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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.
Anvil
Anvil gives every bass note the same solid sub. Current version 0.1.0.
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 note to note and the kick lands differently on each one. Anvil removes the original band below Split and puts a clean mono sine in its place. The sine follows the bass pitch, has the same peak level on every note, and starts at the same phase on every note.
Install on Windows
Copy Anvil.clap into C:\Program Files\Common Files\CLAP\. In FL Studio 2024.1
or newer, open Options → Manage plugins, enable Verify plugins, and Find installed
plugins. Load Anvil in the mixer slot of the bass bus. Keep the font license with
redistributed packages.
Work with it
- Put Anvil on the bass bus, after the sound design and before the bus compression or clipping.
- Set Split just above the sub. 80–100 Hz suits most riddim basses.
- Set Sub level once. Every patch on the bus now gets this level.
- Use Phase to line the start of each note up with your kick. With Retrigger on, every note starts at this phase.
- Turn on Solo sub to hear only the new sub; the scope shows the original low band (grey) against the new sub (accent).
Other controls:
- Dynamics at 0 % holds the level for the whole note. Raise it to let the sub follow the original's volume shape, for example a wobble.
- Drive adds upper harmonics so the sub reads on phones and laptops.
- Octave moves the sub against the detected note. Use −1 for a bass played one octave up.
- 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.
- Snap to semitone rounds detected pitch. Turn it off for pitch bends and slides.
Pitch from MIDI
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.
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.
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 kept; the new sub is mono.