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- Anvil 0.3.0: Ghost harmonics, Phone listen, Kick lock and the offset audition. Anvil now has a Kick sidechain input. - Weld 0.3.0: delay spread display. - Braze 0.1.0: first release. - Mark the released items in docs/ideas.md and add Braze to the release table.
128 lines
6.1 KiB
Markdown
128 lines
6.1 KiB
Markdown
# Anvil
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Anvil gives every bass note the same solid sub. Current version **0.3.0**.
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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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6. Turn on **Phone** to check the drop the way phones and laptop speakers play
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it: mono, nothing below 400 Hz. A clean sub vanishes there. If the note
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disappears with it, raise **Ghost**.
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### Ghost harmonics
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Phone speakers play almost nothing below 300–500 Hz. A clean 50 Hz sub sends all
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its energy below that, so on a phone the note is gone. The ear rebuilds a note's
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pitch from its harmonics, so harmonics alone carry the note.
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**Ghost** adds the sub's harmonics 2–10 above **Ghost from**, falling 1/k like a
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saw. At 100 %, harmonic k sits at 2/k of the sub's level. They fade in over half
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an octave above Ghost from, and never reach below Split. The sub itself does not
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change, so the weight on a club system stays where Sub level puts it.
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Anvil measures each harmonic of the patch above the split and adds only what is
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missing. A harmonic the patch already has meets an added one at an unrelated
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phase and could cancel it, so Ghost leaves those alone. The inset in the scope
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shows both, per harmonic: what the patch carries (grey) and what Ghost adds
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(accent). A riddim patch usually needs little; 808s and clean sine subs need the
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most. Each new note is measured from its first 60 ms; during that time every
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harmonic counts as missing.
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Drive works differently: it saturates the sine itself, adds only odd harmonics,
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and changes the sub's own shape.
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### Kick lock
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With **Retrigger**, every note starts at Phase, but a kick that falls in the
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middle of a long note meets the sub at whatever phase it has reached. Kick lock
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listens to the kick through the sidechain. On each kick it dips the sub by
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**Duck** (coming back over **Release**) and restarts the sub at Phase, so the
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kick and the sub meet the same way on every hit.
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Set it up in FL Studio:
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1. Select the kick's mixer track. Right-click the route arrow under the bass
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bus and choose **Sidechain to this track**. The kick still goes to the
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master on its own; the sidechain only lets Anvil hear it.
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2. In Anvil's plugin wrapper, open the settings (gear icon) and set the
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sidechain input to the kick's track.
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3. Turn on **Kick lock**. The kick count under the switch must rise with the
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kicks.
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**Offset** moves the restart against the kick, from 30 ms before it to 30 ms
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after. Kicks are found on the undelayed sidechain, so with the lookahead the
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sub can restart before the kick is heard.
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Where the kick and sub sound like one hit is not always where they sum
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loudest: offsets one period of the note apart sum the same, and the attack of
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the kick decides where the hit is heard. So the offset is set by ear:
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1. Turn on **Audition** and play a loop with kicks and a long bass note. Each
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offset from −30 to +30 ms plays for 4 kicks; the line under the bars says
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which one plays now.
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2. Press **Keep** when kick and sub sound like one hit. Offset takes that
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value and the audition stops.
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The bars show, per offset, how the kick and the sub summed below 150 Hz in the
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60 ms after each hit: +3 dB is a full sum of equal levels, 0 dB unrelated,
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below 0 dB they cancel. Use them to check the choice, not to make it.
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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** saturates the sine: odd harmonics and a thicker sub.
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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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If Knurl is on the bass before the bus, use **MIDI**: Knurl's patterns make
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detection read notes from C2 upwards an octave low. See
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[Signal chain](../chain.md).
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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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