Drums & Percussion; Guitar & Bass - SPL Transient Designer 9842 User Manual

One of the most interesting applications of the T
D is processing drum and percussion sounds, both from
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samples to 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 T D
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drum miking.
• 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 T
ming 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 two channels of the T
hard left and right in the mix, such that the left channel is
processed with increased ATTACK and reduced SUSTAIN while the
right channel is adjusted in the opposite way, a very special stereo
loop sound is created. 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 acou-
stic level of a snare is expanded to approximately +4 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 processing guitar sounds, the T
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.
• Highly distorted electric guitars are already highly
compressed, leaving them with minimal dynamic range. This can
obscure the note attacks, but increasing the attack setting clari-
fies the individual notes.
• High distortion also prolongs the sustain, broadening the
sound. Reducing the SUSTAIN setting counteracts those effects.
Transient Designer
is a perfect partner to noise gates in live
D prevents time-consu-
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Drums & Percussion
D panned
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D
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Applications
Guitars
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