)
• Y-axis — Hearing Level (Implied dB HL)
• Left Ear — Circles
• Right Ear — Triangles
• Reference Line — Normal hearing reference curve

Higher dB HL values mean sounds at those frequencies must be louder for you to hear them relative to the reference model.

dB HL table

Tabulated threshold values at each tested frequency: left ear, right ear, and reference values.

Hearing definitions

Accessible via the Hearing Definitions button:

• Normal — Below 20 dB HL
• Mild — 20–40 dB HL
• Moderate — 40–70 dB HL
• Severe — Above 70 dB HL

Reading the graph

Data points above the reference curve indicate reduced sensitivity at those frequencies. Deviations do not necessarily indicate hearing loss — individual hearing varies.

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Exporting to ARIA Studio

What it does

Writes your completed hearing profile into ARIA-compatible local files for threshold-based sound personalization.

How to export

1. Open the Results view for a completed test.
2. Press Export Test.
3. Confirm the export path when prompted.
4. FullScale writes the files to the shared Altitude library on that machine.

File locations

• macOS: ~/Music/altitude/shared/lib/
• Windows: C:\ProgramData\Altitude\shared\lib\

Requirements

• Test completed
• Desktop FullScale or desktop ARIA ONE build

Using the export afterward

The exported files are written to the shared Altitude library so ARIA desktop products on the same machine can use them. In ARIA ONE, open the Hearing EQ workflow and load or refresh the local/shared profile library as needed. If you are using cloud sync instead of a local export, use Sync Now in ARIA ONE.

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Managing Tests

My Hearing Tests

The home screen lists all hearing tests (online and offline), sorted by creation date, newest first.

Each test card shows:

• Title — Test name (editable)
• Date — Creation date
• Status — Completed or in progress

Actions

• Resume — Available on incomplete tests. Restores calibration data, device settings, and progress, then navigates to the test view at the last position.
• Open Results — Available on completed tests. Displays the results view with audiogram, table, and export options.
• Rename — Edit the test name from the card. Allowed characters: letters, numbers, spaces, underscores, dashes (max 64 characters).
• Delete — Removes the test permanently. Online tests are deleted from the server; offline tests from local storage.

Refreshing

The list refreshes automatically when returning to the home screen. It combines server tests with locally stored offline tests.

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Offline / Anonymous Testing

Overview

Offline mode runs the full test without sending test data to the server.

Starting an offline test

Press Test Anonymously on the home screen. This enables offline mode and proceeds to the setup flow.

Behavior

• Test data is saved as local files on your device.
• All features work identically: setup, testing, breakpoints, Part Two.
• Offline tests appear in the My Hearing Tests list alongside online tests.
• Resume, rename, and delete work the same as online tests.

Limitations

• Not synced to the server or other devices.
• Extended PDF reports are not available (requires server processing).
• Cloud-dependent follow-up features, including account-based sync and some AI/personalization workflows, are reduced or unavailable offline.

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Glossary

Term	Definition
dB HL	Decibels Hearing Level. Measures hearing relative to normal hearing, adjusted for the ear's frequency sensitivity.
Implied dB HL	Comparable to traditional dB HL but derived differently for frequencies outside standard audiometric norms.
dB SPL	Decibels Sound Pressure Level. Measures absolute sound pressure intensity.
Hearing Threshold	The softest level at which a sound is just barely audible.
Audiogram	Graph of hearing thresholds across frequencies (frequency on x-axis, hearing level on y-axis).
Frequency	Sound wave cycles per second, measured in Hertz (Hz). Higher values = higher pitch.
Bark Scale	Psychoacoustic scale modeling the frequency resolution of the human auditory system.
ERB	Equivalent Rectangular Bandwidth. Psychoacoustic measure of auditory filter bandwidth.
AutoEq	Open-source project providing frequency response measurements for headphones and earbuds.
Calibrated Device	Headphone or earbud with a known, measured frequency response used to improve test accuracy.
Speech Region	Frequency range important for speech comprehension, typically 500–8,000 Hz.
Full Spectrum	The audible frequency range tested: 125 Hz to 20,000 Hz.

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Hearing Correction

The Hearing Correction EQ module provides personalized audio filtering based on your hearing test results. It derives a target response from one or two hearing profiles, lets you reshape that target with multi-band editors and global controls, then renders the final correction through the selected filter topology.

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Accessing Hearing EQ in ARIA ONE

In ARIA ONE Advanced View, open the module by selecting HEARING EQ from the left-side Navigation Panel. Select the card body to open the workspace; use the nested power toggle to enable or disable hearing-correction processing without leaving the page.

The hearing-correction workflow now connects to several nearby navigation tools:

• SERVICES > HEARING opens FullScale so you can take a new hearing test or review existing results.
• SERVICES > SYNC or the Bottom Bar sync control compares local and server hearing profiles/presets and runs Sync Now.
• METERS, HELP, and SPLIT can be enabled alongside Hearing EQ when you want metering, docked help text, or a second workspace column.

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EQ Panel Overview

The Hearing Correction EQ workspace is where you set up your personalized correction filters. The desktop layout is a stacked workspace built from five module regions: profile controls, the filter graph, MBE controls, the MBE editor, and the lower hearing-correction controls. In practice, these still read as an upper profile/graph area, a middle shaping workflow, and a lower control area. The module can also sit beside optional metering, the docked Help panel, and an optional split workspace. The hearing-profile browser opens as an overlay when you load or manage profiles.

Section A (Top): The top graph area shows hearing test data, target response, or filter response.

Section B (Middle): The middle section contains the active Multi-Band Editor (MBE), which is used for frequency-specific shaping.

Section C (Bottom): The bottom panel contains global parameters relating to all aspects of the EQ module.

Section A — Upper Profile and Graph Area

1. GRAPH DROPDOWN: Select the data graphed from the following options:

   • TEST RESULTS: View your imported hearing test results alongside the reference curve.
   • TARGET: View the smoothed target response curve, considering all parameter settings.
   • FILTER: View the response of the active correction filter, demonstrating how the filter modifies audio output.

2. S/D (Single / Dual Profile): Toggle between Single and Dual/Blended hearing profile modes. Single mode uses only one hearing profile, while Dual mode allows for blending two profiles.

3. PROFILE 1 / PROFILE 2: Displays the hearing profile data for slot 1 or slot 2.

4. HEARING PROFILES: Open the hearing-profile browser overlay to load or manage profiles for either slot. The browser includes search, source filters, and per-slot loading.

5. Hearing Sub-Profile [full/part1/bark/erb/part2]: Choose from up to five psychoacoustic models to define your hearing profile based on a complete hearing test. Note that tests concluded early may offer limited model options.

6. BLEND: Adjust this setting to blend two hearing profiles into a single hybrid profile. This feature averages the characteristics of both profiles for a balanced output.

7. LR (Left/Right Toggle): This toggle allows you to select which data is displayed on the graph—either from the left ear, the right ear, or both.

Frequency Warping: Adjust the frequency scaling on graphical displays using the scroll wheel while hovering over the graph's bottom left corner. This adjustment is particularly useful for enhancing the visibility of specific frequency regions, whether low or high, facilitating a more detailed analysis.

Section B — MBE Workflow

See the Multi-Band Editors section below for detailed operating instructions.

Section C — Lower Control Area

See the EQ Controls section below for all parameter descriptions.

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Hearing Profile System

Current workflow

1. Take a FullScale hearing test, or import/export one through the ARIA ONE / FullScale workflow.
2. If you are using cloud sync, run Sync Now so server profiles are compared against your local library.
3. Open HEARING PROFILES and load one profile into Slot 1, or two profiles if you want to blend.
4. Choose Single or Dual mode, select the desired sub-profile(s), then fine-tune the target with the controls and MBEs.

Profile Management

The hearing profile browser enables you to manage and load your hearing test results. Add new hearing test results or choose from characteristic profiles provided. You can load these profiles into one of two slots, which can then be blended to create a hybrid profile tailored to your needs.

Profile Sources

The profile browser displays profiles from three sources:

• FACTORY - Bundled characteristic profiles for various use cases
• USER - Locally stored profiles; most relevant in Local Only mode
• SERVER - Synced profiles from your online hearing tests via ARIA ONE

Note: All profiles from online hearing tests sync into the Server library when cloud sync is active. In Local Only mode, profiles stay local in the User library and are not synced to the server.

Profile Browser Features

• Dual-column display - Load profiles into Slot 1 (primary) or Slot 2 (blend)
• Search and filter - Find profiles by name and narrow the visible source list
• Source filter buttons - Toggle visibility of FACTORY / USER / SERVER profiles
• RENAME and DELETE - Manage synced server profiles when signed in
• Cloud / Local awareness - USER content is most visible in Local Only workflows, while SERVER content reflects synced hearing tests

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Profile Controls

EQ Enable

Turn the EQ module ON to enable personalized audio processing. When enabled, your loaded hearing profile(s) will be applied to shape the frequency response.

Profile Mode (Single / Dual)

Dual Profile Mode: Use DUAL profile mode when you want to blend two distinct profiles loaded into Slots 1 and 2. Adjust the blend slider to find the balance that best fits your listening goals.

Single Profile Mode: Use SINGLE profile mode when you want to work only from the profile loaded into Slot 1. In this mode, blending is disabled.

Blend Slider

When in Dual Profile mode, use the BLEND slider (0-100%) to mix between your two loaded profiles:

• 0% = 100% Profile 1
• 50% = Equal blend of both profiles
• 100% = 100% Profile 2

Sub-Profile Selection

When you complete the FullScale Hearing Test protocol, your results include multiple hearing profiles based on different psychoacoustic models:

• FULL - Incorporates all frequencies tested, providing a highly granular view of your hearing across the spectrum
• PART1 - Based on medical/traditional scales commonly used in clinical settings
• BARK - Utilizes the Bark scale, structured around how the human auditory system perceives sound
• ERB - Uses the Equivalent Rectangular Bandwidth scale, focusing on critical bandwidths in auditory perception
• PART2 - Additional testing from FullScale Part 2, offering a differing approach to low frequency regions

Note: If the hearing test was concluded early, some sub-profiles might not be available.

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EQ Controls

Control Panel Settings

• CR UP (Correction Up): Increase the global correction in dB to elevate the overall correction level.

• CR DOWN (Correction Down): Apply downward correction in dB for outliers below the reference curve.

• MAX CORR dB (Maximum Correction): Set the maximum correction limit in dB at any frequency.

• MAX STEREO (Maximum Stereo Delta): Define the maximum allowable difference in dB between left and right ear hearing levels.

• MONO: Adjust between stereo processing and mono processing in LR-Separate and LR-Combined modes.

• MS BLEND / MS ANGLE: In Mid/Sides mode, these two knobs control stereo width. Enable them with the power button located between the knobs. MS BLEND increases width with values above 0.0 and increases focus with values below 0.0. MS ANGLE provides additional spatial control through alpha blending.

• SMOOTH: Smooths the target filter response.

• OUTLIERS: Removes the greatest outlier data point(s) from hearing profile derivation.

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Stereo Processing Modes

Select from 3 operating modes to modify the sound and imaging:

• MS (Mid/Sides Mode): Activate Mid/Sides processing mode, suitable for both speakers and headphones, enhancing the spatial quality of audio.

• LR-C (Left + Right Combined Mode): Activate Combined Left-Right processing mode, ideal for open-air listening environments and compatible with headphone use as well.

• LR-S (Left / Right Separate Mode): Switch to Separate Left & Right processing mode, designed for enhanced stereo imaging in headphone listening and speaker setups.

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Multi-Band Editors (MBE)

The Multi-Band Editors allow for precise, frequency-specific adjustments across various parameters. Each editor enables unique modifications that can significantly alter the sound produced. Although these editors have diverse functions, they all share a consistent user interface with up to 6 bands.

Operating the Multi-Band Editors

• Adjust Band Levels: Click, hold, and drag the band's horizontal edge vertically
• Reposition Bands: Click, hold, and drag the vertical separator at the band's edge
• Add a Band: Double-click at the desired frequency location
• Remove a Band: Control + double-click (Mac) or Ctrl + double-click (Windows) on the band
• Adjust Band Curvature: Scroll with mouse wheel while hovering over an intersection point
• Frequency Warp: Scroll with mouse wheel while hovering over the lower left corner

MBE Selector

Select the active MBE from the dropdown menu. The available editors include:

• REFERENCE: Adjust the global reference curve using this multi-band editor. You can raise or flatten the curve as needed for overall sound calibration.

• PROFILE BLEND: Multi-band editor for blending dual hearing profiles. Customize how two profiles combine to create a unified auditory experience.

• M/S MID: Dedicated to the middle signal content in Mid/Sides mode, this editor allows you to refine the middle correction profile without altering the global correction response.

• M/S SIDE: Adjusts the sides signal content in Mid/Sides mode, fine-tuning the sides correction profile independently of the global correction.

• LR-CORRECTION AMOUNT: For Combined Left-Right mode, this multi-band editor customizes the parameters for your combined LR correction profile.

• L GAIN: Tailors the correction response curve specifically for the left ear in LR-Separate mode, either raising or flattening it as needed.

• R GAIN: Similar to L-GAIN but for the right channel, allowing adjustments to the correction response curve for the right ear in LR-Separate mode.

• CORRECTION AMOUNT: Global correction multi-band editor used to modify the overall correction response curve.

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Filter Configuration

Filter Topology (FIR / SOS)

Use the FIR / SOS toggle to choose how the Hearing Correction EQ renders the same target response internally:

• FIR - A convolution-based filter path
• SOS - A cascaded second-order-section (biquad) path

Switching topology changes how the correction is realized internally, not the overall hearing-profile workflow. The control row swaps automatically to show only the settings for the selected topology: FIR settings when FIR is active, SOS settings when SOS is active.

FIR Settings (shown when FIR is selected)

MODE (STD / HQ): Selects the FIR phase behavior.

• STD (Standard) - Linear phase FIR filter
• HQ (High Quality) - Minimum phase FIR filter

FLT SIZE (FIR Filter Size): Selects the FIR filter length for frequency resolution.

Size	Resolution	CPU Usage	Use Case
4096	Lower	Light	Quick preview
8192	Medium-Low	Light	General use
16384	Medium	Moderate	Recommended
32768	High	Higher	Detailed correction
65536	Very High	Highest	Maximum precision

Larger filter sizes provide finer frequency resolution but require more CPU resources.

SOS Settings (shown when SOS is selected)

OS (Oversample): Runs the SOS biquad path at a higher internal sample rate for improved high-frequency accuracy, at additional CPU cost.

• OFF - No oversampling
• 176/192 - Moderate oversampling (default)
• 352/384 - Maximum oversampling

LIN / ALT (Frequency Spacing): Selects how the SOS filter bands are distributed across frequency.

• LIN - Linear spacing
• ALT - Alternate spacing

Note: The FIR settings (MODE, FLT SIZE) and SOS settings (OS, LIN/ALT) are mutually exclusive. Only the group matching the active topology is shown.

Low Frequency Mode

Controls how the filter handles frequencies below the lowest test point:

• CLAMP - Holds the lowest measured value flat to DC
• RAW - Extrapolates the curve naturally
• SHAPED - Applies a gentle roll-off shape

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Filter Graph Panel

Graph Data Selector

Select which data to display on the frequency response graph:

• TARGET - Shows the target correction curve derived from your hearing profile and parameter settings
• FILTER - Shows the actual frequency response of the active correction filter

Channel Display

• L Button - Toggle left channel visibility
• R Button - Toggle right channel visibility

When both are enabled, you can compare left and right correction curves.

Frequency Warping

Adjust the frequency scaling on graphical displays using the scroll wheel while hovering over the graph's bottom left corner. This is useful for:

• Expanding the low-frequency view for bass adjustments
• Expanding the high-frequency view for treble adjustments

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Blended & Sub-Hearing Profiles

Use the blended hearing profile functionality to mix two profiles into one, hybrid profile. Frequency specific averaging of profile sections may be completed with the multi-band editor, discussed in subsequent sections.

Single Hearing Profile Mode: Use Single mode when you want the correction to come only from the profile loaded into Slot 1. In this mode, profile blending is disabled.

Dual Hearing Profile Mode: Use Dual mode when you want to blend two distinct profiles loaded into Slots 1 and 2. Adjust the blend parameter to tune how strongly each profile contributes to the final target.

Use Cases for Blended Hearing Profiles

Blending hearing profiles allows you to combine favored characteristics of multiple profiles to achieve greater sonic performance. One common use is to blend sub-hearing profiles from a single test together, which is another form of smoothing. Another is blending your own hearing profile with a characteristic (factory) hearing profile to achieve different tonality.

Hearing Sub-Profiles

When you complete the FullScale Hearing Test protocol, your results include multiple hearing profiles. These profiles reflect different psychoacoustic models and can be accessed and managed within the application.

Accessing Sub-Profiles

To view and select from available hearing sub-profiles, navigate to the sub-profile menu. Here, you can choose from up to five (5) different options, provided your hearing test was completed in full. Note that if the test was concluded early, some sub-profiles might not be available, as the completion of the entire test battery is necessary to generate each distinct sub-profile.

Within the sub-profile menu, you can also switch the psychoacoustic model used to derive each hearing profile. A sub-profile may be selected for both hearing profiles when in dual hearing profile mode.

Sub-profile Psychoacoustic Models

Hearing is a complex phenomenon, and its understanding varies based on different psychoacoustic models derived from scientific research. The system leverages this diversity by allowing you to select from multiple psychoacoustic models through sub-profiles based on your comprehensive hearing test results. This feature ensures that the correction can be finely tuned to reflect the nuances of how you perceive sound.

Selecting Sub-profiles

Each sub-profile represents a different model of hearing:

• Full: Incorporates all frequencies tested, providing a highly granular view of your hearing across the spectrum.

• Part 1: Based on medical/traditional scales commonly used in clinical settings.

• Bark: Utilizes the Bark scale, which is structured around how the human auditory system perceives sound.

• ERB: Uses the Equivalent Rectangular Bandwidth (ERB) scale, focusing on critical bandwidths in auditory perception.

• Part 2: Represents additional testing from the FullScale Hearing Test Part 2, offering a differing approach to low frequency regions.

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Crossfeed

1. Overview

Crossfeed is a headphone-listening processor designed to make stereo playback feel more speaker-like. It blends a controlled amount of left and right channel information, shapes that blend with filtering and compensation controls, then lets you refine center focus, width, and optional level regulation.

This manual is written for the current desktop standalone Crossfeed product first, then calls out the small ARIA ONE-specific differences where they matter.

The core Crossfeed DSP is the same in both contexts. The main practical differences are:

• Standalone Crossfeed does not offer PRE LIM placement because there is no limiter stage around it.
• Standalone Crossfeed does not show the extra IN / OUT column because master input/output sliders already cover that role.
• ARIA ONE embeds Crossfeed inside the larger advanced workspace and adds navigation, utility pages, and limiter-aware routing options.

At a high level, Crossfeed works like this:

1. The signal enters the Crossfeed engine.
2. A filtered crossfeed path blends controlled information between channels.
3. Tone and image controls shape the result.
4. Wet/Dry blends processed and unprocessed stereo.
5. Optional regulation smooths level behavior.
6. Output trim sets the final level when that column is present.

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2. Accessing Crossfeed

Standalone Crossfeed

In the standalone desktop Crossfeed product, Crossfeed is the main workspace. Open the application and you are already working directly with the dedicated Crossfeed processor.

Crossfeed inside ARIA ONE

In ARIA ONE desktop advanced view:

• Use the Crossfeed navigation card to open the dedicated Crossfeed workspace.
• Use the card's power toggle to enable or disable Crossfeed DSP.
• Use Graphs when you want broader analysis views outside the Crossfeed workspace.

The embedded ARIA ONE layout also keeps system pages in the Bottom Bar:

• MENU opens utility pages such as Account, Settings, Color, Audio Settings, and User Manual.
• Language changes UI language.
• Sync status reflects cloud sync or Local Only status.

Note: The screenshots below show the standalone desktop Crossfeed product first, then Crossfeed embedded in ARIA ONE's advanced desktop layout. The standalone product uses the same core Crossfeed DSP, but does not include the ARIA ONE-specific routing option or extra IN / OUT column discussed later.

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3. Signal Chain Placement

Standalone Crossfeed

In the standalone Crossfeed product, Crossfeed simply runs as the processor you are using. There is no limiter stage around it, so there is no PRE LIM routing choice to make.

Crossfeed inside ARIA ONE

When Crossfeed is embedded in ARIA ONE, the INSERT control chooses where Crossfeed runs in the larger signal chain:

• POST LIM / Post All DSP - Crossfeed runs after the main processing chain, including limiter and safety stages.
• PRE LIM / Pre Limiter - Crossfeed runs before the limiter stages, so image and level changes introduced by Crossfeed are then shaped by the limiter.

Practical guidance:

• Use Post All DSP when you want Crossfeed to behave like a final spatial adjustment.
• Use Pre Limiter when you want the limiter to react to the post-crossfeed stereo blend and level changes.

Current factory Crossfeed presets commonly use Pre Limiter as a practical ARIA ONE default.

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4. Workspace Layout

The current desktop advanced Crossfeed workspace is organized into control columns plus live response graphs.

Standalone column structure

• CROSSFEED - Core blend and tone-shaping controls
• ENHANCEMENT - Imaging and operating-mode controls
• AUTO GAIN - Optional regulation controls
• Response Graphs - Live visualization of the current Crossfeed filters

ARIA ONE-specific layout additions

When Crossfeed is embedded in ARIA ONE, the wider advanced layout can also add:

• IN / OUT - Input and output trim
• ARIA ONE navigation cards, utility tiles, and Bottom Bar utilities around the Crossfeed workspace

CROSSFEED column

This column contains the core processing controls:

• INSERT
• FEEDBACK
• CUTOFF
• BOOST
• FILTER ENABLE
• HIGH SHELF

ENHANCEMENT column

This column contains the image-shaping and operating-mode controls:

• WET/DRY
• MODERN / CLASSIC
• WARP v2 / WARP v1
• FOCUS
• WIDTH
• OS

AUTO GAIN column

This column contains the optional level-regulation controls:

• REGULATE
• PEAK SMOOTHER
• RMS SMOOTHER
• RELEASE

IN / OUT column

This column is ARIA ONE-specific. It does not appear in the standalone Crossfeed product.

On wider embedded ARIA ONE desktop layouts, an additional column can appear:

• INPUT GAIN
• OUTPUT GAIN

If the workspace is narrower, ARIA ONE may prioritize the main Crossfeed columns and graph area instead of always showing this trim column.

Response graphs

The Crossfeed workspace includes three live graph views:

Graph	What It Shows
COMBINED RESPONSE	The broad tonal shape created by the current Crossfeed settings.
HIGH PATH	The high-frequency compensation path.
LOWPASS CROSSFEED	The low-frequency crossfeed path.

These graphs update as you adjust controls such as CUTOFF, FEEDBACK, BOOST, HIGH SHELF, MODERN / CLASSIC, WARP v2 / WARP v1, and OS.

If the panel becomes too narrow, ARIA ONE may hide the response graphs until there is enough room to display them clearly.

Graphs (analyzer views)

The GRAPHS card opens broader analyzer views — FFT, spectrogram, polar level, polar sample, vector, waveform, and metering — separate from the in-workspace response graphs above. It is available both in the standalone product and inside ARIA ONE.

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5. Control Reference

5.1 CROSSFEED Column

INSERT

Chooses where Crossfeed is inserted in the signal chain.

This control is ARIA ONE-only. It is not present in standalone Crossfeed because there is no limiter stage to route around.

• POST LIM - Crossfeed runs after the main processing chain.
• PRE LIM - Crossfeed runs before the limiter stages.

Use this when you want to decide whether Crossfeed happens before or after limiting.

FEEDBACK

Controls the amount of cross-channel bleed.

• Range: 6 dB to 20 dB
• Lower values are subtler.
• Higher values create a more blended stereo image.

CUTOFF

Sets the low-pass corner frequency for the crossfed path.

• Range: 20 Hz to 8000 Hz
• Lower values keep the effect focused lower in the spectrum.
• Higher values let the effect reach further upward into the mids.

BOOST

High-frequency compensation applied in the Crossfeed path.

• Range: 1 dB to 10 dB
• Use it to restore brightness or openness when the crossfed signal feels too dark.

FILTER ENABLE

Enables manual high-frequency filter override.

• Off - Crossfeed uses its automatic high-frequency behavior.
• On - HIGH SHELF becomes active for manual top-end shaping.

HIGH SHELF

Sets the frequency above which high-frequency compensation is applied.

• Range: 20 Hz to 8000 Hz
• Only active when FILTER ENABLE is on

Use this when you want more direct control over how the top end is preserved.

5.2 ENHANCEMENT Column

WET/DRY

Blends the original stereo signal with the processed Crossfeed signal.

• Range: 0% to 100%
• Lower values preserve more of the original stereo image.
• Higher values increase the Crossfeed effect.

MODERN / CLASSIC

Selects the Crossfeed coefficient-design variant.

• MODERN - Uses the newer convenience-oriented coefficient-calculation path.
• CLASSIC - Uses the more direct filter coefficient calculation path.

Both target the same general Crossfeed goal, but they arrive there through different calculation paths. Use this control when you want to compare the current convenience-based implementation against the more direct legacy-style path.

WARP v2 / WARP v1

Switches between corrected warping and legacy warping behavior.

• WARP v2 - Corrected current behavior
• WARP v1 - Legacy reference behavior

WARP v1 did not properly unwarp the coefficients across different sample rates. WARP v2 fixes that behavior, so it should be treated as the standard starting point in current builds.

FOCUS

Adds mid emphasis after Crossfeed mixing.

• Range: 0 dB to 6 dB
• Higher values pull the image toward the center.
• Lower values preserve a softer phantom center.

WIDTH

Scales stereo width after Crossfeed processing.

• Range: 0 dB to 6 dB
• Lower values narrow the image further.
• Higher values reopen width after channel blending.

OS

Selects the internal operating-rate family used by the current Crossfeed implementation.

Current choices:

• OS: OFF
• OS: 176/192
• OS: 352/384

Crossfeed uses an IIR filter topology, and like many IIR designs it generally performs better at higher sample rates. In practice, this control is mainly exposed so advanced users can inspect and choose that operating context directly.

Practical guidance:

• Higher settings increase processing cost.
• Lower settings reduce CPU use.
• The audible differences are usually subtle compared with the main Crossfeed controls, so do not expect a dramatic tonal change from OS alone.

5.3 AUTO GAIN Column

REGULATE

Enables adaptive level regulation inside Crossfeed.

• Helps stabilize level after changes in Crossfeed amount or filter behavior
• Activates the regulation controls below when turned on

Crossfeed's filters are not perfectly flat from input to output under every possible setting. Rather than forcing every combination to match mathematically, REGULATE adds a crest-based regulation stage that tries to keep input and output behavior aligned while following the same general envelope of the sound.

Leave it off when you want the most direct Crossfeed behavior and prefer to manage level manually.

PEAK SMOOTHER

Smoothing applied to the peak detector.

• Range: 0.001 to 1.0
• Higher values reduce rapid gain swings.

Use this to make the regulation stage less jumpy around fast peaks and transients.

RMS SMOOTHER

Smoothing applied to the RMS detector.

• Range: 0.001 to 1.0
• Higher values create steadier loudness tracking.

Use this to steady the more sustained, body-level part of the regulation behavior.

RELEASE

Release time for the regulation stage.

• Range: 0.0 to 1.0
• Shorter values recover faster.
• Longer values sound smoother but react more slowly.

Together, PEAK SMOOTHER, RMS SMOOTHER, and RELEASE act like limiter-style controls for the regulation stage: they shape how quickly it reacts, how steadily it tracks, and how gracefully it lets go.

5.4 IN / OUT Column

On wider embedded desktop layouts, Crossfeed can also show dedicated trim controls:

INPUT GAIN

Input trim into the Crossfeed engine.

• Range: -20 dB to +20 dB
• Use it to prevent clipping or compensate for quiet sources.

OUTPUT GAIN

Output gain after Crossfeed processing.

• Range: -20 dB to +20 dB
• Use it to match processed level against bypass or compensate for level changes when REGULATE is off.

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6. Parameter Interaction Notes

CUTOFF and FEEDBACK

These are the two main Crossfeed tone/amount controls.

• Lower CUTOFF with moderate-to-higher FEEDBACK gives a darker, more bass-focused blend.
• Higher CUTOFF with the same FEEDBACK makes the effect more obvious and reaches further into upper mids.

WET/DRY and WIDTH

These determine how much of the effect you hear and how much width you reintroduce afterward.

• If Crossfeed feels too narrow, reduce WET/DRY first or increase WIDTH.
• If the image still feels too hard-panned, raise WET/DRY before adding more FEEDBACK.

FILTER ENABLE, HIGH SHELF, and BOOST

These controls shape the top end of the crossed signal.

• Use BOOST for broad compensation.
• Enable FILTER ENABLE when you want direct manual control with HIGH SHELF.

REGULATE

Regulation is most useful when:

• you are comparing multiple Crossfeed settings and want steadier output level
• you are using higher operating-rate settings
• you are moving between presets with noticeably different loudness

Think of it as a practical correction stage rather than a tone control. It is there to help keep in = out behavior consistent when the filter topology itself does not stay perfectly flat under every setting.

INSERT and limiter interaction

If Crossfeed changes how the limiter behaves, try switching INSERT between POST LIM and PRE LIM and listen again.

This advice only applies inside ARIA ONE. In standalone Crossfeed, there is no limiter-routing choice to make.

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7. Presets

Crossfeed has its own dedicated preset category in the shared preset library.

Current factory Crossfeed presets include:

• Natural
• Moyish
• Default-Old

Use presets as starting points, then fine-tune:

• Natural for a balanced starting point
• Moyish for a stronger Crossfeed reference
• Default-Old as an alternate factory reference

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8. Suggested Workflow

Quick Start

1. Enable Crossfeed.
2. Start with the Natural preset.
3. Adjust CUTOFF and FEEDBACK first.
4. Use WET/DRY to decide how present the effect should be.
5. Use FOCUS and WIDTH to restore the image balance you want.
6. Add BOOST or enable FILTER ENABLE if the result needs top-end compensation.
7. Turn on REGULATE only if you want internal level stabilization.

Common adjustment patterns

• If the mix feels too hard-panned: raise WET/DRY, then adjust FEEDBACK.
• If the result feels too dark: raise BOOST, or enable FILTER ENABLE and adjust HIGH SHELF.
• If the image collapses too much: lower WET/DRY or raise WIDTH.
• If the center feels too vague: raise FOCUS.
• If the limiter reacts differently than expected: try switching INSERT.

Practical guidance

• Use the live graphs to understand what your settings are doing, but make final decisions by listening.
• Keep REGULATE off while learning the processor, then turn it on later if you want steadier level behavior.
• If the workspace becomes crowded, prioritize the main Crossfeed columns first; graph visibility can depend on available width.

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Limiter

Architecture Overview

Modular Research Platform

Altitude Limiter is a modular limiter designed for research and real‑world production. It supports a large matrix of configurations and can achieve deep gain reduction (down to roughly −2 to −3 dB RMS) while preserving clarity and musicality.

Core Architecture

Dual‑Sidechain Processing

Two independent sidechains analyze the signal in parallel:

• Sidechain 1 (Primary)
  Computes the main gain reduction based on the input signal.

• Sidechain 2 (Secondary)
  Analyzes how the signal would look after Pass 1 (the “limited” view) and computes a second gain reduction.

Both gain reductions are then combined and applied to the original signal in a single stage. You get the analytical benefits of cascaded limiting—without the cumulative artifacts and phase shifts of literally chaining two hard processors.

Sidechain Technologies

• ARIA PASS1
  Advanced envelope detection with configurable max filtering; transparent, musical response; strong stereo image retention.

• SIMPLE
  Clean, efficient, and CPU‑light; configurable knee; ideal for transparent peak control.

• STANDARD
  Feature‑rich with auto‑envelope detection, crest‑factor awareness, and smoothing; balanced between transparency and control.

• ENHANCED
  Maximum configurability; advanced max filtering with running averages, holds, and long windows; built for extreme scenarios.

Multiband Mode

Frequency‑dependent limiting with:

• Four bands and independent thresholds.
• Configurable crossover reconstruction methods.
• Tone balance controls.
• Multiple reconstruction strategies to suit program material.

Adaptive Gain Systems

• Adaptive Drive
  Intro-based drive learning that finds a practical starting point from the current limiter response.

• Output Adaptive Gain
  Post‑processing that stabilizes level without flattening dynamics.

Safety & Monitoring

• Safety Limiter
  Independent brick‑wall protection that prevents output from exceeding 0 dBFS.

• Real‑Time Monitoring
  Comprehensive meters and visualizations to validate behavior quickly.

Processing Flow

1. Input stage (conditioning)
2. Adaptive Drive analysis (optional)
3. Limiter Pass 1 (single or multiband)
4. Limiter Pass 2 (optional secondary wideband)
5. Soft Safety (configurable)
6. Output Adaptive Gain
7. Hard Safety (final brick‑wall at 0 dBFS)

Peak Detection Modes

• Instant
  Zero‑latency peak detection for the snappiest response.

• Windowed (Lookahead)
  Smoother, predictive behavior for more transparent control.

User Interface Layout

Plugin Overview

Altitude Limiter is organized around a left-side navigation stack, a main workspace, optional graphing views, and a bottom menu for utility pages and system tools.

Note: The screenshots below show the standalone Altitude Limiter product first, then the same limiter embedded in ARIA ONE's advanced view. The core limiter engine and controls are identical; ARIA ONE surrounds the limiter workspace with additional navigation cards, services, and routing, and moves some system pages into its own bottom menu.

Navigation System

Use the left‑side Navigation Panel to select the primary workspaces and utility views:

• ADAPTIVE DRIVE — Opens the adaptive drive workspace for intro-based drive learning; the nested power toggle enables or disables the adaptive layer
• LIMITER — Opens the primary control surface
• GRAPHS — Opens the graphing workspace and visual analyzers
• METERS — Shows or hides the integrated metering view
• HELP — Shows or hides the help strip; its nested power toggle controls hover tooltips
• SPLIT — Opens the optional second workspace column

The old MULTI and TEST tools still exist, but they are now launched from the LIMITER workspace's GLOBAL column instead of from standalone navigation buttons. Performance and utility pages such as Optimization Data, Account, Settings, Color, Audio Settings, and User Manual are accessed from the Bottom Bar menu.

Bottom Bar

The bottom bar provides quick access to the global menu and language selection:

• MENU — Opens the Bottom Menu, which contains Optimization Data, Account, Settings, Color, Audio Settings, and User Manual.
• Language — Select the UI language. Changes apply instantly and persist with the session.

Help & Tooltip System

Altitude Limiter provides two complementary ways to view control hints:

• Popup Tooltips — Small popups near the cursor appear after a short delay when the HELP tile's nested tooltip toggle is enabled.
• HELP Panel — A persistent help strip at the bottom of the interface that mirrors the hint for the control under your mouse.

Notes

• Popups are controlled by the HELP tile's tooltip toggle (parameter: tooltip_enabled).
• The HELP panel works independently of that toggle and can remain visible even when popups are disabled.
• Tips are localized. Changing the language in the Bottom Bar updates both popup tips and the HELP panel immediately.

Workflow suggestion

• Keep tooltip popups ON while learning. Disable them later and rely on the HELP panel for an uncluttered workflow.

Main Interface Panels

GRAPHS

Open the GRAPHS workspace from the left navigation stack when you want dedicated analysis views:

• Vectorscope
• Polar Sample
• Polar Level
• Five FFT windows
• Metering
• Waveform
• Loudness

LIMITER

Where you spend most of your time. Exposes the technical parameters that shape how the sidechain is built and responds.

• Dual‑pass configuration (Pass 1 & Pass 2)
• Algorithm selection (ARIA, SIMPLE, STANDARD, ENHANCED)
• Timing controls (attack, release, lookahead)
• Channel link and bypass
• Soft Safety and Hard Safety controls
• Multiband mode for Pass 1 (tone balance, reconstruction power, frequency‑dependent controls)

Note: Drive is part of the metering workflow rather than this panel.

MULTI

Curve editing for mapping threshold vs. drive when raw math doesn’t give the musical result you want. In current builds, MULTI is opened from the LIMITER workspace's GLOBAL column rather than from its own navigation button.

DATA

Real‑time performance metrics. Open this page from MENU in the Bottom Bar.

• CPU usage
• Buffer performance
• (Future) Optimization helpers

ADAPTIVE DRIVE

Adaptive Drive replaces the old INPUT workflow. It analyzes the opening section of a song, learns a drive setting from the current limiter response, and can either stay active for song-to-song consistency in ARIA ONE or be committed into the main DRIVE control for fixed use:

• Intro-based drive analysis
• Intelligent gain staging
• Learned drive suggestions based on limiter engagement and diminishing returns
• Commit-ready drive for standalone or fixed-playback workflows

TEST

Diagnostic tools to validate limiting and inspect envelopes. In current builds, TEST is launched from the LIMITER workspace's GLOBAL column rather than from a standalone navigation button:

• Limiting effectiveness
• Envelope behavior
• Signal verification
• Performance benchmarks

HELP

Context‑sensitive documentation strip.

• Shows a concise description of the control currently under your mouse.
• Lives at the bottom of the interface (above the status bar).
• Toggle with the HELP utility tile in the Navigation Panel.
• Localized: text changes with the Bottom Bar language selector.
• Works independently of the tooltip power toggle (the HELP panel can show hints even if pop‑up tooltips are disabled).

When you want fewer pop‑ups on screen, turn off the HELP tile's tooltip power toggle and leave HELP enabled for continuous guidance.

METER

Integrated metering column with input/output controls and drive/gr display.

• Three sections: INPUT, OUTPUT, and DRIVE (gain reduction).
• Each section includes responsive meters (peak and RMS) and a dedicated slider:
  • INPUT — Pre‑limiting trim.
  • OUTPUT — Post‑limiting level.
  • DRIVE — Controls overall compression intensity; GR meters fill top‑down for easy reading.
• Uses internal visualization for smooth ballistics and accurate readouts.
• Toggle with the METERS utility tile in the Navigation Panel.
• Layout toggle: Click the up/down arrow in the DRIVE section to switch between vertical column layout and horizontal row layout.

Interface Workflow

• Quick Operation — Start in the LIMITER workspace.
• Deeper Control — Open MULTI from the LIMITER GLOBAL column when you need frequency‑dependent mapping.
• Monitor — Use GRAPHS and METERS for signal inspection; open Optimization Data from MENU when you need performance diagnostics.
• Optimize — Use the ADAPTIVE DRIVE workspace for intro-based drive learning, song-to-song consistency, or commit-ready drive staging.
• Verify — Open TEST from the LIMITER GLOBAL column before print.

Licenses & Staying Connected

Altitude Limiter is licensed through your Altitude Audio account. Sign in once and your license is saved to your machine.

License Tiers

Tier	What you get	How long it lasts	Notes
Demo	Full feature set	30 days, one time per account	When it ends, the plugin stops processing (audio passes through unprocessed) until you purchase — there is no reduced "free" tier
Paid	Full feature set	Permanent	Tied to your account; activate on up to 5 machines

A new account starts on the Demo tier with full features for 30 days.

Staying Connected

Your license is saved to your machine, so the Limiter does not need a constant internet connection.

• Offline use: A paid license keeps working offline indefinitely — there is no offline time limit and no periodic re-verification requirement for your license. A Demo runs until its 30-day expiry.
• Launch check: The plugin performs a quick license check when it launches. If you happen to be offline, it keeps running on the license already saved to your machine.
• Signing in again: The only thing that expires is your login session, not your license. After roughly 90 days without signing in, you may be asked to sign in once to refresh the session. Your license and settings are unaffected.

In short: Sign in once. Your license lives on your machine. You will only be asked to sign in again if you stay signed out for about 90 days or when you authorize a new machine.

Presets

Use the Preset Panel to load factory and user presets for the limiter. Factory presets are installed with the product; user presets are the settings you save while working.

Factory Preset Drive

Factory limiter presets can include a tuned drive value. Altitude Limiter lets you choose how that built-in drive is applied when factory presets load, using Preset Settings > Factory Preset Drive from the gear button in the Preset Panel title bar.

• Neutral — Default. Factory presets load with Drive at 0 dB so you can set the amount yourself.
• Baseline — Loads the factory preset's authored drive value.
• Personalized — Reserved for hearing-profile-based scaling. Until that profile scaling is active in the client, it loads the same way as Baseline.

This setting only changes factory preset loading. User-saved presets and AI-personalized presets always load their own saved Drive value, and the Drive lock always takes priority: if Drive is locked, loading any preset keeps your current Drive.

Panel Controls and Parameters

Navigation Panel

The Navigation Panel lets you build a clean workspace by selecting the primary workspace you want to see, then adding utility views as needed.

Buttons

• ADAPTIVE DRIVE — Open the adaptive drive workspace for intro-based drive learning; the nested power toggle enables or disables adaptive processing
• LIMITER — Open the primary limiter control surface
• GRAPHS — Open the graphing workspace and visual analyzers
• METERS — Toggle the integrated meters and I/O/DRIVE sliders
• HELP — Toggle the help strip at the bottom of the window; the nested power toggle controls hover tooltips
• SPLIT — Open the optional second workspace column
• Inside LIMITER — The GLOBAL column provides access to MULTI and TEST
• Bottom Bar MENU — Opens Optimization Data, Account, Settings, Color, Audio Settings, and User Manual

Tips

• Start simple — Work in LIMITER first.
• Add as needed — Open MULTI and TEST from the LIMITER GLOBAL column when you need them.
• Inspect intentionally — Use GRAPHS and METERS for analysis, and use MENU for Optimization Data and system pages.

LIMITER Panel — Modular Signal Processing Architecture

The LIMITER panel is a modular surface that scales from simple to advanced. Enable only what you need, and the panel lays itself out intelligently—columns appear, scroll, and resize so you always have a clear view of your chain.

Layout and navigation

• Dynamic columns
  Columns arrange themselves as you enable modules. The panel scrolls horizontally when needed and adapts from compact to full width.
• Navigation controls
  Six toggle buttons control column visibility. Each limiter slot has its own Algorithm dropdown.
• State persistence
  Your column states and configurations are saved with presets.

Workflow patterns

• Minimal (2 columns)
  Limiter Slot 1 + Output/Tone.
  Ideal for quick limiting, low CPU, clean workflows.
• Standard (3 columns)
  Global + Limiter Slot 1 + Output/Tone.
  Ideal for mastering and enhanced peak behavior.
• Advanced (4–5 columns)
  Global + Limiter Slot 1 + Output/Tone + Limiter Slot 2 + Safety.
  Ideal for complex material, broadcast, demanding masters.
• Maximum (6 columns)
  Everything enabled with Auto Output for intelligent chains.
  Ideal for automated, template‑driven sessions.

Like assembling a studio rack, you can build exactly the chain your material needs—from transparent single‑pass limiting to sophisticated dual‑stage dynamics with intelligent protection.

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Column Parameters Reference

GLOBAL Column (Column 0)

The GLOBAL column sets system‑wide behavior—threshold reference, channel linking, and peak detection strategy. These choices shape how every downstream stage behaves.

• Threshold
  Master reference level for the entire system.
• Ch Link (Channel Link)
  How much left/right influence each other during gain reduction.
• Peak Detect
  Choose the detection style:
  • INSTANT — Fast, low‑latency, great default.
  • WINDOW — Windowed analysis for smoother, more predictive response.
    Enables extra controls when selected:
  • Buffer Length — Size of the detection window (larger = smoother, higher latency).
  • Hold Samples — Hold time to stabilize detection and avoid flutter.
• Buffer Defense
  Additional buffer‑safety logic for stability on stressed systems.
• Animation
  UI animation processing; disable to save a little CPU during heavy sessions.

Global settings apply to both limiter slots and establish the system’s overall character.

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LIMITER SLOT 1 Column (Column 1)

The first limiting stage. Choose the algorithm that fits the material; the column adapts to show only the relevant controls.

• Algorithm (Dropdown)
  ARIA PASS1, SIMPLE, STANDARD, or ENHANCED.

ARIA PASS1

Original ARIA behavior with refined peak analysis and envelope filtering.

• Attack / Release — Response timing.
• Lookahead — Predictive smoothing.
• LOW PASS (toggle) — Enables envelope low‑pass filtering with:
  • Cutoff — Filter cutoff frequency.
  • Slope — Roll‑off steepness (e.g., 6–48 dB/oct).

SIMPLE

Straightforward, efficient limiting with musical knee.

• Attack / Release — Response timing.
• Knee — Softer/harder onset around threshold.
• Lookahead — Transparent peak anticipation.

STANDARD

Feature‑rich with content‑adaptive timing.

• Lookahead / Attack / Release — Core timing.
• Smooth — Overall GR smoothing.
• Auto Atk / Auto Rel (toggles) — Content‑aware timing.
• Auto Trans — Transition time for auto logic.
• Auto Env Mode — Where the auto analysis happens:
  • AUTO PRE — Before limiting.
  • AUTO POST — After limiting.

ENHANCED

Maximum control with running averages and deep analysis windows.

• Lookahead / Attack / Release — Core timing.
• Avg Size — Running average window (larger = steadier).
• Avg Weight — Emphasize recent vs historical samples.
• Max Length — Depth of max‑filter analysis.
• Max Hold — Hold time for detected maxima (reduces flutter).

Slot 1 shapes the program’s character first; your choice here colors every stage that follows.

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L1 MULTIBAND Column (Column 2)

Frequency‑dependent control for Slot 1’s output—tone shaping, band behavior, and reconstruction.

• Tone Balance — Overall tonal tilt/weighting.
• Freq Response — Contour of the resulting spectrum.
• K Power — Reconstruction power factor.
• Intensity — Global processing intensity.
• Freq Attack / Freq Release — Timing scales across bands.
• METHOD — Reconstruction strategy:
  Minimum, Weighted, RMS, Peak‑Aware, Energy Conservation.
  Weighted is a solid default; Energy Conservation for added punch.
• TONE (toggle) — Enable multiband/tone processing.
• SOFT OUT (toggle) — Gentler output behavior.
• Safety (toggle) — Extra protection against overs and artifacts.

Usage notes:

• Use for complex material that needs frequency‑aware behavior.
• Correct tonal shifts introduced by limiting.
• Prepare the signal cleanly if you plan to enable Slot 2.

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LIMITER SLOT 2 Column (Column 3)

A second limiting stage for the most demanding material. It operates after L1 MULTIBAND and uses the same algorithm family as Slot 1.

• Algorithm (Dropdown)
  ARIA PASS1, SIMPLE, STANDARD, or ENHANCED.
• PASS 2 (toggle)
  Master enable for the second stage.

ARIA PASS1 (Slot 2)

• Attack / Release / Lookahead — Secondary timing.
• LOW PASS (toggle) with Cutoff and Slope — Same envelope filtering approach as Slot 1.
• PASS 2 (toggle) — Stage on/off.

SIMPLE (Slot 2)

• Attack / Release / Knee / Lookahead — As in Slot 1.
• Threshold — Independent threshold just for Slot 2.
• PASS 2 (toggle) — Stage on/off.

STANDARD (Slot 2)

• Lookahead / Attack / Release / Smooth / Auto Trans — As in Slot 1.
• Auto Atk / Auto Rel (toggles) — Content‑aware timing.
• Auto Env Mode — AUTO PRE vs AUTO POST for the second stage.
• PASS 2 (toggle) — Stage on/off.

ENHANCED (Slot 2)

• Lookahead / Attack / Release — Core timing.
• Avg Size / Avg Weight / Max Length / Max Hold — Same advanced analysis controls, tuned for the second stage.
• PASS 2 (toggle) — Stage on/off.

Column Type System

Altitude Limiter’s LIMITER panel is built from fixed and optional columns. Keep the essentials visible, and add optional stages as your material demands.

Fixed Columns

• Column 1 — LIMITER SLOT 1
  Always present. Core limiting stage with selectable algorithm type.
• Column 2 — L1 MULTIBAND
  Always visible. Essential tone and frequency‑dependent controls for Slot 1’s output.

Optional Columns

• Column 0 — GLOBAL
  System setup and peak detection strategy. Enable for enhanced control and stability.
• Column 3 — LIMITER SLOT 2
  Secondary limiting stage. Enable for complex or demanding program material.
• Column 4 — AUTO OUTPUT
  Intelligent output management and level matching. Enable for automated workflows.
• Column 5 — SAFETY
  Final brick‑wall protection. Enable for critical prints and absolute peak control.

Algorithm Selection Matrix

Each limiter slot supports four algorithms, tuned for different use cases.

ARIA PASS1 — Transparent Peak Control

• Characteristics: Ultra‑transparent, minimal coloration, strong stereo image retention.
• Core controls: Attack, Release, Lookahead, Low‑pass (Cutoff, Slope).
• Best for: Mastering, clean program material, invisible control.

SIMPLE — Musical Dynamics Control

• Characteristics: Soft‑knee, efficient, musical response.
• Core controls: Attack, Release, Knee, Lookahead (Slot 1); Threshold (added in Slot 2).
• Best for: Mix bus work, gentle shaping, vintage‑style limiting.

STANDARD — Advanced Envelope Control

• Characteristics: Program‑adaptive behavior with auto envelope detection.
• Core controls: Attack, Release, Lookahead, Smooth, Auto Atk/Rel, Auto Trans, Auto Env Mode (PRE/POST).
• Best for: Complex material, broadcast applications, adaptive processing.

ENHANCED — Maximum Flexibility

• Characteristics: Running‑average analysis with extended max filtering.
• Core controls: Attack, Release, Lookahead, Avg Size, Avg Weight, Max Length, Max Hold.
• Best for: Demanding masters, surgical control, creative effects.

Interface Modularity

Dynamic Column Management

• Automatic Layout: Columns arrange dynamically based on enabled modules
• Intelligent Scrolling: Interface scrolls horizontally to reveal newly enabled columns
• Adaptive Width: Panel width adjusts from 280px (minimal) to 630px (full configuration)

Navigation Controls

• Column Toggles: Six navigation buttons control column visibility
• Algorithm Dropdowns: Independent algorithm selection for each limiter slot
• State Persistence: All column states and configurations save with presets

Workflow Optimization

• Quick Access: Common configurations require minimal column management
• Progressive Complexity: Advanced features appear only when needed
• Visual Feedback: Color-coded columns and clear signal flow indicators

Practical Applications

**Minimal Setup** (2 Columns)

• Limiter Slot 1 + Output/Tone
• Perfect for: Simple limiting tasks, CPU efficiency, clean workflows

**Standard Setup** (3 Columns)

• Global + Limiter Slot 1 + Output/Tone
• Perfect for: Professional mastering, enhanced peak detection

**Advanced Setup** (4-5 Columns)

• Global + Limiter Slot 1 + Output/Tone + Limiter Slot 2 + Safety
• Perfect for: Complex program material, broadcast compliance, demanding mastering

**Maximum Setup** (6 Columns)

• All columns enabled with Auto Output for intelligent workflows
• Perfect for: Automated mastering chains, template-based processing

The LIMITER panel's modular architecture provides unprecedented flexibility while maintaining intuitive operation. Like connecting hardware modules in a professional studio rack, you can craft the exact processing chain your material demands, from simple transparent limiting to complex multi-stage dynamics control with intelligent automation.

Column Parameters Reference

GLOBAL Column (Column 0)

The GLOBAL column sets the tone for the entire system: it defines your threshold reference, how channels interact, and how peaks are detected. Set it once to match your session style, and every downstream stage follows suit.

• Threshold
  Master reference level for limiting across the system.

• Ch Link (Channel Link)
  How much left and right channels influence each other during gain reduction.

• Peak Detect
  Choose the core detection style:

  • INSTANT — Fast, low‑latency, a solid default for most material.
  • WINDOW — Windowed analysis for smoother, predictive behavior.
    When WINDOW is selected, two supporting controls appear:
  • Buffer Length — Size of the analysis window (larger = smoother, higher latency).
  • Hold Samples — Short hold to stabilize detection and avoid flutter.

• Buffer Defense
  Additional buffer‑safety logic for extra stability on stressed systems.

• Animation
  UI animation processing. Turn it off to reclaim a bit of CPU during heavy sessions.

Tip:

• Use INSTANT when tracking or for percussive, low‑latency work. Switch to WINDOW when you want smoother behavior and can afford a little more lookahead/latency.

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LIMITER SLOT 1 Column (Column 1)

The first limiting stage. Select the algorithm that fits the material, and the column adapts to show only the relevant controls.

• Algorithm (Dropdown)
  ARIA PASS1, SIMPLE, STANDARD, or ENHANCED.

ARIA PASS1

Original ARIA behavior with refined peak analysis and optional envelope filtering.

• Attack / Release — Response timing.
• Lookahead — Predictive smoothing for cleaner peak handling.
• LOW PASS (toggle) — Adds envelope low‑pass filtering with:
  • Cutoff — Filter frequency.
  • Slope — Roll‑off steepness (e.g., 6–48 dB/oct).

Best for:

• Clean, transparent control with minimal coloration.

SIMPLE

Straightforward, efficient, and musical—great when you want results fast.

• Attack / Release — Core timing.
• Knee — Softer/harder onset around threshold for musical shaping.
• Lookahead — Transparent peak anticipation.

Best for:

• Mix bus work, gentle shaping, and low‑CPU sessions.

STANDARD

Feature‑rich with content‑adaptive timing.

• Lookahead / Attack / Release — Core timing.
• Smooth — Global GR smoothing (higher for less chatter).
• Auto Atk / Auto Rel (toggles) — Content‑aware timing.
• Auto Trans — Transition time for auto logic.
• Auto Env Mode — Where the auto analysis happens:
  • AUTO PRE — Before limiting (default).
  • AUTO POST — After limiting.

Best for:

• Complex program material and broadcast‑style consistency.

ENHANCED

Maximum control and stability via running averages and deeper analysis windows.

• Lookahead / Attack / Release — Core timing.
• Avg Size — Running average window (larger = steadier).
• Avg Weight — Emphasize recent vs historical samples.
• Max Length — Depth of the max‑filter analysis.
• Max Hold — Hold time for detected maxima (reduces flutter).

Best for:

• Demanding masters and surgical, highly controlled results.

Note:

• Slot 1 sets the character for everything that follows—choose the algorithm here with intention.

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L1 MULTIBAND Column (Column 2)

Frequency‑dependent control for Slot 1’s output—tone shaping, band behavior, and reconstruction. Use it to correct tonal shifts, shape the spectrum, and prepare a clean signal for dual‑stage workflows.

• Tone Balance
  Overall tonal tilt/weighting across the spectrum.

• Freq Response
  Fine contouring of spectral balance.

• K Power
  Power factor for reconstruction (energy distribution).

• Intensity
  Global processing intensity.

• Freq Attack / Freq Release
  Attack/release scaling across frequencies—how quickly bands respond and recover.

• METHOD
  Reconstruction strategy tuned to program material:
  Minimum, Weighted, RMS, Peak‑Aware, Energy Conservation.
  Weighted is a strong default; Energy Conservation tends to feel punchier.

• TONE (toggle)
  Enables multiband/tone processing.

• SOFT OUT (toggle)
  Gentler output behavior and smoother transitions.

• Safety (toggle)
  Extra protection against overs or reconstruction artifacts.

Usage notes:

• Reach for L1 MULTIBAND when the program calls for frequency‑aware control—e.g., taming sibilance while preserving low‑end power.
• If you plan to add Slot 2, use this stage to hand off a balanced, well‑behaved signal.
• Start with METHOD = Weighted, then explore Peak‑Aware or Energy Conservation if you want different energy profiles.

LIMITER SLOT 2 Column (Column 3)

A second limiting stage for demanding material. Slot 2 runs after L1 MULTIBAND, analyzing the already‑shaped signal and applying additional control where needed. Use it when a single pass doesn’t fully tame transients or when you want a distinct second character.

• Algorithm (Dropdown)
  ARIA PASS1, SIMPLE, STANDARD, or ENHANCED (same family as Slot 1).

• PASS 2 (toggle)
  Master enable for the entire second stage.

Notes:

• Keep PASS 2 off until you’ve balanced tone and dynamics with Slot 1 + L1 MULTIBAND.
• Enable PASS 2 when you need extra headroom control, stricter compliance, or a contrasting envelope character.

ARIA PASS1 (Slot 2)

Clean, refined control with optional envelope filtering—mirrors Slot 1’s ARIA approach, but voiced for post‑multiband material.

• Attack / Release — Secondary response timing.
• Lookahead — Predictive smoothing for cleaner peak handling.
• LOW PASS (toggle) — Adds envelope low‑pass filtering with:
  • Cutoff — Filter frequency.
  • Slope — Roll‑off steepness (e.g., 6–48 dB/oct).
• PASS 2 (toggle) — Stage on/off.

Best for:

• Polishing “nearly there” results without adding weight or grit.

SIMPLE (Slot 2)

Efficient, musical behavior with an additional threshold for independent level control in the second stage.

• Attack / Release — Core timing for the secondary pass.
• Knee — Softer/harder onset around threshold.
• Lookahead — Transparent peak anticipation.
• Threshold — Independent threshold for Slot 2 (decoupled from global/Slot 1).
• PASS 2 (toggle) — Stage on/off.

Best for:

• Fine‑tuning overall loudness handling after tone is set; glue without fuss.

STANDARD (Slot 2)

Feature‑rich, program‑adaptive timing—ideal when the post‑multiband signal is complex and you need controlled consistency.

• Lookahead / Attack / Release — Core timing.
• Smooth — Global GR smoothing (higher for less chatter).
• Auto Atk / Auto Rel (toggles) — Content‑aware timing.
• Auto Trans — Transition time for auto logic.
• Auto Env Mode — Where the auto analysis happens:
  • AUTO PRE — Before second‑stage limiting (default).
  • AUTO POST — After second‑stage limiting.
• PASS 2 (toggle) — Stage on/off.

Best for:

• Broadcast‑style reliability and material with mixed transient/sustained content.

ENHANCED (Slot 2)

Maximum stability and control via running averages and deep analysis windows—tuned for the second stage’s role.

• Lookahead / Attack / Release — Core timing.
• Avg Size — Running average window (larger = steadier).
• Avg Weight — Emphasize recent vs historical samples.
• Max Length — Depth of max‑filter analysis.
• Max Hold — Hold time for detected maxima (reduces flutter).
• PASS 2 (toggle) — Stage on/off.

Best for:

• Surgical refinement and maintaining a tight envelope under stress.

Parameter interactions

• PASS 2 dependencies

  • PASS 2 = OFF: Slot 2 is fully bypassed; signal passes through.
  • PASS 2 = ON: The selected algorithm’s controls become active.

• Algorithm consistency

  • Each variant shows only its relevant controls (plus PASS 2).
  • Switching the dropdown swaps parameter sets, but the stage position stays fixed.

Workflow tips

• Shape first, control second
  Use Slot 1 + L1 MULTIBAND to get the spectral and macro‑dynamics right; use Slot 2 for stricter headroom and envelope polish.

• Pick complementary characters
  Pair a transparent Slot 1 with an adaptive Slot 2 (e.g., ARIA → STANDARD) for musical yet consistent results.

• Threshold strategy
  If you need level separation between stages, use SIMPLE in Slot 2 for its independent threshold.

• Latency and feel
  Favor INSTANT‑style behavior (via algorithm/timing choices) when immediacy matters; use lookahead, smoothing, and ENHANCED‑style windows for more graceful behavior when latency is acceptable.

AUTO OUTPUT Column (Column 4)

An intelligent post‑processing stage that keeps output levels consistent while adding a gentle safety net. It analyzes the already‑limited signal and applies adaptive gain to keep things steady without flattening the mix. Labeled “SOFT SAFETY” in the UI.

• SOFT OUT (toggle) Master enable for the entire stage.

• Block Size Analysis window size for automatic gain.
  Larger = steadier decisions; smaller = faster reaction.

• Overlap Window overlap for smoother transitions.
  Higher = smoother, slightly more CPU.

• Peak Smoother Smoothing for peak tracking.
  Higher = cleaner, less twitchy gain changes.

• RMS Smoother Smoothing for RMS tracking.
  Higher = more consistent loudness behavior.

• Limiter Release Recovery time for the built‑in soft safety limiter.
  Fast = transparent; slower = silkier return.

• Max Gain / Min Gain Bounds for automatic adjustment.
  Max Gain caps upward boosts; Min Gain caps downward attenuation.

• Crest Comp (Crest Compensation) Balances peak vs RMS influence.
  Higher = more transient‑aware; lower = more sustained‑level focus.

Interactions:

• SOFT OUT must be ON for any processing here to apply.
• Block Size and Overlap work together to define the “feel” of the analysis window.
• Peak vs RMS Smoothers let you tune response to transient vs sustained energy.
• Limiter Release only affects the soft safety behavior at this stage.
• Max/Min Gain define the playground—auto gain never goes beyond these limits.

When to use:

• You want level consistency without a hard ceiling.
• You’re printing stems or references and need reliable loudness across tracks.
• You want a soft “auto trim” after creative limiting is set.

Tips:

• Start with moderate Block Size (e.g., mid‑range) and low‑to‑medium overlap.
• Increase Peak/RMS smoothing when material feels too “nervous.”
• Use a conservative Max/Min range for critical prints; widen it for creative bounce‑downs.

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SAFETY Column (Column 5)

Final, transparent brick‑wall protection at the output. This is your “HARD SAFETY” stage—an absolute ceiling so nothing escapes above 0 dBFS.

• SAFETY (toggle) Master enable for the stage.

• Attack How quickly the hard safety reacts to overs.
  Faster = stricter peak control.

• Release How quickly gain returns after an event.
  Faster = more transparent; slower = smoother but more audible.

• Knee Shapes the transition around the fixed safety threshold.
  Softer knee for less abrupt behavior.

Design notes:

• Threshold is fixed at 0.0 dBFS for true brick‑wall behavior.
• This stage sits at the very end of the chain and should normally be inaudible.

When to use:

• Final prints, broadcast compliance, and any deliverable where clipping is not an option.
• Projects with variable upstream gain where occasional spikes might slip through.

Tips:

• Keep Attack fast and Release moderate for “set and forget” transparency.
• If you hear the safety working often, reduce upstream output or revisit Slot 1/Slot 2.

MULTI Panel — Threshold vs Drive Curve Editor

Shape how threshold behaves as you turn up Drive in multiband mode. In current builds, the MULTI editor is opened from the LIMITER panel's GLOBAL column. It lets you draw an adjustment curve so the limiter responds exactly how you want across the 0–20 dB Drive range. Use it when the default math is close but not quite musical for your material.

Panel structure

• Mode tabs ARIA PASS1, SIMPLE, STANDARD, ENHANCED.
  Each tab has its own independent curve and settings.

• USING UI / MATH ON toggle

  • USING UI: Edit the curve directly by dragging points.
  • MATH ON: Use built‑in math instead of the UI curve (editor is dimmed and disabled). When MATH ON is active, the graph overlays “USING MATH FUNCTIONS” as a reminder.

Graph layout

• X‑axis (Drive)
  0 to 20 dB
  Grid every 2 dB, labels every 4 dB (0, 4, 8, 12, 16, 20)

• Y‑axis (Adjustment)
  −1.0 to +1.0
  Grid every 0.2; zero line highlighted for reference
  Above zero = threshold boost (less limiting)
  Below zero = threshold reduction (more limiting)

Control points

The curve is defined by 6 points:

• Point 0 (Blue) — fixed at 0 dB Drive
  Vertically draggable (−1.0 to +1.0)

• Points 1–4 (Purple → Orange) — fully draggable
  Horizontal and vertical movement with left‑to‑right order preserved

• Point 5 (Blue) — fixed at 20 dB Drive
  Vertically draggable (−1.0 to +1.0)

Visuals:

• Endpoints = Blue (with vertical guide lines)
• Middle points = Purple → Dark Orchid → Orchid → Orange
• Clear outlines and hover feedback for precise edits

Workflow

1. Select the tab for the sidechain algorithm you’re using.
2. Set the toggle to USING UI to enable editing.
3. Drag points to shape the curve; audio updates in real time as you move them.
4. Switch tabs to tune curves for other algorithms as needed.
5. Save as part of your preset when you like the response.

Shaping guidelines

• Threshold boost (points above zero)
  Less limiting at that Drive region; useful for keeping openness at low/moderate Drive.

• Threshold reduction (points below zero)
  More limiting at that Drive region; useful for reining in high Drive without harshness.

• Keep curves smooth
  Avoid abrupt zig‑zags; smooth transitions produce more predictable musical results.

• Align with multiband goals
  Use the curve to complement L1 MULTIBAND METHOD and tone choices—e.g., let low Drive remain neutral, and only push harder as Drive approaches 12–20 dB.

Advanced techniques

• Drive‑dependent compensation
  If multiband reconstruction adds perceived loudness at certain Drive ranges, pull points slightly below zero there to keep loudness natural.

• Mode‑specific tuning

  • ARIA PASS1: Subtle curves work best—preserve transparency.
  • SIMPLE: Use a gentle S‑shape for musical glue.
  • STANDARD: Pair with Auto modes; keep the curve moderate to avoid fighting auto timing.
  • ENHANCED: Longer windows benefit from thoughtful shaping—avoid extremes, emphasize consistency.

• Handoff to Slot 2
  If you plan to use LIMITER SLOT 2, leave headroom—don’t push the curve too far negative at high Drive, so Slot 2 has space to work gracefully.

Visual feedback

• Color‑coded points for quick identification
• Live numeric values for each point while dragging
• Cursor change on hover to confirm what’s draggable

This panel gives you fine control over how Drive translates into limiting behavior in multiband. When the default math is close but not perfect for your program material, a few well‑placed points here can make the limiter feel effortless.

DATA Panel — Performance Monitoring

A real‑time health dashboard for Altitude Limiter. Open it from the Bottom Bar MENU when you want to spot bottlenecks, confirm stability, and diagnose issues quickly. The panel title appears as rotated text on the left: “OPTIMIZATION.”

Panel layout

Two clear columns:

• CPU Metrics (left)
• Audio Status (right)

CPU Metrics (left)

• CPU Load
  Current real‑time CPU usage.
  Color coding: Green (<50%), Orange (50–80%), Red (>80%).
  Updates ~10×/sec for responsiveness.

• Peak CPU
  Highest CPU usage since last reset.
  Use the reset button to baseline before tests.

• Avg CPU
  Running average for trend insight.
  Smooths out momentary spikes.

• Block Time
  Processing time per audio buffer (ms, 2‑decimal precision).
  Watch this relative to your DAW’s buffer duration.

• Buffer Usage
  Percentage of available audio buffer consumed.
  Helps identify when you’re approaching real‑time limits.

• Reset CPU Metrics
  Clears CPU statistics (Peak/Avg/etc.) to start fresh measurements.

Audio Status (right)

• Audio Status
  Overall indicator:

  • OK (Green): No issues detected
  • ISSUES DETECTED (Orange): Minor dropouts/spikes present
  • GLITCH DETECTED (Red): Serious overruns affecting audio

• Dropouts
  Count of brief interruptions in audio processing.
  White (0), Red (>0).

• Spikes
  Count of momentary CPU usage peaks.
  White (0), Red (>0).

• Overruns
  Count of critical processing overruns impacting audio.
  White (0), Red (>0).

• Reset Glitch Counters
  Clears dropout/spike/overrun counts to re‑baseline while troubleshooting.

ADAPTIVE DRIVE Panel

Adaptive Drive listens to the intro of a song and learns a drive setting from the way that material reacts to the current limiter setup.

It works by gradually increasing drive, waiting for real limiter engagement, and measuring when added drive starts producing diminishing returns. That bend point becomes the reference for the learned result, and Target % controls how much of that result is applied.

In ARIA ONE, Adaptive Drive can often be turned on and left running to help smooth level differences between songs. If you want one learned level to stay fixed across multiple songs, let it analyze a representative track and press COMMIT to write that result into the main DRIVE control.

In the standalone limiter, Adaptive Drive is best used as a fast starting point: play from the beginning, let it learn, listen, then refine or commit if needed.

Panel structure

• Adaptive Drive Enabled (power toggle) Turns the adaptive analysis layer on or off from the ADAPTIVE DRIVE card. When OFF, the shadow analysis and adaptive-drive system stop updating.

• Live readout Shows the currently learned adaptive drive amount and status while analysis runs.

• COMMIT Writes the learned adaptive result into the main DRIVE parameter, clears the adaptive drive amount, and turns the adaptive layer off. Use this when you want to keep the learned result as part of the preset instead of continuing to run adaptive analysis.

• RESET Clears the current adaptive result and restarts analysis from the beginning.

• ADVANCED Shows or hides the deeper adaptive controls: baseline timing, shadow mode, GR threshold, peak threshold, ramp rate, evaluation interval, velocity-floor tuning, and slow-mode pass weights.

• Main controls The primary day-to-day controls are Target %, BEND, GR Count, and Max dB.

• Advanced controls Additional timing, threshold, mode, and weighting controls are available when you need deeper tuning.

Suggested workflow

1. Reset Adaptive Drive if needed.
2. Start playback from the beginning of the song or intro.
3. Let Adaptive Drive analyze the opening section and assign a drive amount.
4. Listen and adjust if needed.
5. Press COMMIT to bake the learned result into the main DRIVE control.

Main controls

• Target %
  Adjusts how much of the learned result is used. Lower values back the system away from the learned bend point; higher values push closer to the full learned result.

• BEND
  Changes how quickly the system settles on its learned point. Lower settings tend to let the system settle earlier; higher settings tend to make it wait for a stronger bend in the response.

• GR Count
  Changes how much limiter engagement is required before the analysis locks in. Lower values react earlier; higher values ask for a more confirmed limiter response before committing to a result.

• Max dB
  Limits the maximum drive Adaptive Drive can assign.

Advanced controls

• GR Threshold
  Sets the minimum gain reduction that counts as real limiter engagement during analysis. Lower it if the material is gentle and the system seems slow to engage; raise it if tiny GR movements are causing the analysis to react too early.

• BASELINE
  Sets how long the intro-baseline capture runs before ramping begins. Shorter settings start analysis sooner; longer settings are useful when the opening is sparse, quiet, or slow to establish itself.

• Peak Gate Mode
  Controls how hot peaks are handled during analysis. With peak gate mode ON, hot peaks can clamp drive while analysis continues. With it OFF, the system follows pure bend tracking. ON is the safer choice for peaky material; OFF is the more exploratory choice.

• SHADOW MODE
  Selects the background analysis strategy. Fast uses a single analysis lane and is the quickest everyday option. Slow uses multiple background passes and is better for long intros, slower-building tracks, or material that needs a more patient read.

• PEAK THR
  Sets the hot-peak threshold used by the peak gate. Lower values make the system react sooner to hot intros; higher values let the ramp travel farther before peak protection steps in.

• RAMP
  Sets how quickly Adaptive Drive increases drive during analysis. Faster settings learn more quickly and more aggressively; slower settings are more conservative and easier to judge by ear.

• EVAL
  Sets the time between analysis evaluations. Shorter intervals feel more responsive; longer intervals smooth the read and can feel less twitchy.

• VEL FLR
  An advanced velocity-floor control for edge-case tuning. In normal use, leave this at its default and focus on Target %, BEND, GR Count, and Max dB first.

• A1 MOM
  Weights Lane A's momentary result in slow mode.

• B RMS
  Weights Lane B's RMS result in slow mode.

• B MOM
  Weights Lane B's momentary result in slow mode.

• C RMS
  Weights Lane C's RMS result in slow mode.

• C MOM
  Weights Lane C's momentary result in slow mode.

Weight controls:

• Raise a lane weight to give that pass more influence in the final slow-mode decision.
• Lower a lane weight to reduce its influence.
• In most sessions, leave the slow-mode weights at their defaults unless you are deliberately comparing how the different passes behave on difficult material.

Notes

• The default behavior is intentionally fairly aggressive.
• For long-intro or slow-building material, especially classical music, try GR Count = 1 and BEND below 1.0 as a rough starting point.
• If Adaptive Drive is over-shooting, lower Target %, lower Max dB, or try lower BEND and lower GR Count so the system settles earlier.
• If Adaptive Drive is under-shooting, raise Target %, raise Max dB, or try higher BEND and higher GR Count so the system waits for a stronger result before settling.
• If sparse or slow-building intros are being misread, lengthen BASELINE or switch to Slow shadow mode for a more patient read.
• During active analysis, Adaptive Drive can use roughly 4x DSP/CPU instances because it runs the live limiter path alongside multiple background analysis passes.
• Adaptive Drive is designed to provide a strong starting point, but final decisions should still be made by listening.

TEST Panel — Limiting Verification and Analysis

Verify your limiting and inspect envelope behavior with a purpose‑built test harness. In current builds, TEST is opened from the LIMITER panel's GLOBAL column. It generates a controlled signal, runs it through your current chain, and visualizes the results with peak markers and an RMS envelope.

Panel structure

• Test controls (top)

  • TEST button
    Starts the verification run. Shows “TESTING” and disables while running; re‑enables on completion.
  • Channel Mode
    STEREO (both channels), LEFT (expanded left), RIGHT (expanded right).

• Waveform display (center) Dual, high‑resolution views with grid overlays:

  • Left channel: Purple/magenta waveform + white RMS envelope.
  • Right channel: Pink/magenta waveform + white RMS envelope.
  • Grids: Time (horizontal, ms) and amplitude (vertical, −1.0 to +1.0).

• Navigation (bottom)

  • Zoom
    1%–100% time‑axis zoom for macro ↔ micro inspection.
  • Pan
    Enabled when zoomed; scrolls the time window.

• Configuration and results (right or bottom, depending on layout)

  • Carrier Freq
    Test tone center frequency (20 Hz–20 kHz; default 4 kHz).
  • Peak Level Indicators (L/R)
    Post‑test peak readouts (dBFS, 0.1 dB precision).

Visual guides

• Peak markers (green)
  Absolute peak positions in the processed output.
• Pulse markers (orange)
  Start positions of injected test pulses.
• Envelope (white)
  RMS envelope overlay to visualize attack/release behavior.

Running a test

1. Set the desired Carrier Freq (default 4 kHz is a good general check).
2. Choose Channel Mode (STEREO for overview, LEFT/RIGHT for detail).
3. Click TEST. The button shows “TESTING” during capture and processing.
4. Review the waveforms, markers, and the L/R peak readouts when complete.
5. Adjust your chain (e.g., Slot 1, L1 MULTIBAND, Slot 2), and retest as needed.

Interpreting results

• Success criteria:

  • Peaks at or below 0 dBFS.
  • Envelope shows controlled, stable gain reduction.
  • Pulse (orange) and limiting response align logically in time.

• Potential issues:

  • Peaks > 0 dBFS
    Reduce Drive/output, increase lookahead, or adjust thresholds/knee.
  • Irregular/chattery envelope
    Increase smoothing, adjust attack/release, or consider STANDARD/ENHANCED behavior.
  • Misaligned markers vs response
    Revisit lookahead/latency settings; check for heavy upstream processing that shifts timing.

Navigation and inspection

• Macro overview (100% zoom)
  Quick confirmation of general behavior, overall peak safety.
• Micro inspection (<10% zoom)
  Sample‑level view of transient handling; study attack and recovery shape.
• Channel focus
  Use LEFT/RIGHT modes to isolate and compare channel behavior, particularly when Channel Link is low.

Practical tips

• Use a few representative Carrier Freq values (e.g., 1 kHz, 4 kHz, 8 kHz) to see how timing behaves across the spectrum.
• If the safety limiter (Column 5) frequently triggers in the test, reduce upstream output or refine Slot 2 timing/smoothing.
• For broadcast‑style consistency, try STANDARD in Slot 2 with modest Smooth and Auto Trans; confirm with micro inspection.
• When transparency is the goal, prioritize lookahead and gentle knees; verify that envelope transitions are smooth and peak markers sit at or below 0 dBFS.

This panel is your “trust but verify” step: it confirms that Altitude Limiter’s limiting behaves exactly as intended before you print or ship.

Graphs & Views Reference

WAVEFORM GRAPHING VIEW

The waveform view gives you a live, zoomable picture of the limiter at work. Toggle which traces to show, zoom time and level to taste, pause to inspect a moment, and use the built‑in peak readouts to confirm headroom and limiting activity at a glance.

What you see

• Input: The raw signal arriving at the processor.
• Output: The post‑processing signal leaving the limiter chain.
• Gain Reduction: How much the limiter is pulling the signal down (around a 0 dB baseline).
• dB Grid: Fixed 2 dB lines and labels for quick level reading.

Core controls

• GRAPH: Master on/off for the display.
• INPUT / OUTPUT / GAIN REDUCTION: Show or hide each trace independently.
• RESET: Clear history and snap back to a sensible time window.
• Y‑AXIS (Range): Choose the vertical scale (tight detail down to broader views, ~−8 to −60 dB).
• Time Window: Horizontal zoom (0.5–60 s). Short for transients; long for envelopes/trends.
• PAUSE: Freeze the graph to inspect a moment without losing context.
• Position (Rewind): When paused, scrub back through recent history in seconds behind live.

Peak detection and readouts

• On‑trace callouts: Small dB labels appear near the right side for prominent peaks, pinned to the exact moment; they move with the scroll and fade as they exit.
• Peak summary table: A compact overlay beneath the graph showing:
  • Top 3 peaks in the current viewport (what you’re looking at now).
  • Top 3 peaks seen over the last second at the live edge (short‑term headroom).

How to work with it

• Understand the limiter: Enable OUTPUT + GAIN REDUCTION to see action vs result.
• Gain staging: Add INPUT to compare pre/post levels directly.
• Detail vs overview: Tighten Y‑AXIS and shorten Time Window for micro‑events; widen both for long‑form behavior.
• Investigate moments: PAUSE, scrub with Position, read the on‑trace peak labels and the 1‑second/viewport peak table to confirm exactly what happened.

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Corrective EQ

1. Overview

Corrective EQ is a final correction stage for imported frequency-response curves. It can be used for headphone correction, room correction, or other target-curve workflows where you already have a correction file and want the application to render it into the audio path.

This manual is written for the current desktop standalone Corrective EQ product first, then calls out the small ARIA ONE-specific differences where they matter.

The core Corrective EQ processing is the same in both contexts. The main practical differences are:

• Standalone Corrective EQ opens directly to the dedicated Corrective EQ workspace.
• Standalone Corrective EQ is enabled by default because it is the main processor in the product.
• ARIA ONE embeds Corrective EQ inside the larger advanced workspace and may also refer to the same module as PostDSPEQ or Post-DSP EQ in presets, tooltips, and internal status text.
• ARIA ONE Simple View can label the page HEADPHONE EQ, while the page itself uses CORRECTIVE EQ. Both names refer to the same correction page in the current build.

At a high level, Corrective EQ works like this:

1. Import a correction file.
2. Confirm that the correction curve appears in the preview.
3. Choose how the curve is rendered: FIR or SOS.
4. Adjust phase, size, rate, or spacing options as needed.
5. Use GAIN and MIX to set output level and correction amount.
6. Save a Corrective EQ preset if you want to recall the imported correction later.

Corrective EQ does not take a hearing test and does not replace the hearing-profile system. Hearing profiles belong to the Hearing EQ / Hearing Correction workflow. Corrective EQ is for imported correction curves.

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2. Accessing Corrective EQ

Standalone Corrective EQ

In the standalone desktop Corrective EQ product, Corrective EQ is the main workspace. Open the application and you are already working directly with the dedicated correction processor.

Corrective EQ inside ARIA ONE

In ARIA ONE desktop advanced view:

• Use the Corrective EQ navigation card to open the Corrective EQ workspace.
• Use the card's power toggle to enable or disable Corrective EQ DSP.
• The navigation card may show the short label POST EQ in compact areas.

In ARIA ONE Simple View:

• Open the Sound page for Corrective EQ / Headphone EQ.
• Use the available Simple View controls for enable state, MIX, GAIN, import, clear, and curve preview.

Naming inside ARIA ONE

ARIA ONE currently uses several names for the same module depending on context:

Name	Where It Appears
Corrective EQ	Main product name and advanced workspace title
POST EQ	Compact navigation label
PostDSPEQ	Preset category, import dialogs, and some internal status messages
Post-DSP EQ	Home/status text and technical descriptions
Headphone EQ	Some Simple View navigation labels

These names refer to the same imported-correction stage.

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3. Signal Chain Placement

Standalone Corrective EQ

In the standalone product, Corrective EQ is the processor you are using. The imported correction is applied as the product's main correction stage before output.

Corrective EQ inside ARIA ONE

Inside ARIA ONE, Corrective EQ is a final post-DSP correction stage for imported frequency-response curves. It runs after the main sound-shaping modules and before output metering.

Use Corrective EQ when you want to apply an external correction or target curve after the rest of the ARIA ONE sound state has been created.

Corrective EQ is separate from:

• Hearing EQ / Hearing Correction - hearing-test-based personalization
• FullScale - the hearing test used to create hearing profiles
• Crossfeed - headphone imaging and stereo blend processing
• Limiter - dynamics, safety, and loudness processing

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4. Workspace Layout

The Corrective EQ workspace is organized around file import, correction rendering, output blend, and visual confirmation.

Header and power

The top of the panel identifies the module as CORRECTIVE EQ.

The ENABLED control turns the correction stage on or off.

• On - the loaded correction is active.
• Off - Corrective EQ is bypassed.

If no correction curve is loaded, enabling the processor does not add a correction curve by itself.

Correction state

The CORRECTION STATE area reports the loaded correction and processing status.

Common status text includes:

• No correction curve loaded
• Correction curve
• IR status
• Preparing
• Ready

Ready means the correction has been loaded and the rendered processing data is available.

File controls

The file controls are:

• IMPORT FILE
• CLEAR

Use IMPORT FILE to select a correction file. Use CLEAR to remove the imported correction and return the correction stage to passthrough.

Filter controls

The filter controls determine how the imported curve is rendered:

• FILTER TYPE
• PHASE TYPE
• FIR SIZE
• SOS RATE
• FILTER SPACING

Some controls are only relevant for one filter type. For example, PHASE TYPE and FIR SIZE apply to FIR rendering, while SOS RATE and FILTER SPACING apply to SOS rendering.

Output controls

The output controls are:

• GAIN
• MIX

GAIN trims the Corrective EQ output level after correction.

MIX blends between the uncorrected signal and the corrected signal.

Correction curve preview

The CORRECTION CURVE PREVIEW graph shows the loaded correction curve. If no file is loaded, the graph prompts you to import a CSV response or EQ file before previewing the curve.

The embedded graph area can also show target and filter views where available.

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5. Importing Correction Files

Supported file types

The file picker accepts correction files using these extensions:

• .csv
• .txt
• .eq
• .apo

The extension alone does not guarantee that the file can be loaded. The file content must match one of the supported correction formats below.

CSV frequency response

CSV files should contain frequency and dB values.

Supported row formats:

frequency_hz,magnitude_db
frequency_hz,left_db,right_db

Examples:

20,-1.5
100,-2.0
1000,0.0
10000,1.2

or stereo correction:

20,-1.5,-1.2
100,-2.0,-2.1
1000,0.0,0.0
10000,1.2,1.0

Notes:

• Frequency values must be greater than 0 Hz.
• The current parser accepts correction points up to 24000 Hz.
• CSV validation requires at least two valid frequency/dB points.
• CSV files can contain header rows.
• Duplicate frequencies are replaced by the later valid row.
• If the curve does not cover the full 20 Hz to 20 kHz range, endpoint values are extended.
• CSV files with more than 65,536 valid points are rejected.

AutoEQ / Equalizer APO parametric text

Corrective EQ can load supported AutoEQ / Equalizer APO parametric text exports.

The expected format is the common Equalizer APO style:

Preamp: -6.0 dB
Filter 1: ON PK Fc 105 Hz Gain -2.4 dB Q 0.70
Filter 2: ON LS Fc 120 Hz Gain 1.5 dB Q 0.70
Filter 3: ON HS Fc 8000 Hz Gain -1.0 dB Q 0.70

The current parser uses Preamp: when present and renders supported Filter lines into a correction curve.

Supported filter families include:

• PK / PEQ
• LS / low shelf variants
• HS / high shelf variants

Disabled filters are ignored.

Equalizer APO GraphicEQ

Corrective EQ can also load GraphicEQ: lines.

Example:

GraphicEQ: 20 -1.5; 100 -2.0; 1000 0.0; 10000 1.2

Each pair is interpreted as frequency and gain in dB.

Text frequency/dB rows

For non-CSV text files, Corrective EQ also tries to read simple numeric frequency/dB rows if no supported AutoEQ or GraphicEQ: data is found.

This means a .txt, .eq, or .apo file may still load if it contains valid rows such as:

20 -1.5
100 -2.0
1000 0.0
10000 1.2

or:

20 -1.5 -1.2
100 -2.0 -2.1
1000 0.0 0.0
10000 1.2 1.0

Import feedback

After import, Corrective EQ reports whether the correction loaded successfully.

Possible import messages include:

• Correction file imported successfully.
• The selected correction file could not be found.
• Please select a .csv, .txt, .eq, or .apo correction file.
• No valid CSV correction points were found.
• At least two valid frequency/dB points are required.
• The correction file has too many points.
• Could not load a correction curve from this file.

If a CSV file loads with warnings, the warning dialog can report skipped headers, ignored rows, duplicate frequencies, or range extension.

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6. Control Reference

ENABLED

Turns Corrective EQ processing on or off.

In standalone Corrective EQ, this is on by default for a fresh state.

In ARIA ONE, Corrective EQ is optional and may be off until enabled from the navigation card or panel.

FILTER TYPE

Chooses the rendering topology for the imported correction curve.

• FIR - renders the correction as FIR convolution.
• SOS - renders the correction as cascaded SOS biquad processing.

Switching filter type can change latency, CPU use, and how closely the correction curve is matched.

PHASE TYPE

Chooses the FIR phase mode.

• MP - minimum phase
• LIN - linear phase

MP is the default FIR behavior. LIN preserves phase more directly but adds latency.

This control applies to FIR rendering.

FIR SIZE

Sets the FIR length used to render the imported correction curve.

Available values:

• 4096
• 8192
• 16384
• 32768
• 65536

Larger FIR sizes can improve low-frequency resolution. They also increase latency and CPU cost.

This control applies to FIR rendering.

SOS RATE

Sets the SOS oversampling family used by SOS / IIR filter processing.

Available values:

• OFF - no SOS oversampling
• 176.4/192 kHz 4X OS - 4X oversampling family
• 352/384 kHz 8X OS - 8X oversampling family

Higher SOS rates can improve IIR filter performance, especially in higher-frequency correction behavior. They also increase CPU cost.

This control applies to SOS rendering.

FILTER SPACING

Chooses the SOS band layout.

• LIN - standard linear spacing
• ADAPT - adaptive spacing

This control applies to SOS rendering.

GAIN

Trims the Corrective EQ output level after correction.

• Range: -12.0 dB to +12.0 dB
• Default: 0.0 dB

Use GAIN to restore level after a correction curve changes loudness, or to reduce level if the imported correction adds too much gain.

MIX

Blends between uncorrected and corrected signal.

• Range: 0% to 100%
• Default: 100%

At 0%, the correction is not heard. At 100%, the imported correction is fully applied.

IMPORT FILE

Opens the file picker for correction files.

The picker accepts .csv, .txt, .eq, and .apo files. The file must still contain supported correction data.

CLEAR

Removes the loaded correction curve and returns the correction stage to passthrough.

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7. Filter Rendering Notes

FIR

FIR rendering is useful when you want the imported curve to be rendered as a convolution filter.

Use FIR when:

• matching the correction curve closely is more important than lowest latency
• you want access to MP / LIN phase behavior
• you want control over FIR length with FIR SIZE

SOS

SOS rendering uses cascaded biquad / IIR filters.

Use SOS when:

• you want lower-latency correction
• CPU cost is a concern
• the correction can be represented well by the supported filter rendering

SOS RATE selects the oversampling family for SOS processing:

• OFF keeps SOS processing at the current session rate.
• 176.4/192 kHz 4X OS uses the 4X oversampling family.
• 352/384 kHz 8X OS uses the 8X oversampling family.

Higher oversampling families can improve IIR behavior, especially near the top of the audible range, at higher CPU cost.

Changing topology

When you change FILTER TYPE, PHASE TYPE, FIR SIZE, SOS RATE, or FILTER SPACING, Corrective EQ may need to prepare the correction again.

During this time, IR status can show Preparing. When preparation is complete, it changes to Ready.

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8. Presets

Corrective EQ has its own preset category for the imported correction state.

In ARIA ONE, this category is labeled PostDSPEQ Preset.

A Corrective EQ / PostDSPEQ preset is intended to store the correction state separately from hearing-profile presets, limiter presets, and Crossfeed presets.

Use a Corrective EQ preset when you want to recall:

• the imported correction curve
• filter rendering choices
• GAIN
• MIX
• enabled state

In ARIA ONE, a Meta preset can include the larger sound state along with Corrective EQ state. Use a dedicated Corrective EQ / PostDSPEQ preset when you only want to save or recall the correction stage.

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9. Suggested Workflow

Quick Start

1. Open Corrective EQ.
2. Press IMPORT FILE.
3. Select a supported correction file.
4. Confirm that the correction curve appears in CORRECTION CURVE PREVIEW.
5. Confirm that IR status reaches Ready.
6. Start with FILTER TYPE set to FIR.
7. Leave PHASE TYPE at MP unless you specifically need linear phase.
8. Leave MIX at 100% for full correction, or lower it if you want a partial correction.
9. Adjust GAIN if the correction changes output level.
10. Save a Corrective EQ / PostDSPEQ preset if you want to recall the correction later.

Importing an AutoEQ file

1. Download or export the AutoEQ / Equalizer APO file for your headphone model.
2. Press IMPORT FILE.
3. Select the parametric EQ text file.
4. Confirm that the curve loads.
5. Adjust GAIN if the file includes strong boosts or cuts.
6. Save a preset if this will be a regular correction setup.

Importing a CSV response

1. Prepare a file with frequency and dB columns.
2. Use either mono rows (frequency_hz,magnitude_db) or stereo rows (frequency_hz,left_db,right_db).
3. Press IMPORT FILE.
4. Select the CSV file.
5. Review any import warnings.
6. Confirm that the correction curve preview matches the expected shape.

Troubleshooting

If the file does not load:

• Confirm that the file uses .csv, .txt, .eq, or .apo.
• Confirm that the file contains supported correction data, not only comments or unsupported filter types.
• For CSV files, confirm that at least two valid frequency/dB points are present.
• For AutoEQ / Equalizer APO files, confirm that filters are enabled with ON.
• Check whether the file contains more than 65,536 valid CSV points.

If the curve loads but does not sound as expected:

• Confirm that ENABLED is on.
• Confirm that MIX is above 0%.
• Check GAIN for large level changes.
• Try switching between FIR and SOS.
• If using FIR, try a different FIR SIZE.
• If using SOS, try a different SOS RATE or FILTER SPACING.