nvrl
c06d193b18
Upward and downward compression in four bands whose edges are harmonic numbers of the tracked note (default 1, 2-4, 5-16, 17 and up), so the same setting squashes the same harmonics on every note. A fixed-band OTT puts harmonic 2 of F1 and of C2 in different bands. - Three Linkwitz-Riley splits at sqrt(k(k+1)) x f0 with allpass compensation; at Depth 0 the bands sum within 0.05 dB. - Band level is the RMS over one period of the note, so heavy settings do not ripple at f0: a 40 Hz sine at Drive +12 dB, Time 10 % gets no harmonics above -110 dB. - At Depth 100 % on a saw, harmonics 1-12 change by the same amount on F1, C2 and G2 (within 0.2 dB). - Depth, Drive (on the detector only), Upward, Downward, Time, a gain per band; edges Low 1-8, Mid 2-16, High 3-48 with four splits. - Pitch from audio with about 67 ms lookahead, or from MIDI. - Editor: harmonic ruler with draggable edges, level and gain per band. - Catalog, workflows, editor-check, docs, signal chain and site copy.
98 lines
4.9 KiB
Markdown
98 lines
4.9 KiB
Markdown
# Planish
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Planish is upward and downward compression (OTT) in four bands whose edges are
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harmonic numbers of the played note. Current version **0.1.0**.
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Planishing hammers a metal surface smooth and even. OTT does the same to a bass:
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it pushes loud bands down and lifts quiet ones, and it is on almost every riddim
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patch. A normal OTT splits the bands at fixed frequencies, though. A split at
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88 Hz and 2.5 kHz puts harmonic 2 of F1 in the low band but harmonic 2 of C2 in
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the mid band, so the same setting squashes different harmonics on every note.
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Planish moves its band edges with the note: with the default split, band 1 is
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the fundamental, band 2 harmonics 2–4, band 3 harmonics 5–16 and band 4
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everything above, on F1 as on G2.
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## Install on Windows
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Copy `Planish.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 Planish in a mixer slot of the bass. Keep the font
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license with redistributed packages.
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## Work with it
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1. Play the bass. The note readout shows what Planish tracks. The ruler at the
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top shows harmonics 1–64 and the four bands; the columns below show each
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band's level (steel) and gain (pink for a cut, blue for a lift).
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2. Choose a split, or drag an edge on the ruler:
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- **Classic** (1, 2–4, 5–16, 17+, the default): fundamental on its own.
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- **Sub + body** (1–2, 3–6, 7–24, 25+): the octave stays with the sub.
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- **Tight** (1, 2, 3–8, 9+): close control of the first harmonics.
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- **Wide top** (1, 2–3, 4–32, 33+): one big mid band, the top is fizz only.
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3. Set the amount:
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- **Depth** blends each band with its compressed copy. 0 % is a clean sum
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of the bands; the default is 50 %.
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- **Drive** moves the band levels against the thresholds: more drive, more
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squash. It does not change the level by itself.
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- **Upward** and **Downward** scale the two directions. Downward pushes a
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band above −30 dB down at about 20:1; Upward lifts a band below −42 dB at
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about 4:1, by at most 24 dB.
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- **Time** scales every attack and release. Lower bands are slower: at
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100 %, attack is 30, 15, 8 and 4 ms and release 200, 160, 120 and 90 ms
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from band 1 to band 4.
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4. **Band 1–4** set each band's gain after its compressor. Like the
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compression, they are scaled by Depth.
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**Output** trims the level. **Bypass** crossfades to the delayed dry signal.
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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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and when Planish comes after Knurl, select **MIDI** and route the bass's MIDI
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notes to Planish. In FL Studio, set the bass channel's MIDI output port and
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Planish's input port to the same number. **Gate** sets the input level that
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counts as a note in AUDIO mode. **Snap to semitone** rounds the detected pitch;
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it is off by default, because the level is measured over one period of the
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pitch in use, and a detuned patch fits its real period better.
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## Measured
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- At Depth 0 the bands sum flat: sines from 35 Hz to 12 kHz come out within
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0.05 dB.
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- The same setting changes the same harmonics on every note. At Depth 100 %
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on a saw bass, harmonic 1 is cut by 13.6 dB on F1, C2 and G2; harmonics 1–12
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differ by less than 0.2 dB between the three notes.
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- No ripple at the fundamental. A 40 Hz sine at Drive +12 dB and Time 10 % gets
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no harmonics above −110 dB.
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## Timing and limits
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Planish delays the audio by about 67 ms of pitch-detection lookahead and
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reports it to the host for delay compensation, so the edges are on the new note
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when its attack leaves the plugin. Pitch range is 30–500 Hz, one note at a time.
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Before the first note the edges sit on 55 Hz; between notes they hold the last
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note.
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An edge is a slope, not a wall. The crossovers are 24 dB per octave, so the
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harmonics next to an edge partly reach the next band, by the same amount on
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every note. Both channels get the same gain per band, so the stereo image does
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not move. Quiet signals below about −84 dB are not lifted, so noise floors and
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tails stay down.
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Planish detects the pitch like Lathe and Temper. Put it before Knurl, or use
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MIDI: see [Signal chain](../chain.md).
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## How it works
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A note tracker (shared with Anvil, Lathe, Temper and Knurl) detects pitch and
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note starts ahead of the delayed audio. Three Linkwitz–Riley crossovers split
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the signal at √(k(k+1)) × f0, halfway in log frequency between harmonic k and
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k+1, and allpasses keep the lower bands in phase with the upper ones, so the
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bands sum to an allpass. The crossovers retune every 16 samples and glide with
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**Smooth** on bends. Each band's level is the RMS over exactly one period of
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the note, so a steady note gives a steady level and the gain does not wobble
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at f0. The level goes through attack and release smoothing, then a static
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curve with an upward and a downward threshold sets the gain.
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