User manual SPL TRANSIENT2

[. . . ] Manual Transient Designer DUAL-CHANNEL, Model 9946 Dual-Channel Dynamic Effect Processor Transient Designer Manual Dual-Channel, Model 9946 By Hermann Gier and Paul White Version 1. 0 - 07/1999 The information in this document has been carefully verified and is assumed to be correct. However Sound Performance Lab (SPL) reserves the right to modify the product described in this manual at any time. This document is the property of SPL and may not be copied or reproduced in any manner, in part or full without the authorisation of SPL. Limitations of Liability: In no event will SPL be liable for any damages, including loss of data, lost profits, cost of cover or other special, incidental, consequential or indirect damages arising from the use of the unit, however caused and on any theory of liability. This limitation will apply even if SPL or an authorised dealer has been advised of the possibility of such damage. SPL electronics GmbH P. [. . . ] For the first time the Transient Designer provides the technology to manipulate the attack and sustain characteristics of a signal regardless of level, and using simple controls. Usually equalisers are used to separate instruments in a mix ­ the tonal aspect of the signal is considered, but not the temporal aspect. By accelerating the transients or/and shortening the sustain of an instrument, the mix can be made to sound more transparent. Instruments can be mixed at lower levels, still maintaining their positions in the mix, but occupying less space. "Front/rear-positioning" of drums or other percussive instruments can effectively be "re-miked" during the mix ­ at least, that's the subjective effect. Applied to single instruments or loops, this technology creates new sounds or adds weight and authority to existing sounds. 10 Transient Designer There are several ways to connect the Transient Designer to your equipment. One of the most flexible options is wiring the Transient Designer to a patchbay. A console with switchable insert points to prevent audio running through the patchbay when not required would be perfect. Alternatively, the Transient Designer may be connected directly to the channel or subgroup inserts. Applications Connections Multi-Track Channel or Subgroup Insert Sends Diagram 7 Connecting the Transient Designer to the channel inserts of the mixer to process different tracks Mixer Channel or Subgroup Insert Returns The Transient Designer may also be connected directly to the output stages of drum machines or samplers, if no suitable inserts are available, though it should not be connected via an effects aux send/return loop. Sampler Output Diagram 8 Direct wiring between sampler or drum machine and mixer Sampler Mixer Transient Designer output to Mixer One of the most interesting applications for the Transient Designer is processing drum and percussion sounds, both samples and live drum sets: · The attack of a bass drum or a loop can be emphasised to increase the power and presence in the mix. · The sustain period of a snare or a reverb-flag can be shortened in a very musical way to obtain more transparency in the mix. · Recording a live drum set, toms or overheads can be shortened without physically damping them. · Miking live drums is considerably faster and easier, because the apparent 'distance' of the microphone can be corrected by varying the ATTACK and SUSTAIN values. · The Transient Designer is a perfect partner to noise gates in live drum miking. Drums & Percussion Transient Designer 11 Applications · 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 recording 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 appreciate 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 approximately +4 dB by increasing the attack value, the effective increase of peak levels in the overall mix is merely about 0. 5 dB to 1 dB. Guitar & Bass · 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. [. . . ] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ]