Supports up to 5,376 discrete beat-to-beat tempo changes.
 Supports almost unlimited metric possibilities including 1 thru 16/2, 1 thru 16/4, 1 thru 16/8, 1 thru 16/triplets as well as 1 thru 16/16. All of the foregoing may be dotted, placed into unequal groups, even subdivided (as in Bulgarian rhythms or Bartok notation, e.g., 3+2+2/8, etc.).
 Unlike other filmic systems, ALL metrics are actually internally represented and faithfully honored and selectably accentable during the performance of click tracks permitting the full filmic coordination of complex rhythms.
All meters may be easily changed bar-to-bar without limitation permitting the development of any desired asymmetric or alternating metric patterns in just a few seconds.
Provides an instant means to subdivide bars to facilitate the orchestral performance of difficult passages; e.g., 4/4 clicks produced as if 8/8 clicks without changing the 4/4 meter as set. 
Allows for the entry, tempi search, timing analysis and printout of up to 99 hits per cue with annotations or cue notes. Hits may be entered and analyzed in any video or filmic format and formats may even be mixed and analyzed simultaneously with differing starts or offsets.
Honors all common SMPTE formats/rates including 29.97 Drop and Non-Drop, 24FPS, 23.976FPS, 30FPS and PAL (25FPS).
Supports variably timeable, overlaid video STREAMERS (eight colors), PUNCHES and FLUTTERS (requires an optional genlock streamer generator, sold separately. Streamers, flutters and punches may be placed or specified “musically” (e.g., by reference to bars and beats, singularly or in blocks), thus eliminating tedious manual entries of countless, individual locations thereby allowing for on stage or the pre-score preparation of picture in 1/10th to 1/100th of the time required by other systems.
Click tracks with video streamers and flutters can be generated, accurately without time code input, greatly facilitating orchestral rehearsals of intricate rubato compositions.
Provides a full command or operation history “ring” buffer and multiple level UNDO’s reversible with REDO.
Produces a PIP (picture-in-picture) bar/beat counter on video monitor and stage projectors (requires optional genlock streamer generator available from third parties.
Unlike any other system, the TIME PROCESSOR provides programmable control of click volume during the performance of cues before live orchestras to diminish “click leakage.”
Unlike any other system, the TIME PROCESSOR provides temporal “photo enlargement” or “photo reduction” of entire cues, or passages within cues, without compromising bar-to-bar tempo and metric relationships within complex ritards, accelerations or other tempo/metric patterns.
Hits or cue points may be “grabbed” and entered on the fly by striking the keyboard while SMPTE is fed into the system, eliminating the initial manual entry of SMPTE addresses.
Uses a unique menuless, dynamic “natural language” driven task-integrated environment so revolutionary that it received the first MMI (Man Machine Interface) software patent in U.S. history.
Provides full support for the development of beat-to-beat ritards and accelerations target specifiable in real time or in any filmic/video format. All ritards and accelerations, as well as a host of other time compression functions, can be “over” any established metric/tempi pattern. You can even ritard “over” an acceleration or vice versa.
A complete analysis of a cue (metric structure, hits, cue notes, tempi, timings, streamers, etc.) can be exported to a text file (comma separated text) for manipulation by other spreadsheet or text processing programs.
Full MIDI support (clocks, song pointer, etc.) for coördination of synthesized music with picture.
Provides a means to import and export standard MIDI files.
Reads/triggers/chase-locks directly to SMPTE-PAL-SECAM time code input (LTC) dispensing with the inherent latencies and clutter of SMPTE-to-MTC conversion paraphernalia.
Via generation of SMPTE Time Code (LTC) to listening audio devices (prelays) and digital video, the Time Processor from the stage can drive continuous “live to picture” rehearsals of orchestras, saving up to 20 minutes of “booth overhead” per “double.”
Employs an integrated, real time over-lapping animated 3-space visual environment where all the displays the system produces are “windowed” and may be viewed simultaneously in any arrangement desired without trading off system speed.
All musical information the system reports is visually mapped bar-to-bar to correspond to the 4 bar staves of standard orchestral scoring sheets.
Unlike any other system, AURICLE provides a complete, continuous bar-to-bar breakdown of the time or address of EVERY SINGLE NOTE or beat (down to a 16th) within each cue without compromising metric/temporal complexity.
Visually traces the bar-to-bar progression of a performance of a cue during click operations.
Allows the “taceting” (clicks out/in) of selected bars/internal passages without the necessity of entering cue point real time, SMPTE or footage addresses and so permits painless integration of mixed free time and clicked cues.
For pro studio purposes clicks are produced via user definable MIDI notes so that the quality of the click can be controlled by the composer ormusic editor. An optional, URIE quality “click synthesizer” with analog line level outputs is part of the Cueline streamer generator. A stand-alone click generator compatible with the Auricle is available through GES in Los Angeles.
The Time Processor can install (record), map timings and play back tempi tapped into the keyboard or input from external click sources for the development of complex ritards or accelerations a well as for the purpose of replacing production dance tracks.
Internally clocked/unlocked click track operation (i.e., without external time code reference), unlike Macintosh based systems, is accurate to within 2.6/1000th of a second (1/16th of a 35mm frame) in the course of a ten minute performance (as measured with a Hewlett-Packard 5315A Universal Counter) allowing for fail safe professional reliability and operation.