Hi Ruben,Thanks for this great explanation about how the transient designer came about.As for the Ferrari, I could suggest a pair of transducers that one could wear on the head to listen to music, but with a extremely extended, unfocused bass response. If you can convince a really famous producer to sign it off as co creator, you might just hit that sweet million dolar spot.Eh?
Transient designers have and always will be an essential tool used in almost every mix I have ever worked with. The thought of not having one in my arsenal would limit me in so many ways. If you produce or mix music and don't own a transient designer, seriously think about purchasing one.
In total at Audio Animals we own 4 different transient designers. Each are slightly different and have their own unique purpose in the mix. The 4 transient designers we own and use here are, the Oxford Envolution (UAD plugin), Elysia Nvelope (plugin), Elysia Nvelope (500 series hardware) and the old faithful the SPL Transient Designer (UAD Plugin).
In this article we are going to review the SPL transient designer. With 3 controllable knobs this is by far the simplest transient designer on the market. Think of a transient designer much like the ADSR found on a synthesizer.
The SPL transient designer is and always will be my go to transient designer. The simplicity of the unit means it is low in CPU intensity. As well as being so easy to use, even a beginner can get their head around it within 5 minutes. It can be used on various audio sources but drums are really where it becomes an essential tool.
What Is A Transient DesignerA transient designer is a simple tool used to shape transients. It can be used to add snap/click, as well as increase the decay / sustain of your audio source. An essential tool when working with drums both live and electronic.
Another great use for the transient designer is vocals. On many occassions I've needed to reduce the amount of attack in a vocalists voice and increase the sustain on the vocal tails. This will result in a lot smoother and more full vocal.
A transient designer can be used with great effect on kicks and snare drums. Used correctly in the correct chain working with the compressors, a transient designer can really bring a kick and snare to life. Punching drums through the mix for the ultimate impact.
A transient designer can be used in a number of less conventional ways too. Adding one to a reverb for instance, you can begin to tailor the tails of the reverb to give a more fuller release. This can be done by increasing the sustain.
In conclusion if you are thinking of picking up a transient designer, swing by the plugin alliance shop and take a good took at the SPL transient designer. If you haven't already got one, get one. It'll soon become an essential part of creating your sound. There are a few different versions of the SPL transient designer to choose from. Choosing the right one for your needs is important. Some have more features than others.
SPL Transient DesignerClassic SPL transient designer which was used in this review. Can be bought native or on the UAD platform. This model includes both the attack and sustain feature. In my personal opinion if you can stretch to spend a little more go with this version as the sustain feature is incredibly important. Increasing the sustain knob will make drums sound fuller and decreasing the sustain knob will make drums sound sharper and tighter. All round great tool essential for music that incorporates drums. Which is 99.9% of produced music. Buy here £149.
The DS-10 is as much a sound designer tool as it is a transient shaper. The developers made the three modes to help you get the best tone out of your transients. The fact that the Mojo knob lets you dial in or out as much character as you need puts you in control of your sound. You can reduce the ambiance in the drum bus, define your kick and snare, or even experiment with other instruments.
Traditionally, one might reach for a dynamic processor, such as a compressor, to tame those spikey transients. Some might even consider re-recording the sound altogether. Instead, slap on a transient designer and dial back the attack just slightly.
You can produce some pretty interesting effects by increasing the sustain control on your transient designer. The sound of increased transient designer sustain is often compared to that of a driven compressor. You can think of this as a creative effect to increase volume and add character rather than solving a particular problem.
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