Bit Splitter vs Latch Tuner

BIT SPLITTER A bit-plane manipulator. The input is scaled and quantized to an 8-bit value, then a single bit-plane of that value is used to reshape the signal. Where a bit crusher reduces resolution and hands back a degraded copy of the sound, the bit splitter operates on one specific bit and can either output that bit on its own, use it to gate the input, or mask the signal down to a chosen number of bits. MODES ISOLATE Outputs the chosen bit-plane on its own as a bipolar square wave. The most-significant bit behaves like a sign comparator, producing a hard square that tracks the waveform; lower bits flip more often as the amplitude moves, giving increasingly noisy, aliased fuzz. This is the most literal reading of splitting a bit out. GATE Passes the dry input only while the chosen bit is high, and mutes it otherwise. The signal is chopped by its own bit-plane, producing glitchy, rhythmic gating that still carries the source material underneath. MASK Zeros every bit below the chosen one and reconstructs the result to audio. This is a bit-depth reduction in which BIT sets how many low bits are discarded: at 0 the signal is untouched, at 7 only the most-significant bit survives (1-bit). Closest of the three to a classic crusher, but with arbitrary bit selection. CONTROLS BIT In Isolate and Gate, selects which bit-plane is used, from 0 (LSB) to 7 (MSB). In Mask, sets the lowest bit that is kept, so it acts as a resolution control. Lower bits track fine detail and toggle rapidly; higher bits track the gross shape of the waveform. Range: 0 to 7 THRESH Input drive into the quantizer. The signal is divided by this value before being mapped to a byte, so lower settings push the signal harder into the 8-bit range (clipping into it sooner) while higher settings keep it quieter and more centered. It changes which bits are active for a given input level, and so reshapes the character of every mode. Range: 0.01 to 2.0 MODE Selects the bit-plane operation: Isolate, Gate, or Mask (see above). Switching mode changes what BIT means, so the two are best adjusted together. MIX Controls the balance between the unprocessed (dry) input and the processed (wet) output. At 0% only the dry signal is heard; at 100% only the processed signal passes through. Intermediate values produce a linear crossfade, useful for blending the harsher modes back under the source for parallel-style processing. Range: 0% to 100%

Know the note. Get the numbers. Back to the beat. Ordinary tuners are built for long, sustained notes. Play a one-shot through one and the needle jumps around during the attack, then goes blank before you can read it. Latch Tuner is built for how producers actually work: it skips the attack, measures the body of the sound, and holds the answer on screen after the sample has ended. How it works. You chopped a bass note from an old record and it's fighting your track. Insert Latch Tuner on the channel, trigger the pad once, and it reads: E3 −26.5 ¢ · 324.6 Hz · MIDI 64 Set TARGET to the note you actually want — say C3 — and it does the conversion for you: SEMI −4 · FINE +27 Those are the two numbers your sampler's pitch controls take. Type them in, retrigger, done. No looping the sample into a phone tuner, no guessing against a piano. Two modes. • LATCH — for one-shots, chops, plucks, vocal stabs and 808s. Transient-aware capture holds the reading until you clear it. Capture history keeps your last few results on screen, so you can work through a whole kit without writing anything down. • LIVE — stop switching apps to tune. A straightforward in-line tuner for guitar, synth and voice, docked in a corner of your session. It tells you when it isn't sure. A gliding 808 or a weak fundamental reads as low confidence rather than a confident wrong answer. A chord reads as its root, flagged rather than asserted. Noise and washed-out chops report no clear pitch, because there isn't one. Tap PLAY to hear a reference tone against the sample and decide with your ears — below ~80 Hz the tone adds an octave-up partial so you can hear it on a device speaker. Speaks sampler. Note name, cents, frequency and MIDI note number, plus the SEMI/FINE correction to your chosen target. Samplers disagree about octave numbers, so the readout shows its convention next to every answer — and a C3/C4 toggle matches it to yours. It can't silently put you an octave off. Adjustable reference pitch (440, 432, 442…). Runs where you work. An AUv3 audio effect — use it in AUM, Koala, GarageBand, or any other AUv3 host. Plus a standalone app that listens through the mic. Audio passes through untouched. One-time purchase. No subscription, no ads, no account. Everything is analyzed on-device; nothing is recorded or uploaded.