Transient Designer Free

[Arlyne Doepner]

Thetransient designer allows me to get the punch and attack I need on finger style acoustic and Travis style picking without over compressing. Also tightens up the bass, kick and snare again without over compression letting you get the punch and keep the dynamics. I wish I had bought it sooner.

This is one of those plugins that's so simple, it's hard to justify buying until you actually do. We all have transient designer plugins built into our DAWS and they all work fine. When I had a client who absolutely needed radio quality, punchy drums in his headphones as we were recording, this plugin is the only latency free solution! This plugin on the kick and the snare channels did the job perfectly. I couldn't live without it now!

Of all transient designers I have tried this is far the best. Idk how uad do it but this is simply phenomenal. It is so much more crisp and full of life than any other transient designer I have used. I didn't think it would be worth it as I already have other transient designers but wow it really is

This little guy can save your mix. Is your bass, kick, or snare not sitting correctly in your mix? Worry no further! Is your synth pad decaying too fast? Are your percussion elements clashing with the attack times of your vocals? SPL Transient Designer!!!!

Fundamentally, these effects operate by giving the user separate control over the attack and decay portions of a transient. More feature-rich plugins will add multiband capability or surgical FFT-based manipulation.

PRECISE: Fastest recovery time to the next transient. Most accurate and responsive when adding or removing attack to a signal.

BALANCED: Middle ground of the three modes. Fairly quick attack and medium release time when recovering from one transient to the next.

LOOSE: Slowest transient recovery time for all types of material. The best mode for adding large amounts of sustain.

An LFE bypass button appears when Neutron is loaded in either a 5.1 or 7.1 surround configuration. When enabled, the LFE Bypass will ensure that any audio information in the LFE channel is passed through unprocessed, but with the correct latency compensation. In Learn Mode the plugin searches for natural crossover cutoff points using a few criteria, including minima in the spectrum. Once Neutron has found a stable and transparent place for the cutoffs, the Learn function will disable automatically. Price: $299 (bundled with Neutron 2 Standard)

This is a simple device that can get you a punchy sound super fast. Two large knobs dominate the GUI and invite experimentation which was quickly rewarded with a tactile response that is immediately enjoyable. Price: $67

The brilliant aspect of this was that no threshold was necessary since the difference worked independently of the input level. Next! Another genius idea popped into my mind. The control voltage could now be positive or negative, which meant that the VCA would amplify or attenuate. The transients could now be amplified as well as attenuated! I thought that was genius.

So, my boss liked my invention and now wanted the product to be finished as soon as possible. After the first euphoria, I was disillusioned during a simple test with a drum loop. When I started it, the first beat was the loop, mostly the bass drum was very loud, but the further beats were quieter.

Looking for the reason I found it very quickly. At the beginning of the loop, the difference was simply much bigger than with the following ones. I had a simple analog oscilloscope at hand with which I now tried to observe the generated envelopes.

To achieve exactly this, I had to adjust the time-scale on my oscilloscope so slowly that only a low shining dot moved across the screen. Under bright sunshine, I completely darkened the room and saw that this dot glowed a little bit and I could roughly see the control voltage. It took me about three months to optimize my circuit for the different signal types. With every small change of the circuit, I repeatedly fed all sounds through the circuit to check if the respective changes had disadvantages. It was like a microsurgical operation or finding the famous needle in a haystack.

Just to briefly explain the problem. A normal compressor usually has five controls and my circuitry is four times as complex and that is easy to explain. Because it contained several time constants and also internal thresholds, which all had to be perfectly tuned to each other. I could have given the user ten knobs per channel, but this reduction to only two knobs became the key success and stands for perfect usability. I was even able to fit four channels into one unit. And then?

Thanks to the positive feedback, also from the international press, as well as the numerous positive reviews, the Transient Designer rapidly became popular and entered national and international studios in no time.

Since I already had the necessary expertise in the development of compressors through DynaMaxx, I decided to develop another compressor. I started with the alpha compressor, it should be a mastering compressor with very special functions. Nowadays It is still our flagship and has become a modern classic in the audio world. Some years later, around 2012, I had the idea to develop a new and extended version of the Transient Designer. With all the experience I had now, especially in the design of discrete Class-A circuits, I was able to improve this idea fundamentally. Especially in finished mixes, the original circuit does not react as reliable as you would expect.

As a special feature, I planned filters with which you can specify the starting frequencies for the attack and a final frequency for the sustain. My basic idea was quite simple: transients always have something to do with fast and high frequencies and long release times of instruments have always something to do with lower frequencies.

Since the two filter bands can widely overlap I had to develop a special bandpass that ensures that the frequency response always remains linear. With my discrete design and my own VCAs, the sound was much punchier and clearer, which again is a real improvement. Due to this multiband concept, the editing sounds more natural now and less like a Noise Gate.

Especially shortening the sustain only in the bass range works much better now. Nevertheless, the nvelope can be operated in the so-called full-range mode, which is similar to the original Transient Designer.

Most big DAWs now include a Transient Designer/Transient Shaper Tools. Several software manufacturers have also adopted the idea of the Transient Designer. Besides, the technology can be found as a processing tool in many drum sample players. I can only recommend everyone to test the hardware nvelope and you will see and hear by yourself that it is still the benchmark in Transient Shaping.

The secret is something that SPL call Differential Envelope Technology (a registered trademark of course!), which works by using two envelope generators for the attack and two more for the release. On the attack side, one generator follows accurately the original signal amplitude while the second does the same thing but with a slower attack. Subtracting these envelopes produces a control signal that can be used either to increase or decrease the level of the audio depending on whether the Attack control is turned clockwise or anticlockwise from its centre position. A similar methodology is used to derive the release control envelope. The outcome is that any attack transients can be cut or boosted by up to 15dB and the sustain can be increased or decreased by up to 24dB.

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Hi folks, is there anything on iOS that can be used as a transient designer for drums? More precisely an app that could adjust the attack and sustain of a drum sound. I do know that some plugins in Auria can do that, but I don't think it's worth it to get Auria just for that and I don't think I would use it for anything else as I work mostly in a sequencer.

@raz If you have any synth apps such as Magellan which can go into the effects slot, you might want to experiment around with them. Here's a short demo using Audiobus to filter the drums from FunkBox, the first 6 seconds is the original FunkBox sound and the second is the same sound filtered through Magellan.

Thanks @Paulinko !

From all those apps I only have Magellan Jr. The noob in me was expecting something like a dial which I can turn to adjust the attack, such as with SPL Transient Designer, but I guess it's something more subtle than that?

Yea the FXpansion DCAM EnvShaper plugin in Auria. I don't know of any dedicated units outside of Auria. What I think would be a good idea is to contact insert company name and make them aware that there is interest in having this or that plug available in AB/IAA on iOS. That's how it's been done with some of the plugin makers in Auria, people have emailed/contacted them and made them aware that there's interest out there to port their plugs for Auria.

I'm sure a lot of desktop devs are aware of iOS. But perhaps not willing to risk it without really knowing if there's any interest out there for their desktop plugs to be ported to iOS. Or perhaps many just don't know how far iDevices and iOS's ability to handle audio/midi has come. Make them aware.

You can do that with any good compressor acctually, the compressor just needs to have attack and release controls, in ToneStack there is a studio modeled compressor that should do what you need

And Final Touch also has a nice and clean multiband compressor

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