Transient Designer
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• Corresponding adaptively to the duration of the original signal,
the sustain can be shortened more musically than with tightly
adjusted release times, effectively reducing crosstalk.
• When recording live drums or other instruments on a HD recor-
ding system, the Transient Designer prevents time-consuming
removing of crosstalk signals on the hard disk.
• It is possible to create unusual dynamic effects, including new
and interesting pan effects. If, for example, a mono loop is
patched through both channels of the Transient Designer
panned hard left and right in the mix, processing the left
channel with increased ATTACK and reduced SUSTAIN while
the right channel is adjusted in the opposite way, a very special
stereo loop sound is the result. You have to try this to appre-
ciate what it sounds like, but expect to hear a lot of unusual
stereo movement.
• By reducing ATTACK and increasing SUSTAIN, signals that are
too up-front sounding can be moved back into the mix.
Additionally the FX parts of too ”dry” signals are strengthened.
• Drum sounds are easier to integrate into the mix. If the acoustic
level of a snare is expanded to approxi4 dB by increa-
sing the attack value, the effective increase of peak levels in the
overall mix is merely about 0.5 dB to 1 dB.
• Used for guitar sounds, the Transient Designer softens the
instrument by lowering the attack. Alternatively, increasing the
attack lets the sound jump to the front of the mix, which works
particularly well for picking guitars.
• Distorted electric guitar sounds are already highly compressed,
leaving them with minimal dynamic range. This can obscure
the note attacks, but increasing the attack setting clarifies the
individual notes.
• High distortion also prolongs the sustain, broadening the
sound. Reducing the SUSTAIN setting counteracts those
effects.
• Increasing the sustain period of miked acoustic guitars
produces clearer audible stereophonic sounds. Reducing the
sustain value can help dry up the sound.
• When recording choirs, the effect of too much ”ambience” can
be reduced by using a lower sustain setting.
• Frequently keyboard and sample sounds are intensively
compressed leaving little of their original dynamic range.
Increasing the attack brings back the natural dynamics so the
sounds need less space in the mix and are easier to pick out,
even at lower levels.
• ”Budget“ drum machines can provide sounds and grooves that
sound far more powerful and dynamic.
Guitar & Bass
Backings
Keyboard, Sampler,
Drum Machine
Applications
