ANVIL is a semi-modular percussive synthesizer featuring an 8-step sequencer and a 4-slot modulation matrix. Two oscillators, a self-oscillating ladder filter, and two attack/decay envelopes can be freely patched across four modulation matrix slots. It creates kicks, snares, and percussions, as well as metallic sound effects, evolving drones, and rhythm patterns with per-step panning.
It includes 20 factory presets. F01–F12 demonstrate how individual features work one by one, while F13–F20 are ready-to-use patterns for your tracks. A quick way to explore is to audition the later presets to get a feel for the sound, and then inspect the earlier presets to see how they are built.
ANVIL onto an instrument track in your DAW.F02 Deep Kick.PITCH lane up or down to change the pitch of each step. The center position is 0.CUTOFF and RESO, along with VCF EG DECAY, to shape the texture.SOURCE and DEST, then set the amount with the slider on the right. Negative values are also supported.To audition sounds while playback is stopped, play a MIDI note.
The sequencer runs automatically only while the host is playing. To audition sounds while your DAW is stopped, play a MIDI note. Each note triggers the current step and advances the sequencer by one step.
Tri (triangle), Saw (sawtooth), Sqr (square), and Sin (sine). Tri and Sin have fewer harmonics and suit low end, while Saw and Sqr sound bright and forward.FREQ extends down from 5 kHz to 5 Hz. Setting it below the audible range turns it into a slow fluctuation rather than a musical pitch, allowing it to serve as a modulator via the MOD MATRIX. This is why ANVIL does not need a dedicated LFO.EG AMT sets how much VCF EG modulates pitch. Positive values create a downward pitch sweep falling from high to FREQ. This is where kick punch is shaped. Negative values produce an upward pitch movement.SUB waveform can be switched between Sub Sin (sine) and Sub Sqr (square) in the VCO 1 switch row. The default is sine. While square adds harmonics and bite, dropping FREQ low can introduce a click at the onset of hits. Keep it set to sine for low-pitched sounds.SEQ off causes that oscillator to ignore sequencer pitch, holding a constant pitch. Use this when you want to lock one oscillator's pitch.SYNC (on VCO 2) enables hard sync. VCO 2's waveform resets forcefully in sync with VCO 1's cycle, producing a sharp, metallic character.FM AMT and 1→2 / 2→1 provide frequency modulation between the two oscillators. Use these to create bells and inharmonic percussion.SUB adds a source one octave below VCO 1. Turn this up when you want to thicken the foundation of kicks or bass. You can also set VCO 1 to 0 to hear only SUB.CUTOFF determines brightness, and RESO controls sharpness. MODE selects low-pass (LP) or high-pass (HP).RESO to maximum causes the filter to self-oscillate and produce sound on its own without any input. This is by design, functioning as a clean, near-sine sound source. F08 Self Osc Sine is an example.EG AMT sets how much VCF EG modulates cutoff. Negative values are also available.DRIVE controls input gain before the filter stage. Higher values add warmth and grit.EG AMT) oscillator pitch, while VCA EG modulates amplitude.VEL on VCA EG determines how much the sequencer's VEL lane and incoming MIDI velocity affect volume. Setting it to 0 gives every step equal volume.-24 dB to +12 dB.SOURCE (modulator) → DEST (destination), then adjust modulation depth with the slider on the right.None appear dimmed, making active slots easy to spot at a glance.Using oscillators as modulation sources is where ANVIL shines.
Try lowering VCO 2 FREQ to around 8 Hz, then patch VCO 2 → VCF Cutoff in the MOD MATRIX. Instead of relying on a dedicated LFO, the oscillator acts as a direct modulation wobble. Turning it back into the audio range instantly turns it into audio-rate modulation.
PITCH, VEL (velocity), and PAN with dedicated per-step knobs. PITCH and PAN center at 0 and move in either direction.PITCH and PAN knobs center at 0, with indicator rings spreading from center: left for negative values, right for positive values.RUN off stops automatic playback (MIDI triggering remains active).RATE sets step duration, LEN sets pattern length (1–8), SWING delays even steps, and DIR sets playback direction (Fwd / Rev / Pendulum / Random).QUANT to Semitone quantizes PITCH to semitones. The default is Off (continuous values), which is ANVIL's standard behavior.RANGE sets the pitch scale of the PITCH lane: +/-5 (subtle pitch variations), +/-12 (1 octave), or +/-24 (2 octaves).WIDTH controls the depth of per-step panning. Setting it to 0 centers all steps for pure mono output.VEL to 0 creates a rest. No sound triggers on that step, and the previous hit continues decaying uninterrupted. Use this to create sparse patterns without triggering all 8 steps.Lane Macros (Below Each Lane)
SCALE on PITCH and VEL scales modulation depth while preserving the relative pattern contour. Setting it to 0 flattens the lane; restoring it brings back the original contour (programmed values are not lost).SPREAD on PAN controls stereo width.SAVE saves user presets, and DEL deletes them. Factory presets beginning with F cannot be deleted.Export current... at the bottom of the list to export the current patch to any folder, and Import... to import files. Use this to transfer sounds to another machine.TIPS button at the right end of the bar. This setting persists across sessions.SET A (it will light up).SET B.MORPH slider to continuously morph between A and B.MORPH does nothing until both buttons are lit. With only one side captured, there is no destination to morph toward.MORPH can be automated in your DAW. This is the primary purpose of the feature: moving dozens of parameters through a single automation lane.SET button again clears that snapshot.SET button again. Turning knobs while MORPH sits at 0% or 100% does not update stored snapshots. Moving MORPH recalls the stored snapshot, discarding unsaved tweaks unless re-captured.MIDI CC Learn enters standby mode, and the target control's outline flashes. Moving a knob or fader on your external MIDI controller assigns the first received CC number.[CC nn] at the end of their InfoBar description.While the sequencer operates on its own, sending MIDI notes unlocks two capabilities:
PITCH lane.RATE grid without touching the sequencer.VEL lane, allowing dynamic accents from MIDI notes.Note length has no effect. Do not send chords.
Because the envelopes feature only attack and decay without sustain or release, holding longer notes does not extend sound duration. Only note onset, pitch, and velocity matter.
Additionally, ANVIL is monophonic and advances one step per note. Playing a 3-note chord advances three steps at once. Always send single notes.
The base pitch of the oscillator. Sequencer pitch, MIDI notes, and modulation all shift relative to this baseline.
5 Hz. Sub-audible frequencies act not as audible pitch, but as modulation wobble via the MOD MATRIX.110 Hz (both VCO 1 and VCO 2)Modulation depth of VCF EG onto pitch. One of the most critical parameters for percussive punch.
FREQ, typical for kicks and toms. Negative values sweep upward.DECAY. Short decay creates tight clicks, while longer decay produces heavy drops.0.00Frequency modulation from one oscillator onto the other. 1→2 or 2→1 selects direction.
FREQ values dictates harmonic character. Near-integer ratios create bells; dissonant ratios yield metallic clangs.0.00 / 1→2Filter cutoff frequency and resonance sharpness.
RESO to maximum causes self-oscillation. Even with all MIXER sources set to 0, a near-sine tone continues sounding, usable as a standalone oscillator.1200 Hz / 0.20Modulation depth of VCF EG onto filter cutoff. Shapes the opening and closing movement of percussion hits.
+0.60Pre-filter input drive. Higher values add saturation and alter resonance behavior.
0.25Attack and decay times. For percussion, keeping ATTACK near minimum while shaping with DECAY alone is standard.
DECAY controls overall sound duration, while VCF EG DECAY controls filter sweep duration. Setting VCF EG shorter creates an attack with bright bite followed by a sustained body.1 ms / 250 ms, VCA EG 1 ms / 180 msPer-step pitch offset centered at 0. Modulation depth is set by RANGE in the transport row.
QUANT to Semitone to snap to semitones.RANGE to +/-5 increases knob resolution for easier fine-tuning.0.00 (center) / RANGE +/-12Per-step stereo positioning and overall stereo width.
WIDTH to 0 to check mono compatibility; all steps will collapse to center.0.00 (center) / WIDTH 1.00Controls playback flow and groove.
SWING delays even steps (2, 4, 6, 8).LEN sets pattern length in steps (1–8). Setting it to 4 loops back after 4 steps.Pendulum bounces back and forth without repeating the ends (1→8→2, a 14-step cycle). Random picks a step at random on each advance.0.00 / Fwd / 8VCO 1 FREQ: 55 Hz / Tri
VCO 1 EG AMT: +0.45 Positive for downward pitch sweep
MIXER: VCO1 1.00 / SUB 0.25 (Sub Sin) / VCO2 0.00 / NOISE 0.00
VCF CUTOFF: 900 Hz
VCF DRIVE: 0.65
VCF EG DECAY: 200 ms
VCA EG DECAY: 400 msThe key is not to push SUB too high. While it thickens sub frequencies, setting it too low makes the sound completely inaudible on laptop or smartphone speakers. Low end is defined not just by amount, but by which octave it occupies.
Always adjust VCA EG DECAY while playing a pattern rather than auditioning single hits. A decay that feels great on a single hit will often bleed into subsequent hits during continuous playback, making the pattern muddy.
MIXER: VCO1 0.25 / VCO2 0.20 / NOISE 1.00
VCF MODE: HP
VCF CUTOFF: 2200 Hz
VCF RESO: 0.72
VCF EG DECAY: 120 ms
VCA EG DECAY: 170 msMIXER: VCO1 0.00 / VCO2 0.00 / NOISE Tiny amount
VCF RESO: 1.00
VCF EG AMT: 0.30
VCA EG DECAY: LongSEQ DIR: Random
SEQ SWING: 0.50
SEQ RANGE: +/-12
SEQ PAN: Odd steps Left / Even steps Right
OUT WIDTH: 1.00Try VCF EG → VCF Cutoff in the first MOD MATRIX slot.
While it performs the same function as EG AMT in the VCF section, patching it through the MOD MATRIX lets you layer modulation amounts independently. You can use one for broad shaping and the other for fine adjustment.
| Item | Details |
|---|---|
| Supported OS | Windows 10 / 11 (64-bit), macOS 11 or later (Apple Silicon / Intel) |
| Plugin formats | Windows: VST3 / Mac: VST3, AU (Instrument) |
| Supported DAWs | VST3 or AU compatible DAWs (tested with Ableton Live) |
| Polyphony | Monophonic (1 voice at a time; load multiple instances for layering) |
| Output | Stereo |
| Sample rates | 44.1 kHz – 192 kHz |
| Latency | A small latency is introduced for sound quality. It is automatically reported to the DAW, so recording positions will not shift. |
| Window size | 1200 × 750 px (fixed) |
| Screen language | Japanese / English (English when the OS display language is not Japanese) |
ANVIL.vst3 folder to the following location:C:\Program Files\Common Files\VST3\ANVIL.vst3 to ~/Library/Audio/Plug-Ins/VST3/, and copy ANVIL.component to ~/Library/Audio/Plug-Ins/Components/ (where ~ represents your home folder. In Finder, open the "Go" menu, choose "Go to Folder...", paste the path, and press Return. If the folder does not exist, create it).cd ~/Library/Audio/Plug-Ins
xattr -dr com.apple.quarantine VST3/ANVIL.vst3
xattr -dr com.apple.quarantine Components/ANVIL.componentIf nothing is displayed in Terminal, the command succeeded. Without running these commands, macOS will display messages like "is damaged and cannot be opened" or "cannot check it for malicious software", preventing the DAW from loading the plugin. These commands simply remove the quarantine attribute attached by macOS to downloaded files. You must run these commands again if you reinstall or update the plugin.
Delete the C:\Program Files\Common Files\VST3\ANVIL.vst3 folder. To completely remove user presets as well, delete %APPDATA%\Tonecraft Tokyo\ANVIL\.
Delete ANVIL.vst3 and ANVIL.component. To completely remove user presets and settings as well, delete ~/Library/Tonecraft Tokyo/ANVIL/ and ~/Library/Application Support/Tonecraft Tokyo/ANVIL/.
C:\Program Files\Common Files\VST3\, and perform a plugin rescan in your DAW. Copying while the DAW is running may prevent immediate detection.~/Library/Audio/Plug-Ins/VST3/ for VST3, ~/Library/Audio/Plug-Ins/Components/ for AU), that the Terminal commands were executed, and perform a plugin rescan. If AU does not show up in Logic Pro or other DAWs, restart your Mac.RUN is not turned off, and that the four MIXER levels (VCO1 / SUB / VCO2 / NOISE) are not all set to 0.RESO to maximum causes the filter itself to oscillate. This is by design. Lower RESO to silence it.PITCH lane is continuous (unquantized) by default. Switch QUANT to Semitone to snap to semitones. You can also adjust pitch range with RANGE.WIDTH to 0 to center all steps into mono.SAVE.MORPH changes nothing
SET A and SET B are illuminated. With only one side captured, there is no destination to morph toward, so MORPH does nothing.MORPH
SET A / SET B was pressed. When editing at an extreme (0% / 100%), press that end's SET button again to store your changes.DECAY on VCA EG.VEL set to 0 are rests; they do not trigger a new hit, allowing the previous hit to ring out naturally. Shorten VCA EG DECAY if you want shorter decay.SUB introduces clicks or pops on note onset
SUB waveform is set to Sub Sqr (square). For deep bass frequencies, Sub Sin (sine, default) is recommended.SUB and raise VCF CUTOFF to emphasize audible fundamentals and harmonics.