What’s changed in AudioMap

• A setup wizard takes you from a connected audio interface to a sound system AudioMap understands. Start from a preset close to what you have, anything from a home hi-fi to a festival PA, and adjust it to match. Save your own layouts to start the next job from them.
• AudioMap measures each speaker from the microphone and works out where everything sits, including height. You confirm the layout with a few tape-measured distances, and AudioMap uses them to refine it.
• No loopback cable is needed. If you prefer a hardware reference, cable an output back to an input and add it as a reference wire.
• AudioMap checks your wiring and your measurements as it goes, and tells you what to fix when something doesn't add up.
• The System tab is where your sound system lives: every speaker, group and cabinet type, drawn to scale in 2D or 3D.

• Auto-capture guides you around the coverage area. Walk the mic to each target and hold still, and it captures; you can also capture or skip any target by hand. Every position adds to one picture of the room.
• The heatmap shows how your speakers cover the room at any frequency. It now includes reflections from the room surfaces AudioMap detects, and it is corrected toward what your microphones actually measured.
• Room acoustics come from your own captures: reverberation and clarity per octave band, and the room modes that shape the low end.
• The RTA tab now shows the spectrum as a 3D waterfall, and a crest factor view shows how dynamic the programme is. The SPL tab adds a level-limit meter: choose the exposure rule you work to, and it tracks your level over the period and shows how much allowance is left. Absolute SPL needs a calibrated microphone.

• The new Timing tab sets each speaker's delay and polarity so their sound arrives together where you listen. When you measure several positions, choose whether to get the best average or to protect the worst seat. You can override any delay or polarity yourself.
• AudioMap suggests a crossover frequency for each hand-off between subs and tops, based on where the two actually overlap in your measurements, and draws the predicted sum before you commit.
• The correction is fitted to your measurements, for each speaker or as one correction for a whole group, over the positions you choose. A sub's level is matched to the speakers it crosses over to.
• Choose how the correction plays for the whole sound system, trading latency for phase accuracy. Zero latency and Minimum phase add no delay, which suits live work. Linear phase corrects without adding phase shift but adds about 85 ms at 48 kHz. Mixed phase and Excess phase only combine the two approaches and add the same delay as Linear phase.
• Choose the tonal balance the correction aims for: a simple tilt, separate bass and treble, or a Harman-style in-room curve.

• Turn on Correction in AudioMap Control, in the menu bar, and everything your Mac plays runs through your correction on its way to the output you already use. It keeps correcting after you close AudioMap.
• AudioMap Plugin 2.0 (AU and VST3) plays the same correction inside your DAW and reports its latency, so the DAW can compensate.
• Export the correction to the processor that runs your sound system, including miniDSP, d&b, Q-SYS, Powersoft and Linea, or as REW filter settings, a generic EQ list or an impulse response.
• A PDF report records everything that is playing, ready to hand to a client or keep with the job.

• Press H on any tab to see what each control does.
• A sample project lets you explore every view before you measure your own system.
• AudioMap installs AudioMap Control, AudioMap Bridge and AudioMap Plugin alongside the app. An uninstaller removes all of them and keeps your projects.
• You choose whether to share usage data, which helps us decide what to improve.

• Presets. A preset gives AudioMap a head start: named, grouped speakers in roughly the right places, and a 3D model of the space with its furniture. The closer your starting point, the less AudioMap needs to ask.
• Measuring the speakers. AudioMap plays a short signal through each speaker and times how long it takes to arrive, which gives it the distances between your speakers. From those distances it solves the layout in three dimensions. If a speaker can't be measured, AudioMap tells you why, and you can still place it from the rest of your measurements.
• Confirming the layout. AudioMap asks for a few heights and distances, prefilled with what it measured. Where your tape measure and its measurement disagree, you decide which to keep, and your answers are saved with the project.
• Coverage area. The coverage area is the part of the room you want the sound system to serve, such as a sofa, a mix position or an audience. It decides where auto-capture puts its targets and what the correction and the heatmap focus on. It follows the stereo layout, so a sub or a centre speaker doesn't pull it to one side.
• Groups and cabinets. Speakers that play together, such as a stereo pair or a set of subs, form a group, so they are aligned and corrected as one. Choosing each speaker's cabinet type makes the drawing and the heatmap match your real hardware, line arrays included.
• The spatial view. See your sound system from above, the front or the side, flat or in 3D. Move and aim speakers directly on the plan, and act on a speaker or group from the view itself.

• Clean transfer functions. The live transfer function uses an H1 estimate, so noise picked up by the microphone doesn't inflate the response in a busy room.
• Excess phase. The phase plot can show excess phase: the part of the phase response that an ordinary EQ can't fix. It shows you what a phase correction would actually address.
• Auto-capture you can trust. Measure with sweeps or pink noise. A capture that goes wrong is repeated, and a noisy one is flagged, so the average you correct to is built from clean data. Pause and resume a run at any time.

• RTA. The spectrogram can be viewed as a flat 2D image or a 3D waterfall. Crest factor shows, band by band, how far the peaks rise above the average level.
• Level limit. Set the exposure rule that applies to you, from public-health guidance to a local regulation or your own limit. The meter integrates your level over the period, shows how much allowance remains, and keeps a log you can export. Leq is available with A, C or Z weighting.

• Heatmap. The heatmap predicts how sound covers the room at any frequency, as a slice through the plan or in 3D. Reflections from the walls, floor and ceiling AudioMap detects are included, using how absorbent each surface appears to be. Near your microphones the prediction is pulled toward what was actually measured, and shading shows where it is estimated rather than measured.
• Room acoustics. Reverberation time and clarity (EDT, T20, T30, C50, C80 and D50) are measured per octave band from your own captures, following ISO 3382. Room modes are marked on the response so you can see which low-frequency peaks the room itself is causing.

• One reference. AudioMap aligns everything to the speaker whose sound arrives last, so no speaker needs a negative delay. Full-range speakers are aligned across the whole band; subs are aligned to their tops around the crossover.
• Several positions. With more than one measured position, choose whether the alignment gives the best average or protects the worst position.
• It applies straight away. A new alignment takes effect as soon as it is solved.
• No guessing. If the measurements can't support a believable result for a speaker, AudioMap refuses that result and tells you, rather than applying a delay it can't stand behind.
• Monitors. Stage or studio monitors can be left out of the alignment.

• What the correction does. AudioMap fits EQ to the measured response so it reaches your target, within the frequency range you set for each speaker.
• Correction modes. Every mode applies the same tonal correction; they differ in what happens to phase and how much delay they add. Zero latency uses conventional minimum-phase EQ with no added delay. Minimum phase gives the same tonal correction using a long FIR filter, also with no added delay. Linear phase corrects the tone without adding any phase shift, at the cost of about 85 ms of delay at 48 kHz. Mixed phase stays minimum phase in the low end, where a linear-phase filter's pre-ringing is easiest to hear, and is linear phase above. Excess phase only corrects the tone with EQ and uses an FIR filter to correct the part of the phase EQ can't, where the measurement is reliable. Crossovers stay minimum phase in every mode, and the same mode plays in AudioMap, AudioMap Control and the plugin.
• Per speaker or per group. Correct each speaker on its own, or fit one correction to a group as it sounds when all its speakers play together.
• Which positions count. Fit the correction to the average of the listening area or the coverage area, or to one measured position. Positions can count equally, or by how much energy they receive.
• Levels. AudioMap matches speaker levels for you and shows how each speaker's level is made up, so you can trim it with confidence.
• Full range or split EQ. Run the EQ on each speaker's whole signal, or confine it to the speaker's own band so it doesn't fight the crossover.
• Speaker linearisation. Optionally correct the speaker's own response, measured up close, separately from the room.
• Seeing what plays. The plot shows the measured response, the correction and the result side by side. When you switch part of the correction off, its effect is greyed out rather than hidden, so you can compare.

• A suggestion from your measurements. For each hand-off, AudioMap looks for the frequency where both speakers are measured cleanly and overlap well, and suggests it. It doesn't guess where a speaker hasn't been measured.
• Your choice of filter. Linkwitz-Riley, Butterworth or Bessel, from 12 to 48 dB per octave, either shared between the two sides or set separately.
• Sub level. The sub's level is matched to the speakers it crosses over to.
• Hear it before you commit. The predicted sum is drawn before and after the crossover, including each speaker's delay, polarity and level.

• AudioMap Control is the menu-bar app that plays your correction on everything your Mac plays. It follows the project open in AudioMap and keeps correcting after AudioMap closes. Switching Correction off bypasses the EQ but keeps crossovers, alignment and levels playing, with no change in latency. A target or tilt change made in Control carries back to the open project. If something goes wrong, Control says what and how to fix it.
• AudioMap Bridge is the audio device that carries your Mac's sound through the correction to your speakers.
• AudioMap Plugin 2.0 plays a project's full correction in your DAW, including each speaker's delay, level, polarity and correction mode. Each instance plays one stereo pair or one speaker, linked instances stay in step, and the plugin reports its latency to the host.
• Mixer. Group faders move a group's speakers together. Each speaker's level is shown as the sum of its setup level, the automatic match and your trim, so you can see where every decibel comes from.

• Export to your processor. Send the correction to miniDSP (including FIR filters, with a check that it fits your model), d&b, Q-SYS, Powersoft and Linea (including a network push that previews the change before sending), or export REW filter settings, a generic EQ list or an impulse response.
• Correction profiles. A saved profile carries everything needed to play the correction elsewhere: the target, filters, delays, levels, polarity, crossovers and correction mode.
• PDF report. A record of everything that is playing, each speaker's EQ, and the room's acoustic measurements.

• Free upgrade. AudioMap 2 is free for every AudioMap 1 owner. Update from inside AudioMap 1.9, or download the installer from audiomap.io.
• Requirements. macOS 13 or later on a Mac with Apple silicon. On an older macOS the installer stops without changing anything, and your current version keeps working.

• AudioMap 1 projects open in 2.0, and the original is kept as a backup when you save. A project saved in 2.0 opens in 1.9.11 without its measurement data.
• Measurements made in AudioMap 1 still feed Tuning but not timing or levels; re-capture to include them.
• An AudioMap 1 project is converted once when it opens, so each speaker shows on the side it plays and phase-alignment offsets become manual delays.
• Test signals play at different levels than in 1.9 (pink noise is about 10 dB quieter), so check your levels before measuring.
• Phase Alignment is now the Timing tab, and measurement setup is now part of the setup wizard.
• The new Timing tab sits between Measure and Tuning, so the tab shortcuts after it have moved.

• Locked features are shown with a lock, and clicking one tells you which editions include it.
• Playback in AudioMap, AudioMap Control and the plugin needs AudioMap Standard, Pro or a trial.
• Larger sound systems. More than two speakers or more than one microphone needs Pro or Trial.
• Trials. When a trial ends, you can carry on with AudioMap Lite.
• Updates. Licences include 12 months of updates.

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