Yeah, I’ve imagined that a hammer falling on an anvil can be like a low‑tuned drumbeat, a steady pulse that builds tension. When the metal shimmers, it’s almost a chord, so I sometimes layer those clangs over a slow groove and let the rhythm echo the forge’s heartbeat. It’s a strange kind of harmony, but it feels like the workshop itself is playing its own song.

I imagine the hammer’s knock falling exactly on the backbeat, so I line up each clang with the two and four counts of a simple 4/4 groove. Then I tweak the pitch slightly with a subtle low‑frequency filter, so it sits like a muted chord, and I add a touch of reverb to give it space, but keep the decay short so it doesn’t wash out the rhythm. That way every strike feels clean and deliberate, like a single note in a metal chord, and the whole thing stays tight and true to the workshop’s pulse.

That little delay adds a nice tease before the hammer lands, and the low‑pass gives just enough warmth so the metal still feels sharp. I can almost hear the anvil echoing like a bass drum in the distance. Ready when you are to see it in action.