chore: release Anvil 0.4.0, Lathe/Temper/Knurl 0.3.0, Planish/Braze/Ballast/Forge 0.2.0, Crucible/Weld 0.4.0

The producer-feedback round: stable note tracking, the NOTE pitch source with
Key lock and Follow bends, unsure-means-neutral fallbacks, Anvil's Enhance
mode, MAIN and ADVANCED pages, Ballast on Grid by default, and Crucible's
sure-note slice names with a song key.

Adds docs/pitch.md for the shared pitch source, updates every changed
plugin's README and changelog, the release table, the editor previews, the
website bullets, and the status in docs/ideas.md.

docs/anvil/CHANGELOG.md

@@ -1,5 +1,20 @@
 # Anvil changelog
 
+## 0.4.0
+
+- Add **Mode**: **Replace** swaps the sub as before; **Enhance** keeps the
+  original sub and adds the sine under it.
+- Add **NOTE** as a pitch source: Anvil plays a note you set, and the audio only
+  starts and stops it. Add Key lock and Follow bends for AUDIO detection.
+- Detection holds its notes: a new note needs a steady pitch for 40 ms, octave
+  jumps need 80 ms down and 200 ms up. Growls, wobbles and formant basses no
+  longer flicker between notes. Follow bends brings back the old fast behaviour.
+- When detection is unsure, Anvil plays the original sub (Enhance: adds nothing)
+  instead of a guessed note, and the NOTE readout shows **?**.
+- The editor opens on a MAIN page with Mode, Split, Sub level, Octave, Ghost,
+  Keep and Output. **ADVANCED** in the header shows every control and Kick lock.
+- Projects from 0.3 load with Replace mode, AUDIO detection, and Key lock off.
+
 ## 0.3.0
 
 - Add Ghost harmonics: **Ghost** and **Ghost from** add the sub's harmonics 2–10

docs/anvil/README.md

@@ -1,6 +1,6 @@
 # Anvil
 
-Anvil gives every bass note the same solid sub. Current version **0.3.0**.
+Anvil gives every bass note the same solid sub. Current version **0.4.0**.
 
 In riddim and dubstep, each switch-up patch brings its own sub: a different level,
 a different phase, sometimes two layers that cancel. The drop's weight jumps from
@@ -20,18 +20,33 @@ redistributed packages.
 
 ## Work with it
 
+The editor opens on the **MAIN** page with the controls most drops need. The
+**ADVANCED** switch in the header shows every control and the Kick lock panel.
+
 1. Put Anvil on the bass bus, after the sound design and before the bus
    compression or clipping.
-2. Set **Split** just above the sub. 80–100 Hz suits most riddim basses.
-3. Set **Sub level** once. Every patch on the bus now gets this level.
-4. Use **Phase** to line the start of each note up with your kick. With
-   **Retrigger** on, every note starts at this phase.
-5. Turn on **Solo sub** to hear only the new sub; the scope shows the original
+2. Choose the **Mode**:
+   - **Replace** swaps the band below Split for the clean sine. Every note gets
+     the same level and phase. Use it when switch-ups bring different subs.
+   - **Enhance** keeps your sub as it is and adds the sine under it. Use it when
+     you like your sub and want more weight, or with **Octave** −1 for a
+     sub-octave.
+3. Set **Split** just above the sub. 80–100 Hz suits most riddim basses.
+4. Set **Sub level** once. Every patch on the bus now gets this level.
+5. In the header, set **Pitch from**. For growls and FM basses, choose **NOTE**
+   and set the drop's root. See [Pitch source](../pitch.md).
+6. On the ADVANCED page, use **Phase** to line the start of each note up with
+   your kick. With **Retrigger** on, every note starts at this phase.
+7. Turn on **Solo sub** to hear only the new sub; the scope shows the original
    low band (grey) against the new sub (accent).
-6. Turn on **Phone** to check the drop the way phones and laptop speakers play
+8. Turn on **Phone** to check the drop the way phones and laptop speakers play
    it: mono, nothing below 400 Hz. A clean sub vanishes there. If the note
    disappears with it, raise **Ghost**.
 
+When detection is unsure of the note, Anvil does not guess. In Replace mode it
+fades back to your original sub within 15 ms, and in Enhance mode it adds
+nothing. The NOTE readout shows **?** meanwhile.
+
 ### Ghost harmonics
 
 Phone speakers play almost nothing below 300–500 Hz. A clean 50 Hz sub sends all
@@ -100,27 +115,29 @@ Other controls:
 - **Glide** slides between overlapping notes; 0 jumps.
 - **Gate** is the input level that counts as a note. Raise it if tails or reverb
   start new notes.
-- **Keep** blends some of the original low band back under the new sub.
+- **Keep** blends some of the original low band back under the new sub. It has
+  no effect in Enhance mode, where the original always stays.
 - **Snap to semitone** rounds detected pitch. Turn it off for pitch bends and slides.
 
 If Knurl is on the bass before the bus, use **MIDI**: Knurl's patterns make
 detection read notes from C2 upwards an octave low. See
 [Signal chain](../chain.md).
 
-### Pitch from MIDI
+### Pitch source
 
-Detection follows the audio by default. For heavy formant or FM basses where the
-fundamental is unclear, select **MIDI** and route the bass's MIDI notes to Anvil.
-In FL Studio, set the bass channel's MIDI output port and Anvil's input port to the
-same number, or duplicate the notes into a pattern on a channel that feeds Anvil.
+**Pitch from** in the header chooses where the note comes from: **AUDIO**
+detects it, **MIDI** follows MIDI notes sent to Anvil, and **NOTE** plays a note
+you set. Key lock and Follow bends tune the detection. See
+[Pitch source](../pitch.md).
 
 ## Timing and limits
 
 Detection uses 80 ms of lookahead, reported to the host for delay compensation,
 so each note's pitch is known before its attack leaves the plugin. Pitch range is
 25–250 Hz, one voice: chords and layered notes in the sub band are not separated.
-Notes shorter than about 15 ms may not be recognised. A pitch move of more than
-0.7 semitone that holds for two analysis hops (10 ms) starts a new note.
+Notes shorter than about 40 ms may not be recognised. A new pitch must hold
+steady for 40 ms to start a new note (80 ms an octave down, 200 ms an octave
+up); with Follow bends on, 10 ms. A note ends after 20 ms of silence.
 
 The crossover is a 4th-order Linkwitz–Riley pair, so with Keep at 100 % and no
 note playing, the signal passes with flat magnitude. Stereo above the split is