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Adds a detuned copy of the bass whose beating stays on the tempo grid on every note. The chosen harmonic k beats once per Rate note value, and harmonic n beats n/k times as fast, so every harmonic is on the grid. - The copy is read from a delay line whose delay falls one period of the tracked note per beat cycle (r = 1 + B/(k f0)) and jumps back exactly one period, crossfaded over 6 ms. On a periodic note the jump has no seam: the output matches the ideal sum within 0.003 on harmonics 1-4. - The delay follows the host's beat position, shifted by the lookahead, so beat peaks land on the grid; free-running when stopped. - Low cut: LR4 high-pass on the copy, the bass split by the same crossover, so the sub does not beat and keeps its level. - Depth, Width, Phase, Gate, Output, Snap, Bypass. Pitch from audio (about 67 ms lookahead) or MIDI. - Editor: one bar of the beat per harmonic with the grid and a playhead. - Catalog, workflows, editor-check, docs, signal chain and site copy.
78 lines
3.5 KiB
Markdown
78 lines
3.5 KiB
Markdown
# Braze
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Braze makes a reese's movement play in time. Current version **0.1.0**
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(unreleased).
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Two layers detuned against each other beat: harmonic k of a note at f0 swells
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and fades k·f0·(r − 1) times per second, where r is the detune ratio. With a
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fixed detune that rate changes with every note, so the movement of a reese
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never lines up with the track. Braze adds a detuned copy of the bass and sets
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its detune on every note so that the beating follows the tempo.
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## Install on Windows
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Copy `Braze.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 Braze in the 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. Put Braze on a single bass layer: a plain saw, or a reese whose own detune
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you have turned down.
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2. Pick **Rate**: the note value one beat lasts. 1/8 at 140 BPM is 4.67 beats
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per second.
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3. Pick the **harmonic** that should beat at Rate. Harmonic n beats
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n/harmonic times as fast, so all of them beat on the grid: with harmonic 4 at
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1/8, harmonic 2 beats in quarters, harmonic 8 in sixteenths, harmonic 3 in
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quarter triplets.
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4. Set **Depth**. At 100 % the beating goes down to full nulls; 50–70 % keeps
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the note present.
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5. Use **Phase** to move where the beat peaks. At 0° all harmonics peak
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together on every beat of the chosen harmonic's cycle.
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The display shows one bar: a row per harmonic with the level it gets from the
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beating, the grid at Rate, and the playhead.
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Other controls:
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- **Low cut** removes the copy below a frequency, so the sub does not beat.
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The sub keeps its level. Harmonics under the cut show *cut* in the display.
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Under 20 Hz the cut is off. If the chosen harmonic is under the cut on a
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note, it does not beat: the note panel says so; pick a higher harmonic.
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- **Width** moves the right channel's beat against the left, up to half a
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cycle. At 100 % one side peaks while the other nulls. Check the mono sum.
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- **Gate** is the input level that counts as a note.
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- **Snap to semitone** rounds the detected pitch. Leave it off on detuned or
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bent notes: the copy jumps by one period of the pitch in use.
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### How the detune is made
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The copy is the bass read from a delay line. Its delay falls by one period of
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the note per beat cycle of the chosen harmonic, which tunes the copy up by
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exactly r = 1 + B/(k·f0) (B: beats per second, k: the chosen harmonic). When it
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has fallen a whole period, it jumps back by one period: on a steady note both
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read positions hold the same waveform, so the jump is crossfaded over 6 ms
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without a seam. At a beat peak the copy lines up with the bass sample for
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sample.
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The low detune that low notes need is large: harmonic 1 at 1/8 and 140 BPM on
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F1 (43.7 Hz) is r = 1.107, about 1.8 semitones. Higher harmonics need less:
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harmonic 4 asks for about 45 cents on F1.
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## Timing and limits
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Detection uses about 67 ms of lookahead, reported to the host for delay
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compensation. Pitch range is 30–500 Hz, one voice. The beat position comes from
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the host while it plays, shifted by the lookahead so the beat stays on the
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timeline. When the host is stopped, the beat runs on freely at the last tempo.
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Noise, chords and the attack of a note are not periodic, so the copy's jumps
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are heard there as a short blur. Before the first note, the copy assumes 55 Hz.
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Braze changes the waveform in time, so pitch detection after it can be less
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sure: put tracked plugins before Braze, or use MIDI. See
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[Signal chain](../chain.md).
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