← APU Loudness SyncUser Manual · v6.0.2

1. Introduction

APU Loudness Sync demonstration

APU Loudness Sync is a sidechain loudness matching plug-in by APU Software, LLC. It measures the main input and a sidechain reference, then adjusts the main’s gain to match the reference, stay below it, or stay above it. Use Offset to set the loudness difference between them.

2. Routing

Insert Sync on the track you want to adjust. This is the main input. Route another track to the sidechain to use it as the reference. Sync measures both signals and adjusts only the main input.

  1. Select the reference track in your DAW’s external sidechain routing for Sync.
  2. Play both tracks. Start with Match and 0 dB offset, then adjust timing mode and attack/release while listening.
  3. Set low-level threshold above unwanted background noise and choose which inputs to protect with threshold mode.
  4. Use Normal, Bypass, and Delta output type to compare the result while Sync keeps processing.

The sidechain tap point determines which version of the reference Sync hears. A pre-fader send is unaffected by the reference track’s fader; a post-fader send follows it. Set the send to 0 dB to use the reference at its original level. Depending on your DAW, you may need a send, rack, or intermediate track to route audio from a particular point in the chain. Keep the routing free of feedback loops.

If the reference becomes unavailable, Sync keeps its last gain adjustment. Before the first usable reference measurement, the gain adjustment is 0 dB. Use Bypass to hear the original main input. With Reference protection enabled, a fading reference can still change the gain before its measured loudness crosses the threshold.

With Channel Link off, main and reference channels are paired in order. Extra reference channels are ignored, and missing channels receive silence. For example, a mono reference feeds only the first channel of a stereo main input. Use matching layouts, or route the reference to each channel you want to follow it.

Sync is available as a plug-in only. The reference is supplied by your DAW’s sidechain routing.

3. Parameters

This software supports a variety of parameters, most of which can be adjusted in real-time. This section provides an overview of each parameter, with each subsection detailing the parameters for the associated tab in the user interface. From within the user interface, you can also hover the mouse over a slider, combo-box, or checkbox to see a popup description of the parameter.

3.1. Sync

The Sync tab contains the relationship, threshold, response, timing, alignment, contour, and limiter controls, along with the loudness display. The sections below describe each control.

3.1.1. Presets

The presets provide a starting point for each timing mode, with look-ahead and low-latency variants. Tight, Focus, and Present use momentary loudness, Deep uses short-term loudness, and Traditional uses RMS. HD presets use the ECMA-418 IIR contour type.

To preserve your relationship, offset, threshold, and alignment settings when loading these presets, turn off Reset on preset load. Alignment remains limited to the selected timing mode’s supported range.

Sidechain routing is configured in your DAW and is not stored in presets.

See timing mode and low-latency timing for the measurement windows and look-ahead settings.

The preset browser includes user-scope load options for ordinary preset changes. Reset on preset load runs a filtered parameter reset before the preset is applied. Load preset visuals controls whether the preset can change the hinted theme and visualization settings. Full Reset always restores all default parameter values, regardless of these options. You can switch between loading dark or light themes through the dark mode parameter.

Currently, the following presets are available (“Full Reset” restores all default parameter values):

3.1.2. Output type

Output type selects which signal you hear:

Sync keeps measuring both inputs as you switch. Use these controls for comparisons while keeping processing active. The host’s plug-in bypass is a separate control.

3.1.3. Visualization

The visualization shows source, target, and output loudness. History plots loudness over time; histogram shows how often the signal falls within each loudness range. Hover over a histogram bucket to see its range.

The default layout places the main source and output in separate panels. Each panel also shows the sidechain reference as a thinner, lighter line (see show companion). Compare the output with this line to see how closely it follows the reference and your chosen offset.

Target shows the loudness Sync is trying to reach after applying relationship, offset, and threshold protection. It can differ from the reference itself.

More settings are available on the visualization tab and by right-clicking the display.

Double-click the visualization to expand it and hide the other controls.

3.1.4. Raster type

The raster type parameter allows you to specify the type of raster visualization. You can select between history and histogram views, with either loudness or delta values. Loudness values match the currently selected loudness type while delta values take the difference between source and target or output loudness.

Delta view is useful for determining how much loudness is being changed, and how much residual there is between target and output loudness.

You can also visualize target vs output residual via breath residual option.

3.1.5. Mini mode

The mini mode button in the upper-right switches to a smaller editor with the main controls and a peak meter.

Output type, relationship, threshold mode, timing mode, and alignment remain available. Set attack/release in the full editor; mini mode keeps those settings.

Use the expand button in the upper-right to return to the full editor.

3.1.6. Timing mode

The timing mode combo-box selects how quickly Loudness Sync detects loudness changes and how much look-ahead it uses. Each timing mode uses its own loudness window:

3.1.7. Low-latency timing

Low-latency timing removes the look-ahead delay for the selected timing mode. The loudness measurement still uses the same window of recent audio.

Alignment is disabled while low-latency timing is on, and its value is kept for when you turn look-ahead back on. Changing this setting changes the latency reported to the host.

The channel link button toggles whether Loudness Sync applies the same gain correction to all channels or processes each channel independently.

When linked, Loudness Sync measures and corrects all channels together, preserving the stereo or surround image. When unlinked, each channel is leveled independently, which can correct loudness imbalances between channels but may alter the spatial image.

3.1.9. Loudness type

Timing mode and channel link determine the loudness measurement used for both the main input and the sidechain reference.

3.1.10. IIR contour type

IIR contour type changes the IIR filter contour of LUFS loudness measurements; peak and RMS measurements are unaffected. The following contours are supported:

Contours other than K-weighting no longer conform to the LUFS standard, but are provided for flavor and perceptual precision.

3.1.11. Relationship

Relationship selects how the main input follows the reference plus offset:

The gain adjustment is calculated as reference loudness + offset - main loudness. Ceiling restricts it to cuts and Floor restricts it to boosts. Attack/release sets how quickly the adjustment is applied.

Cuts and boosts are relative to the main input’s original level. Floor can still reduce an earlier boost as the reference gets quieter; it simply keeps the requested gain at or above 0 dB.

These modes follow loudness measurements. To control sample or true peaks, turn on the built-in limiter with limiter mode.

3.1.12. Offset

Offset sets the target above or below the reference, from -24 to +24 LU (dB with Traditional timing). For example, -3 LU tells Match to follow 3 LU below the reference.

Offset applies to all three relationship modes. Ceiling still allows only gain reduction, and Floor still allows only gain boost.

3.1.13. Threshold mode

Threshold mode chooses how Sync responds below the low-level threshold:

Reference protection holds the gain adjustment at the threshold crossing. Loudness is measured over a window, so the gain may already have changed during a fade before the measured reference crosses the threshold. Main protection can still reduce boost while Reference protection is holding it.

Sync keeps its last gain adjustment when an input measurement is unavailable or effectively silent, including when threshold mode is Off.

3.1.14. Low-level threshold

Low-level threshold sets where threshold mode protection begins. It uses the current loudness units and defaults to -50 LUFS. Use low-level knee to make Main protection reduce boost gradually below the threshold.

This control is enabled when threshold mode is Main, Reference, or Both.

3.1.15. Low-level knee

Low-level knee sets how gradually Main protection removes boost below low-level threshold. The default is 6 dB: with a -50 LUFS threshold, the allowed boost falls from full strength at -50 LUFS to zero at -56 LUFS.

A 0 dB knee switches directly at the threshold. Reference protection holds gain at the threshold crossing regardless of the knee setting.

Click the settings button beside threshold mode to adjust the knee.

3.1.16. Ballistics type

Ballistics type changes Loudness Sync’s ballistics behavior.

Inertial ballistics are more responsive to sudden changes in loudness, but may sound less natural.

3.1.17. Attack/Release

Attack sets how quickly gain falls; release sets how quickly it rises. Both default to 50 ms. Longer times smooth out gain changes but make Sync slower to reach the target.

Times can be set in samples, milliseconds, beats, or a ratio of the timing mode look-ahead. Beats use the BPM setting. Look-ahead units are relative to half the timing window; they produce an immediate response when low-latency timing removes the look-ahead.

Set attack and release in the full editor. Their values are kept when you switch to mini mode.

3.1.18. Attack/Release hold

The attack and release hold parameters allow you to specify the amount of delay before attack/release phase begins.

Release hold maintains gain reduction (“attack”) for the specified release hold time. Attack hold maintains gain amplification (“release”) for the specified attack hold time.

3.1.19. Alignment

Alignment shifts when Sync responds to the reference. Positive values make the response earlier; negative values make it later. For example, use -150 ms to compensate for a reference that arrives 150 ms early.

Alignment can move by up to half the timing mode window in either direction. For example, Focus allows ±50 ms and Present allows ±200 ms. Changing timing mode updates the range and limits the stored value to it. Alignment uses the existing look-ahead without adding latency.

Low-latency timing disables Alignment and keeps its value for when look-ahead is turned back on. Alignment shifts the loudness response; it does not move the audio on your track.

3.2. Loudness

The loudness tab contains parameters relating to loudness measurements and detector behavior.

3.2.1. Adaptive startup

The adaptive startup parameter enables or disables adaptive startup behavior for loudness measurements. When enabled, the loudness window begins small and grows as the window fills. This can be useful for reducing transient artifacts at the start of playback.

3.2.2. Adaptive edges

The adaptive edges parameter enables or disables adaptive edge detection for loudness measurements. When enabled, loudness values crossing the configured adaptive threshold, or silence, will be detected and the loudness window will be reset. This causes the adaptive startup behavior to apply to every transition to/from silence. This can be useful for reducing transient artifacts during sudden changes in loudness.

3.2.3. Adaptive type

The adaptive type parameter allows adaptive startup and adaptive edges to be configured for Silence or adaptive threshold modes. Silence mode will only reset the loudness window when the input signal is silent. Adaptive threshold mode will reset the loudness window when the input signal crosses the configured adaptive threshold.

3.2.4. Adaptive threshold

The adaptive threshold parameter allows you to configure the threshold used by adaptive edges in adaptive threshold mode. This threshold is specified in the same units as the current loudness type.

3.3. Limiter

The limiter tab contains parameters relating to the built-in limiter. The limiter scans the limiter lookahead region of blocks for peak or true peak loudness values over the limiter ceiling. When these peaks are encountered, the current gain reduction trajectory is adjusted to accomodate the peak.

3.3.1. Limiter mode

The limiter mode parameter lets you decide which peaks, if any, will be used for detection. The following options are available:

3.3.2. Limiter threshold

The limiter threshold parameter determines the loudness at which the limiter starts to apply gain reduction. Loudness values above threshold are raised to the limiter ceiling.

3.3.3. Limiter ceiling

The limiter ceiling parameter determines the maximum peak loudness value that the limiter will allow. When the limiter detects a peak above this value, it will pre-emptively begin to apply gain reduction. Note that make-up gain is not automatically applied.

The limiter threshold link parameter allows you to link the limiter threshold and limiter ceiling parameters. When linked, the ceiling will automatically adjust to match the threshold.

3.3.5. Limiter lookahead

The limiter look-ahead parameter determines the amount of time to look into the future when detecting peaks. Shorter lookahead times will result in more aggressive gain reduction, with the results becoming more gritty and distorted. Longer lookahead times will result in more transparent gain reduction, but will push the average level of the audio further down.

3.4. Visualization

The visualization tab contains parameters related to real-time configuration of Loudness Sync’s visualizations. This section describes these various settings.

3.4.1. Auto range

The auto range parameter enables or disables the visualization’s auto range finding capabilities. This feature operates by analyzing the continuous histogram at each frame to determine a reasonable range for that moment in time. This range is then followed and adjusted smoothly over time.

3.4.2. Visual range presets

Visual range presets are provided for convenience as an example set of industry related loudness ranges.

Currently, the following visual range presets are available:

3.4.3. Loudness range

The loudness range parameter allows the visualization loudness range to be set manually. In order for this range to be enabled and used, the visual range presets parameter must be set to “Custom Range”

Note that there are separate loudness ranges for windowed loudness types and peak loudness types.

See range sliders for information about range sliders in general.

3.4.4. Snapshots

The snapshots feature allows you to take a snapshot of the current histogram. This can be useful for comparing histograms.

Each source/target/output signal has its own snapshot. The snapshots are persisted with plug-in state, so they will be available when you reopen the project.

Snapshots can be operated using the popup menu or via keyboard shortcuts.

The following snapshot parameters are available:

On Windows, use Ctrl instead of Cmd.

3.4.5. Layout options

The options menu allows you to configure the layout of the visualization. The following options are available:

Each layout mode has an AUTO option which automatically selects the best layout mode based on the current context.

3.4.6. Layout source mode

The layout source mode parameter allows you to configure the layout of the visualization’s source panel.

Currently, the following layout source modes are available:

3.4.7. Layout target mode

The layout target mode parameter allows you to configure the layout of the visualization’s target panel.

Currently, the following layout target modes are available:

3.4.8. Layout output mode

The layout output mode parameter allows you to configure the layout of the visualization’s output panel.

Currently, the following layout output modes are available:

3.4.9. Delta field type

The delta field type parameter allows you to specify the type of delta field used by the visualization.

The delta field is basically a mapping from each source pixel on the screen to a destination pixel. Pixel shaders are used to iteratively apply this delta field using interpolation and some light dithering effects. This feature is purely for aesthetic purposes and has no effect on the audio.

Raster type effects are drawn into the delta field on each frame.

3.4.10. Bits per pixel

The bits-per-pixel parameter determines the number of bits per pixel to use when rendering visualizations. The default bpp is the best performing. You can increase bpp to improve visual quality.

3.4.11. Breath residual

The breath residual parameter can be used to help visualize sync behavior. For each frame of the visualization, the current residual between target and output loudness is calculated and used to multiply the magnitude of the visualization delta field.

This feature helps you find sections of audio where the sync is having a difficult time keeping up with the amount of target gain. This can help guide the configuration of the attack/release parameters. The direction of the multiplication factor is also set to reflect whether the residual occurred in the attack or release direction, so it’s possible to get a sense of the overall balance between these residuals.

3.4.12. Bar Mode

The “Bar mode” parameter enables/disables bar mode. In bar mode, the visualizations will be drawn as vertical bars instead of sloped lines. This feature is purely for aesthetic purposes and has no effect on the audio.

3.4.13. Bucket size

The bucket size parameter determines the size in pixels of visualization buckets (rectangles).

3.4.14. Histogram hold

The histogram hold parameter enables or disables “hold” mode for the histogram raster types. While “hold” mode is enabled, the histogram will continuously accumulate measurements indefinitely. This can be used to capture a full duration view of your source audio. This allows you to easily adjust ranges to target to a specific region of the full dynamic range.

The histogram will still continuously accumulate measurements while “hold” mode is disabled, but for each new measurement the oldest measurement in history is replaced. This results in a continuously evolving histogram of duration specified by the history length parameter.

3.4.15. Delta X/Y/T

The delta X/Y/T parameters are provided to the visualization delta field in order to manipulate the delta field in real-time. The exact behavior of each parameter depends on the active delta field type.

3.4.16. Delta field

The delta field parameter allows you to enable or disable the visualization delta field.

The delta field is basically a mapping from each source pixel on the screen to a destination pixel. Pixel shaders are used to iteratively apply this delta field using interpolation and some light dithering effects. This feature is purely for aesthetic purposes and has no effect on the audio.

Raster type effects are drawn into the delta field on each frame.

3.4.17. Shader params

The shader parameters control various aspects of visualization rendering. The following options are available:

3.4.18. Show thresholds

Show thresholds displays the low-level threshold on the source panel for each input selected by threshold mode. Main includes the low-level knee; Reference shows only the threshold. Drag either threshold to adjust the shared value.

When this option is off, thresholds still appear while you adjust their controls.

3.4.19. Panel params

The panel parameters control various aspects of panel rendering. The following options are available:

3.4.20. History length

The history length parameter allows you to change the duration of visualization history. This history is a rolling-window where each new loudness sample pushes out the oldest sample, maintaining a continuous history length with the duration you’ve configured here. Note that this setting applies both to history and histogram raster types.

During histogram hold the histogram has an effectively infinite history length.

3.4.21. Show peak meter

The show peak meter parameter allows you to enable or disable peak meter and gain reduction drawing next to the visualizer.

Positive gain delta is drawn from bottom-up, negative gain delta is drawn from top-down.

3.4.22. Show history peak

The show history peak parameter allows you to enable or disable peak hold drawing for history raster visualizations.

This option is only shown while the active raster type includes history.

3.4.23. Show companion

Show companion adds a thinner, lighter line for the other input to each history panel. When source shows the main input, the companion shows the sidechain, and vice versa. The line uses a lighter shade of the source color and appears while a sidechain is active.

For Loudness Sync, the companion is the sidechain reference. Compare it with output to see how closely the output follows the reference and your chosen offset. Hover over the line to see whether it represents the main input or sidechain.

This option is available when raster type includes history. It is off by default when loading a session saved before the companion trace was added.

3.4.24. Show axis labels

The show axis labels parameter allows you to enable or disable axis drawing in the visualization.

The axis is scaled relative to the loudness range, which can be manual or auto range.

3.4.25. Show axis lines

The show axis lines parameter allows you to enable or disable axis line drawing in the visualization.

axis lines are drawn at each Show axis labels.

3.4.26. Show param context

The show param context parameter allows you to enable or disable param context text bubbles during parameter changes.

3.5. Theme

The theme tab contains parameters related to color themes. Here you can select between the bank of color theme presets, or configure the individual colors yourself.

3.5.1. Theme presets

The theme presets combo-box allows you to switch between a variety of theme presets. Each theme has a light and dark variation. Switching between theme presets will load values into source color, normal color, target color and output color.

Currently, the following themes are available:

3.5.2. Source color

The source color parameters control the red, green, and blue components of the source color.

The source color is used in a variety of contexts, from interactive widgets to visualization elements. This color signifies that an element relates to the source signal in some way. This color is expected to contrast against the normal color to some extent.

3.5.3. Normal color

The normal color parameters control the red, green, and blue components of the “normal” color.

The normal color is used in a variety of contexts, from interactive widgets to visualization elements. This color signifies that an element is essentially neutral, not related to source, target or output signal. This color is expected to contrast against the source color, target color, and output color to some degree.

3.5.4. Target color

The target color parameters control the red, green, and blue components of the target color.

The target color is used in a variety of contexts, from interactive widgets to visualization elements. This color signifies that an element relates to the target signal in some way. This color is expected to contrast against the normal color to some extent.

3.5.5. Output color

The output color parameters control the red, green, and blue components of the output color.

The output color is used in a variety of contexts, from interactive widgets to visualization elements. This color signifies that an element relates to the output signal in some way. This color is expected to contrast against the normal color to some extent.

3.5.6. Textures

The textures configuration allows you to change the user interface textures.

The panel texture is used for the background of the user interface and has the shader params applied. The meter texture is used to fill the visualization effects. The background texture is used throughout the plug-in for shading.

These settings are stored with user scope, so you don’t need to change them with every instance. Closing a texture will reverted to the default internal texture.

Typically, the panel texture should be very dark and the meter texture should be very light.

3.6. Settings

General contains tempo and interface settings. Changes in the Latency section take effect when you click Apply, since they can affect delay compensation. Avoid automating these latency parameters.

3.6.1. BPM

The bpm option allows you to set the BPM used by tempo-relative parameters.

3.6.2. Host BPM

The host bpm option enables usage of the host’s BPM for tempo-relative parameters. When disabled, the bpm parameter is used instead.

3.6.3. Dither

The dither parameter determines the strength of ballistics dithering. This parameter applies only to dithering ballistics type modes.

3.6.4. Velocity sensitive knobs

If enabled, this will turn on velocity-sensitive dragging, so that the faster the mouse moves, the bigger the movement to the knobs. This helps when making accurate small-scale adjustments.

This parameter is saved at user scope, so it will be remembered between sessions.

3.6.5. UI Scaling

The UI scaling option allows you to set the scaling of the user interface. This is useful for high-DPI displays, where the default scaling may be too small to read comfortably.

This parameter is saved at user scope, so it will be remembered between sessions.

3.6.6. Axis Scaling

The axis scaling option allows you to set the scaling of the axis ticks, labels and text bubbles. This is useful for high-DPI displays, where the default scaling may be too small to read comfortably.

This parameter is saved at user scope, so it will be remembered between sessions.

3.6.7. Dark mode

The dark mode toggle enables/disables dark mode. When enabled, theme colors have their brightness inverted.

3.6.8. Gain change write

The gain change write mode controls how the plug-in publishes the latest signed gain change to the host as an automatable parameter. This can be useful for recording the plug-in’s gain changes directly to an automation lane when supported by the DAW.

Disabled turns gain change write off.

Native uses the format-native write path when available. For non-VST3 plug-ins, Native falls back to the same behavior as Compatibility.

Compatibility uses the generic host-notify write path, which may work in more places but is less elegant than Native when the host supports the native path.

Host support for plug-in generated automation varies. When supported, put the host into Write or Touch mode and record the Gain Change Write parameter.

Gain change write is output-only. The recorded automation lane is not read back into the plug-in’s processing.

3.6.9. Blocksize

Blocksize sets the time resolution of source loudness measurements. Smaller blocks give finer timing and can help with fast attack/release settings, at the cost of more CPU usage.

BPM units for block size are evaluated once at the time you press Apply.

3.6.10. Delay compensation

The delay compensation parameter determines whether or not the plug-in will report latency to the host. Delay compensation is used by hosts to keep audio synchronized across channels.

3.7. Update

The update tab allows you to check for the latest product versions. Just click “Check for updates” to see the latest version numbers. If you’re not running the latest version, you can click “Download” to open the download page in your default browser.

3.8. About

The about tab contains basic information about the plug-in. This is also where you can activate or deactivate your product keys and check license status.

4. Glossary

This section defines some of the concepts used within the software.

4.1. Range sliders

Range sliders are used throughout the plug-in in order to specify the upper and lower boundaries of a range. These ranges can be controlled via mouse in various ways.

4.2. History

One of the primary views into your audio that this software provides is real-time history. The history view maintains a recent history of loudness measurements, continuously displaying them in FIFO order. This view helps you understand how the signal is changing over time, in real-time. History length and bucket size can be configured dynamically without forcing the history to reset.

4.3. Histogram

One of the primary views into your audio that this software provides is a real-time histogram. Histograms in general provide a quick and intuitive way to understand the relative frequency of different measurements. This is very useful when judging the overall dynamic range of the audio. The histogram provided by this software is capable of changing history length, bucket size and size continuously.

4.4. Source

The term “source” is used throughout the plug-in to identify the plug-in’s input source signal. This signal is represented in the user interface by the current theme’s source color.

4.5. Target

Target is the loudness Sync is trying to reach. It starts with the reference plus offset, then applies relationship, threshold mode, and gain limits. The output can take time to reach this level, depending on attack/release. Target is shown using the theme’s target color.

4.6. Output

The term “output” is used throughout the plug-in to identify the output type signal. This signal is represented in the user interface by the current theme’s output color.

5. Credits

This software was developed by APU Software, LLC and is available as VST (windows x64/x86, macOS universal), Audio Unit (macOS universal), or Pro Tools AAX (windows x64, macOS universal). The software libraries below are utilized for portions of the software:

Demo video song credits:

5.1. MIT License (libebur128)

Copyright (c) 2011 Jan Kokemüller

Permission is hereby granted, free of charge, to any person obtaining a copy
of this software and associated documentation files (the "Software"), to deal
in the Software without restriction, including without limitation the rights
to use, copy, modify, merge, publish, distribute, sublicense, and/or sell
copies of the Software, and to permit persons to whom the Software is
furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in
all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE
AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER
LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM,
OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN
THE SOFTWARE.

5.2. MIT License (melatonin_blur)

Copyright (c) 2023 Sudara Williams

Permission is hereby granted, free of charge, to any person obtaining a copy
of this software and associated documentation files (the "Software"), to deal
in the Software without restriction, including without limitation the rights
to use, copy, modify, merge, publish, distribute, sublicense, and/or sell
copies of the Software, and to permit persons to whom the Software is
furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all
copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE
AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER
LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM,
OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE
SOFTWARE.

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