Ballast gives every part of a bassline one gain that brings it to the target
loudness, with no compression inside a part. Parts start at note starts,
detected from the audio or taken from MIDI, or on the host's beat grid, so a
patch change on the same note counts too.
- Loudness is K-weighted over each part's first 100 ms, in 10 ms blocks with
a relative gate, and every part is weighted from rest so the last part does
not ring into it.
- The audio path is delayed by the tracker's lookahead, the window and a
5 ms glide, so each gain is in place on its part's first sample.
- Learn takes the next part's loudness as the target. Amount, Range, Measure
from (leave the sub out), Gate, Output, Bypass.
- Editor shows the last 32 parts in and out, the target, and the spread of
the last 16 parts.
- Registered in the catalog, workflows, editor-check, README, chain and
development docs, and the website copy.
Quench splits the signal with a Linkwitz-Riley crossover and lets the sub
pass unclipped. The top is clipped symmetrically at the ceiling minus the
sub's held peak, so it does not pump at the sub's rate and the sum stays
under the ceiling. What the clip removes is high-passed at the split, so its
products stay out of the low band. Two correction passes and an oversampled
hard clip hold the ceiling; a safety clip catches the downsampler's ringing.
- Controls: Drive, Ceiling, Split, Hold, Soft, Bypass.
- Listen to Quench, a plain clipper at the same settings, or the delta.
- Editor meter compares how much the low band changed for Quench and for a
plain clip, with a scope of the output, the sub and the top's room.
- Measured: sub level +0.04 dB against -2.2 dB for a plain clip, low-band
products -35 dB against -16 dB, at 0.5-1.2 dB less RMS.
- Registered in the catalog, workflows, editor-check, README, chain and
development docs, and the website copy.
Anvil gets a sidechain input named Kick. With Kick lock on, kicks are
found on the undelayed sidechain, so with the lookahead each hit ducks
the sub (Duck, Release) when the delayed kick plays and restarts the sub
at Phase, shifted by Offset (-30 to +30 ms, also before the kick).
The Audition steps the offset from -30 to +30 ms, 4 kicks each, and
measures how kick and sub sum below 150 Hz after each hit; Keep takes the
offset heard. On a 55 Hz kick burst against a 55 Hz sub the sum peaks at
0 ms (+2.4 dB) and nearly again one period away (+/-20 ms), so the bars
check the choice by ear rather than make it.
Adds a detuned copy of the bass whose beating stays on the tempo grid on
every note. The chosen harmonic k beats once per Rate note value, and
harmonic n beats n/k times as fast, so every harmonic is on the grid.
- The copy is read from a delay line whose delay falls one period of the
tracked note per beat cycle (r = 1 + B/(k f0)) and jumps back exactly
one period, crossfaded over 6 ms. On a periodic note the jump has no
seam: the output matches the ideal sum within 0.003 on harmonics 1-4.
- The delay follows the host's beat position, shifted by the lookahead,
so beat peaks land on the grid; free-running when stopped.
- Low cut: LR4 high-pass on the copy, the bass split by the same
crossover, so the sub does not beat and keeps its level.
- Depth, Width, Phase, Gate, Output, Snap, Bypass. Pitch from audio
(about 67 ms lookahead) or MIDI.
- Editor: one bar of the beat per harmonic with the grid and a playhead.
- Catalog, workflows, editor-check, docs, signal chain and site copy.
Ghost adds the sub's harmonics 2–10 above Ghost from, so phones hear the
note. The band above the split is measured per harmonic and only missing
harmonics are filled, so added ones cannot cancel the patch's own. The sub
level does not change. Phone monitors the output in mono, 400 Hz–7 kHz.
Upward and downward compression in four bands whose edges are harmonic
numbers of the tracked note (default 1, 2-4, 5-16, 17 and up), so the
same setting squashes the same harmonics on every note. A fixed-band
OTT puts harmonic 2 of F1 and of C2 in different bands.
- Three Linkwitz-Riley splits at sqrt(k(k+1)) x f0 with allpass
compensation; at Depth 0 the bands sum within 0.05 dB.
- Band level is the RMS over one period of the note, so heavy settings
do not ripple at f0: a 40 Hz sine at Drive +12 dB, Time 10 % gets no
harmonics above -110 dB.
- At Depth 100 % on a saw, harmonics 1-12 change by the same amount on
F1, C2 and G2 (within 0.2 dB).
- Depth, Drive (on the detector only), Upward, Downward, Time, a gain
per band; edges Low 1-8, Mid 2-16, High 3-48 with four splits.
- Pitch from audio with about 67 ms lookahead, or from MIDI.
- Editor: harmonic ruler with draggable edges, level and gain per band.
- Catalog, workflows, editor-check, docs, signal chain and site copy.
Patina detects the played note (30-500 Hz) and remembers, over about
4 s, how high each spectral bump is at a fixed frequency and relative
to the note. Bumps that follow the note (a boosted harmonic the patch
is built on) get less cut; bumps fixed in Hz (formants, room modes)
are cut as before. On a saw line F1-F2 with harmonic 6 boosted, the
cut on that harmonic drops from 5.78 dB to 0.44 dB at 100 %, while a
fixed formant at 1.5 kHz stays at 5.78 dB. One held note is cut as
normal, since the two cases cannot be told apart.
- New parameter tone-guard (0-100 %, default 0), appended at the end;
0 % is the old behaviour and old settings load unchanged.
- New Bass line preset.
- Editor: Tone guard control, NOTE readout and a strip over the
spectrum where cuts are held back.
- No added latency, no allocation on the audio thread; patina-core now
depends on common-dsp.
Knurl follows the played note and treats every cycle of the wave on its
own: a repeating level pattern over 1-16 cycles makes subharmonics in tune
with every note, random level and timing per cycle add rattle, and a noise
burst per cycle, highpassed at a multiple of f0, adds grit. Amounts are
counted in cycles, so the texture is the same on F1 and on C2.
- Cycle clock from the shared note tracker, restarted at each note; the
audio is delayed by the lookahead plus 4.2 ms of timing-jitter headroom.
- Per-cycle randomness from a hash of the cycle number: Same every note
or Free.
- Patterns Off, Double, Triple, Fry (default), Gallop, Stutter or drawn;
grit switchable per step. Pattern persisted as knurl-pattern.
- Editor: last eight cycles overlaid, pattern bars with the playing step.
- Tests match the prototype: Double gives f0/2 at -8.19 dB, Triple f0/3
at -10.68 dB, equal on F1 and C2, no added clicks, bit-exact when off,
no allocation on the audio thread.
Weld hears the other bass layer through the sidechain and fits polarity
plus up to four RBJ allpass sections to the measured cross-spectrum, so
the layers sum instead of cancelling. No latency; the layer on its own
keeps its sound.
- Worker thread: Welch cross-spectrum and coherence, Nelder-Mead fit with
1/f weighting, a per-band loss penalty and model selection by share of
the achievable gain; GCC-PHAT lag detection flags a late layer.
- Audio thread: allocation-free chain with a 40 ms warm-up and 40 ms
crossfade per new fit; mono blocks go to the worker through a lock-free
queue.
- Follow / Learn / Hold; the fit is persisted and restored without a
crossfade.
- Editor: per-band loss and recovery against a perfect alignment, phase
before and after, recovered dB, time offset and status.
- Tests for flat magnitude, crossfade, fit targets, Follow hysteresis,
Learn, silence, realtime allocation and the persisted fit in the host.
Weld will phase-align a bass layer to another layer it hears through the
sidechain. This first build only checks that FL Studio delivers the
sidechain to a CLAP aux port: it passes the main layer through unchanged,
meters the sidechain and offers Layer/Sum/Sum dry listening. No latency.
Lathe places EQ bands on harmonics 1-32 of the played note, so a cut on
harmonic 3 stays on harmonic 3 on every note. Temper normalises each
note's level before an oversampled shaper and tunes its floor, push and
bright filters to the note, so every note distorts the same.
The note tracker moves from Anvil into common-dsp, together with a
state-variable filter, 4x oversampler and harmonic meter. Anvil's
behaviour and editor render are unchanged.
docs/ideas.md collects all plugin ideas and their status.
Two new CLAP effects aimed at riddim and dubstep production, plus shared
crates so all four plugins keep one look and reuse DSP.
Anvil 0.1.0 (io.storyboard.sub-anchor):
- Replaces the band below Split with a clean mono sine. Every note gets
the same peak level and restarts at the same phase, so switch-ups keep
their weight and kick hits line up.
- Pitch and note starts come from the audio (YIN, 80 ms lookahead
reported to the host) or from MIDI notes sent to the effect.
- Dynamics, Drive, Octave, Glide, Phase, Gate and Keep; Solo sub monitor,
note readout, level meters and a low-band oscilloscope.
Crucible 0.1.0 (io.storyboard.resampler):
- Records its input continuously in a lock-free ring with host transport
markers. Capture takes the newest 1-16 complete bars on the bar grid,
following tempo changes, or the newest audio when stopped.
- Grid (straight and triplet) or transient slicing, manual cuts, slice
audition without audio-thread allocation.
- Export writes the loop, trimmed, declicked and normalised slices named
and tagged with their root note, and an optional 2048-sample wavetable
for Serum and Vital.
Shared:
- common-ui holds the palette, fonts, knobs and panels taken from Patina;
Patina renders identically. Rotary knobs at their minimum no longer
tessellate a zero-length arc into NaN vertices.
- common-dsp holds biquads, a Linkwitz-Riley crossover, YIN, note helpers
and a float WAV writer with sampler root and Serum frame chunks.
- Catalog, CI matrix, release tags, editor previews and docs cover both
plugins; a script test keeps the catalog and workflows in step.
Rivet 0.4.0 tells a motif as a story. A timeline of blocks with roles
(statement, answer, departure, return, rest) replaces tasks, pins and
branches. Rivet writes each block from a motif and joins the seams with
a cut, breath, pickup or approach.
- Motifs of 1-8 bars in a bin of 16; storyboards up to 32 bars.
- Meters 2/4, 3/4, 4/4, 5/4, 6/8, 7/8 and 12/8 for import, writing,
audition and export. Phrygian, harmonic minor and Mixolydian scales.
- Per-block options, Another take and Keep; templates for new boards.
- Editor rebuilt: motif bin, timeline, large piano roll, inspector,
tabs for generation, harmony and sound roles, 32-step undo/redo.
- Sessions from 0.1-0.3 open as a storyboard from their source motif.
Patina 0.2.0. The old detector compared raw FFT bins with a one-octave
dB mean, so every harmonic of a tonal sound looked like a resonance and
real harsh bumps were barely touched. The new detector:
- averages power over each log band and smooths it over time
- joins harmonic tops into an envelope, smoothed by Sharpness
- compares it with a robust, tilt-aware local line fit that ignores
empty regions and cannot be lifted by the bump itself
Six overlapping controls become Depth, Sharpness and Selectivity; focus
points now read "up cuts more, down protects". The analysis window is
halved to 2048 samples (about 43 ms delay). Behaviour tests cover plain
harmonic tones, resonant bumps, narrow rings, level independence,
flicker on noise and high sample rates.
Both editors get a dark metallic look with #FF0160 as the single
accent colour; screenshots and docs are updated. Projects saved with
Patina 0.1 load the new controls at their defaults.
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