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Quench splits the signal with a Linkwitz-Riley crossover and lets the sub pass unclipped. The top is clipped symmetrically at the ceiling minus the sub's held peak, so it does not pump at the sub's rate and the sum stays under the ceiling. What the clip removes is high-passed at the split, so its products stay out of the low band. Two correction passes and an oversampled hard clip hold the ceiling; a safety clip catches the downsampler's ringing. - Controls: Drive, Ceiling, Split, Hold, Soft, Bypass. - Listen to Quench, a plain clipper at the same settings, or the delta. - Editor meter compares how much the low band changed for Quench and for a plain clip, with a scope of the output, the sub and the top's room. - Measured: sub level +0.04 dB against -2.2 dB for a plain clip, low-band products -35 dB against -16 dB, at 0.5-1.2 dB less RMS. - Registered in the catalog, workflows, editor-check, README, chain and development docs, and the website copy.
105 lines
4.8 KiB
Markdown
105 lines
4.8 KiB
Markdown
# Quench
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Quench clips the top of the mix as hard as you like and lets the sub pass clean.
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Current version **0.1.0** (unreleased).
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Riddim and dubstep masters are clipped hard. A plain clipper clips the sum of
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the sub and everything above it. Near the sub's peaks only one side of the top
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gets clipped, so the clipping takes energy out at the sub's rate: the sub loses
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level, and the low end fills with products that were not in the mix. Quench
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splits the signal at a frequency you set, never clips the sub, and clips only
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the top, in the room the sub leaves under the ceiling.
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## Install on Windows
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Copy `Quench.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 Quench last on the master or on the bass bus. Keep the
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font license with redistributed packages.
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## Work with it
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1. Put Quench where you would put a clipper: last on the master, or last on
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the bass bus. Before a true-peak limiter is fine.
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2. Set **Ceiling**, the highest output peak.
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3. Set **Split** above the highest sub note, or at Anvil's Split when Anvil
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makes the sub. Everything below Split passes without clipping.
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4. Raise **Drive** until the top clips as hard as you want. The panel shows
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how far the top is clipped.
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5. Press **PLAIN** to hear a plain clipper at the same settings, then
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**QUENCH** again. **DELTA** plays only what Quench takes away. The listen
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choice is not saved and goes back to QUENCH when the editor closes.
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The panel shows:
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- **Low end changed by**: how much the band below Split differs from the
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input, against the sub's level, for Quench and for a plain clip of the same
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signal. Lower is cleaner. It reads "—" when no sub plays.
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- **Top clipped by**: how far the top's loudest peak went past its room.
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- **Sub peak · room left**: the sub's peak after Drive and the room it leaves
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the top under the ceiling.
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- The scope: the output (grey), the sub band (blue), and the sub plus or minus
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the top's room (thin lines). The output stays between the thin lines.
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Other controls:
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- **Hold** keeps the room the sub's peak needs for this long. With a hold
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longer than half a period of the lowest note (17 ms at 30 Hz), the top's
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clip level stays steady through the sub's cycle and the top does not pump
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with the sub. Shorter holds give the top a little more room between sub
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peaks, and that room then changes at the sub's rate.
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- **Soft** bends the top's clip: 0 % is a hard clip, 100 % a soft curve from
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the start. The ceiling stays a hard limit.
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- **Bypass** crossfades to the input, delayed by the latency.
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When the sub alone reaches the ceiling, the top has no room left. The panel
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then warns: lower Drive or the sub. A safety clip still holds the ceiling, and
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that clip does cut the sub.
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### How it works
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A Linkwitz–Riley crossover splits the signal at Split. The sub passes. The top
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is clipped symmetrically at the ceiling minus the sub's held peak, so the sum
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of sub and top never goes over the ceiling.
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Clipping the top also makes products below Split, for example difference
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tones between its partials. Quench high-passes what the clip removed at Split,
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so those products do not reach the low band. High-passing lets a few peaks
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overshoot. Two correction passes clip those again and high-pass the correction,
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and a final hard clip at the ceiling takes the small rest. All of this runs at
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4× oversampling. A safety clip after the downsampler catches the filters'
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ringing; it reads "idle" or a few hundredths of a dB.
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Measured on a 50 Hz sub at −10.5 dBFS under a top of five unrelated partials
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peaking about 6 dB over the ceiling:
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| | Sub level | Low-band products |
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| --- | --- | --- |
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| Plain clip | −2.2 dB | −16 dB |
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| Quench | +0.04 dB | −35 dB |
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Low-band products are everything below 110 Hz except the sub, against the
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sub's level.
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Quench pays for this in loudness. The top gets the room on the sub's quieter
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side only, so at the same ceiling Quench measured 0.5–1.2 dB lower in RMS
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than a plain clip. Add Drive to make up for it.
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## Timing and limits
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Latency is the oversampling filters: 37 samples (0.8 ms at 48 kHz), reported
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to the host for delay compensation.
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The split is a slope, not a wall. A top whose own fundamental lies near
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Split, for example a distorted patch an octave above a 49 Hz sub, is partly in
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the sub band. That part passes unclipped and takes up room, and Quench helps
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less there: on a saw top at 98 Hz it changed the low end about as much as a
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plain clip. Keep the top's lowest partial at least an octave above Split.
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Quench keeps the ceiling on sample peaks. True peaks between samples can
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still go a little over it: put a true-peak limiter after Quench if the master
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needs one. Each channel is clipped on its own; Quench does not link the
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channels or turn the sub to mono.
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