interesting uses for transient designers

[Lee]

I think that transient designers are really cool how they can shape the envelope of a sound. I have used the spl outborad unit on two separate occasions to shape the kick and snare by reducing sustain and adding attack, and the reverse settings on room mics to even out the sound. They sounded great to me. My limited use with them has only been on drum tracks as I had no time to experiment on other sound sources. I would like to hear what uses other people have found them good for (or not). eg on electric or acoustic guitar, vocals, ukulele??? I want one!

[jkhuri44]

im not sure on others experience, but they are my fav on percussive or short sounds. They can also be used to jack up bass freq. (increasing tail volume)

I also like to "move" stuff back and forth, layered percussion especially, by kerbing a little transient content, while slightly increasing the "hold"...

depends on which trans. designer ur using, i love Cubase 6 stock one. works great.

[Lee]

I would like to try one on bass and guitar next time. It seems like a very versatile unit for something with two knobs.

I'm also curious to know from anyone who owns the SPL 4 how often they reach for it and if you think it's a good investment or does the novelty were off?
Any bad comments on them?

[ChrisW]

Not too interesting, but I've used the software TD quite a bit to shape synth parts, especially stabs.

[jkhuri44]

also, fwiw, i use them when i want to dry up percussion sounds...like...reduce the room sound...but that's mainly in electronic music (for me). Could also use them as an alternastive to gating drum sounds...(the cubase TD works well for this)

[Yanto]

I couldn't live without mine. Not novelty at all. Love one channel on an aux off the drum bus in mono, blended in underneath - basically just a mono send set at 9oclock & 3 o'clock on the unit in parallel. I've also had great results on bass guitar when the sound's been a bit flat. Also on piano/keys in busy rock mixes - just a touch, maybe attack at 12:30/1 & release at 2:30/3 just to help them poke out a bit. Also great on toms if they need a bit more length. I've also seen them used to help de-room a super roomy drum sound. And they can work wonders on acoustic guitar in a busy mix, without the usual grabby compression artefacts that you tend to hear when you compress acoustics.

The parallel drum thing is definitely worth a try though. I've always got one channel free come mix time on a drum aux for that.