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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.
63 lines
2.9 KiB
Markdown
63 lines
2.9 KiB
Markdown
# Anvil
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Anvil gives every bass note the same solid sub. Current version **0.1.0**.
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In riddim and dubstep, each switch-up patch brings its own sub: a different level,
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a different phase, sometimes two layers that cancel. The drop's weight jumps from
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note to note and the kick lands differently on each one. Anvil removes the
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original band below **Split** and puts a clean mono sine in its place. The sine
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follows the bass pitch, has the same peak level on every note, and starts at the
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same phase on every note.
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## Install on Windows
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Copy `Anvil.clap` into `C:\Program Files\Common Files\CLAP\`. In FL Studio 2024.1
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or newer, open Options → Manage plugins, enable Verify plugins, and Find installed
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plugins. Load Anvil in the mixer slot of the bass bus. Keep the font license with
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redistributed packages.
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## Work with it
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1. Put Anvil on the bass bus, after the sound design and before the bus
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compression or clipping.
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2. Set **Split** just above the sub. 80–100 Hz suits most riddim basses.
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3. Set **Sub level** once. Every patch on the bus now gets this level.
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4. Use **Phase** to line the start of each note up with your kick. With
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**Retrigger** on, every note starts at this phase.
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5. Turn on **Solo sub** to hear only the new sub; the scope shows the original
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low band (grey) against the new sub (accent).
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Other controls:
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- **Dynamics** at 0 % holds the level for the whole note. Raise it to let the sub
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follow the original's volume shape, for example a wobble.
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- **Drive** adds upper harmonics so the sub reads on phones and laptops.
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- **Octave** moves the sub against the detected note. Use −1 for a bass played
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one octave up.
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- **Glide** slides between overlapping notes; 0 jumps.
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- **Gate** is the input level that counts as a note. Raise it if tails or reverb
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start new notes.
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- **Keep** blends some of the original low band back under the new sub.
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- **Snap to semitone** rounds detected pitch. Turn it off for pitch bends and slides.
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### Pitch from MIDI
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Detection follows the audio by default. For heavy formant or FM basses where the
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fundamental is unclear, select **MIDI** and route the bass's MIDI notes to Anvil.
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In FL Studio, set the bass channel's MIDI output port and Anvil's input port to the
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same number, or duplicate the notes into a pattern on a channel that feeds Anvil.
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## Timing and limits
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Detection uses 80 ms of lookahead, reported to the host for delay compensation,
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so each note's pitch is known before its attack leaves the plugin. Pitch range is
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25–250 Hz, one voice: chords and layered notes in the sub band are not separated.
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Notes shorter than about 15 ms may not be recognised. A pitch move of more than
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0.7 semitone that holds for two analysis hops (10 ms) starts a new note.
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The crossover is a 4th-order Linkwitz–Riley pair, so with Keep at 100 % and no
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note playing, the signal passes with flat magnitude. Stereo above the split is
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kept; the new sub is mono.
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