Throw in a saturation stage for reining in excessive peaks, and you have a truly surgical solution for rebalancing transient-fronted signals of all kinds that never sounds anything less than fabulous. On top of that, Envolution incorporates filter circuits into its Transients and Sustain sections for frequency-based processing, each one switchable between tilt EQ and band-pass/notch modes, and proving useful for correctively exaggerating and/or reducing the amount of shaping applied across the frequency spectrum. You can audition the difference between the input and processed transient and sustain signals, too, which presents its own creative possibilities, such as pulling out the sustain signal to simulate negative-ratio compression This opens the whole thing up to incredibly precise dynamics sculpting, making it supremely viable for getting a grip on acoustic guitars, pianos and other instrumentation that demands processing transparency, as well as up for heading off into more unconventional territory. Setting Sonnox’s transient shaper – which, despite the name, has absolutely nothing to do with impulse responses – apart from the rest is the independent control it facilitates over the Attack, Hold and Release stages of the transient and sustain signals. Unarguably the most overtly creative plugin in our list, Quantum’s combination of detailed transient control and colourful multi-effects processing puts it in a class of its own, and comes together to form a hugely compelling sound design toolbox. 16 modules are onboard – Compressor, EQ, Reverb, Phaser, Chorus, Convolution, Delay, Saturation, Enhancer, etc – and the interface makes adding, rearranging and operating them quick and easy, with the controls for the selected module appearing in the centre panel. So far, so good, but Wavesfactory’s adventurous plugin then takes things in a whole other direction by enabling a range of high-quality effects to be independently applied to the divided attack and sustain signals. Three transient detection modes are provided (Drums, General and Soft) the Sensitivity, Decay and Hold knobs are used to adapt the algorithm to the shape of the source material if required and the waveform display makes it easy to see what’s going on. ~Kalimba Sequence Solo (Transient Shaper Engaged)Īs we can hear, we ended up with a much less transient heavy delay, and the kalimba sequence now fits much better in the overall mix.Like all transient shapers, Quantum starts by dividing the input signal into attack and sustain portions, both of which can be boosted and attenuated using the two big, obvious Volume knobs. ~Kalimba Sequence Solo (Transient Shaper Bypassed) The second effect in the chain is the delay, in which the dry/wet mix is set to max. I reduced the attack almost to zero on the transient shaper because I wanted as few transients as possible. As you can see in the image above, I placed a transient shaper effect before the delay in the return track’s effect rack. Let’s compare the kalimba sequence processed over the return track, first without and then with a transient shaper in the chain. Using a transient shaper or a clipper effect before the delay on the same effect chain on your return track is an excellent way to control your transients. Add A Clipper or Transient Shaper to Shape Your Transients Consider increasing the pre-delay parameter in the reverb, which will offset the original sound. However, when working with transient-heavy sounds such as a kalimba, you end up hearing a lot of transients that can easily clash with other elements in the overall mix. This works well with a wide range of sounds. Regarding the delay and reverb effects, many producers send their audio to a return track, as we did. Using a Delay on Sounds With Sharp Transients I will then use this track to process the kalimba sequence. This is something that I would like to change, and the first step would be to create a new return track (which I will name Transient Shaper + Delay) in SoundBridge: DAW. ~Full Mix – Kalimba Sequence (Unprocessed) Īs heard in the audio example above, the kalimba sound has some sharp transients that are pretty loud. With this in mind, I have prepared a short sequence in SoundBridge: DAW containing most of the elements of a full mix. In the following tutorial, I will demonstrate an exciting way to control and shape your transients. Sharp transients are generally found in samples such as snares, kick drums, mallets, or percussions. Some instruments have more or fewer transients than others, depending on how they are played. In other words, it is the highest amplitude in the waveform. In audio production, a transient is the initial peak of a sound.
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