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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.
67 lines
3.0 KiB
Markdown
67 lines
3.0 KiB
Markdown
# Temper
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Temper is a distortion that drives every note the same. Current version **0.1.0**.
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A distortion with a fixed tone filter acts differently on each note: a lowpass
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at 2 kHz lets through 45 harmonics of an F1 but only 22 of an F2, and
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a patch that is 6 dB quieter is driven 6 dB less. Across a riddim line that makes
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some notes fizzy and others dull. Temper evens out each note's level before the
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shaper and moves its tone filters with the pitch, so the character stays the same
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on every note.
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## Install on Windows
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Copy `Temper.clap` into `C:\Program Files\Common Files\CLAP\`. In FL Studio
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2024.1 or newer, open Options → Manage plugins, enable Verify plugins, and Find
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installed plugins. Load Temper in a mixer slot of the bass. Keep the font license
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with redistributed packages.
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## Work with it
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1. Choose a **Curve**:
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- **Soft**: tanh, smooth and rounded.
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- **Hard**: clipping with a narrow knee, dense and square-like.
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- **Fold**: the wave folds back on itself; Drive moves the upper harmonics.
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- **Tube**: the negative half clips earlier, adding even harmonics.
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2. Set **Drive**. The transfer plot shows the curve over the range a normalised
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note covers; the **Into shaper** meter shows how far past the knee it goes.
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3. Add **Bias** for asymmetry and even harmonics.
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4. Shape the tone around the shaper, all in multiples of the note:
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- **Floor** is a highpass before the shaper (0.25–2 × the fundamental; 0 is
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off). It keeps sub mud out of the distortion. Put Anvil after Temper to add a
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clean sub back.
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- **Push** boosts or cuts one harmonic (**Push at**, 1–16) before the shaper,
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so the distortion bites in the same place on every note.
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- **Bright** is a lowpass after the shaper at a harmonic number (4–64; 0 is
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off), so the top end stops at the same harmonic on every note.
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Other controls:
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- **Normalize** is how far each note's level is evened out before Drive. At 100 %
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a quiet and a loud patch distort the same; at 0 % Temper acts like a normal
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distortion.
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- **Auto gain** keeps the output at the input's loudness, so turning up Drive
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changes the character, not the level.
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- **Gate** is the input level that counts as a note.
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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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Select **MIDI** and route the bass's MIDI notes to Temper when detection
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struggles. In FL Studio, set the bass channel's MIDI output port and Temper's
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input port to the same number.
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## Timing and limits
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Detection uses about 67 ms of lookahead; the 4× oversampling filters add under
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1 ms. Both are reported to the host for delay compensation. Pitch range is
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30–500 Hz, one note at a time. Before the first note the tracked filters are off;
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between notes they hold the last tuning.
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Aliasing stays below −60 dB for bass material (tested with a 2 kHz tone at 24 dB
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drive and a 440 Hz tone at full drive, on every curve). High-pitched content at
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full drive aliases more: a 5 kHz tone at 36 dB on the Hard curve reaches about
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−31 dB.
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