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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.
87 lines
4.4 KiB
Markdown
87 lines
4.4 KiB
Markdown
# Knurl
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Knurl gives every cycle of the note its own level, timing and grit. Current
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version **0.1.0**.
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Knurling presses a ridged pattern into metal. Riddim and dubstep basses get their
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character the same way, from surface texture: rattle, growl, fry, grit. Usually
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that texture comes from long chains of distortion, comb filters, formants and
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resampling, and it changes from note to note. Knurl works on single cycles of the
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wave instead. It follows the played note and treats each cycle on its own, and
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every amount is counted in cycles, not in Hz or tempo. So the texture has the
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same grain on F1 and on C2.
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## Install on Windows
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Copy `Knurl.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 Knurl in a mixer slot of the bass. Keep the font license with
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redistributed packages.
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## Work with it
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1. Play the bass. The note readout shows what Knurl tracks; the scope overlays
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the last eight cycles of the output, so the texture is visible cycle by cycle.
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2. Choose a **Pattern**. The pattern sets the level of each cycle and repeats:
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- **Double** (0, −9 dB): every second cycle quieter. This makes a sub-octave
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growl, exactly in tune, about 8 dB under the fundamental.
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- **Triple** (0, −12, −12 dB): a growl an octave and a fifth down.
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- **Fry** (0, −14, −5, −14 dB, the default): an uneven vocal-fry rattle.
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- **Gallop** and **Stutter**: rhythmic patterns over six and eight cycles.
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- **Off**: every cycle at full level.
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3. Draw your own pattern on the bars: drag a bar to set the level of that cycle,
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double-click to reset it. **Steps** sets the length (1–16 cycles).
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4. Add surface:
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- **Level** gives every cycle a random level (standard deviation in dB).
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- **Time** moves every cycle a little in time (percent of a period): rattle
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and scrape.
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- **Grit** adds a short noise burst inside every cycle. **Tone** sets its
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lowest frequency in harmonics of the note, **Position** where in the cycle
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it sits, and **Length** how long it is. The squares under the pattern bars
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switch the burst per step.
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5. **Edge** sets how soft each step change is. Low values are sharper and
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buzzier; high values smoother.
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**Random**: **Same every note** (default) restarts every random sequence at each
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note, so identical notes sound identical, which keeps a riddim line tight.
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**Free** lets the sequences run on, so every note differs.
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**Mix** blends with the delayed dry signal; **Output** trims the level.
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### Pitch from MIDI
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For basses whose fundamental is unclear (heavy FM, formant or noise patches),
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select **MIDI** and route the bass's MIDI notes to Knurl. In FL Studio, set the
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bass channel's MIDI output port and Knurl's input port to the same number.
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**Gate** sets the input level that counts as a note in AUDIO mode; **Snap to
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semitone** rounds the detected pitch (turn it off for slides).
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## Timing and limits
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Knurl delays the audio by about 71 ms: 67 ms of pitch-detection lookahead plus
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4 ms of room for the timing jitter. The delay is reported to the host for delay
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compensation, so the cycle clock knows every note before its attack leaves the
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plugin. The cycle clock restarts at every note start, so the pattern always
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begins with step 1 on the attack. Pitch range is 30–500 Hz, one note at a time.
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Between notes the effects fade out over 20 ms, so tails stay clean.
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Knurl works per cycle of the tracked pitch; it does not look for cycle borders in
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the waveform. With a stable pitch that is the same thing. With heavy pitch
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modulation inside a note the pattern follows the tracked pitch, which can lag a
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fast bend. Both channels get the same treatment, so the effect is mono-safe.
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## How it works
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A note tracker (shared with Anvil, Lathe and Temper) detects pitch and note
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starts ahead of the delayed audio. A cycle clock starts at 0 on every note and
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advances by f0 / sample rate. Each cycle gets its step gain and its random level
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and time offset from a hash of the cycle number, so the result is deterministic.
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Step changes are raised-cosine crossfades over the last **Edge** of a cycle;
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level jitter crossfades over half a cycle and time jitter over the whole cycle,
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read from the delay line with cubic interpolation. The grit is white noise
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through a state-variable highpass at **Tone** × f0, shaped by a sin² window and
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scaled to the input level. There is no nonlinearity, so no oversampling is
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needed.
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